该财产总结了我们每天在城市中发现的东西：层次、各种材料、删除和添加、停用的装置的碎片、使用和时间的痕迹，以及广泛的空白。所有这些，在专业常规的一般概念中，通常被认为是坏的、可避免的、可改变的设计。所有这些都存在于其内部的平行四边形体的六个面中，似乎什么都没有。
The property summarized what we find in our city every day: layers, various materials, deletions and additions, pieces of deactivated installations, marks of use and time, and a wide void. All that, in the general conception of professional routine, is usually admitted as bad, avoidable, changeable in design. All this is present in the six faces of the parallelepipedal volume of its interior.d seemingly nothing.
结果，我们有了渗透在流行和博学之间，在预存和构思之间，在中立和主角之间，在接地和悬浮之间的构造性元素。这些正交的视觉计划的组织建议–在接受太少和强加给建筑中预先存在的东西的意义上–反而导致了将成为项目的一方：缺席。
As a result, we have constructive elements that permeate between the popular and the erudite, between preexistence and conception, neutrality and protagonism, grounding and suspension. Instead of intervening, the proposal of organization – in the sense of accepting too little and imposing itself in relation to the pre-existent in the building – of these orthogonal visual plans resulted in what would be the party of the project: absence.
一个带有无处不在的空隙的盒子，就像它符合空间一样。由于这个空间的项目注定是向公众开放的，一个工作站–岛–被定位在一个孤立和中心的方式，用于最终完成菜肴。纹理和特征，就像景观的可见部分，被色度控制、家具的准时性和结构的轻盈/悬浮性所平衡。
A box with a ubiquitous void was as if it conforms to the space. being that the program destined for this space is the attendance to the public, a station of work – island – was positioned, in an isolated and central way, for the finalization of the dishes. we have, therefore, the minimum element flexion. The textures and features, like the visible components of the landscape, were balanced by the chromatic control, the punctuality of furniture, and the lightness/suspension of the structures.
换句话说，这个巨大的缺席的机构–视觉和物理–是让我们认为这是一个看不见的建筑项目的原因。阿基格拉姆的开与关、抽象与具体之间的平行，二元的极性组合，其中一个加强了另一个。因此，从概念上讲，该项目被置于最多样化的辩证法–紧张关系中，如客户的浴室不分离，这只是一个，”性别”。
In other words, the agency – visual and physical – of this massive absence is what makes us think that this is an architecture project of the invisible. A parallel between the Archigram’s on-off, abstract and concrete, the binary polar combination in which one reinforces the other. Thus, conceptually, the project is placed among the most diverse dialectics – tensions – such as the non-separation of the bathroom for clients, which is just one, ‘gender’.
一个与工艺的日常材料讨论的行动，它触及流行的建筑，它从陶器和金属发展 – 这些不会是普通的烧烤的形象的物质性吗？- 在服务的工业和技术设备与准备操作中的个人处理之间的诗意的论述和对立中，除了被称为形式的奇观。或者，正如彼得-库克所说，也许 “我们似乎什么都没做”。
An action that is discussed with the everyday materials of the craft, which touches the popular construction, which develops from the pottery and metal – would not these be the materialities of the ordinary image of a barbecue? – in a poetical thesis and antithesis between the industrial and technological equipment of service and the personal handling in the operations of preparation, in addition to being called for a spectacle of the forms. Or, as Peter Cook would say, maybe ‘we did seemingly nothing’.
Architects: Aalva arquitetos
Area : 148 m²
Year : 2019
Photographs :Marcos dos Reis
Manufacturers : Arauco, Brilia, DayBrasil, Deca, Docol, Elgin, Industria Moderna, JBL, Quaker Decor, Rubber Plastic, Suvinil
Demolition / Construction : Ricardo Pereira Bauru
Electrical Installations : FG Fabrício Bauru
Frames And Glass : Forte Essquadrias Piratininga
General Painting : Jaime Bauru
Locksmiths : Tigrão Serralheria Arealva
Industrial Painting : Toninho Bauru
Air Conditioning : Climatizar Bauru
Stones : Marmoria Cappelin Bauru
Exhaustion : MS Exaustec Bauru
Visual Communication : Regina Bauru
Sound Reinforcement : Tektron Bauru
Fabrics : Thrama Bauru
Lighting : AltaDue Bauru
City : Bauru
Country : Brazil