Casa Biblioteca by Atelier Branco Arquitetura

A leisurely retreat in the forest

Project Specs

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Appreciation towards Atelier Branco Arquitetura for providing the following description:

2014年夏,Branco工作室的创始人Matteo Arnone和Pep Pons接到了一项设计任务,要在Vinhedo小镇设计一所悠闲的度假屋,客户要求房屋至少满足两种需求:一是被场地周围茂盛的植物所环绕的阅读空间;二是位于亚热带地区无边无际的蓝天下的冥想空间。客户在年轻时曾是一名反对巴西军事独裁统治的左派分子,现在是一位研究政治思想史的著名学者,自20世纪80年代起,他就在州立大学担任教职,他把这座房子视为圣保罗和坎皮纳斯之间“临时的避风港”。因此,这座房屋既不是传统意义上的永久居所,也非常规理解的度假小屋,而是一个供人遐想和沉思的空间,在繁忙的工作中偶尔抽出一点时间,远离喧嚣的巴西大都市生活。

When in the summer of 2014, founding members of Atelier Branco, Matteo Arnone and Pep Pons were approached to design a leisurely retreat in the small town of Vinhedo, the brief posited that the house be able to accommodate at least two kind of needs: the need for a place to read, immersed within the site’s vibrant vegetation; the need for a place to think, reposed under the placidness of the area’s boundless subtropical skies. The client, a left block activist against Brazil’s military dictatorship in his youth and now renowned scholar of the history of political thought, had conceived of the house as a temporary haven between São Paulo and Campinas, at which the State University he held teaching posts since the beginning of the nineteen eighties. It was thus neither to be a permanent place of residence nor a holiday home as conventionally understood, but a place of reverie and contemplation, occasionally of work, away from the bustle of Brazil’s hectic metropolitan life.

▼项目概览,overview

由年轻搭档Italo-Hispanic最新设计的五件建筑作品,住宅Biblioteca体现了实践者对建筑形式的细致推敲和关注,他们都曾在Accademia di Architettura di Mendrisio就学,并且在瑞士成长成熟,他们的职业生涯起始于Christian Kerez,Kengo Kuma和两位Aires Mateus兄弟等的事务所。该项目方案大胆鲜明,几乎完全使用现浇混凝土,其中对结构的敏锐和对细节的关注是Branco工作室所有建筑共同追求的特征。事实上,两人于2012年在圣保罗正式开业,他们的业务形态丰富且多样,内容从精心制作的家具产品到配件,从商业展厅到办公空间,还有分散在巴西四处的诸多住宅项目,近几年的表现许是对他们才华的最佳表彰。

The latest of five built works designed by the young Italo-Hispanic duo, Casa Biblioteca embodies the practice’s attentive research into architectural form, matured both during their formative years in Switzerland, where they had been students of the Accademia di Architettura di Mendrisio, and in their professional upbringings under practitioners of the caliber of Christian Kerez, Kengo Kuma and the two Aires Mateus brothers. It is a bold scheme, almost entirely realised in in-situ cast concrete, of which the constructional acumen and attentiveness to detail are somewhat characteristic of all Atelier Branco’s architectural pursuits. Setting up practice in Sao Paulo in 2012, the two have, in fact, built up an enticing and significantly varied portfolio of which the content ranges from the careful crafting of furniture products and fittings, to the design of commercial showrooms and office spaces, to the construction of numerous residential projects scattered throughout Brazil in which their talent has, perhaps, best expressed itself in these few years.

▼建筑坐落一片茂盛森林中一个朝北的陡坡的顶部,the house is set atop of a steep north-facing terrain within a clearing of Vinhedo’s dense ‘mata atlantica’

▼屋顶露台水带,the water bed on the deck

无论是由于客户的要求,甚或凭其诞生的环境,毫无疑问,住宅Biblioteca属于最近系列房屋中最独特的一个。事实上,它坐落在陡峭的朝北地块之上,位于Vinhedo茂密的“mata atlantica”的一片空地之间。mata atlantica即大西洋森林占据了巴西大部分沿海区域。受场地特殊地形条件限制,设计径直遵循了“剖面”原理,因此,项目空间和功能配置几乎完全依照两条轮廓线之间的关系来进行划分。其中一条轮廓线由地平面组成,其起伏的现状被处理成三个延展的水平平台,以适宜居住;第二条轮廓线是屋顶,轻轻地悬垂在地块上方竖立的墙体上,在经过平整的土地和蓝天之间创造出一条清晰的水平面。

▼立面图,elevation

▼剖面图,section

Belonging to this later series, Casa Biblioteca is without doubt the most idiosyncratic of the bunch, both for the eccentricity of its client and the context it was born out of. It is, in fact, set atop of a steep north-facing terrain within a clearing of Vinhedo’s dense ‘mata atlantica’—the atlantic forest which extends over the larger part of Brazil’s littoral region. Due to the site’s topographical attributes, its design follows a distinctly ‘sectional’ rationale such that the spatial and functional disposition of the project is almost entirely articulated in the relation between two contour lines. In order of relevance, the first of these two lines consists in the line of the ground, of which the sloping profile has been manipulated to form a series of spacious horizontal terraces, fit for inhabitation; the second consists in the line of the roof, which ever so slightly hovers over the terrain’s uppermost retention wall to create a sharp, horizontal datum between the domesticated topography and the sky above it.

▼地块起伏呈阶梯状, the sloping profile has been manipulated to form a series of spacious horizontal terraces

▼建筑由8根立柱支撑上覆一块15厘米厚的矩形平板,the house is a 15 cm thin rectangular slab supported by eight long-limbed pillars

从蒂加斯(Artigas)到门德斯·达·罗恰(Mendes da Rocha),巴西战后的建筑皆是如此,混凝土屋顶在项目表达和室内/外的特征上都扮演着至关重要的角色。在该项目中,建筑由8根立柱支撑,上覆一块15厘米厚的矩形平板,虽然在形式上属于“基础”,但其格外细长的部分揭示了其独特属性。当从主干道靠近住宅时,首先映入眼帘的即是住宅的屋顶,同时它也是一处长20米宽10米的巨型观景台,掩映在周围茂密的绿色中。约一米宽的水带代替栏杆环绕在平台,进一步凸出了中央的矩形岛屿,从中可以俯瞰全景。屋顶由精细切割的Garapeira木条铺就,木条与平台的对称线水平斜向相接。

Ever a topos of Brazilian postwar architecture from Artigas to Mendes da Rocha, here too the concrete roof takes on a crucial role in the determination of the project both in the articulation of its program as in the characterisation of its outwards (and inwards) appearance. It is a 15 cm thin rectangular slab supported by eight long-limbed pillars which, albeit ‘basic’ in its formal resolution, distinguishes itself for the uncanny slenderness of its constitutive parts. When approaching the house from the main road, it is the upper face of this element that presents itself to the viewer offering access to a monumental viewing platform of ca. 20 by 10 meters, immersed within the foliage of the surrounding tree canopies. In place of a parapet, the deck is circled by a meter wide water bed which, in turn, defines a rectangular central island from which to contemplate the view. This latter is lined with finely cut Garapeira wood boards which meet diagonally against the deck’s symmetry line and point towards the horizon.

▼屋顶在水平平台的上方和蓝天的下方创造了一个清晰的宽阔的水平面,the line of the roof so slightly hovers over the terrain’s uppermost retention wall to create a sharp, horizontal datum

▼铁制轮廓和图案设计遵循了标志性的“保利斯塔纳”传统, the iron profiling and design motifs follow the iconic ‘paulistana’ tradition

屋顶周边的齿饰,使得楼梯沿着中央通道布置,从两堵混凝土墙壁之间向下进入房子内部。此处是一个未被分割的全玻璃式矩形房间,用于进行全部家庭活动,从最私密之处上升到更开敞的空间,其高度依次增加。由于现有地块坡度差异,挡土墙的剖面呈独特的锯齿状,但整体空间均匀分割,从柱到柱,从平台边缘到平台边缘,形成了纵向跨距为5.50米的整齐三间结构。因此,即便深度相同,但三个平台拥有各自的落地高度,确保了室内活动的私密性和最适宜的采光条件。睡眠区设置在最高的平台上,位于一个隐秘而昏暗的层高2.35米的空间内。此处可以俯瞰高度为4.5米的中央平台,其上是主人的工作室;此外,该区域与自然景观直接相连,两侧是两扇集中放置的玻璃门(门同时揭示了建筑的次要对称线)。最后,距离住宅入口处最远的平台是绿地环绕的客厅区和餐厅区,等同于一处阳台或观景台;此处即房屋最明亮最开敞的区域,离地1.25米,层高5.15米。

A dentil in the in the perimeter of the roof allows for a staircase to be fitted along its central access, leading down between two concrete walls into the house’s core space. This is an undivided, fully glazed, rectangular room hosting the entirety of the domestic program, of which the height gradually increases as one descends from the most intimate to the more exposed areas of the home. The retention walls which give its section the distinguished jagged profile are unique in height due to the uneven slope of the existing terrain, but spaced equally throughout to create neat tripartite structural system spanning 5.50 meters longitudinally from pillar to pillar, and terrace front to terrace front. Consequently, although equal in depth, the three terraces gain unique floor-to-ceiling heights providing the activities which take place on them with degrees of privacy and natural lighting conditions best suited to their needs. The sleeping areas are thus located onto the project’s uppermost terrace within an intimate and dimly lit, 2.35 meter tall space. This level overlooks the house’s central platform which measures 4.15 meters in height and hosts the client’s studio; it is the area of the house most directly connected to the landscape having two centrally placed glass doors located at either of its short sides (the doors also underline the project’s secondary axis of symmetry). Lastly, the terrace furthest from the house’s entrance is a living and dining area overlooking the surrounding greenery as if a loggia or a viewing deck; this is the brightest and most exposed area of the house, rising 1.25 meters from ground level and measuring 5.15 meters in height.

▼一个未被分割的全玻璃式矩形房间,an undivided, fully glazed, rectangular room hosting the entirety of the domestic program

▼精挑细选的家具,finely selected furnitures

以与之类似的方法有条不紊地标识出核心服务及储存设施的位置,这些设施皆被纳入到挡土墙之内,如同第一个平台上的两个浴室其所有构件均通过现场浇筑完成,有别于住宅的其他区域,浴室使用顶部照明,因此与外部隔绝;而厨房设备、书柜和衣柜则完美地贴合墙面。因此,空间依旧独立于“设计“。

A similarly methodical approach informs the location of the core services and storage facilities required by the client which are either carved into the project’s retention walls—as is the case with the two bathrooms along first terrace wherein all elements are entirely realised in in-situ cast concrete and which, differently from all other areas of the home, are toplit and thus bare no visual connection whatsoever to the exterior—or fitted accurately against them—as with the kitchen elements, bookcases and wardrobes. As such, the space remains untethered from elements foreign to its ‘disegno’.

▼室内装饰,interior design

▼浴室其所有构件均为现浇筑混凝土,two bathrooms along first terrace wherein all elements are entirely realised in in-situ cast concrete

▼浴室,bathroom

楼梯的位置进一步印证了建筑利落的布局。它们极富戏剧化地沿其中轴线横贯空间,以对称的形式环绕在房屋周边混凝土铺就的小径之内。然而也许,确保项目顺利建成至关重要的基本保证是材料的选择和运用。裸露的结构全然由钢筋混凝土实现,并于一个工作日之内依照建筑师的指导完成浇筑;楼板同顶层露台一样,由长而细的Garapeira木条铺就,垂直于项目剖面;整体建筑几乎完全包裹在一个单层的玻璃幕墙之内,铁制轮廓和图案设计遵循了20世纪50年代标志性的“保利斯塔纳 (paulistana)”传统。尤其是针对后一元素的精心设计,使得项目收获颇丰,成为现代铝制门框可怕厚度之下的高贵遗赠。凭借其精致的细木工法和近乎飘渺的开放性,住宅Biblioteca奠定了其在玻璃房屋和凉亭的缤纷传统中的重要地位,后者是自20世纪初期以来几乎一直占据着实验建筑中心的特权场所。

The neatness of the architectural layout, is even further corroborated in the positioning of the stairs. These, rather theatrically transverse the space along its central axis to loop symmetrically around the perimeter of the house under a concrete-paved, covered pathway. But perhaps, the most significant aspect in giving the project it’s somewhat rudimentary grandeur is the selection and treatment of the materials deployed. The bare structure is realised entirely out of reinforced concrete and was cast under the direction of the architects within a single working day; the floors, as with the upper terrace, are lined with long and fine Garapeira wood boards placed perpendicular to the project’s longitudinal axis; and the whole is almost entirely wrapped within a single glazed facade of which the iron profiling and design motifs follow the iconic ‘paulistana’ tradition of the nineteen fifties. It is especially the care gone into the design of these latter elements that have made the fortune of the project of which the noble spareness could’ve easily been buried under the hideous chunkiness of modern-day aluminium frames. Instead, with its fine joinery and quasi-ethereal openness, the Casa Biblioteca consolidates its place amidst a rich tradition of glass houses and pavilions which since the dawn of twentieth century have almost persistently affirmed themselves as privileged sites of architectural experimentation.

▼精细切割的Garapeira木条与平台的对称线水平斜向相接,finely cut Garapeira wood boards which meet diagonally against the deck’s symmetry line and point towards the horizon

▼场地平面,site plan

▼底层平面,ground floor plan

▼露台平面,deck plan

 

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