一个专门为摄影师建的博物馆

对于建筑师而言这是一项挑战——他们将为一批此前尚未公开展览过的摄影收藏建造一个展馆。这批艺术收藏包括2000余幅摄影作品。来自Steve McCurry，Henri Cartier-Bresson和Marcel Gautherot这样的泰斗级摄影师的名作将和其他当代优秀摄影师的作品一起展览，如André Liohn，Claudia Andujar，Rosangela Rennó等等。

The challenge of designing a new home for one of the largest collections of photography in Brazil， until then kept away from public knowledge， was accepted with great sense of responsibility to display this historical record. The art collection consists of more than 2，000 pieces including historical names such as Steve McCurry， Henri Cartier-Bresson and Marcel Gautherot， who share space with other leading artists in contemporary production – among them are André Liohn， Claudia Andujar， Rosangela Rennó ， and others.

▼摄影博物馆主入口

摄影博物馆选址于巴西福塔雷萨市Varjota区，改建自一座老建筑，建筑面积约2000平米。博物馆所处的社区氛围十分活跃，周边美食云集，人气十足。作为巴西－美国研究所（IBEU）的前总部大楼，建筑原本的结构和布局存在许多亟待改进的地方：柱网密集、天花板过低、门窗洞口过小、交通组织不便、立面设计缺乏吸引力，缺少与街道的联系等。作为改造的第一步，建筑被拆除到只剩下原始结构框架和墙体。

建筑一共五层。主入口的大阶梯指示着博物馆主轴线的位置。阶梯旁的残疾人坡道经过了特别设计，与大楼立面组合在一起，形成如雕塑一般的效果。不仅如此，坡道旁边还形成了一个小广场空间，可以作为社交聚会的场所。一棵来自东北部亚热带地区的树占据着广场上最为显眼的位置，中和了大楼本身庄严肃穆的感觉。

The subject of the work was an existing building with approximately 2，000 square metres of floor area， located in the Varjota neighborhood， in the capital city of Fortaleza， state of Ceará， Brazil. With a very active social life， the neighborhood is considered a gastronomic pole， and an important meeting point for part of the city’s public. As the former headquarters of an English school， the Brazil – United States Institute (IBEU)， the building had a structure with various spans， low ceilings， inadequately sized openings， poor accessibility and an inexpressive facade that had little interaction with the street. Already in the first stage of the retrofit， the building was reduced to its structural frame and external walls.

The building has a total of five floors. In the main access， there is a generous staircase that marks the entrance axis of the Museum. Associated with it， there is a ramp for people with disabilities， treated in a sculptural manner in the composition of the fa？ade and highlighted by an empty space that works as a small square， which holds a typical tree from the northeastern semi-arid region that brings the regional element to the sober volumetry of the building.

▼摄影博物馆粗朴的材质与经过推敲的比例营造了雕塑感

地面层是综合空间，大堂、图书馆、商店、洗手间和临时展览都布置在这里。常设展厅位于一层及二层。展览区内部的氛围静谧而庄重。走廊及休息区则装点着垂直绿化，作为一种过度，为人们在展览间隙提供视觉放松。还有一个多功能厅，可以作为举办活动、工作坊或是讲座的场所。所有的行政及设备管理区都被放在了地下一层，包括一个藏品库。

The ground floor comprises the Lobby， a hybrid area with a coffee shop， library， shop， toilets and the temporary exhibition area. The permanent exhibition occupies the first and second floors， with identical plans， spaces are completely sober in the exhibition areas， but with a pleasant vertical garden in the area of the walkway， which represents a transition， almost like a visual rest， between fragments of the shows. And a multipurpose room， both for events， workshops and lectures. All administrative and support ambients have been placed in the basement， including a technical reserve for the Collection.

▼剖面图

在三层有一个露台，可以俯瞰城市的街景。

On the third floor there is a partially covered terrace overlooking the city.

▼露台

博物馆内部的自然光经过仔细的设计，在确保藏品安全的同时为大楼提供舒适的光照环境。原有的大部分开口都被封闭了，只保留了中庭，并在其上增设了走道，以创造视觉联系，并将原本单向流动的走道打通成更为方便的环形。为了提升天花板高度，原本的石膏天花板被拆除了，并且将原本无序的管线被整齐的电缆桥架整合到了一起。

▼博物馆展厅空间

Some measures were taken so that there was a control of natural light in the building， important for conservation of the works and quality of the museum space. Most of the old building openings were sealed， but a central atrium was maintained and walkways were built on it， adding visual interaction and allowing a circuit in the once confined and linear pavements. The plaster ceiling was completely removed for a bigger height， and a disordered network of existing beams was reconciled with apparent cable trays that accommodate all types of facilities： lighting， climate control， and electrical ducting fit in this space.

▼前台

▼图书馆

▼多功能厅

▼楼梯

立面改造是整个项目中最为戏剧化的一环。原有建筑有一个悬挑部分，但是在整个组合中表达的十分不清晰。此外，很多视线遮挡也干扰了人们感知建筑整体的构成。建筑师将悬挑的区域作为立面的主要元素，用穿孔铝板材料内衬金属骨架（A.C.M.）作为表皮，后者不仅遮挡了Fortaleza下午的炎热，铝板孔径的变化也营造出马赛克的效果。在主入口上方设有一个窄雨棚，从而使得入口区可以使用玻璃，在通透性上有别于大楼的其他部分。一个L型大遮檐位于展厅的上方，为整个建筑营造完美的比例。

The transformation of the facade was one of the most dramatic alterations in this project. The existing building already contemplated a cantilevered block which represents the upper levels， although it was poorly displayed by the composition. Beyond that， a few visual barriers prevented the full visualization of the building from the sidewalks. The concept was to value this cantilevered volume as main element of the fa？ade， with a ventilated fa？ade of metallic structure and perforated aluminum composite material sheets (A.C.M.) as coating， which aside from protecting from the intense heat from the sun in the afternoons of Fortaleza， configures through a variation in the sizing of the perforation， a dynamic to this pure volume， creating a sort of mosaic. As a capstone both marquees were added， a smaller one shading the main access， and making it possible to use a glazing on the facade that counterbalances the opacity of the other materials， and a bigger， “L” shaped one， gently landed above the building， generating an ideal proportion to the whole composition.

▼幕墙采用穿孔铝板材料内衬金属骨架（A.C.M.）

整个设计的目标是通过对于体量、永恒性以及庄重的形式和材料的表达建造一个当代建筑。与此同时立面比例所赋予建筑的特质，也是每一个亲临现场的人都可以很容易感受到的。

The main intention of the project was to create a contemporary architecture that conveyed ， through its volumetry， timelessness and sobriety of shapes and materials. This without forgetting， of course， of the remarkable identity proportioned by the facade， easily assimilable by any person that has seen it.

▼对于体量、永恒性以及庄重的形式和材料的表达是建筑师首要思考的问题