São José do Barreiro住宅的设计挑战与开发一个大胆的结构或甚至复杂的技术细节无关。更大的努力也不应该归功于对风的操纵、对自然光的引导和对景观的框定–尽管这些是构思空间性的基本策略。

The design challenges of the São José do Barreiro house were not linked to the development of a daring structure or even sophisticated technical detailing. Nor should the greater effort be credited to the manipulation of the wind, the directing of natural light, and the framing of the landscape – even though these are fundamental strategies for the conception of its spatiality.

在这种情况下，需要付出巨大努力的是理解项目将如何处理其背景。或者说，房子应该如何展示自己，它位于圣保罗历史谷地的一个小镇的中心[1]，在Serra da Bocaina地区。事先很清楚，这种关系不应该通过模仿房屋和渗透在Praça da Igreja Matriz（Matriz教堂广场）的鹅卵石街道中的过去结晶来建立。然而，同样清楚的是，房子应该以某种方式与咖啡周期结束后盘旋在城市上空的怀旧气氛建立联系[2]。

In this case, what demanded great dedication was understanding how the project would handle its context. Or rather, how the house should present itself, is located in the center of a small town [1] in the São Paulo Historic Valley, in the Serra da Bocaina region. It was clear beforehand that the relationship should not be established by mimicking the past crystallized in the houses and the cobbled streets that permeate the Praça da Igreja Matriz (Matriz Church Square). However, it was also clear that the house should somehow establish a link with the nostalgic atmosphere that hovers over the city since the end of the coffee cycle [2].

为了理解被纳入项目的历史的回响，重要的是在对干预地点的常规访问之外进行更仔细的检查。从观察广场上的日常生活，从访问圣何塞电影院[3]和Pau D’alho种植园[4]，以及从与邻居（他们的家庭已经在这个城市生活了几代人）的交谈中吸收到的信息，诞生了在房子和城市之间建立一个无声的主观对话的愿望。

To understand the reverberation of the history incorporated into the project, it was important to carry out a closer examination beyond the usual visit to the intervention site. From the everyday life absorbed from observing the goings-on in the square, from visits to the São José movie theater [3] and the Pau D’alho plantation [4], and from engaging in conversation with neighbors, whose families have lived in the city for generations, was born the desire to establish a silent and subjective dialogue between the house and the city.

第二个指令来自于一个更务实的现实：房子应该是可行的。施工与精简的预算（1,000.00雷亚尔/平方米）和对建筑图纸的编码阅读缺乏经验的工人联系在一起。但是，最重要的是，它应该包含一个能够纳入当地建筑商所保护的许多传统建筑知识的建筑。

The second directive arose from a more pragmatic reality: the house should be feasible. Construction was tied to a lean budget (R$1,000.00/m²) and workers inexperienced in the coded reading of architectural drawings. But, above all, it should embrace an architecture capable of incorporating the many traditional constructive knowledge guarded by local builders.

还有第三种资产需要考虑，与建筑及其技术无关。在并列的房屋中，没有横向和正面的后退，这块地是中心区域唯一未被建设的土地，只提供了一个从人行道上可以看到的绿色空间。那里的观赏和水果植物是由客户的母亲培育的，她是一位园艺专家，当这块土地被用作家庭的后院时。

There was yet a third asset to be considered, unrelated to buildings and their techniques. Among the juxtaposed houses, without lateral and frontal setbacks, the lot was the only unbuilt land in the central area, offering only a green space visible from the sidewalk. The ornamental and fruit plants present there were cultivated by the client’s mother, an expert gardener when the land was used as the family’s backyard.

奇怪的是，这么多年过去了，一点土壤管理就使客户母亲时代的植物自发地重新出现，包括山药、菖蒲、蕨类植物和安息香。这片土地的时间提取物中存在的祖先的表现–蔬菜和情感的遗产–决定了这应该是一个为花园设计的房子。对通常逻辑的颠覆，即建筑思想先于景观（为房子设计的花园），为项目提供了一个庆祝植被的机会。

It is curious that, after so many years, a little soil management made plants from the client’s mother’s time spontaneously resurface, including yams, caladiums, ferns, and anthuriums. The manifestation of ancestrality present in the time extracts of this land — a vegetable and affective heritage — determined that this should be a house designed for a garden. The inversion of the usual logic, where construction thought precedes the landscape (a garden designed for a house), offered the project an opportunity to celebrate vegetation.

愉快的旅程从大门开始，沿着预先存在的墙放置，建立了与邻居连贯的街道界限。蜿蜒的小路带着游客穿过植物，一点一点地展现出房子的部分景观。在尽头处隐约可见一个石阶，它召唤着客人潜入出现在空隙中的走道下。在这里，在底层，两个建筑体块框住了一棵雄伟的芒果树。

A journey of delight begins at the gate, placed along the pre-existing wall that establishes the street limit in continuity with the neighbors. The sinuous path takes the visitor through the plants, revealing, little by little, partial views of the house. At the end looms a stone staircase, which beckons guests to dive under the walkway that emerges into the void. Here, on the ground floor, the two built blocks frame an imposing mango tree.

除了芒果树所代表的象征性庆祝外，非建筑空间也标志着项目最重要的行动。如果不是因为它的存在，将项目分为社会区块和私人区块，也许平面图的简单性会像一个传统的农村住宅，典型的乡村文化。

In addition to the symbolic celebration represented by the mango tree, the non-built space also marks the project’s most significant action. Were it not for its existence, which divides the program into a social block and a private block, perhaps the simplicity of the floor plan would resemble a traditional rural home, typical of countryside culture.

空旷的空间也代表了调和空间时代及其在居住方式上的奇特表达的愿望。如果一方面，划定空间的人行道提出了一种暴露在大自然中的非传统的运输方式，另一方面，长长的混凝土长椅提供了对圣若泽-杜-巴雷罗特有的沉思活动的重新解释。然而，该项目真正的巅峰不在于它的建筑元素，而在于向坐在那里的人揭示的氛围：教堂钟楼的钟声，附近庄园的坚固性，粘土瓦屋顶，质朴的木工，前景花园的鲜艳色彩和背景的无尽山峦。

The empty space has also represented the desire to reconcile spatial times and their peculiar expressions in the ways to inhabit. If on one hand the walkways that delimit the space propose a non-traditional transit exposed to the elements, on the other the long concrete bench offers a reinterpretation of the contemplative activity characteristic of São José do Barreiro. However, the true pinnacle of the project is not in its built elements, but in the atmosphere revealed to those who sit there: the chiming of the church bell tower, the solidity of the nearby manors, the clay tile roofs, the rustic carpentry, the vivid colors of the garden in the foreground and the endless hills in the background.

脚注。

巴西地理和统计局（IBGE）估计2021年的人口：4,141。
在19世纪下半叶，圣何塞-杜-巴雷罗作为世界上最大的咖啡生产商之一脱颖而出。与帕拉伊巴谷地的其他城市一起，它是巴西最富有和最发达的地区之一。随着1929年的大崩溃和咖啡生产的下降，该地区被国家的巨大经济利益和他们的发展模式所抛弃。”在那里，一切都过去了。没有什么是。你不会用现在时态来连接动词。一切都是过去式，”蒙泰罗-洛巴托在1919年出版的《死亡之城》（As Cidades Mortas）一书中写道，该书的标题受到了一些当地人的质疑，他们试图重新获得对仍然发生的生活的认可。
圣何塞剧院于1868年落成，是咖啡大亨们政治和经济力量的象征。1926年，它被改造成一个电影院，1958年关门。最近，它经历了多年的翻新，并作为一个文化空间重新开放，专门用于会议、排练和表演。
Pau D’alho种植园在20世纪60年代受到国家历史和艺术遗产研究所（IPHAN）的保护，是第一批完全致力于咖啡生产的种植园之一。它的主屋是由著名的建筑师Ramos de Azevedo在1817年左右设计的。这个以夯土和石块为基础建造的长廊建筑群还包括一个小教堂、两座用作牧民住所的建筑和奴隶宿舍。就土地资源而言，它的特点是技术上的例外，使用水车来夯实土壤进行建设。除了是咖啡周期最重要的空间代表之一，Pau D’alho是奴隶模式的重要历史记录，与今天观察到的宁静有很大不同。

Footnotes:

Population estimated by the Brazilian Institute of Geography and Statistics (IBGE) in 2021: 4,141.
In the second half of the 19th century, São José do Barreiro stood out as one of the world’s largest coffee producers. Along with other cities in the Paraíba Valley, it was one of Brazil’s richest and most developed regions. With the Great Crash of 1929 and the decline of coffee production, the region was left behind by the country’s great economic interests and their developmental model. “There, everything was. Nothing is. You don’t conjugate verbs in the present tense. Everything is past tense,” wrote Monteiro Lobato in the 1919 book “As Cidades Mortas” (Dead Cities), whose title is challenged by some locals who seek to reclaim recognition of the life that still takes place.
The São José theater was inaugurated in 1868 as a symbol of the political and economic power of the coffee barons. In 1926, it was converted into a cinema, closing its doors in 1958. It recently underwent years of renovation and reopened as a cultural space dedicated to meetings, rehearsals, and performances.
Pau D’alho plantation, protected by the National Institute of Historic and Artistic Heritage (IPHAN) in the 1960s, was one of the first to be entirely dedicated to coffee production. Its main house was designed by renowned architect Ramos de Azevedo around 1817. The veranda complex, built in rammed earth and stone foundation, also includes a chapel, two buildings used as a shelter for drovers, and slave quarters. As far as land resources are concerned, it features a technical exception, using a water wheel in the ramming of the earth for construction. In addition to being one of the most significant spatial representations of the coffee cycle, Pau D’alho is an important historical record of the slave model that differs so much from the tranquility observed today.

Architects: Vão
Area : 100 m²
Year : 2022
Photographs :Javier Agustin Rojas, Vão
Lead Architects : Anna Juni, Enk te Winkel e Gustavo Delonero
Model : Julio Shalders
Construction : Benedito Serafim [Sr. Dito] Woodwork : Ernani César da Silva [Pedrão] City : São José do Barreiro
Country : Brazil