A compact house with half-levels that stretch outside to organize intermediate patios from public to private. The structure display six columns and two concrete façades defining an asymmetric disposition; at the intermediate structural axis a steel arm compensates the lack of the concrete beam. In fact this daring solution was originally proposed by Artigas but substituted by a seven column and only truly achieved at the moment of its retoration in 1998, held by architect Angelo Bucci.
PUNTONI, Álvaro, Vilanova Artigas: arquitetos brasileiros. São Paulo, Instituto Lina Bo e P.M.Bardi: Fundação Vilanova Artigas, 1997
KAMITA, João Masao, Vilanova Artigas, São Paulo, Cosac & Naif, 2000
REVISTA CASA & JARDIM n.43, p.6, Jun, 1958
MODULO N.ESPECIAL JBVA, p.63
Available: http://www.spbr.arq.br/portfolio-items/reforma-casa-olga-baeta-2/ [acessed 20 December 2016]
ZEIN, Ruth, A Arquitetura da Escola Paulista Brutalista, São Paulo e Porto Alegre, 2005, (Tese de Doutoramento) Faculdade de Arquitetura da Universidade Federal do Rio Grande do Sul; p. 99-100
CAD Design: Julio Beraldo Valente
This very large central market space is covered with a sequence of vaulted apparent concrete shells, which enables and facilitates the lighting and ventilation. Very closed exterior brick walls define the north and south, relatively narrow façades; while the lengthy east-west façades are closed with perforated concrete bricks to enhance ventilation. Several recent inappropriate additions and interventions interfere with the quality of the original structural spaces and external façades.
NOELLE, Louise, Catalogo Guia de Arquitectura Contemporanea Ciudad de México, México, Compañia Editorial Electro-Comp, 1993, p. 55
CAD Design: Kamila de Oliveira de Souza
The diamond-shaped plan of this chapel is covered by a single hypar (hyperbolic paraboloid). Thanks to the asymmetrical disposition of the side façades the north and south tips have different heights. The external walls of heavy stones bellow and are close by light stained glass to the north, while defining a more closed entrance to the south, with a external stair leading to a slender marquise that connects the chorus level, with the other nearby constructions conforming a patio. The entrance under the chorus slab is more intimate and opens to the almost centered altar situated over a slightly elevated floor that accommodates a sunken crypt. The exposed concrete of the ceiling, painted white, discretely organizes the profusely illuminated interior spaces without imposing its weight.
(References: ALANÍS, 2010 p.38-43;
LARA, Rosa, Enrique de la Mora vida y obra Cuadernos de arquitectura y conservación del patrimonio artístico, Mexico, Instituto Nacional de Bellas Artes, 1981, p.24
CAD Design: Daiane Hea Mi Lee
The internal free space with 40 x 20 m is accessed through the middle portion of its longer side, facing a large frontal churchyard. The building occupies the rear portion of its high declivity plot, supported by columns that bring the main access to the level of the square. The structure consists of seven concrete porticoes with a 5 meter interval, bound by a central beam aligned with the facade, only interrupted by the two access voids; this beam overhangs 5m lengthwise on both sides and supports a slab, which, elevated from the ground, forms the floor of the church’s main hall. The entrance through two centralized twin doors gives immediate access to the altar; the churchgoers occupy two symmetrical sides separated by the altar, which is defined as a rectangular “arena” that ascends to each of its sides. The external isolated belfry is located on the right, following the main alignment.
CAMARGO, Mônica Junqueira de, Joaquim Guedes, São Paulo, 2000, Cosac & Naify, p.20;
ZEIN, Ruth, A Arquitetura da Escola Paulista Brutalista, São Paulo e Porto Alegre, 2005, (Tese de Doutoramento) Faculdade de Arquitetura da Universidade Federal do Rio Grande do Sul; p.106
CAD Design: Edson Lucchini Jr.