The Hardt tr?id=338928643312774&ev=PageView&noscript=1 House in Butantã (1964) by Paulo Mendes da Rocha and João de Gennaro Architecture Classic Concrete Courtyard Decor Design Furniture Glass Interior Design Landscape Minimal Modern Video View  stairs Paulo Mendes da Rocha and João de Gennaro Paulo Mendes da Rocha Nelson Kon Jungle brazil   Image of tr?id=338928643312774&ev=PageView&noscript=1

House in Butantã (1964) by Paulo Mendes da Rocha and João de Gennaro

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House in Butantã (1964) by Paulo Mendes da Rocha and João de Gennaro located in Sao Paulo, Brazil | The Hardt

 

 

House in Butantã (1964) by Paulo Mendes da Rocha and João de Gennaro located in Sao Paulo, Brazil. If the two transverse beams of the ends of the cover slab formed to form the outer gables of the main floor, they would meet perfectly with the perimeter of the floor slab. If the longitudinal beams did not advance twenty centimeters in balance by holding and pushing the outer concrete gables away from the beams, there would be no room for the upper gutter and there would be no breach in the main floor to indirectly illuminate the interior. If on the sides of this floor were not raised external walls of concrete blocks, two overlapping planes and a constant shadow between them would not form on the facades, and sometimes a third intermediate plane. If the work and dinner tables were not fixed on opposite gables, it would not be necessary to have openings for lighting the horizontal planes in both gates. If the lighting allowed by the openings in the external gables was not direct and blinding, external prismatic volumes would not be required as individual combos to dim the light. If these volumes were not aligned with the tables, the horizontal planes could not be extended to the outside.

 


 

 
If the sixteen cross beams of the roof slab did not advance five and a half feet in balance on both sides, the fences could not be just window frames without any other kind of protection. If the beams of the main pavement slab did not advance only two and a half feet in balance on the back façade, against three meters and seventy centimeters in the main façade, there would be insufficient protection for the exterior staircase and the roof slab could not be interrupted. meter before touching the end of the beams. If there were not a longitudinal gable that would top off the ends of the roof beams on the back façade, the interior of the building could not be indirectly lit by the light passing between the beams and reflected in the gable. If the steel and glass frames were not modulated with the same one and seven centimeters from the spacing between transverse beams, they would not give continuity to the fixed glass panel positioned in the upper space between beams. If the frame frames were not supported only by the transverse roof beams, the sills and sills of both facades could not be completely unhindered and uninterrupted. If these frames were not only lateral, and if the frame was not just a squeeze on the outside of the sill, the transparency of the frame would not be divided only by the vertical lines. If the top panels were not slightly offset against the frames, there would be no room for natural ventilation. If the frames were not tiltable with sliding side guides, there would be no openings at both top and bottom. If the glass panels were not divided into two, the lower panel could not rise like a guillotine. If the dormitories and intimate environments were not distributed in the central range of the building, there would not be two opposing halls with continuous frames.
 

 

 

 

If the sills of steel and glass frames were not concreted in continuity with the lower slab, this would not form an inverted C rotated ninety degrees with respect to the C formed by the lateral gables and the cover slab. If the structure formed by the four thirty-five-centimeter square pillars, and by the two levels formed by two main longitudinal beams supporting sixteen transverse beams each, was not subverted by the fences and openings, that building would not exist.

 

 

 

Photos by © Nelson Kon

 

 


 

 

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