2021年2月，A Gentil Carioca画廊决定将其展览空间扩大到位于里约热内卢Saara地区的更名历史宾馆之外，将其艺术作品带到保利斯塔首都。
In February 2021, A Gentil Carioca gallery decided to expand its exhibition spaces beyond the renamed historical guesthouse situated in the Saara region, in Rio de Janeiro, by taking its artwork to the Paulista capital.
为此，画廊选择了位于巴西圣保罗Consolação公墓附近的一个宜人村庄的出租屋，那里有住宅和当地的商业活动。地面层和公共人行道之间的直截了当的关系，以及附近地区朴实无华的活力，适合画廊的不羁和节日传统。
For that, the gallery chose a rental estate situated in a pleasant village, occupied by residences and local range businesses, nearby the Consolação Cemetery, in São Paulo, Brazil. The forthright relationship between the ground floor level and the public sidewalk, as well as the unpretentious vitality of the neighborhood suited finely the irreverent and festive tradition of the gallery.
在处理一个位于受Conpresp保护条例保护的建筑群中的租赁空间时，Canoa Arquitetura面临的挑战是提出一个控制成本的干预方案，特别是针对内部区域。在此之前，该建筑是一个通信机构的住所，其特点是被强烈分割成小规模的房间。这些房间的照明很差，因为不存在来自邻居的横向凹槽，也因为中央天井被部分占用，而天井已经成为一个浴室和一个午餐柜台。使事情变得更加复杂的是，该建筑的建筑系统是基于结构性的陶瓷砖砌体，它赋予了大多数房间隔断以结构性作用。
Handling a rental space, located in an architectural complex which was protected by a Conpresp preservation ordinance, Canoa Arquitetura faced the challenge of proposing a controlled-cost intervention, aiming especially on the internal areas. Previously, the building had sheltered a communication agency and was characterized by intense segmentation into small scale rooms. They were poorly illuminated because of the inexistence of lateral recesses from neighbors and because of the partial occupation of the central patio, that had given place to a bathroom and a lunch counter. Making things even mor complicated, the building’s construction system was based on structural ceramic brick masonry, which conferred a structural role to most of the room partitions.
该项目是通过两个最重要的途径来解决的。大量拆除内墙，与使用 “I “型钢梁有关，允许创建更大和更灵活的展览空间。为了避免负荷集中和随之而来的执行新的基础的需要，我们选择了保留战略位置的墙体部分，限制打开的间隔，并将加固钢梁的负荷转移到现有墙体上。这些剩余的墙体部分通过揭示不规则的明显的砖块侧面来展开已执行的拆除工作，促使参观者了解建筑的结构和历史。
The project was addressed through two most important paths. The significant demolition of internal walls, associated with the use of ‘I’ section steel beams, allowed the creation of larger and more flexible exhibition spaces. Avoiding load concentration and the consequent need to execute new foundations, the choice was to preserve strategically positioned wall sections, restricting the opened spams, and transferring the reinforcement steel beam´s loads to the existing walls. These remaining wall sections unfold the executed demolitions by revealing irregular apparent brick sides, instigating visitors to apprehend the building’s structure and history.
同时，解放天井，恢复其原来的配置，是决定性的。除了改善自然光照和通风条件外，这种操作还允许展览空间向外延伸。以下的项目解决方案加强了这一概念。
At the same time, the liberation of the patio, restituting its original configuration, was determinant. Besides from improving conditions of natural illumination and ventilation, that operation permits the extension of the exhibition space outwards. The following project solutions reinforce that conception.
透明的钢化玻璃门带有滑动和旋转的开启系统，保证了视觉上的连续性，并允许完全打开从内部到外部的四个通道。这样的玻璃板不需要铝槽，而且由于其广泛用于保护圣保罗的住宅楼阳台，因此在经济上是可以接受的。
Transparent toughened glass doors with a slide and rotate opening system assure visual continuity and allow to fully open the four passages from inside to outside. Such glass panels don´t need aluminum channels and revealed to be economically accessible because of its extensive use for the protection of residential building balconies in São Paulo.
赤土色的微灰泥地板类似于地球上的重要物质。它的颜色是精心选择的，以建立与嵌入外部天井的圆形玫瑰石卵石的连续性。选择微型水泥是基于执行速度和经济性，免除了拆除原有地板的需要。
The terracotta color micro-cement floor resembles the vital matter earth. Its color was carefully chosen to establish continuity with the round rose arenite pebbles embedded on the external patio. The choice for micro-cement was based on execution speed and economy, dispensing the need to demolish pre-existing floors.
在东北边界，除了通往上层邻居的楼梯外，还放置了一个存放空间和一个悬挂在天花板上的拉出式艺术架，由四块长3.00米、高2.45米的滑板组成。这样的设备大大增加了艺术品的存储和展示能力。
On the northeast boundary, besides the staircase that accesses the upper neighbor, were placed a deposit space and a ceiling-suspended pull-out art rack, made of four sliding panels with 3,00m of length and 2,45m of height. Such equipment significantly increased the capacity of storage and presentation of artwork.
画廊的后备项目，如浴室、食堂、图书馆和行政资源被放置在一个1.20米宽的带子上，沿着庄园的后墙。接待台被认为是一个移动的元素，根据每个展览项目在整个画廊中变换位置。
Gallery backup programs such as bathroom, cafeteria, library, and administration resources were placed on a 1,20m wide band, along the estate´s back wall. The reception desk was thought to be a mobile element, shifting positions throughout the gallery depending on each exhibition project.
照明项目是基于简单的前提：三条金属通道的纵线平行运行，并通过固定在天花板上的布线钢管连接。管状荧光灯被放置在金属通道下，同时还有一些可定向的反射器，所有这些都可以根据每个展览项目轻松地重新定位。
在外部区域，景观设计的重点是种植Cupuaçu树，这是一种巴西本土植物，很适合当地的日照条件。
The lighting project was based on the premise of simplicity: three metal channel longitudinal lines run parallelly and connect themselves through wiring steel pipes, anchored on the ceiling slab. Tubular fluorescent lightbulbs were placed under the metal channels alongside with a few directable reflectors, all of which can easily be repositioned depending on each exhibition project.
On the outside area, landscape design emphasis relies on the plantation of a cupuaçu tree, a native Brazilian plant, well adapted to local insolation conditions.
Architects: Canoa Arquitetura
Area : 969 ft²
Photographs :Manuel Sá
Manufacturers : Cristiane Rodrigues Pedras Decorativas, Deca, Edymax Marcenaria, Fernando Jaeger, InterLight, Marilena G., RDS Esquadrias, Suvinil, Tramontina
Lead Architect : Mario Moura
Responsible Architects : Mario Moura e Victor Gurgel
Collaborators : Priscilla Wazima
Structure : LL Estruturas – Eng. Boris Cabrera
Lightining : Anna Turra
Landscaping : Oficina2mais Paisagismo – Carolina Leonelli e Gabriela Tamari
Execution : J.A Empreiteira
Work Management : Canoa Arquitetura
Microcment Floor : Rosferr Engenharia
City : São Paulo
Country : Brazil