委托方希望在这里建立一个将艺术和自然相互交织的艺术画廊，让人们在自然环境中欣赏艺术之美。到访Catuçaba酒店，你将会发现多种形式装置艺术和收藏品。委托方认为在接近自然的同时更容易引发人们对艺术的感知与理解。艺术画廊策展方通过定期更换展品，将为观者提供多样丰富的艺术欣赏体验。

The clients’ idea of an art gallery was that art and nature are intertwined and art should be presented in a natural environment. Throughout the hotel property various art installations can be found. By being in nature one should be more receptive to see and feel art, according to the hotel owner. The art gallery has to host changing exhibitions offering clients a variation of art.

▼项目概览，project overview

艺术画廊由当地生态建筑合作社在建筑师的指导和协助下修建完成，意在希望通过这个社区建筑的建立为当地穷困落后的地区带来更多培训和工作的机会。在该地区社区中心项目建成之后，Camburi村希望寻求可以为合作者带来经济回馈的建设项目，其中包含Catuçaba艺术画廊。建设过程中，当地合作社主要负责建造艺术画廊中的竹结构主体，而砌砖，挖掘和地基工程由Catuçaba酒店聘用的当地农场工人团队完成。

This art gallery was built by a community eco-building cooperative that was aided by CRU! Architects. The idea of this social building project was to provide training and job-development for a deprived community. After the community center, commissions were sought outside of the village of Camburi in order to have economic return for the cooperants, of which this art-gallery is an example. The entire bamboo-structure was executed by the local cooperative, whilst the brickwork, excavations and foundations were done by the local workers from the farm which the hotel is located on.

▼建筑与自然相浑然一体，gallery space consistent with nature

周边环境，场地及建筑设计 | Context, Site and Architectural Design

艺术馆的位置被选定在一个主要农房，Fazenda葡萄牙殖民地时期风格建筑，和一个名为Occa由亚马逊印第安部落建造的公共空间，这里曾经是多个部落家庭的生活居住地。基于这样的环境因素，建造起的艺术画廊必须将殖民地时期传统农房和原住民的公共生活空间进行整合统一。建筑的外观为符合葡萄牙风格殖民地时期农舍风格建筑，有着白色墙壁和蓝色木门，而室内的风格则吸收了原住民印第安风格的竹结构设计元素。

The location of the art-gallery was set between the main farmhouse of which it depended (Fazenda colonial Portuguese style) and the Occa, a communal space built by an Amazonian Indian tribe where originally several families could live together. Aside from this no further requirements were made. The art-gallery, arising between the colonial farmhouse and the indigenous communal space, had to unite these two different styles. On that account, the design from the outside outlines the colonial Portuguese style with its white walls and blue doors similar to the farmhouse, and shows an Indian heart/core on the inside (being the bamboo structure).

▼场地鸟瞰，bird eye view from above

▼建筑外观，building exterior

位于中央的狭长通道，拱门和庭院则参考了古老修道院的建筑形式，赋予空间神圣庄重的气息。一个小喷泉位于门廊中央，通过设置5米的水位落差，使水流携带氧气汇入下游。艺术馆外墙一共设有13道门，参观者可以从不同位置进入展馆，增加了建筑的流通性，同时引发人们的好奇心理前来参观。建筑首层在一侧悬空延伸至水域上方，使来访者可以站在较远的位置欣赏艺术馆的整体外观。

The narrow passage, the arcs and courtyard in the middle refer to ancient monasteries and hereby tries to invoke a divine sensation. A small fountain is situated in the center of the patio from where the water runs back into the river, giving oxygen to the river below by making the water fall some 5m. By providing 13 doors one can enter the gallery from each point, augmenting the transparency but maintaining a particular curiosity to see what´s inside. The floor level on one side extends the building and partly floats over the river, giving a visitor the ability to look at the art gallery from a distance.

▼庭院空间，gallery space

▼拱门和庭院参考了古老修道院的建筑形式，the arcs and courtyard in the middle refer to ancient monasteries

▼小喷泉位于门廊中央，asmall fountain is situated in the center of the patio

▼首层在一侧悬空于水面上方，thefloor level extended one-side partly floats over the river

艺术馆的设计基于黄金分割率，一种通过控制建筑面宽和高度的比值，使其符合以维特鲁威为代表的希腊罗马建筑师所遵循的建筑法则。然而作为一个低调朴素的建筑，它又保持着与周边殖民地风格房屋，以及原住民Occa聚集场所的协调关系，有着葡萄牙风格的外观和印第安内核。

The gallery is entirely based on the golden proportion – the width and height of the different parts correspond to the rules set by the Greek and Roman architects such as Vitruvius. It is meant to be a humble construction that fits the colonial style of the surrounding, but that also refers to the occasion nearby. A portuguese face with an indian heart.

有着葡萄牙殖民地建筑风格的白色墙壁和蓝色木门，the colonial Portuguese farmhouse style with its white walls and blue doors

▼从室外望向画廊和庭院，view towards courtyard from exterior

由于艺术可以被认为是神圣的，具有宗教象征性和精神寓意的修道院拱门被运用于艺术展馆的空间表达。“gallery” 一词最早的含义是有遮蔽的走廊和过道。狭长而在沿着墙壁部分对外展开，词根源于古法语中的galerie，意为长长的门廊，和中世纪时期拉丁语 “galeria”，来源不明。“为艺术而设立的建筑”这一层含义最早出现于16世纪90年代。为了在立面上突出表现传统农舍和occa两个主要的设计元素，展馆室内的平屋顶构造以2.9米限高隐密于建筑内部。建筑师将三个场地内的30米高的棕榈树与画廊空间相结合，其中一棵穿过了展厅屋顶，被放置于画廊中部。

Since art can be considered sacred, the spiritual language of a monastery arch-way was used to house the exhibitions. In the original sense a gallery was a covered walk or passageway, narrow and partly open along a wall. It derives from the old French galerie, “a long portico” (14c.), from Medieval Latin galeria, of unknown origin. Sense of “building to house art” was first recorded in 1590s. A flat roof of 2.9 m high was foreseen to avoidunnecessarily elevating the structure and maintaining a low profile, offering the farmhouse and occa a primary role. Three existing 30 meter high palm trees are integrated in the design and even one of these palm trees goes through the roof.

棕榈树与画廊空间相结合，high palm trees are integrated in the design

艺术画廊的平面布局近似于一个正方形（15 x 11米），通道宽2.10米，建筑平面被划分为15个2.10mx 2.10m的正方形空间，除了后两个正方形外，沿每个正方形的中线都有一个立面适当位置的门与之对应。画廊的柱子阵列于正方空间外围80厘米的边框上，边框由蓝色的石头和耐腐蚀钢材制成。墙体由砖块砌筑外刷石灰浆，在展厅一侧依旧可见砖材的肌理，然而在室内外两面漆刷成白色。

The art-gallery is nearly quadratic (15 x 11 m) with a passage way of 2.10m wide. The floor plan is divided into 15 squares of 2.10m x 2.10m and every square, except the latter two, has a proper door opening centered in the middle. The columns are placed outside these squares on an 80cm broad border in blue stone and weathering steel. The walls consist of bricks finished with a lime plaster on the outside. On the inside the bricks remained in sight but both sides were white-washed.

▼长廊围绕着中央的正方形庭院，gallery placed around central square courtyard

结构上，画廊使用直径为50mm的Phyllostachys Aurea竹秆，而在拱门的构造中选用另一种当地的竹种Bambusa Tuldoides Munro为建造材料，直径为40毫米。这些柱子在现场切割并弯曲，用汽油一边涂抹一边用喷灯加热的方式在竹子的外皮形成耐腐蚀的保护层。这些拱门支撑着每两个柱之间连接的抗风斜撑和上部桁架，因而也是结构的一部分。屋顶采用铝制预制板制成，鉴于美学层面的考虑在其上铺设阵列的Bambusa Tuldoides Munro竹秆作为装饰。

For the structure, bamboo culms were used, being Phyllostachys Aurea 50mm diameter. Only for the arcs the locally found bamboo species Bambusa Tuldoides Munro was used with a diameter of 40mm. These were cut on site and curved, anointed with gasoil and simultaneous heating the cane with a blowtorch. The arches support the wind braces and trusses between two columns and therefore are part of the structural system. The roof is made with aluminum prefab plates that afterwards were covered with Bambusa Tuldoides Munro culms for aesthetical reasons.

拱门选用当地竹料建成，arches built fromlocally found bamboo species

当地生态建筑合作社的精湛技能对于项目施工至关重要。通过多年的实践经验和完善的建造技艺，合作社不仅负责当地社区和居民住房的建设，还承接服务中上层客户的高品质建筑项目。 这些客户为合作社提供可观的收入，其中一部分用作工资，另一部分作为社区基础设施的投资资金，因而对于改善当地的基础设施建设基本不需要补充额外成本。 这个艺术画廊在主办方的安排下有时会为当地工匠艺人提供展示平台，让他们有机会展示和出售个人艺术作品，并在其他时间举办知名艺术家的展览。

The local eco-building cooperative, which training was essential to the project, had perfected their techniques over the years and is now capable of, besides community and local housing, making high-end buildings that can serve middle-and upper class clients. These kind of clients provide an interesting revenue that is partly used in salaries and partly used in community infrastructure so that few outside investments need to be found in order to improve their own infrastructure. In art-the gallery, the owner sometimes frees space for local artisans that get a chance to expose and sell their artworks, beside better-known artists on other occasions.

夜景，night view

技术策略和解决方法|Technical choices and solutions

拱门结构将顶部连接件在距地面1米处与结构柱中心相连接。每个拱形结构在分开时会受到在应力的作用复原到自然状态，然而通过将拱门彼此相连得到了一个稳定坚固的结构。以每三段弧状竹竿为一组，顶部的木连接件负责将竹竿彼此连为整体，并固定于上方“提琴形”连接件。从画廊的过道空间可以分辨出两种不同类型的连接构件。第一种连接构件将四个互连的竹杆组成一个结构柱，连接到由水平桁架支撑的两个反向相接的抗风斜撑上。优势在于这种接头可以将结构杆件的受力分散到多个竹杆上，避免单独一段竹杆受到过多的力而受损变形。此外，这种稳固的连接方式足以承受相邻两个柱结构所受到的后方风力。第二种连接构件并非形成柱子与桁架的连接，而是连接起中间拱门的结构体。

The arches are connected to a connector piece on top and onto the centre of the column (about 1m above the ground). By connecting the arches together, it was found that a rigid shape was obtained, whereas separately they still wanted to return to their natural shape. A small wooden connector-piece for the top of the three arches was used to subsequently connect them in one connection to the ‘violin’ connector piece. There are two different types of connections to be found in the passageway. First a connection principle was used where four columns are interconnected to a laterally placed truss supported by contrary adhered wind braces. Advantageous is that such joints disperse the foreseeable connecting culms over several bamboos averting too much connections arriving at one bamboo thereby weakening it. Moreover, it is a firm connection that is able to withstand wind forces already after two columns. The second joint doesn´t connect the column to a truss but merely the arches in the middle.

▼拱门彼此相连形成稳定坚固的结构，rigid shape created by connecting the culm arches together

▼三段弧状竹竿为一组构成拱门结构

three arches are subsequently connected

对于竹结构的设计，还意味着同时设计竹杆之间的连接件，沿竹杆组件的延伸方向“雕琢”柱子、桁架和拱门之间的连接节点。因而在这样的结构需求下设计出“提琴状”的硬木连接件，将贯穿所有竹秆的金属构件统一汇聚在末端相连，形成所有受力的传递通道。这种节点需要有一定的硬度，因而选用具有最高耐久等级的硬木而不应采用软木。节点连接件对于减小竹杆构件内部受到的拉力和压力十分关键，通常以钢、金属、竹子或橡胶制成，很少采用硬木，然而出于对环保和成本方面的因素的考虑而最终选用硬木而非金属和钢材。

Designing a bamboo structure also means designing connector pieces by drawing lines from the directions of the columns, trusses and arches to ‘sculpt’ the point where they connect to each other. In this case, a ‘violin’-shaped hard wood connector piece was designed where all wire rods from the end-points of the bamboo culms join, making a safe passage of all transferring forces. The strength of this joint is essential; no softwood should ever be used, but only hardwood with first durability-class. Connector pieces in joints are of high importance to deduct tension and compression forces onto the bamboo members, and generally they are made of steel, metal, bamboo or even rubber, but very few times with hardwood, although the environmental and cost factors obviously favour wood above steel or metal.

▼四个互连的竹杆组成一个竹结构，each four bamboo culms interconnected to columns

▼连接每三组弧形竹杆的硬木构件，connectors created to bind the three arches

▼ 位于拱门中间点的 “提琴形” 硬木构件，the‘violin’-shaped connectorsin the middle of arches

▼轴测图，axonometric drawing

▼首层平面图，floor plan

▼立面图，elevations

▼剖面图，section

“提琴形”连接件示意图，detailed diagram for‘violin’-shaped connectors

Location: Catuçaba, Brazil

Lead Architect: Sven Mouton

Area: 1184.03 ft2

Photography: Nelson Kon