The Hardt Limantos Residence Fernanda Marques Arquitetos Associados 2 1080x675 Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil Architecture Courtyard Decor Design Furniture Glass Interior Design Modern Wood  stairs Sao Paulo Fernando Guerra | FG + SG Fernanda Marques Associated Architects brazil   Image of Limantos Residence Fernanda Marques Arquitetos Associados 2 1080x675

Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil

Asher 2:15 pm 2:23 pm

Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil | The Hardt

 

Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil. The lines of this house, built in a very steep plot in São Paulo – evoke the rationalist architecture of Mies van der Rohe. He is known, among others, for the German pavilion built in Barcelona to host the 1929 World Exhibition, which is still open at the foot of Montjuïc. Here, as there, it is all about simple geometry. The same integration dynamic, based on extensive use of glass. The same desire for permanent mingling with the landscape and feeling close to the water. In addition to a definite attachment to the materials that are considered essential in architecture’s vocabulary: concrete and steel. Bearing in mind the distance of almost a century, it is not surprising that the prevailing theme that joins the two buildings is transparency. The idea of opening up the house to its surrounding space to better capture the light and create spectacular views for the occupants from different points of view. Once the rooms were laid out, however, all the rest, according to Fernanda, was a matter of articulating the spaces well around the key elements. “At the entrance, for instance, is a water mirror that overflows by the entrance steps. The yellow wall that transverses the whole building houses the guest loo, kitchen, pantry, and service stairs”, she explains.

 

 

Another focal point, the spiral staircase, provides access to the mezzanine, where the media room, the fitness room, and the balcony, with its fireplace, are. The lower floor is the family area and contains a playroom and three suites. Entrance to the master suite is via a wide hallway, which opens up to the two bathrooms, his and hers – and the walk-in closet. The living area is linked to the dining room by a glazed circulation area, which integrates a deck, infinite-border swimming-pool, and lateral garden. The dining area opens up directly to the outside. So, almost entirely enclosed by glazed panels, the house seems to be immersed in the surrounding landscape. But this does not mean the architect left out a sense of warmth that is proper to a family home. “I chose, for the interior, to create more introspective sceneries, based on indirect lighting, especially in the living room, with its double-height ceiling – and by using warmer finishes, such as wood. After all, a house has to look like a home”

 

© Fernando Guerra | FG + SG  

 

 

Aesthetically and Geographically Related Projects:

 

The Hardt Musealization of the Archaeological Area of %E2%80%8B%E2%80%8BPrac%CC%A7a Nova do Castelo de S. Jorge Carrilho da Grac%CC%A7a Architects The Hardt 22 1080x675 Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil Architecture Courtyard Decor Design Furniture Glass Interior Design Modern Wood  stairs Sao Paulo Fernando Guerra | FG + SG Fernanda Marques Associated Architects brazil   Image of Musealization of the Archaeological Area of %E2%80%8B%E2%80%8BPrac%CC%A7a Nova do Castelo de S. Jorge Carrilho da Grac%CC%A7a Architects The Hardt 22 1080x675

Musealization of the Archaeological Area of Praça Nova do Castelo by João Luís Jorge Carrilho da Graça Architects

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Musealization of the Archaeological Area of Praça Nova do Castelo by João Luís Jorge Carrilho da Graça Architects located in London, England | The Hardt

 

The hill now occupied by the Castle of St. George is the first site of human occupation – dating from the Iron Age – that would transfigure in place the strategic elevation over the Tagus estuary and its interior territory that gave birth to the city of Lisbon. In the walled area, the Praça Nova do Castelo occupies an intramural promontory, delimited by defensive structures to the north and west, and by the Santa Cruz Church to the south, a promontory with a visual domain that extends over the walls to the East, from the city at your feet to the horizon of the estuary. An extensive archaeological excavation of this site, begun in 1986, exhibited traces of its successive occupation periods – settlement of the Iron Age, medieval Muslim dwellings and a 15th century palace – with the most relevant artifacts being removed and exhibited at the Castle Museum, the excavation being open to the intervention of protection and musealization.

 

This intervention addressed the themes of the protection, revelation, and reading of the palimpsest that any archaeological excavation represents, with a pragmatic intention to clarify the palindromic character that the exposed structures suggest in their spatial distribution. Thus, the first action was the clear delimitation of the archaeological site with a precise incision, comparable to the surgical incision in a living body. A corten steel membrane was inserted to contain the raised perimeter topography, allowing either access or a panoramic view of the site, evolving the materiality of this incision slowly and inexorably as a living tissue. The same precision of cut characterizes the elements inscribed in the site that allow the comfortable drift of the visitor – steps, skates, and benches, marmoreal and perennial – distinguishing them from the rough texture of exposed walls and foundations.

 

 

Descending to the excavated surface, to its simultaneous first spatial level and last level of occupation – the vestiges of a pavement of the Palace of the Bishops of Lisbon -, a console structure protects the mosaics, structure whose obverse is a black mirrored surface that returns to the visitor the vertical perspective on the pavement, this perspective that the elevated location of the pavement does not allow it to be direct. Moving forward on the site and in its timeline, the necessary cover for the protection of the eleventh-century Muslim domestic structures and the frescoes on which they subsist was taken as an opportunity to reproduce, through a conjectural interpretation, their spatial experience as a sequence of independent spaces organized around courtyards that introduced light and ventilation to dwellings otherwise enclosed outside. Declared abstract and scenographic, the white walls that enact the domestic spatiality of the two excavated dwellings float on the visible wall sections, anchoring themselves on the ground at the mere six points where these sections permit, while their translucent polycarbonate and slats of wood, filters the sunlight.

 

Underlying the entire archaeological site, the vestiges of the occupation of the Iron Age are exposed and protected by a compact volume that, in a spiraling movement, detaches itself from the bordering corten steel walls to embrace the well needed for its revelation. Massive and dramatic, this volume is punctually fenestrated by horizontal features that invite the curiosity of the observation of its interior, leading the visitor around the excavation pit to the point the view is unobstructed and both the physical and temporal distances of the exposed structures are made evident. The palimpsest of the site’s history is thus decoded and the possibility of its clarified temporal and spatial palindromic reading not only through the reading of the written information accompanying the visit, but above all, and significantly, through the experience built by the materialization of its protection and musealization.

 

© FG + SG – Fernando Guerra, Sergio Guerra

 

Architects: Carrilho da Graça Architects – João Luís Carrilho da Graça

Year: 2010
Built area: 3500 m²
Type of project: Cultural
Project Operation: Intervention
Status: Built
Materiality: Metal
Structure: Steel
Location: London, England, United Kingdom
Detached 4 floors: Detache

 


 

Aesthetically and Geographically Related Projects:


 
 
The Hardt Mimesis Museum Castanheira Bastai Associated Architects Jun Sung Kim A%CC%81lvaro Siza Vieira 7 1080x731 Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil Architecture Courtyard Decor Design Furniture Glass Interior Design Modern Wood  stairs Sao Paulo Fernando Guerra | FG + SG Fernanda Marques Associated Architects brazil   Image of Mimesis Museum Castanheira Bastai Associated Architects Jun Sung Kim A%CC%81lvaro Siza Vieira 7 1080x731

Mimesis Museum (2009) by Castanheira & Bastai Associated Architects

Asher 10:45 am 11:20 am

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira | The Hardt

 

Located in Paju Book City, Republic of Korea, Mimesis Museum (2009) by Castanheira & Bastai Associated Architects + Jun Sung Kim + Álvaro Siza Vieira. There once was a Chinese emperor who liked cats a lot, and one day he called upon the most famous painter in the Empire and asked him to paint him a cat. The artist liked the idea and promised that he would work on it. A year passed and the Emperor remembered that the painter still had not given him the painting of the cat. He called him: What of the cat? It is nearly ready, answered the artist. Another year went by, and another and another. The scene kept repeating itself. After seven years, the Emperor’s patience came to an end and he sent for the painter. What of the cat? Seven years have gone by. You have promised and promised but I still haven’t seen one! The painter grabs a sheet of rice paper, an ink well, one of those brushes like you can only get in the East and… in an elegant and sublime gesture he draws a cat, which was not just a cat but only the most beautiful cat ever seen. The Emperor was ecstatic, overwhelmed with such beauty. He did not neglect (which is no longer the case nowadays) to ask the artist how much he would charge for such beautiful drawing. The painter asked for a sum which surprised the Emperor. So much money for a drawing that you did in two seconds, in front of me? said the Emperor. Yes Excellency, that is true, but I have been drawing cats for seven years now, replied the poor painter.

 


 

The project for the Museum Mimesis, in the new town of Paju Book City in South Korea, is a cat. The client didn’t have to wait for seven years for his drawing of a cat, but Álvaro Siza has been drawing cats for over seven years now. He has never seen a Korean cat because he has never been there. In one day I briefed him on the site, and brought along a small site model, showing the boundaries and the immediate context. In one single gesture, a cat was drawn. The Mimesis is a cat. A cat all curled up and also open, that stretches and yawns. It’s all there. All you need to do is look and look again. At first, the design team members could not understand how that sketch of a cat could be a building. I have in my days seen many sketches of cats, and am always overwhelmed by them, can’t get tired of them. I want to see more cats, more sketches of cats, for several seven years have gone by.

 

 


 

In architecture, after an initial sketch comes the torment. The initial design, models, drawings, corrections to these, doubts, new drawings, new models, a presentation to the client, who had already seen other projects but could not conceal his surprise at this one. Once approved, we progressed the project on through the usual steps, which in Korea are shorter and less bureaucratic. The brief has not been altered, but it is necessary to make some adjustments as part of the evolution process. To think of materials, techniques, infrastructure, representational conventions, so that everyone understands, in an attempt to make everything work out. In the basement, we will have the archives, the service area, maybe an extension to the exhibition area, as is becoming a habit in museums designed by Álvaro Siza. The ground floor is a space for arrival and distribution, areas for temporary exhibitions and a café/restaurant with all necessary back up. Administration areas, staff circulation, area for the administrative archive and staff toilets are located in the mezzanines. The top floor is for exhibition space.

 

 


 

Light, always light, so carefully studied. Both natural and artificial is seen as essential. Allowing to see without being seen. Models and more models were constructed, some of which you could enter into. Also 3D images. The form will be given by cast concrete, light grey, the color of a cat. Inside, the white of the walls and ceilings, of the marble, which we hope will be from Estremoz and also the honey color of Oak. Timber for the internal frames, and glass. As for the external windows, timber, painted steel and crystalline glass. The building progresses, so do we, as it is in Korea. It is a technically difficult job; we were concerned at the quality of the contractor and sub-contractors involved. Our friends and partners are enthusiastic and reassure us.

 

© Fernando Guerra | FG + SG

 


 

Aesthetically and Geographically Related Projects:

 


 

 

 

The Hardt House in Chamusca Da Beira Joa%CC%83o Mendes Ribeiro6 1080x1000 Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil Architecture Courtyard Decor Design Furniture Glass Interior Design Modern Wood  stairs Sao Paulo Fernando Guerra | FG + SG Fernanda Marques Associated Architects brazil   Image of House in Chamusca Da Beira Joa%CC%83o Mendes Ribeiro6 1080x1000

House in Chamusca Da Beira (2006) by João Mendes Ribeiro

Asher 1:27 pm 8:47 pm

Situated in Chamusca, Portugal, House in Chamusca Da Beira (2006) by João Mendes Ribeiro | The Hardt

 

Situated in Chamusca, Portugal, House in Chamusca Da Beira (2006) by João Mendes Ribeiro. The old log house of the motherhouse has been renovated to receive an entrance space (from which access to the new room) and an autonomous wooden structure with a bathroom of service. Here, the traditional building systems were maintained, with the reconstruction of the roof of a water resting on a traditional wooden structure that extends, in porch, on a small outside patio. The demolition of the disqualified annexes (arrumos and garage), attached to the wall that delimits the patio, made evident its presence and, simultaneously, to recover the original typology of the set.

 


 

The project for the House in Chamuscada Beira consists of the requalification of a small set built in a rural property and its extension with the construction, of the root, of a room of support to the outer spaces. The old log house of the motherhouse has been renovated to receive an entrance space (from which access to the new room) and an autonomous wooden structure with a bathroom of service. Here, the traditional building systems were maintained, with the reconstruction of the roof of a water resting on a traditional wooden structure that extends, in porch, on a small outside patio. The demolition of the disqualified annexes (arrumos and garage), attached to the wall that delimits the patio, made evident its presence and, simultaneously, to recover the original typology of the set.

 

 


 

The new construction develops in close relation with the pre-existing constructions (the mother house and the adjacent patio) but also with the natural landscape, especially with the near presence of the well and a line of orange trees. The new volume of telluric character – narrow and vertical, also covered by a water – opens the house on the landscape, with which it communicates frankly through three large open spans to the south/west. Unlike the rehabilitated spaces, where the materiality is recovered from the original, here the material options are made in order to affirm the contemporaneity of the intervention, with the use of concrete (concrete) in the exterior and zinc in the roof.

 

Photos © Fernando Guerra | FG + SG

 


 

Aesthetically and Geographically RElated Projects:

 

 


 

The Hardt House B B Studio MK27 Marcio Kogan Renata Furlanetto Architects Gallery 8 1080x675 Limantos Residence by Fernanda Marques Associated Architects located in São Paulo, Brazil Architecture Courtyard Decor Design Furniture Glass Interior Design Modern Wood  stairs Sao Paulo Fernando Guerra | FG + SG Fernanda Marques Associated Architects brazil   Image of House B B Studio MK27 Marcio Kogan Renata Furlanetto Architects Gallery 8 1080x675

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects

Asher 2:51 am 8:50 pm

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects Gallery located in Brazil | The Hardt

 

House B + B (2014) by Studio MK27 – Marcio Kogan + Renata Furlanetto + Architects Gallery located in Brazil. The arrival at Casa B + B – access to the social area – takes place through an architectural route, by an open ramp, located in the east portion of the construction. This space is protected laterally by concrete elements that create surprising light effects and end up acting as protection for weather inclement weather. It is an interstitial space between the protected interior of the building and the uncovered garden. The ramp, long and smooth, extends this transition between the interior and exterior, creating a present feeling of change of environment. This solution was widely used by Brazilian modernism, which consecrated the radical use of ramps as a form of vertical circulation by reaffirming Corbusian precepts on the architectural promenade. There is, purposely, a lack of definition about the nature of this space: internal or external?

 


The reference to modernism is also in the fence of leaked elements, consecrated from the 1930s in Brazil, as a solution to be reproduced in large scale, very suitable for the tropical climate since it allows shading without blocking the fresh wind. The social area of the house creates a sense of welcome and comfort, in an open space, without any structural interference to the layout of furniture. A sliding door of 3.5m allows the kitchen to be fully integrated into the living space of the dining room. The food preparation stand is in front of a window that faces the ramp, receiving the light built, filtered by the leaked elements. So the kitchen is made as an illuminated space and pleasant stay.

 


Unlike the usual, the rooms are on the first floor – in direct relation to the garden – and can also be accessed internally via a staircase connected to the upper room. Wood elements in the facade of this floor allow for control of the sun internally, and thus optimum thermal performance. The use of raw materials, such as apparent concrete and wood, lends a living aspect to the residence, constantly changing through time. The architecture of Casa B + B, therefore, sought to create a cozy, cozy space, an intimate house for both the daily life of the residents and receptions with friends in small social gatherings.
© Fernando Guerra | FG + SG


 

Aesthetically and Geographically Related Projects:

 


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