Work: Art Gallery Patricia Ready
Offices: Left and Lehmann / Elton Léniz
Architect Luis Izquierdo, Antonia Lehmann, Mauritius and see Elton Leniz
Mandator Real Estate Investment Cerro Sombrero
German model Timm
Marchetti construction company Constructora Ltda.
Engineers Calculated Luis Soler P. and partners
Savannah Landscape Design & Landscaping (Virginia Yarur / Rosemarie Ullrich)
Draft lighting Maria Ignacia Risopatrón
Concha y Gana electric project
Draft climate Cintec Ltda. (Joaquin Reyes)
PVT health project (Kenneth Page)
Project acoustic Acustika Ltda. (Julio Figueroa)
Land area 2240 m²
Built Area m 2016.45
Location 3125 Espoz corner Narciso Goycolea
Year beginning in March 2007
Year term in July 2008
Picture Carlos Eguiguren

Predominant material

Exposed concrete walls and skies, lining plate painted on Main Hall and the Chamber of graphics and photography, travertine marble flooring in cane in Main Hall, Room graphics and photography, sculpture courtyard, reception and shop, wooden floor in offices and Chamber of sales, metal structure to form technical sky on Main Hall and the Chamber of graphics and photography, acoustic lining on the basis of wooden walls and sky Auditorium.

Explanatory

This building is located on a plot of 2.240m2 in the north-west corner of the street with street Espoz Narciso Goycolea. It consists of a courtyard greater access located on the corner, to exhibit sculptures, and a reception desk, a cafeteria, a main exhibition hall, plus a small room to display art of lesser format. All these sites are arranged around the courtyard higher, delimiting its northern and eastern flanks with a window run, to form a combined unitary continuous space open to the public. The building also contains an auditorium with capacity for 99 seats, equipped with a cinema and translation, placed in the basement under the showroom smaller, which is erected on the main floor level; the kitchen after the cafeteria; and further inland, a file room and sale of paintings, secretarial and office of the gallery, open to a patio generated by the longitudinal distance required to guide the demarcation of the land. There is also one floor underground cellars and parking for 26 cars.

The main room measured 12.1 m. wide by 24.8 m. long and 5.1 m. high. Its size and proportion allow the exhibition of paintings or sculptures of great format, with distances suitable for contemplation and spacing of a series of works independent of each other. The elongated rectangular proportion of its plant allows a maximum perimeter for the exhibition of paintings in relation to your area, within a wide range of minimum and a maximum length such that the room was presented as a spatial unit with an understandable view from any point of view. The of PARALLELEPIPED space of the room had one of their long faces into the open courtyard, with floor window of a sky with pieces of laminated glass for the full height, the format of which maximum of 510 cms. coincides with the height of the room.

In front of the window, across his forehead, distanced 3.1 m., we put a wall up on the floor, with two steel supports, which allows you to control glare and mitigate the contrast in the light produced by the large room opening into the courtyard , In addition to defining the boundary of space in the interior courtyard rather than on the plane of the glass facade, and the perception of overlapping outdoor patio with the compound inside the room. The suspension of this wall allows the flow of air from floor level with the curtain injection at the base of the window toward the center of the room.

The slab of concrete on the cafeteria was drilled in a grid coincident with the distribution of enfierradura structural mesh, so as to allow his transfer by the sound waves so that these are absorbed into mattresses placed on top, in order to mitigate the reverb from the room and allow the conversation baja.Todas voice in the reception areas of the public, domestic as well as external, is paved with travertine marble cut against the grain, place on plates as mapped out in grid of 80 by 80 inches. , Which is the regulator module of the plant. The level is the same floor in the courtyard and the largest contiguous indoor enclosures.

To resolve the runoff of rainwater in the yard while maintaining a single horizontal level of soil, were left openings of 8 mm. in the joints of the marble pavement, through which drains the water to drain by a network of canals under the floor. Because this patio, which is on the ground floor, should be able to withstand large loads off the weight of sculptures was also a postensada reinforced slab and a thickness of 4 inches. for the plates of marble flooring.

The auditorium is a room partially underground, for conferences, movies, music or video camera, fitted with acoustically absorbent surfaces and reflective distributed under latticework of wood covering the uniformly sky and the side walls of the box, hiding a multitude of teams sound, fire detectors, sprinklers, security sensors, etc.. The air conditioning was resolved by a camera hidden under the floor slab, with injectors distributed under the seats The back wall is painted white to serve as a screen for projections. On the side of the proscenium opening a window that communicates with an interior courtyard, which delivers natural light sideways on the faces of the exhibitors, actors or musicians, and also serves as an escape from emergencia.Un generic requirement to meet in draft this building to display works of art was to remove the surface material (walls and floors) all the devices and facilities that could be attached Distracted or interfere with the works on display, which, in a case like this, it consults a lot of lighting equipment, air conditioning, security, sound, etc.. is a particularly difficult requirement.

Another generic requirement for the surfaces of paintings and sculptures of support is, respectively, the aplomb of orthogonal pieces of walls and horizontality of the soil, space conditions implicit in the composition of these works. Consequently, the plant and elevations of the exhibition halls in this draft ortogonales.El are selective cutting that occurs in the visual part in painting and sculpture at the pedestal, away from the play space that is to compose an order himself with a sense intensified, has been the key resource that establishes as an object of art. From the critical questioning of the resources devoted operated in the history of art by the modernism of the early twentieth century, with the abandonment of representation in perspective in painting and the integration of the pedestal in the sculptural object, it passes the space display, the architectural compound, where lies the work, to take the role and realzante insulator that took part and the pedestal.

This led to a kind of art gallery marked with the name of White Cube: an empty space inside closed, neutral, where the work is suspended, in another metaphysical plane, compared with the mundane reality of the outside world, and all of the above inside it becomes a sense repotenciado. Thus, the new genre of art installations, which culminates this reformulation of the conventional relationship of the work with the place where he is, this is a tributary of architectural typology. In this draft we have taken a step further, opening the White Cube: the rooms are opened to a courtyard, and the latter to the city and integrated as a haven of tranquility in their paths. This is based on the expectation that works of art sustain their sense not only in the artifice that highlights encapsulated. We wanted to give art a place of silence for his contemplation, but open to the city. Finding the right balance between this silence and this hole was the architectural challenge that has shaped this project.

This entry was posted on Saturday, November 8th, 2008 at 7:49 pm and is filed under Residential architecture. Tags: a lot of lighting equipment;, Acustika Ltda.;, Antonia Lehmann;, Carlos Eguiguren;, Cintec Ltda.;, Constructora Ltda.;, Elton Léniz Architect Luis Izquierdo;, Elton Leniz Mandator;, Elton Leniz Work;, Joaquin Reyes;, Julio Figueroa;, Luis Izquierdo;, Luis Soler;, Main Hall;, Maria Ignacia Risopatrón Concha;, Mauritius;, metal structure;, metaphysical plane, object of art, paintings, Patricia Ready Offices;, Patricia Ready;, Rosemarie Ullrich;, sculptures, steel supports;, This building, Timm Marchetti;, Virginia Yarur;, White Cube. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.