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布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯

2026/02/14 10:03:58
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Appreciation towardsGustavo Penna Arquiteto e Associados  + Atiaia Lighting Design for providing the following description:
在这场被认为是该国最严重的人道主义灾难发生六年后,布鲁马迪纽纪念馆于2025年1月正式向公众开放。由 Atiaîa 负责的照明设计项目,近日在享有盛誉的 LIT Awards 中荣获“2025年度建筑照明设计奖”,这一奖项是对全球杰出照明设计的权威认可。
Six years after the country’s biggest humanitarian tragedy, the Brumadinho Memorial was opened to the public in January 2025. The lighting design project developed by Atiaîa recently won the Architectural Lighting Design of the year 2025 in the prestigious LIT Awards, a global recognition of excellence in lighting design.
▼项目鸟瞰,Aerial view of the project ©Jomar Bragança
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-4
布鲁马迪纽纪念馆是一处基于“象征性修复与记忆”这一伦理承诺而建的空间,用以悼念在 Vale S.A. 矿业公司旗下 Córrego do Feijão 矿区尾矿坝坍塌事故中遇难的272名受害者。事故发生于2019年1月25日,地点位于米纳斯吉拉斯州布鲁马迪纽市(MG),波及26个市镇,约1200万立方米的采矿废泥倾泻而下。
Brumadinho Memorial is a space based on the ethical commitment of symbolic reparation and memory for the 272 fatal victims of the collapse of a dam at Corrego do Feijão Mine, owned by Vale S.A. mining company. Occurred on January 25, 2019, in Brumadinho (MG), affecting 26 municipalities and releasing 12 million cubic meters of mining waste mud.
▼外观,Exterior of the building ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-8
▼场地入口,Site entrance ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-10
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-11
该纪念馆源于遇难者家属的历史性集体行动,旨在承载哀痛,并将悲剧发生地转化为一处反思、学习与转化的空间。最终方案由家属通过投票选出,从四个候选方案中脱颖而出。272位逝者中,包括 Vale S.A. 的251名员工、两名未出生的婴儿,以及当地社区居民和游客。纪念馆为他们赋予姓名与面孔,讲述每一位逝者的故事,同时呈现关于尾矿坝坍塌当天的事实与数据,以及 Córrego do Feijão 和布鲁马迪纽的历史背景。
It was born from the historic mobilization of the victims’ families with the goal of embracing their grief and transforming the site of the tragedy into a space for reflection, learning and transformation. It was chosen by the families through a vote, selecting the winning proposal from among four others submitted. Among the 272 lives lost were 251 workers from the mining company Vale S.A., two unborn children, as well as community residents and tourists. The Memorial gives names, faces, and tells the stories of the victims. It presents facts and figures about the day of the dam collapse, about the history of Córrego do Feijao and Brumadinho.
▼廊道内部,Inside the corridor ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-15
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-16
在直面家属所承受的巨大痛苦时,我们的工作始终怀抱着深切的谦卑。叙事属于那些已无法发声的人,也属于仍在悲痛中生活的幸存者。在这样的情境下,没有任何可以被实体化的慰藉。因此,这只是我们力所能及的尝试,用以纪念那些生命与梦想被骤然中断、无可替代的人们。布鲁马迪纽纪念馆由多个空间构成,包括入口展亭、林荫区、户外停留空间、通向纪念性雕塑的步道、倒影水池、记忆与证言展厅,以及一处用于庄重安放遇难者遗体残骸的空间。
Our task in facing the reality of the families’ pain has placed us in a position of profound humility. The narrative belongs to those who can no longer speak and to those left behind in grief. There is no consolation that can be materialized under these circumstances. This was, therefore, our limited effort to honor the memory of invaluable people whose lives and dreams were abruptly cut short. Brumadinho Memorial houses an entrance pavilion, a grove, outdoor living areas, pathways to a sculpture-monument, a reflecting pool, Memory and Testimony exhibition rooms, and a space dedicated to the dignified storage of the victims’ corporeal segments.
▼顶部透明水池,Top transparent pool ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-20
▼屹立的石碑,A standing stone tablet ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-22
照明设计在致敬的同时,也揭示那些无法被修复的创伤,成为引发反思与推动必要改变的呼唤与火种。光被精心塑造,以营造沉浸、敏感而庄重的氛围。它在照亮文字、象征与建筑的同时,传递信息、光辉与存在感,以此纪念遇难者的记忆:一首诗、一簇水晶、272朵依佩花、湖中象征“失落的珠宝”的272颗星,以及一座“流泪”的雕塑——其混凝土中掺入了采矿废泥的色素。照明同样是一种“照亮来访者”的工具,引导他们在行走、反思、感受与转化之中,完成这一深刻的体验。
The lighting design, while paying tribute, exposes what cannot be repaired, serving as a call and spark for reflection and necessary changes. Lighting was crafted to create an immersive, sensitive and respectful atmosphere. It conveys information, brilliance and presence, as it illuminates messages, symbols and architecture, honoring the victims’ memory: a Poem, a crystal cluster, 272 ipê flowers, 272 stars in the lake (the lost “jewels”), a sculpture that cries over concrete walls mixed with the pigment of mining waste. It is also a tool to illuminate those who visit, reflect, feel, and are transformed by this experience.
▼失落的珠宝,the lost “jewels” ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-26
每一种照明方案都通过象征而细腻的诠释,帮助参观者与事件所带来的影响建立联系。光线引导着纪念馆的行走路径与体验节奏:界定光的层次与强调的平面;突出特定元素与象征;划分明暗区域,控制亮度与对比度的强弱,以契合不同空间所承载的意义、庇护功能与展示内容;在部分区域采用偏暖的光色,营造安抚与欢迎的感受;同时尽量不扭曲建筑材料本身的特性与色彩,也不刻意掩盖其缺陷。
Each solution was designed to connect the visitor to the impacts of what happened, through a symbolic and sensitive interpretation. It helps guide the journey and the experience of the Memorial, determining layers of light and highlighted planes; emphasizing elements and symbols; determining zones of light and darkness, defining brightness levels and more or less perceptible contrasts per space, according to what they represent, shelter, and display; opting for a warmer light color appearance for some impression of comfort and welcoming; striving not to distort the characteristics and colors of the architectural materials, without hiding defects.
▼游览的游客,Tourists visiting ©Leo Drumond/Nitro
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布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-31
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-32
布鲁马迪纽纪念馆是一处“感受之地”——一种对抗遗忘的行为,旨在确保此类反人类、反环境的残酷事件不再重演。纪念馆位于乡村地区,设计团队在致敬遇难者记忆的同时,也致力于保护夜空以及当地的动植物生态,将光线精准投射至必要之处。尽管采用了上照等手法,例如通过洗墙效果突出混凝土墙体、使用墙面泛光照亮纪念性雕塑、以地埋灯营造局部树冠的光晕,但仍尽可能降低溢散光的影响。
Brumadinho Memorial is a place to feel – an act of resistance against oblivion, so that brutal events like this, against humanity and the environment, never happen again. Brumadinho Memorial is in a rural area. We sought to balance the solutions to honor the memory of the victims with the need to preserve the night sky, fauna and flora, directing light where needed. Despite the use of uplight solutions, such as grazing effects for highlighting concrete walls, wallwashers for highlighting the Monument, inground fixtures for glowing selected tree canopies, light spill was mitigated where possible.
▼纪念馆内部,Top transparent pool ©Pedro Mascaro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-36
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-37
项目在策略上综合考虑了多项因素,包括:立面挑檐对光线扩散的遮挡;高效能LED灯具与光纤解决方案的应用;灯具寿命与维护标准(LM70 与 LM80);通过附加配件实现的精确光学控制;对光通量与光强的精准选择;在巴西本土制造灯具以减少运输带来的碳排放等。此外,纪念馆仅在开放时间内开启照明,从而最大限度地降低能耗并减少对夜空的光污染。
Facades have eaves shielding from light dispersion, use of high efficacy LED fixtures and fiber optics solutions, life maintenance standards (LM70 and LM80), optical control with additional accessories, choice of precise luminous flux and intensity, lighting fixtures manufactured in Brazil, minimizing the carbon impact of transport, are some of the strategies considered. Also, the Memorial remains lit only during opening hours, minimizing power consumption and light pollution to the sky.
▼冥想室标志,Meditation area sign ©Mariana Novaes
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-41
在紧张的工期下,这一复杂且独特的项目需要大量定制化设计。各专业之间的协同需要高度投入与持续沟通,因为照明设计必须与建筑、室内、结构、给排水与水景、防水、导视、景观、空调与可持续策略,以及电气与自动化系统实现深度整合。为验证多项设计方案,项目过程中还制作了多种原型。
The timeframe was tight for a complex and unique proiect that required customization. Coordination between disciplines required considerable dedication and dialogue, as the lighting design needed to be integrated with architecture, interior, structures, plumbing and fountains, waterproofing, signage, landscaping, air conditioning and sustainability, as well as electrical installations and automation. Prototypes were necessary to validate many solutions.
▼夕阳,Sunset ©Leo Drumond/Nitro
布鲁马迪纽纪念馆丨巴西米纳斯吉拉斯-45
CREDITS:
Project: Memorial Brumadinho
Location: Brumadinho, Minas Gerais, Brazil
Client: AVABRUM (Association ofFamilies of Victims and Those Affected by the Collapse of the Córrego do
Feijao Mine Dam)
Architects and Interior Design: Gustavo Penna Arquiteto e Associados
Lighting Design: Atiaia Lighting Design (Mariana Novaes/ principal; Pedro Ferreira, Barbara de Oliveira, Elisa Campos – collaborators)
Project Manager: Olhar 360 Projetos
Landscape: Medra Paisagismo
Signage: Greco
Exhibition design project for the Memory and Testimony Spaces: Júlia Peregrino
Lighting of the exhibition design for the Memory and Testimony Spaces: Cesar de Ramires
Installation of quartz crystals with fiber optics: Demian Quincke
Suppliers: Arte em Cena, Fasa Fibra Otica, Interlight, Lemca, Lightsource, Lumicenter, Luxion, O/ M Light Photographers: Jomar Bragança, Leo Drumond, Pedro Mascaro.
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