Centro Nacional Arte Artesanato e Design, CNAD

CNAD國立藝術(shù)工藝設(shè)計(jì)中心位于佛得角港口城市明德盧，這里的藏品均為手工制作，從名字到功能都是如此；更重要的是，在當(dāng)?shù)厥止ぶ谱饕馕吨鴮⒐操Y金分配給島上的工匠，這也是當(dāng)?shù)卣Φ慕Y(jié)果。因此這里實(shí)現(xiàn)了一個(gè)公共中心建筑的主要功能，造福于社區(qū)。從材料到飾面的每一個(gè)設(shè)計(jì)抉擇都致力于達(dá)成這一目標(biāo)。

Photographer: Sergio Pirrone

世界的這一區(qū)域，從手工勞動(dòng)到機(jī)械化的工業(yè)變革正在慢慢開始。手工作業(yè)仍是主流，每天工匠們?yōu)槿藗兇蛟旄鞣N制品。找工匠打造一件家具、一扇門或是一些座椅，然后耐心地等待完成，感知以必要的努力用心打造的物品背后的靈巧在這里非常普遍。CNAD的每一個(gè)建造元素也是這種類型手工藝的凝結(jié)，整個(gè)建筑是一個(gè)偉大的手工藝品。

Photographer: Sergio Pirrone

在簡易工具型的機(jī)器輔助下，建造和安裝工作完全由人工完成。清水混凝土由嫻熟的木匠用不同類型的木材和層板加固。木質(zhì)框架在工匠的作坊中用切割機(jī)和打磨機(jī)制作完成，然而手工元素仍然占據(jù)主導(dǎo)地位。金屬結(jié)構(gòu)由工匠安裝、焊接和組裝預(yù)制構(gòu)件，其中2532個(gè)從舊金屬桶回收的桶皮經(jīng)過噴砂和手工噴漆后鉚接其中，一個(gè)個(gè)構(gòu)成了充滿活力、色彩繽紛的通風(fēng)立面。

在這些島嶼的生活里，回收利用是不可或缺的文化。人們知曉如何珍惜每一種資源?？胀皬牟粫?huì)被浪費(fèi)，會(huì)被拆開并改造成金屬皮來覆蓋房屋、用作混凝土澆筑的模板，以及重新制作成鍋和刀具。將它們用作修復(fù)的基礎(chǔ)材料聽起來是完美的創(chuàng)意。在新建筑中——與作為參議員Augusto Pereira Vera-Cruz住所打造的殖民地房屋一起經(jīng)過修復(fù)后改造為一所高中，后成為歷史悠久的Barlavento廣播電臺(tái)的總部所在地，西莎莉亞在此錄制了她的第一首歌曲。在泥瓦匠和木工的共同努力下，這一由當(dāng)?shù)厥止そ橙怂蛟斓膫ゴ笞髌返靡酝瓿?。盡管不完美之處清晰可見，但這些瑕疵也成為了附加的價(jià)值，傳遞出一種獨(dú)特的手工藝感。

Photographer: Sergio Pirrone

這種不完美將人的工作與機(jī)械生產(chǎn)區(qū)分出來，表達(dá)了人們希望無限接近完美的渴望，既呈現(xiàn)了對(duì)完美的追求也體現(xiàn)了人的本質(zhì)。正是這種人性化的內(nèi)容將構(gòu)筑物轉(zhuǎn)變?yōu)榻ㄖ驗(yàn)闆]有人的建筑是空洞的。遠(yuǎn)離任何虛偽的修飾或?qū)Χ虝旱拿襟w熱度的追求，做建筑始終專注于設(shè)計(jì)一座簡潔的建筑，以清晰的力學(xué)、被動(dòng)的降溫系統(tǒng)和原本將運(yùn)去填埋場的回收材料打造，并致力于通過工藝、藝術(shù)和文化的項(xiàng)目來推動(dòng)當(dāng)?shù)厥止I(yè)的發(fā)展，以從中產(chǎn)生的經(jīng)濟(jì)造福于人們。

Photographer: Sergio Pirrone

色彩中暗含著樂譜，每一種顏色都隱藏著音符。建筑師想要利用這種聯(lián)覺感知，因此邀請(qǐng)了作曲家、演奏家Vasco Martins參與其中，譜寫出隱藏在色彩背后的音樂，以此向島上的傳統(tǒng)音樂致敬，并將其作為可視的音樂歡樂傳遞給廣場。

Photographer: Sergio Pirrone

每一種先鋒派都由人開啟，而非地理主導(dǎo)。宇宙的中心可以位于宇宙的任何區(qū)域。對(duì)于CNAD項(xiàng)目，建筑師的靈感來源于居住在明德盧的市民，從佛得角解決難題的方式到奇爾斯托和珍妮·克勞德的桶形雕塑等多方面。

Photographer: Sergio Pirrone

建筑師始終尋求和諧，希望人們通過他們想象和打造的建筑獲得快樂，這種快樂也將以多種方式回歸他們身旁。

Photographer: Sergio Pirrone

?“對(duì)于我們來說，位于非洲佛得角明德盧的CNAD項(xiàng)目是一場建筑的吶喊。我們?cè)诜鸬媒堑哪繕?biāo)之一，就是讓建筑脫離西方范式，向人們展示出這不是所謂建筑中的第三世界；從這個(gè)角度而言，既然建筑都是由人所打造，我們同樣不該區(qū)分第三世界，事實(shí)上只有一種人類，所有的色彩都能夠和諧共存。”

Photographer: Sergio Pirrone

功能性的外皮可以像百葉窗一樣傾斜，有助于保持室內(nèi)的溫度?！安煌猛镜幕厥胀吧w的使用，也彰顯出一個(gè)物體可以擁有多種用途和多次生命，僅取決于觀察者的心理靈活性。在我們的項(xiàng)目中，我們嘗試用材料來改變認(rèn)知。”

Photographer: Sergio Pirrone

位于非洲佛得角的RamosCastellano建筑事務(wù)所從第一個(gè)作品起便致力于用建筑和材料改變?nèi)藗兊恼J(rèn)知。事務(wù)所的每一個(gè)作品都將藝術(shù)、自然、社會(huì)競爭、當(dāng)?shù)刂R(shí)、生物和技術(shù)融合。國際化的團(tuán)隊(duì)誕生于建筑師Eloisa Ramos和地中海多媒體藝術(shù)家Moreno Castellano的合作，Eloisa Ramos的建筑手法具有前瞻性，簡潔清晰有力。Moreno Castellano致力讓建筑和藝術(shù)成為社會(huì)變革的力量。作為非洲最早的建筑事務(wù)所之一，RamosCastellano的作品在全球范圍里均有發(fā)表。

Photographer: Sergio Pirrone

CNAD, centro nacional de arte artesanato e design, Mindelo,? Cabo Verde, West Africa

The works of the CNAD National Centre for Art, Crafts and Design in Mindelo, port city of Cape Verde, on the island of S?o Vicente, had to be handcrafted, and not only for the name and the function it was to perform, but above all because entrusting the manual works locally would have meant distributing the public funding, resulted from a great government effort, among the artisans of the isle. Thus fulfilling, all the more so since it is a public centre, one of the primary functions of architecture, namely that of being useful to the community. Every design choice, from materials to finishes, has been aimed at seeking to achieve this goal.

Photographer: Sergio Pirrone

In this part of the world the industrial revolution, meant as the transition from manual labour to mechanization, is slowly starting now. Here there still exist, and they are the majority, craftsmen who daily build artefacts for the people. It is normal to turn to a craftsman for a piece of furniture, a door, some chairs, to wait patiently for him to make it, and to perceive the dexterity behind the object, built with the necessary effort and care. Here, time is still not money. Every constructive element of the CNAD is the result of this type of craftsmanship, the entire building is a great artisan work.

Photographer: Sergio Pirrone

The construction and assembly work was carried out entirely by hand with the aid of machines which can be assimilated to simple working tools. The fair-faced concrete was reinforced by skilled carpenters with different available types of wood and plywood. The wooden frames were manufactured in artisan workshops with the aid of cutting and smoothing machines, where, however, the human element was predominant. In the metal structure, on which the prefabricated elements were mounted, welded and assembled by the carpenters, we have riveted 2,532 drumheads, recycled from old metal drums, which have been sandblasted and manually painted one by one, to form a vibrant, colourful ventilated fa?ade.

Photographer: Sergio Pirrone

The culture of recycling is an integral part of the life of these islands, which know how to treasure every resource: here empty drums are never wasted, they are opened and transformed into metal sheets to cover the houses, used as formwork for the concrete casting, reworked to obtain pots and knives. The idea of using them as a base material for the restoration sounded perfect. In the new building – combined with the restored colonial house built as the residence of Senator Augusto Pereira Vera-Cruz, then transformed into a high school and, subsequently, into the headquarters of the historic radio Barlavento where Cesária évora recorded her first songs – masons and carpenters have worked together to achieve the result of a great work of local craftsmanship, in which imperfection is tangible, and it is seen as an added value, not a defect, because it conveys a sense of manufacturing, of uniqueness.

Photographer: Sergio Pirrone

Imperfection, which distinguishes the work of man from that of the machine, is the closest to perfection one can expect from a human being, as it testifies to both his search for perfection and his being human. That same content of humanity that transforms a building work into Architecture. Because architecture without people is just inert matter. Far from any false rhetoric or search for ephemeral media visibility, doing architecture has been designing a simple building, with clear mechanics, which functions with passive cooling systems, reusing materials destined for landfills, with a program intended to foster the manual work through craftsmanship, art and culture and distributing the economy that generated it among those who will benefit from it.

Photographer: Sergio Pirrone

The colors hide a musical score. Each colors is a musical note. We wanted to use the perceptual phenomenon of synesthesia so a Caboverdian composer and multistrumentist, Vasco Martins, was invited to partecipate and wrote the music behind the colors. Paying homage to the musical traditions of the islands and trasmitting a visual musical joy? to the square.

Photographer: Sergio Pirrone

Every avant-garde is generated by people, not by geography, the centre of the universe can be located anywhere in the universe.

Photographer: Sergio Pirrone

For the CNAD project we have taken inspiration from the people that live in the city of Mindelo, from the Cabo Verdian manner to find solution to difficult problems, and from Chirsto and Jeanne Claude barrel sculptures.

Photographer: Sergio Pirrone

We are constantly in the search of harmony. The same joy that people receive through the building that we imagine, came back to us in multiple ways.

Photographer: Sergio Pirrone

“For us the CNAD in Mindelo, Cabo Verde, Africa, is an architectural scream. One of ours aim in Cabo Verde, is to decolonize architecture from the western paradigma, and show people that there are not third world countries in architecture, from this point, since architecture is made by human being,? we can also say that not exist third class human beings, there is only one single humanity, and all the colors can live in harmony”.

Photographer: Sergio Pirrone

The functional lids can be angled like blinds which help to maintain the internal temperature of the place. “The use of recycled barrel lids with a different purpose also symbolizes the fact that an object can have multiple use and multiple lives, this only depends on the mental flexibility of the observer. In our project, we try to use materia (matter) to change consciences.”

Moreno Castellano, Eloisa Ramos

RamosCastellano arquitectos

www.ramoscastellano.com

Photographer: Sergio Pirrone

Cabo Verde, Africa

Since the first projects the main purpose of RamosCastellano arquitectos was to use architecture and materia, to change consciences.

Each work is a mixture between Art, Nature, Social contest, local knowledge, Biology and Technology.

The studio with an international team, based in Mindelo, Cabo Verde, West Africa,? is born from the collaboration between:

-Eloisa Ramos, Caboverdian architect with an approach to architecture visionary, direct, clear, and simple.

-Moreno Castellano, Mediterranean multimedia artist triyng to use architecture and art, as a social revolutionary tool.

The studio, is one of the first african based architecture studio, with projects published worldwide.

Photographer: Sergio Pirrone

Name:?Centro Nacional Arte Artesanato e Design, CNAD

Location:?Mindelo, Sao Vicente Island,

Country:?Cabo Verde

Client:?Ministerio da Cultura e industrias creativas, Governo de Cabo Verde

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Project of new building, restoration of the old house, exteriors:?Ramos Castellano arquitectos

Architects:?Eloisa Ramos, Moreno Castellano

Design team:?Zico Lopes, Bruno Kenny, Edoardo Meneghin, Marvin Delgado, Danil Silva, Marco dos Anjos

Engineers:?Ilidio Alexandre, Daniele Salvadorini, Francesco Bini, Denise Martins e Ricardo Martins, Luis Delgado

Consultants:?Shrikar Bhave, Linda Lam, Ti Nene', Giulia La Ganga, Concetta Cavallaro

Interior design of the new building:?Ramos Castellano arquitectos

Architects:?Eloisa Ramos, Moreno Castellano

Design team:?Bruno Kenny, Edoardo Meneghin

Expositions and Branding:?CNAD design team

Paintings and textiles:?Alex Da Silva, Bela Duarte, Manuel Figueira, Joao Fortes

Project year:?2015

Old House Area:?375㎡

Pátio:?381㎡

New Building:?1069㎡

total surface:?1265 sqm

total exhibition surface:?811 sqm

number of recycled barrel caps:?2532

Public opening:?july, 2022

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