本项目坐落于巴西圣保罗州包鲁市，场地原状可以说是这座城市的缩影：杂乱的空间分层、材料的破损与堆砌、废弃的设施、时间与使用的痕迹，以及大片的空白。在通常的设计概念中，这样的情况一般都被认为是糟糕的、需要在设计中改变或避免的。

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.

▼餐厅外观，appearance of the restaurant ©Marquinhos dos Reis

所有的这些特征都似乎仅仅体现在这个平行六面体空间的六个表面上，而它的内部则是一片虚无。因此，设计师希望为该空间寻找到一种独特的元素，将空间的特征统一在一起。这个元素需要渗透在大众和博学之间，先存和观念之间，中立和自我主义之间，接地与悬空之间，以建设性的角度为空间赋予独一无二的性格。

All this is present in the six faces of the parallelepipedal volume of its interior’s seemingly nothing. 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.

▼餐厅室内概览，overall of interior ©Marquinhos dos Reis

与其对空间做出大规模的干预，设计师决定以极简的手法将改造后的空间与建筑原有的部分联系起来，空间平面的重新规划导致了正交的视觉语言，同时形成了空间的主题 —— 留白。

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.

▼由座位区看厨房岛台，viewing the work station-island from the seating area ©Marquinhos dos Reis

▼规整的厨房设备与线性灯光定义了空间基调，Regular kitchen fixtures and linear lighting define the tone of the space ©Marquinhos dos Reis

最终，设计师将这个餐厅空间定义为一个无处不在的“空白盒子”。作为一处接待公众的服务空间，厨房中岛/服务台以一种“孤立”的方式伫立在餐厅的中央，完成着它备餐的使命。金属制成的中岛成为了空间中的最小反光元素，这些可见的材质纹理与特征构成了空间中的景观，并通过色彩的控制、家具的布局以及如灯具等的悬吊结构达到了视觉的平衡。

A box with a ubiquitous void was as if it conforms 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 visible composition of the landscape, were balanced by the chromatic control, the punctuality of furniture and the lightness / suspension of the structures.

▼厨房中岛/服务台以一种“孤立”的方式伫立在餐厅的中央，a station of work – island – was positioned, in an isolated and central way ©Marquinhos dos Reis

▼厨房岛台内部，inside of the work station-island ©Marquinhos dos Reis

换句话说，空间与视觉的留白在无形中定义了整个项目的基调，并带有一种建筑电讯派（Archigram）的精神。在这里，抽象与具体，两种极端的感受在空间中彼此增强。因此，从概念上讲，项目的设计处于一种最多样化的辩证思维中，没有性别之分的卫生间就是这一理念的最好体现。

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’.

▼空间的大面积留白，visual and physical absence of the project ©Marquinhos dos Reis

▼座位区，seating area ©Marquinhos dos Reis

项目中采用了日常生活中常见的材料与工艺，并将它们转化为现代的建筑语言，例如：陶器与金属，而这两种需要用火锻造或成型的材料不就是烧烤的代名词吗？工业化的厨房设备代表了理性，而厨师的烹饪以及服务过程则代表了感性，这之间存在着一个高于形式之上的、富有诗意的辩题。或者，就像彼得·库克说的，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’.

▼金属网与陶粒制成的座椅/坐凳，Seats/benches made of metal mesh and ceramsite ©Marquinhos dos Reis

▼材料细部，details of material ©Marquinhos dos Reis

▼平面图，plan ©Aalva