2014年夏天，Atelier Branco的创始成员Matteo Arnone和Pep Pons被邀请在Vinhedo小镇设计一个悠闲的隐居地，简介中提出房子至少要能满足两种需求：需要一个读书的地方，沉浸在现场充满活力的植被中；需要一个思考的地方，沉浸在该地区无垠的亚热带天空的平静中。客户年轻时是反对巴西军事独裁的左派活动家，现在是著名的政治思想史学者，他把这所房子设想为圣保罗和坎皮纳斯之间的一个临时避难所，他从1980年代初就在坎皮纳斯州立大学担任教职。因此，它既不是永久的居住地，也不是传统意义上的度假屋，而是一个遐想和沉思的地方，偶尔也是工作的地方，远离巴西繁忙的大都市生活。
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.
Casa Biblioteca是这对年轻的意大利-西班牙二人组设计的五个建筑作品中的最新作品，体现了他们对建筑形式的专注研究，这种研究在他们在瑞士的成长岁月中已经成熟，他们曾是门德里西奥建筑学院的学生，并在克里斯蒂安-凯雷兹、隈研吾和Aires Mateus两兄弟等人的专业成长中得到锻炼。这是一个大胆的方案，几乎完全由现浇混凝土实现，其建筑的敏锐性和对细节的关注在某种程度上是Atelier Branco所有建筑活动的特点。2012年，两人在圣保罗成立了公司，事实上，他们已经建立了一个诱人的和明显不同的投资组合，其内容从家具产品和配件的精心制作，到商业展厅和办公空间的设计，再到分散在巴西各地的众多住宅项目的建设，他们的才华也许在这几年里得到了最好的体现。
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.
属于这个后来的系列，Casa Biblioteca无疑是其中最特立独行的一个，既因为其客户的古怪，也因为其诞生的背景。事实上，它位于Vinhedo茂密的 “大西洋森林”（mata atlantica）的一片空地上，面向北方的陡峭地形，该森林延伸到巴西沿海地区的大部分地区。由于场地的地形属性，其设计遵循明显的 “断面 “原理，因此项目的空间和功能布局几乎完全由两条等高线之间的关系来阐述。按照相关顺序，这两条线中的第一条是地面线，其倾斜的轮廓被处理成一系列宽敞的水平梯田，适合居住；第二条是屋顶线，它略微悬停在地形的最上层保留墙上，在驯化的地形和上方的天空之间创造一个尖锐的水平基准。
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.
从Artigas到Mendes da Rocha，混凝土屋顶一直是巴西战后建筑的一个主题，在这里，混凝土屋顶在项目的确定中起着至关重要的作用，它既是项目方案的衔接，也是其向外（和向内）外观的特征。它是一块15厘米薄的矩形板，由八根长腿支柱支撑，尽管在形式上是 “基本 “的，但由于其构成部分的不可思议的纤细而显得与众不同。当从主干道走近房子时，这个元素的上表面呈现在观众面前，提供了一个约20×10米的纪念性观景平台，沉浸在周围树冠的树叶中。作为护栏的替代，该平台被一米宽的水床所环绕，而水床又定义了一个长方形的中心岛，从那里可以欣赏到美景。后者由切割精细的Garapeira木板衬托，这些木板与甲板的对称线斜向相接，并指向地平线。
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.
屋顶周边的凹痕允许沿其中央通道安装楼梯，从两面混凝土墙之间通向房屋的核心空间。这是一个未被分割的、全玻璃的长方形房间，容纳了整个家庭项目，其高度随着人们从最亲密的地方下降到更暴露的地方而逐渐增加。由于现有地形的不均匀坡度，使其部分具有独特的锯齿状轮廓的保留墙高度独特，但整个间隔相等，以创造整齐的三方结构系统，从柱子到柱子纵向跨越5.50米，露台前面到露台前面。因此，虽然深度相同，但三个露台获得了独特的地板到天花板的高度，为在露台上进行的活动提供了最适合他们需要的隐私和自然照明条件。因此，睡眠区位于项目最上层的露台上，在一个亲密的、昏暗的、2.35米高的空间内。这一层可以俯瞰房屋的中央平台，高度为4.15米，是客户的工作室；这是房屋中与景观最直接相连的区域，有两扇位于其短边的中央玻璃门（这些门也强调了项目的二级对称轴）。最后，离房子入口最远的露台是一个生活和用餐区，可以俯瞰周围的绿色植物，就像一个凉亭或一个观景台；这是房子里最明亮和最暴露的地方，从地面上升1.25米，高度为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.
一种类似的方法告知客户所需的核心服务和存储设施的位置，这些设施要么被雕刻在项目的保留墙上–如第一个露台上的两个浴室，所有的元素都是在原地浇铸的混凝土中实现的，与住宅的所有其他区域不同，这些浴室是顶部照明的，因此与外部没有任何视觉联系，或者准确地安装在外部，如厨房元素、书柜和衣柜。因此，这个空间仍然与它的 “disegno “以外的元素没有联系。
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’.
建筑布局的整洁性在楼梯的位置上得到了进一步的证实。这些楼梯，相当戏剧性地沿着中轴线横穿空间，在混凝土铺设的有盖小道下对称地环绕房子的周边。但也许，赋予该项目某种简陋的宏伟的最重要的方面是对所使用材料的选择和处理。光秃秃的结构完全由钢筋混凝土实现，并在建筑师的指导下在一个工作日内浇筑完成；地板和上面的露台一样，用长而精细的Garapeira木板衬托，垂直于项目的纵轴；整个建筑几乎完全被包裹在一个单一的玻璃外墙内，其中的铁制轮廓和设计图案遵循1950年代标志性的 “Paulistana “传统。特别是对这些元素的精心设计，使这个项目变得非常幸运，其高贵的品质很容易被埋没在现代铝制框架的丑陋之下。相反，Casa Biblioteca以其精细的细工和准空灵的开放性，巩固了其在玻璃房和展馆的丰富传统中的地位，自20世纪初以来，这些玻璃房和展馆几乎一直在肯定自己是建筑实验的特权场所。
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.
建筑布局的鲜明性在楼梯的定位上得到了进一步的印证。这些反而把空间沿着中轴线戏剧性地分割开来，在水泥路下对称地环绕房子的周边，并由其覆盖。但是，赋予该项目某种程度上的简陋宏伟的最重要方面，也许是对所使用材料的选择和处理。该结构完全由钢筋混凝土制成，在建筑师的指导下，只用了一天的时间就完成了混凝土的浇筑；地板以及上面的露台都是用长而薄的Garapeira木板铺设的，与项目的纵轴垂直；整个建筑几乎完全被一个玻璃幕墙所笼罩，其中的铁质轮廓和设计图案遵循了圣保罗50年代的标志性传统。 特别是对这些元素的精心设计，确保了项目的丰富性，其中的高贵性很容易被埋没在现代铝制框架的粗糙之下。相反，凭借其精细的细木工制品和近乎空灵的开放性，图书馆之家巩固了其在丰富的玻璃屋和展馆传统中的地位，自二十世纪初以来，这些玻璃屋和展馆几乎一直坚持将自己作为建筑实验的主要场所。
A nitidez do layout arquitetônico é ainda mais corroborada no posicionamento das escadas. Estes, ao contrário, dividem teatralmente o espaço ao longo de seu eixo central para circular simetricamente ao redor do perímetro da casa sob um caminho de concreto e coberto pelo mesmo. Mas talvez, o aspecto mais significativo em dar ao projeto é a grandeza um tanto rudimentar, é a seleção e tratamento dos materiais implantados. A estrutura é realizada inteiramente em concreto armado e foi concretada sob a direção dos arquitetos em um único dia de trabalho; os pisos, assim como o terraço superior, são forrados com placas de madeira Garapeira longas e finas, colocadas perpendicularmente ao eixo longitudinal do projeto; e o todo é quase integralmente envolvido por uma única fachada envidraçada, da qual os motivos de perfis e design de ferro seguem a icônica tradição paulistana dos anos cinquenta.É especialmente o cuidado dedicado ao design desses últimos elementos que garantem a riqueza do projeto, da qual a nobreza poderia facilmente ser enterrada sob a grosseria dos caixilhos de alumínio modernos. Em vez disso, com sua fina marcenaria e abertura quase etérea, a Casa Biblioteca consolida seu lugar em meio a uma rica tradição de casas de vidro e pavilhões que desde o início do século XX se afirmaram quase persistentemente como locais privilegiados de experimentação arquitetônica.
Architects: Atelier Branco Arquitetura
Area : 200 m²
Year : 2016
Photographs :Ricardo Bassetti, Gleeson Paulino, Jaqueline Lessa
Lead Architect : Matteo Arnone, Pep Pons
Structural Engineer : John Biscuola (Biscuola Engieneering)
Foundation Engineer : Sergio Ludemann (Ludemann Engieneering)
Systems Engineer : João Claudinei Alves (JCF projetos e construções)
Concrete Formwork : Edivaldo Lourenço e Eduardo Lourenço
Structural System : Concreto fundido in loco em um único dia de trabalho
Materiais : Concreto, aço, vidro e madeira Garapeira
Plot Area : 5.500m²
Built Area : 150m²
Total Floor Area : 200m²
Construction Cost : R$ 400.000,00
Project Team : Andreas Schneller, Martina Salvaneschi
Country : Brazil