该项目的意图是探索迈阿密的上世纪中期现代建筑与巴西现代建筑传统之间的联系。与欧洲现代建筑在北美被诠释的创造性方式一样，在南美也有对这一运动的诠释和再创造。迈阿密的气候和地理特征加强了这种联系–一个阳光充足的地方，而且靠近热带地区。我们通过选择纯粹的几何形状来建立这些联系，特别是圆柱体和圆形，这在当地和巴西的现代建筑史上都是反复出现的，还通过使用浅色调，接近于白色，这是两个传统的另一个共同特征。一些重要的初始参考是迈阿密海滩邮局、巴西雕塑家塞尔吉奥-卡马戈的作品、大卫-霍克尼的美国游泳池的亮度，甚至同时代的项目，对这些重复出现的情况很敏感，如OMA的Faena区，最近在这个城市落成了。

The intention of the project was to explore a link between Miami’s mid-century modern architecture with the tradition of the Brazilian modern architecture. In the same creative way that the European modern architecture was interpreted in North America, there was an interpretation and recreation of this movement in South America. This connection is reinforced by Miami’s climatic and geographic characteristics – a sunny place and close to the tropical area. We established these bonds through the choice of pure geometric shapes, specially the cylinder and the circle, that are recurrent in both local and Brazilian modern architecture history, and also through the use of a light color palette, close to the white, another feature common to both traditions. Some important initial references were the Miami Beach Post Office, the work pieces from the Brazilian sculptor Sergio Camargo, the luminosity of American pools from David Hockney or even contemporaneous projects, sensitive to these recurrences, such as the Faena District from OMA, recently inaugurated in the city.

从这些图像中，我们决定创造一个没有直角的空间，仅由曲线计划–圆柱体部分–构建，仿佛环境是这些预先存在的体积之间的连接所产生的空虚。

Stem from these images, we decided to create a space that would not have right angles, constructed only by curve plans – cylinder segments – as if the environment was a resulting emptiness of the connection between these pre-existing volumes.

这个地方–迈阿密设计区–是一个相对较新的商业企业，由一系列的设计商店组成。迈阿密市与拉丁美洲的宇宙有很强的联系，包括讲西班牙语和葡萄牙语的人，因为有大量的巴西游客访问它。这就是为什么我们试图通过空间和建筑来连接两个文化世界是有意义的。

The site – Miami Design District – is a relatively new commercial enterprise formed by a set of design stores. Miami city has a strong connection with the Latin American universe, both Spanish and Portuguese speakers, due to the great amount of Brazilian tourists that visit it. That is why it makes sense to us the attempt to connect both cultural worlds through the space and the architecture.

该项目减少了材料的调色板，采用了类似的色调。这些材料来自天然，但经过工业加工。虽然他们保持了不规则性和适当的粗糙度，但也有工业加工的痕迹。混凝土、抛光石膏、水磨石地板，从灰色到白色的温暖色调。其目的是保持简单几何图形的形式上的纯洁性，表面光滑，但有不完善的地方，粗糙和多孔性，就像环境是由伟大的石头形成的，非常简单，但有纹理和颜色的变化和细微差别。一个受控的再现的自然。

The project has a reduced palette of materials, in similar color tones. The materials are from a natural origin but industrially processed. Although they kept the irregularity and proper roughness, there are marks from the process of the industry. Concrete, polished plaster, terrazzo flooring, in warm tones from the gray to the white. The intention is to keep the formal purity of the simple geometries with their smooth surfaces, but with imperfections, roughness and porosity, as if the environment was formed by great stones, very simple but with variations and nuances of texture and color. A controlled recreated nature.

我们避免使用可以参考家庭环境的元素，如家具。我们消除了最大数量的物体。产品暴露在墙壁的凹槽中，而不是在货架上；台面和销售柜台来自地板的相同材料，就好像它们是自然的露头，而不是独立的物体。照明也是基于石膏的凹槽中的光点，没有暴露的设备。植被从立面上的孔中产生，没有花盆或支撑物与建筑分离。

We avoid using elements that could refer to a home environment, like furniture. We eliminated the maximum number of objects. The products are exposed in recesses in walls and not in shelves; the countertop and the sales counter are from the same material of the floor, as if they were natural outcrops and not independent objects. The illumination is also based in light points in recesses in the gypsum, without exposed equipment. The vegetation arises from holes on the façade, without pots or supports separated from the architecture.

唯一的例外是Lina Bo Bardi设计的扶手椅，她是上世纪下半叶在巴西工作的意大利建筑师。她的职业生涯是欧洲现代主义和其热带重新解释之间成功调解的一个例子，包含了手工生产过程中的粗糙和粗鲁，同时，与工业生产相联系。除了与历史和概念背景相适应，作为项目的参考，所选择的扶手椅是一个软垫的半球体，覆盖在一个轻质的金属结构上，加强了构成空间的其他元素的形式剧目，避免了直角。

The only exception is the armchair designed by Lina Bo Bardi, Italian architect that worked in Brazil in the second half of the last century. Her career is an example of this successful mediation between the European modernism and its tropical reinterpretation, incorporating the roughness and the rudeness of the artisanal production processes and, at the same time, being connected to the industrial production. Besides being appropriated to the historical and conceptual context, which are references to the project, the chosen armchair is an upholstered semi sphere over a lightweight metallic structure, reinforcing the formal repertoire of the other elements that compose the space and avoid right angles.

Architects: Metro Arquitetos Associados
Area: 33 m²
Year: 2017
Authors:Martin Corullon, Gustavo Cedroni
City:Miami
Country:United States