Parrilla Restaurant / Aalva arquitetos
Parrilla Restaurant / Aalva arquitetos
Text description provided by the architects. 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. All this is present in the six faces of the parallelepipedal volume of its interior.d 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. 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.
A box with a ubiquitous void was as if it conforms to 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 the visible components of the landscape, were balanced by the chromatic control, the punctuality of furniture, and the lightness/suspension of the structures.
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’.
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’.
