The Casa Masetti is a house designed by Paulo Mendes Da Rocha in the early 1970s. The architecture was inspired by the cliff on which it is built. The house consists of two spaces: the open, airy ground floor and the living space. Made of concrete, the house is suspended above the ground on four pillars. It has a swimming pool, living room and three bedrooms, each with a private bathroom. The most compelling aspect of this house is the poetry of the Brazilian architect’s stark architecture.

Project name: Casa Masetti
Address: Rua Manoel Maria Tourinho 701, São Paulo – Brazil
Assignation/Destination: Residential Buildings – Single House

Name of client: Mario Masetti
Name of architect: Paulo Mendes da Rocha
Collaborator : Yoshio Arakawa

Structural engineering: Escritorio Tecnico Feitosa e De Lucca
Contractor : Masetti e Marinho

Project status: Complete (1968 – 1970)

Size of project: 282,25 m2
Plot size: 752,60 m2

Technical sheet of this architecture video clip
Journalist : Emma C. Dessouroux
Cameramen : Mister Emma / Les Délires Productions

Editing : Cristina Dias
Direction : Mister Emma
Production : Les Délires Productions

Translation : Strakertranslations
Subtitles : Strakertranslations

Speakers :
José Paulo Gouvêa (Architect) and Paulo Mendes da Rocha (Architect)

Portuguese Subtitles

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Estamos na Casa Masetti,

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que é uma casa projetada
pelo arquiteto Paulo Mendes da Rocha

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no começo dos anos 70.

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É uma casa que fica aqui em São Paulo,
numa situação muito especial.

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Estamos em um bairro

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que tem uma condição geográfica
muito interessante,

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e foi essa condição geográfica

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que norteou o desenho da casa.

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Estamos numa espécie de uma montanha,

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sobrelevação,
próximo ao Rio Pacaembu,

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e próximo de uma pequena escarpa.

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Essa foi a forma que o Paulo
pensou essa casa.

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Então tirar o proveito dessa situação

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referindo-se ao rio,
que é um rio que está canalizado,

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ele não pode ser visto
porque tem uma avenida em cima,

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mas a partir dessa condição
é que a casa foi pensada.

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Então assim como outras casas
desse arquiteto,

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a estrutura de concreto possibilitou
erguer a casa sobre o terreno,

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liberando espaço no térreo e fazendo
a casa conceitualmente erguida do solo,

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liberando as visuais para esse vale
que estamos falando.

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Estamos entrando na casa.

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Tem um conceito bastante importante
que é, mesmo quando a casa,

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mesmo quando é uma casa particular,

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ela sempre vai trazer
alguma questão relativa à cidade.

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Então, o acabamento do piso

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é feito em concreto
e é o mesmo piso de concreto da rua

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que entra neste espaço aqui.

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É um grande espaço.
É o espaço que está em contato com o chão,

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e então, a casa faz uma sombra

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para esse espaço que acontece.

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A casa está resolvida, basicamente,
nesses dois espaços.

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Então tem o espaço do térreo,
que é esse espaço livre e arejado,

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e o espaço da casa, que é essa caixa
de concreto suspensa do chão.

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Outra coisa importante,
muito importante desta casa

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é o projeto de estrutura dela.

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Então, a forma como a estrutura
da casa possibilita…

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Essa forma de ocupar este terreno.

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Então a casa está…
Basicamente, esse volume suspenso

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tem duas vigas laterais,

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então são duas grandes vigas laterais
de concreto, dispostas paralelamente,

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unidas por duas lajes:
uma laje de teto e uma de piso

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conectada por vigas transversais.

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É um grande esforço estrutural

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para apoiar isso em apenas quatro pilares

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para suspender essa casa

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e possibilitar esse espaço livre
no térreo.

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Tem esses momentos felizes
em que a arquitetura e a estrutura se unem

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para construir uma poética
de ocupar esse espaço,

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este espaço festivo em que estamos.

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Este espaço de confraternização,
de reunião

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é possibilitado por um cálculo estrutural.

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E é essa a poética forte,
como podemos ver,

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que é uma coisa muito reconhecida na obra
do Paulo Mendes da Rocha.

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O que eu acho importante
de pensar nesta casa

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00:04:19,800 –> 00:04:25,360
é o contexto em que ela foi pensada,
não só o contexto geográfico,

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mas também o contexto da obra
do arquiteto.

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Esta casa foi feita
durante um momento específico

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da história do Brasil,

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e o Paulo, naquele momento,
estava pensando nessa arquitetura

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como uma forma de relacionar
com esse contexto.

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Então ela é uma resposta
para a cidade que estamos,

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para essas condições geográficas,
mas também,

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para este contexto social e político
que o Paulo estava vivendo nesse momento.

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Essa casa pode ser considerada
uma espécie de Manifesto,

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porque é uma casa muito despojada
no sentido dos modismos

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e dos confortos que, às vezes,

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vemos nas casas e nem sabemos
o porquê estão ali.

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O que menos importa aqui
é o concreto aparente mesmo,

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a falta de acabamento,

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mas sim o contexto
em que isso foi pensado.

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Por isso que eu acho
que esse concreto aparente brasileiro,

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assim como o Paulo, Artigas
e mesmo a Lina,

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acarreta um posicionamento político
dos arquitetos.

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O terreno tem uma pequena abertura

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e é possível fazer a essa escada
desse jeito,

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que é uma escada muito generosa.

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Tem essa pequena marquise que anexa
o volume principal da casa,

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e que você chega na casa
por essa escada mesmo.

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É um jeito muito, muito especial
de ingressar nesta casa.

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Acho que a principal questão
para falar sobre esta casa,

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sobre este espaço em que estamos…
é de como ela é compacta.

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Isso também é um posicionamento.

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Só para situar, estamos
em um bairro rico de São Paulo,

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a ver pelas casas que tem ao lado,
os vizinhos desta casa.

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Mas, isso não implicou em fazer
uma casa grande

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como estamos acostumados a ver,
com muitos quartos e banheiros.

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Esta casa é uma casa que pensa

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o que é estritamente essencial
para uma família ter.

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É uma casa muito simples,
se você for pensar.

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É um grande espaço de estar
junto com uma cozinha,

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e todos os quartos conectados
a esse espaço, nesse único espaço.

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Então isso é uma forma de articulação
da planta mesmo.

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Agora, falando mesmo da planta.
Como essa articulação nesse nível mesmo,

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nesse nível horizontal da arquitetura,

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como você faz
para engajar os ocupantes desta casa

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neste espaço comum social?

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Isso também é uma forma de provocação,
que eu entendo, do Paulo.

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Digamos assim,
gerar uma sociabilidade distinta

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que outras casas possibilitariam.

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Também os quartos abertos desfazem
esses espaços secretos da casa.

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Então, uma destas…

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portas abertas, que revelam
um dormitório como este, é uma…

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Vamos dizer que é uma forma de…

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não só convidar esse espaço comum
da sala de estar

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para desmontar este espaço privado,

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mas também transforma
este pequeno espaço particular

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em uma coisa comum
para quem está ocupando a casa.

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00:08:29,320 –> 00:08:31,920
É muito impactante
olhar o concreto aparente

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dentro de um quarto
com uma cama assim. Então…

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E este piso,
que é um piso frio nessa situação,

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mas o que é importante
é entender esse contexto,

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o contexto onde essas críticas
e essas provocações cabiam

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e talvez ainda caibam.

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A mesma coisa dá para dizer
sobre a iluminação zenital.

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Então este espaço, que é…

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este espaço do dormitório
tem essa iluminação

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00:09:04,120 –> 00:09:08,480
que é uma coisa muito surpreendente,
a qualidade dessa luz.

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Essa luz é que transforma esse concreto,

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esse material com esse peso
em uma coisa absolutamente leve,

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com todos os acabamento das fôrmas,

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material inacabado, mas que tem
uma presença muito importante

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e desmonta também um pouco…

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Acho que desmonta
de uma forma muito incisiva

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essa questão do conforto.

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Nesse sentido,
isso é uma casa que realmente

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faz pensar sobre esses vícios

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que temos sobre o viver, sobre o morar.

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Não é que seja uma casa pequena,
é uma casa grande.

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Mas, ela é o que
é o absolutamente necessário.

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É isso que precisa para fazer uma casa
para as pessoas morarem.

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O mesmo dá para dizer desta estrutura,

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que é, na verdade, o banheiro,
mas é um banheiro

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que é um volume, o volume da ducha
dentro deste espaço

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00:10:08,800 –> 00:10:10,480
que é o dormitório.

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A ducha fica dentro desse volume.

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00:10:14,440 –> 00:10:19,200
Assim como do espaço comum
para dentro do dormitório

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não há um limite muito definido,

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não há uma soleira na porta
desses limites.

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No banheiro é a mesma coisa.

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00:10:26,360 –> 00:10:30,520
Eu estou aqui, mas não sei dizer
se eu estou dentro ainda do dormitório

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ou do banheiro da casa.

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O que eu mais considero

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quando eu vejo a obra do Paulo

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00:10:45,920 –> 00:10:48,960
e outros arquitetos também,
do Vilanova Artigas

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e outros arquitetos é que a casa

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não é uma coisa… cheia de estilo
que vai dar um estilo

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para aquela pessoa
que está vivendo nesse lugar.

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É o contrário.

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Ela é uma casca vazia

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00:11:06,480 –> 00:11:09,040
com todos esses significados
que estamos dizendo.

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00:11:09,120 –> 00:11:14,560
Mas, o que vai dizer o tom dessa ocupação

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são os objetos da pessoa
que vai morar aqui.

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00:11:18,800 –> 00:11:21,320
Então, quando vocês olham
este espaço aqui,

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00:11:22,040 –> 00:11:27,640
tanto faz qual é a mesa que estará aqui,
tanto faz o tapete, se houver…

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onde você vai guardar as coisas.
Isso é o mínimo. São as suas coisas.

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00:11:38,720 –> 00:11:41,080
Voltando para a questão
da planta da casa.

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Basicamente, ela se divide.
Então quartos para um lado,

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a sala para o outro e a cozinha,

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00:11:48,080 –> 00:11:51,840
e este espaço é o ideal,
vamos dizer assim.

160
00:11:52,240 –> 00:11:56,160
Essa separação entre os dois ambientes
de estar e da cozinha

161
00:11:56,240 –> 00:12:01,720
é feita por um volume também de concreto
que não chega até o teto, ou seja,

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essa estrutura que sustenta a casa
conceitualmente

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00:12:06,840 –> 00:12:09,480
não é impactada por esse volume.

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00:12:09,560 –> 00:12:14,120
Mesmo quando essa separação
de ambientes é necessária.

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00:12:14,200 –> 00:12:16,360
é feita de uma forma muito…

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00:12:18,400 –> 00:12:23,760
muito calculada, muito pensada
para não frear

167
00:12:24,240 –> 00:12:27,320
essa troca entre esses espaços.

168
00:12:29,080 –> 00:12:34,840
Um tipo de detalhe
que o Paulo desenhou são as janelas.

169
00:12:34,920 –> 00:12:41,040
Então, essa janela é uma estrutura
de aço muito leve.

170
00:12:41,120 –> 00:12:44,080
A estrutura de caixilho
é uma coisa bastante simples.

171
00:12:44,560 –> 00:12:46,960
Também não é uma coisa de fábrica.

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00:12:47,040 –> 00:12:51,600
É uma coisa pensada para ser simples
e ser utilizada dessa forma.

173
00:12:53,120 –> 00:12:55,880
A forma de acionar
também é bastante simples.

174
00:12:55,960 –> 00:13:01,800
Usando o peso desta estrutura
e a gravidade,

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você consegue abrir, fazer ventilar
e criar, vamos dizer assim,

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00:13:07,360 –> 00:13:10,800
a conexão deste espaço aqui,
como eu disse lá embaixo,

177
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e ligar com o vale, ligar com o rio
que uma vez esteve aqui.

178
00:13:16,480 –> 00:13:22,160
Então esse tipo de estrutura,
de detalhe é fundamental

179
00:13:22,240 –> 00:13:24,000
para conseguir…

180
00:13:25,880 –> 00:13:30,800
fazer essa conexão deste espaço interior
com o espaço exterior.

181
00:13:36,400 –> 00:13:39,800
Eu sempre fico imaginando os diálogos

182
00:13:39,880 –> 00:13:44,320
dos arquitetos com as pessoas
que estão encomendando os trabalhos.

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00:13:44,400 –> 00:13:48,240
Como é que você faz
para criar um diálogo com essa pessoa

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00:13:48,320 –> 00:13:50,800
sem simplesmente convencê-la daquilo,

185
00:13:50,880 –> 00:13:55,800
mas fazê-la entender os propósitos
dessa arquitetura?

186
00:13:55,880 –> 00:14:01,080
A permanência desta casa
intacta e original,

187
00:14:01,160 –> 00:14:05,080
como ela foi pensada originalmente,
é um grande feito…

188
00:14:05,840 –> 00:14:08,800
existir isso na nossa cidade
e mostra que…

189
00:14:09,960 –> 00:14:13,000
é possível fazer algumas coisas.

190
00:14:13,080 –> 00:14:17,240
Isso é uma é uma Casa Manifesto mesmo,
nesse sentido.

191
00:14:22,840 –> 00:14:27,880
Esse terreno da Casa Masetti está
em um espaço desse tipo do bairro Pacaembu

192
00:14:27,960 –> 00:14:31,480
onde não é possível verticalizar.

193
00:14:31,560 –> 00:14:35,840
O Sr. Mario Masetti,
que tinha paixão por arquitetura,

194
00:14:35,920 –> 00:14:39,680
tem vários projetos feitos com arquitetos

195
00:14:39,760 –> 00:14:43,080
que tem nome, etc…
Do ponto de vista dele, é claro.

196
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E com isso, ele me procurou

197
00:14:44,920 –> 00:14:47,600
quando comprou aquele terreno
para fazer aquela casa.

198
00:14:48,000 –> 00:14:51,240
A carga da casa que você colocasse
em cima desse terreno

199
00:14:51,320 –> 00:14:55,720
força aquele muro de arrimo
de uns 30m de altura

200
00:14:55,800 –> 00:15:00,640
para avenida que está embaixo.
O que nos fez fazer a quadra toda

201
00:15:00,720 –> 00:15:03,720
nítida e claramente,
do ponto de vista da engenharia,

202
00:15:03,800 –> 00:15:07,520
para poder avaliar e calcular,
apoiado em quatro pilares

203
00:15:07,600 –> 00:15:11,960
onde você pode calcular que o bulbo
de influência de cargas não ofende

204
00:15:12,040 –> 00:15:15,240
aquilo que seria um muro de arrimo
lá para baixo, etc.

205
00:15:15,720 –> 00:15:17,160
É o que caracteriza

206
00:15:17,920 –> 00:15:21,480
o rigor com que a casa foi feita
em cima de quatro pilares.

207
00:15:22,600 –> 00:15:27,760
É que ela tem, toda casa tem,
toda a construção também tem,

208
00:15:27,840 –> 00:15:30,720
não é só a minha, porém com ênfase,

209
00:15:31,160 –> 00:15:36,400
eu faço, eu gosto muito que tenha
as coisas que eu faço, construo.

210
00:15:37,080 –> 00:15:40,040
É um sentido lúdico de divertimento.

French Subtitles

1
00:00:13,440 –> 00:00:14,920
Nous sommes à la Casa Masetti,

2
00:00:15,000 –> 00:00:19,520
une maison conçue
par Paulo Mendes da Rocha

3
00:00:19,600 –> 00:00:21,360
au début des années 1970.

4
00:00:22,000 –> 00:00:27,400
Elle se trouve à São Paulo
à un emplacement très particulier.

5
00:00:27,840 –> 00:00:29,760
Nous sommes dans un quartier

6
00:00:30,640 –> 00:00:33,760
à la situation géographique
très intéressante,

7
00:00:34,280 –> 00:00:37,280
et cette situation géographique

8
00:00:37,360 –> 00:00:40,960
a inspiré le design de la maison.

9
00:00:41,040 –> 00:00:44,480
Nous sommes sur une sorte de montagne,

10
00:00:44,560 –> 00:00:47,200
une élévation près de la rivière Pacaembu,

11
00:00:47,640 –> 00:00:51,440
et à côté d’une petite falaise.

12
00:00:52,040 –> 00:00:59,760
C’est de cette façon que Paulo
a conçu sa maison.

13
00:00:59,840 –> 00:01:04,080
Il a tiré profit de la situation

14
00:01:05,200 –> 00:01:07,720
par rapport à la rivière,
qui est canalisée

15
00:01:07,800 –> 00:01:10,480
mais invisible
car elle est couverte d’une avenue,

16
00:01:10,560 –> 00:01:14,920
mais c’est cette situation
qui a inspiré le design de cette maison.

17
00:01:15,000 –> 00:01:17,920
Comme les autres maisons
de cet architecte,

18
00:01:19,280 –> 00:01:25,960
grâce à la structure en béton,
on a pu surélever la maison,

19
00:01:26,040 –> 00:01:30,680
faire de la place au niveau du sol
et surélever la maison,

20
00:01:31,400 –> 00:01:35,520
créant un espace pour voir
cette vallée dont nous parlons.

21
00:01:41,880 –> 00:01:43,880
Nous entrons dans la maison.

22
00:01:46,000 –> 00:01:51,080
Il y a un concept très important
qui est que, bien que la maison

23
00:01:51,160 –> 00:01:53,840
soit une maison privée,

24
00:01:53,920 –> 00:01:59,800
elle sera toujours reliée à la ville.

25
00:01:59,880 –> 00:02:02,880
Donc, la finition du sol

26
00:02:02,960 –> 00:02:07,280
est faite du même béton
que celui de la rue,

27
00:02:07,360 –> 00:02:10,600
qui pénètre dans cet espace.

28
00:02:10,680 –> 00:02:14,560
C’est un grand espace.
C’est un espace qui touche le sol,

29
00:02:15,240 –> 00:02:22,080
et ensuite, il projette une ombre
vers cet espace.

30
00:02:33,000 –> 00:02:39,640
La maison est essentiellement constituée
de ces deux espaces.

31
00:02:39,720 –> 00:02:43,800
Il y a le niveau du sol, ouvert et aéré,

32
00:02:43,880 –> 00:02:46,240
et l’espace de la maison,

33
00:02:46,320 –> 00:02:49,480
cette boîte de béton
suspendue au-dessus du sol.

34
00:02:56,560 –> 00:02:59,520
Un autre aspect important de cette maison

35
00:02:59,600 –> 00:03:03,520
est sa conception structurelle.

36
00:03:03,600 –> 00:03:06,800
C’est grâce à la structure de cette maison

37
00:03:07,240 –> 00:03:10,400
qu’on peut ainsi occuper le terrain.

38
00:03:10,480 –> 00:03:13,720
La maison est donc, essentiellement,
ce volume suspendu

39
00:03:14,160 –> 00:03:16,600
qui a deux poutres latérales,

40
00:03:16,680 –> 00:03:22,720
deux grandes poutres latérales
en béton disposées parallèlement,

41
00:03:22,800 –> 00:03:27,960
unies par deux dalles :
une dalle de plafond et une dalle de sol,

42
00:03:28,040 –> 00:03:30,640
reliées par des poutres transversales.

43
00:03:30,720 –> 00:03:33,200
Il faut une immense force structurelle

44
00:03:33,280 –> 00:03:35,960
pour faire reposer ça
sur quatre piliers seulement

45
00:03:36,040 –> 00:03:38,040
pour surélever cette maison

46
00:03:38,440 –> 00:03:43,040
et libérer cet espace au sol.

47
00:03:43,120 –> 00:03:48,960
Il y a des moments heureux
où architecture et structure s’unissent

48
00:03:49,040 –> 00:03:54,240
pour construire une poésie
afin d’occuper cet espace,

49
00:03:54,320 –> 00:03:56,640
cet espace heureux où nous nous trouvons.

50
00:03:56,720 –> 00:04:00,720
Cet espace destiné à la vie sociale,
aux rencontres,

51
00:04:00,800 –> 00:04:05,760
est rendu possible
par un calcul structurel.

52
00:04:05,840 –> 00:04:09,520
C’est une poésie très puissante,
comme on peut le voir,

53
00:04:09,600 –> 00:04:14,200
et c’est une œuvre très reconnue
de Paulo Mendes da Rocha.

54
00:04:14,280 –> 00:04:19,720
À propos de cette maison,
ce qu’il faut garder à l’esprit,

55
00:04:19,800 –> 00:04:25,360
c’est le contexte de sa conception,
pas seulement le contexte géographique

56
00:04:25,440 –> 00:04:27,920
mais aussi le travail de l’architecte.

57
00:04:28,000 –> 00:04:33,440
Cette maison a été construite
à une époque spécifique

58
00:04:33,520 –> 00:04:34,840
de l’histoire du Brésil,

59
00:04:35,400 –> 00:04:40,280
et Paulo, à ce moment,
concevait cette architecture

60
00:04:40,360 –> 00:04:45,200
comme une façon de se relier
à ce contexte.

61
00:04:45,280 –> 00:04:48,480
C’est une réponse à la ville
où nous sommes,

62
00:04:48,560 –> 00:04:50,640
aux conditions géographiques,

63
00:04:50,720 –> 00:04:54,080
mais aussi à ce contexte
social et politique

64
00:04:54,160 –> 00:04:57,280
dans lequel Paulo vivait à ce moment.

65
00:04:57,360 –> 00:05:02,680
Cette maison peut être considérée
comme un genre de manifeste

66
00:05:02,760 –> 00:05:08,480
car c’est une maison dépouillée
du point de vue de la tendance

67
00:05:08,560 –> 00:05:11,640
et du point de vue du confort,
ce que parfois

68
00:05:12,080 –> 00:05:16,240
on voit dans des maisons
sans savoir pourquoi elles sont là.

69
00:05:16,320 –> 00:05:20,920
Ce qui est moins important,
c’est le béton brut,

70
00:05:21,000 –> 00:05:25,200
le manque de finitions,
mais ça s’inscrit dans un contexte.

71
00:05:25,280 –> 00:05:30,760
C’est pourquoi je pense
que ce béton brut brésilien,

72
00:05:30,840 –> 00:05:34,080
comme Paulo, Artigas et même Lina,

73
00:05:34,400 –> 00:05:39,520
apporte une prise
de position politique des architectes.

74
00:05:42,360 –> 00:05:45,080
Le terrain a une petite ouverture

75
00:05:45,160 –> 00:05:47,680
et il est possible de faire
ainsi un escalier,

76
00:05:47,760 –> 00:05:49,960
un escalier très généreux.

77
00:05:50,040 –> 00:05:55,760
Il y a cette petite marquise reliée
au volume principal de la maison.

78
00:05:55,840 –> 00:06:00,280
et on entre dans la maison
par cet escalier.

79
00:06:00,360 –> 00:06:06,480
C’est une manière très particulière
d’entrer dans cette maison.

80
00:06:11,320 –> 00:06:16,840
Concernant cette maison,
je crois que la question principale

81
00:06:16,920 –> 00:06:21,560
à propos de cet espace où nous sommes…
c’est à quel point il est compact.

82
00:06:21,640 –> 00:06:25,320
Ça aussi, c’est une prise de position.

83
00:06:25,400 –> 00:06:30,840
Juste pour situer, nous sommes
dans un quartier riche de São Paulo.

84
00:06:30,920 –> 00:06:34,800
On le voit aux maisons
d’à côté, aux voisins.

85
00:06:36,160 –> 00:06:41,960
Mais ça ne l’a pas amené
à construire une grande maison

86
00:06:42,040 –> 00:06:46,560
comme on a l’habitude de voir,
avec beaucoup de pièces et de salles de bains.

87
00:06:46,960 –> 00:06:51,200
C’est une maison qui réfléchit

88
00:06:51,280 –> 00:06:55,040
à ce qui est strictement essentiel
pour une famille.

89
00:06:55,120 –> 00:06:57,640
Quand on y réfléchit,
c’est une maison très simple.

90
00:06:57,720 –> 00:07:02,240
C’est un séjour immense
à côté d’une cuisine,

91
00:07:02,320 –> 00:07:06,800
et toutes les pièces sont reliées
à cet espace unique.

92
00:07:06,880 –> 00:07:11,840
C’est une façon d’articuler le plan.

93
00:07:11,920 –> 00:07:16,360
En parlant du plan,
avec cette articulation à ce niveau,

94
00:07:16,440 –> 00:07:18,480
ce niveau horizontal d’architecture,

95
00:07:20,160 –> 00:07:24,160
comment impliquer
les occupants de la maison

96
00:07:24,240 –> 00:07:27,720
dans cet espace social commun ?

97
00:07:27,800 –> 00:07:32,040
C’est aussi, pour moi, une forme
de provocation lancée par Paulo.

98
00:07:32,120 –> 00:07:36,480
Disons, rendre possible
une sociabilité distincte

99
00:07:36,560 –> 00:07:39,960
de celle des autres maisons.

100
00:07:40,040 –> 00:07:45,440
Les espaces ouverts défont
les espaces secrets de la maison.

101
00:07:45,520 –> 00:07:47,480
Donc, l’une des…

102
00:07:49,080 –> 00:07:55,080
portes ouvertes qui révèle
une chambre comme ceci, c’est…

103
00:07:55,160 –> 00:07:57,000
Disons, c’est une façon de…

104
00:07:59,000 –> 00:08:03,680
non seulement inviter
cet espace commun dans le séjour

105
00:08:03,760 –> 00:08:07,320
pour déconstruire cet espace privé,

106
00:08:07,400 –> 00:08:12,920
mais aussi de transformer
ce petit espace privé

107
00:08:13,000 –> 00:08:15,920
en quelque chose de commun
pour les occupants de la maison.

108
00:08:29,240 –> 00:08:31,920
C’est très étonnant de voir le béton brut

109
00:08:32,000 –> 00:08:35,080
dans une chambre avec un lit comme ça.

110
00:08:35,160 –> 00:08:39,480
Et ce sol, qui est
en l’occurrence un sol froid,

111
00:08:39,560 –> 00:08:42,480
mais l’important est
de comprendre le contexte,

112
00:08:42,560 –> 00:08:47,840
le contexte dans lequel ces critiques
et cette provocation étaient pertinentes,

113
00:08:47,920 –> 00:08:49,680
et le sont peut-être encore.

114
00:08:49,760 –> 00:08:54,280
C’est la même chose
avec cet éclairage zénithal.

115
00:08:54,360 –> 00:08:57,560
Donc, cet espace qui est…

116
00:08:59,080 –> 00:09:04,040
Cet espace chambre dispose
de cet éclairage

117
00:09:04,120 –> 00:09:08,480
dont la qualité de luminosité
est stupéfiante.

118
00:09:08,560 –> 00:09:11,120
Cette lumière transforme ce béton,

119
00:09:11,200 –> 00:09:16,040
ce matériau lourd
en quelque chose de léger

120
00:09:16,120 –> 00:09:18,680
avec toutes ces finitions de coffrage,

121
00:09:18,760 –> 00:09:23,640
ces matériaux inachevés,
mais avec une présence très importante.

122
00:09:23,720 –> 00:09:26,280
Et ça déconstruit aussi un peu…

123
00:09:26,680 –> 00:09:30,760
Ça le déconstruit de manière très incisive
du point de vue du confort.

124
00:09:30,840 –> 00:09:34,600
Ainsi, c’est une maison

125
00:09:34,680 –> 00:09:38,040
qui nous fait réfléchir aux addictions

126
00:09:38,120 –> 00:09:41,360
que nous avons dans notre façon de vivre.

127
00:09:41,880 –> 00:09:45,840
Ce n’est pas une petite maison,
c’est une grande maison, mais…

128
00:09:46,520 –> 00:09:50,400
C’est juste le strict nécessaire.

129
00:09:50,480 –> 00:09:56,240
C’est ce qu’il faut pour faire
une maison où des gens vivent.

130
00:09:56,320 –> 00:09:59,280
On peut dire la même chose
de la structure,

131
00:09:59,920 –> 00:10:03,040
qui est, en fait, la salle de bains,
mais une salle de bains

132
00:10:03,120 –> 00:10:08,720
qui est un volume,
un volume douche dans l’espace

133
00:10:08,800 –> 00:10:10,480
qui est la chambre.

134
00:10:11,000 –> 00:10:13,960
La douche est à l’intérieur de ce volume.

135
00:10:14,440 –> 00:10:19,200
En tant qu’espace commun dans la chambre,

136
00:10:19,280 –> 00:10:21,240
il n’y a pas de limite très définie,

137
00:10:21,320 –> 00:10:23,840
il n’y a pas de seuil de porte
dans ces limites.

138
00:10:23,920 –> 00:10:25,560
C’est pareil dans la salle de bains.

139
00:10:26,360 –> 00:10:30,520
Je suis ici, mais je ne peux pas dire
si je suis encore dans la chambre

140
00:10:30,600 –> 00:10:32,440
ou dans la salle de bains.

141
00:10:39,560 –> 00:10:42,360
Ce qui me frappe le plus

142
00:10:42,440 –> 00:10:45,840
quand je vois l’œuvre de Paulo

143
00:10:45,920 –> 00:10:48,960
et d’autres architectes
comme Vilanova Artigas,

144
00:10:49,040 –> 00:10:52,280
et d’autres encore, c’est que cette maison

145
00:10:52,360 –> 00:10:57,960
n’est pas une chose pleine de style,
qui donne un style

146
00:10:58,040 –> 00:11:01,200
à la personne qui vit dans ce lieu.

147
00:11:01,280 –> 00:11:06,400
C’est le contraire.
C’est une coquille vide

148
00:11:06,480 –> 00:11:09,040
avec toutes ces significations
dont nous parlons.

149
00:11:09,120 –> 00:11:14,560
Mais ce qui définit
le ton de l’occupation,

150
00:11:14,640 –> 00:11:18,720
ce sont les objets de la personne
qui habitera ici.

151
00:11:18,800 –> 00:11:21,320
Donc, quand on regarde cet espace,

152
00:11:22,040 –> 00:11:27,640
peu importe que la table soit là,
que le tapis soit là, s’il y a…

153
00:11:29,720 –> 00:11:34,280
un endroit pour ranger les choses.
Au moins, ce sont vos objets à vous.

154
00:11:38,720 –> 00:11:41,080
Reparlons du plan de la maison.

155
00:11:41,520 –> 00:11:44,840
Essentiellement, il est divisé.
Les chambres d’un côté,

156
00:11:44,920 –> 00:11:48,000
le séjour de l’autre et la cuisine…

157
00:11:48,080 –> 00:11:51,840
Disons-le ainsi, c’est l’espace idéal.

158
00:11:52,240 –> 00:11:56,160
Cette séparation entre la cuisine
et les deux espaces de vie

159
00:11:56,240 –> 00:12:01,720
est aussi faite d’un volume de béton
qui ne monte pas jusqu’au plafond.

160
00:12:01,800 –> 00:12:06,760
Cette structure qui soutient la maison
d’un point de vue conceptuel

161
00:12:06,840 –> 00:12:09,480
n’est pas impactée par ce volume.

162
00:12:09,560 –> 00:12:14,120
Même quand cette cloison nécessaire

163
00:12:14,200 –> 00:12:16,360
est réalisée d’une manière…

164
00:12:18,400 –> 00:12:23,760
très calculée, très planifiée
pour ne pas arrêter

165
00:12:24,240 –> 00:12:27,320
cet échange entre ces espaces.

166
00:12:29,080 –> 00:12:34,840
Les fenêtres conçues par Paulo
sont des détails.

167
00:12:34,920 –> 00:12:41,040
Cette fenêtre est une structure
en acier très léger.

168
00:12:41,120 –> 00:12:44,080
Cette structure de cadre est très simple.

169
00:12:44,560 –> 00:12:46,960
Ce n’est pas fabriqué en usine.

170
00:12:47,040 –> 00:12:51,600
C’est prévu pour être simple
de conception et d’utilisation.

171
00:12:53,120 –> 00:12:55,880
Sa manipulation est aussi très simple.

172
00:12:55,960 –> 00:13:01,800
En utilisant le poids
de la structure, la gravité,

173
00:13:01,880 –> 00:13:07,280
on peut l’ouvrir, créer une ventilation
et aussi, comme je le dis,

174
00:13:07,360 –> 00:13:10,800
une connexion de cet espace,
comme je l’ai dit, en bas,

175
00:13:10,880 –> 00:13:16,400
avec la vallée et la rivière
qui était autrefois ici.

176
00:13:16,480 –> 00:13:22,160
Ce genre de structure,
ce détail est essentiel

177
00:13:22,240 –> 00:13:24,000
pour obtenir…

178
00:13:25,880 –> 00:13:30,800
pour établir un lien
entre les espaces intérieur et extérieur.

179
00:13:36,400 –> 00:13:40,480
J’imagine toujours les conversations

180
00:13:40,560 –> 00:13:44,320
entre les architectes et les gens
qui commandent les travaux.

181
00:13:44,400 –> 00:13:48,240
Comment créer un dialogue
avec cette personne

182
00:13:48,320 –> 00:13:50,800
sans la convaincre,

183
00:13:50,880 –> 00:13:55,800
mais en lui faisant comprendre
l’objet de cette architecture ?

184
00:13:55,880 –> 00:14:01,080
La permanence de cette maison
intacte et originale,

185
00:14:01,160 –> 00:14:05,080
telle que conçue au départ,
est une réussite remarquable.

186
00:14:05,840 –> 00:14:08,800
Le fait de l’avoir
dans notre ville montre…

187
00:14:09,960 –> 00:14:13,000
qu’il est possible de réaliser des choses.

188
00:14:13,080 –> 00:14:17,240
En ce sens, c’est une maison manifeste.

189
00:14:22,840 –> 00:14:27,880
Le terrain de la Casa Masetti est
dans le quartier de Pacaembu,

190
00:14:27,960 –> 00:14:31,480
où il n’est pas possible
de construire à la verticale.

191
00:14:31,560 –> 00:14:35,840
M. Mario Masetti,
qui adorait l’architecture,

192
00:14:35,920 –> 00:14:41,280
a beaucoup de projets réalisés
par des architectes célèbres, etc.

193
00:14:41,360 –> 00:14:43,160
De son point de vue, bien sûr.

194
00:14:43,240 –> 00:14:45,000
Pour cette raison, il est venu me voir

195
00:14:45,080 –> 00:14:47,600
quand il a acheté le terrain
pour construire cette maison.

196
00:14:47,680 –> 00:14:51,240
Le poids que cette maison
fait peser sur ce terrain

197
00:14:51,320 –> 00:14:57,400
force ce mur de soutènement de 30 mètres
vers l’avenue en dessous.

198
00:14:57,480 –> 00:15:00,480
Ce qui nous a fait construire
toute la maison

199
00:15:00,880 –> 00:15:03,720
très clairement,
du point de vue de l’ingénierie,

200
00:15:03,800 –> 00:15:07,520
pour l’évaluer et la calculer,
soutenue par quatre piliers

201
00:15:07,600 –> 00:15:10,760
où on peut calculer
que le bulbe d’influence de la charge

202
00:15:10,840 –> 00:15:15,240
ne porte pas préjudice à ce qui serait
un mur de soutènement en bas, etc.

203
00:15:15,720 –> 00:15:17,240
C’est ce qui caractérise

204
00:15:17,920 –> 00:15:21,480
la précision de la construction
de la maison sur les quatre piliers.

205
00:15:22,600 –> 00:15:27,760
C’est ce que la maison possède,
ce que toute construction possède,

206
00:15:27,840 –> 00:15:30,720
pas juste la mienne, c’est une force.

207
00:15:31,160 –> 00:15:36,400
Je fais, j’aime les choses
que je fais, je construis.

208
00:15:37,080 –> 00:15:40,040
C’est un sentiment
de divertissement très ludique.

English Subtitles

1
00:00:13,440 –> 00:00:14,920
We’re at Casa Masetti,

2
00:00:15,000 –> 00:00:19,520
which is a house designed
by Paulo Mendes da Rocha

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00:00:19,600 –> 00:00:21,360
at the beginning of the 70s.

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00:00:22,000 –> 00:00:27,400
It has a very special situation
here in São Paulo.

5
00:00:27,840 –> 00:00:29,760
We are in a neighborhood

6
00:00:30,640 –> 00:00:33,760
with very interesting
geographical conditions,

7
00:00:34,280 –> 00:00:37,280
and those geographical conditions

8
00:00:37,360 –> 00:00:40,960
have guided the house design.

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00:00:41,040 –> 00:00:47,200
We’re located on a kind of mountain,
an elevation next to the Pacaembu River,

10
00:00:47,640 –> 00:00:51,440
and near a small cliff.

11
00:00:52,040 –> 00:00:59,680
That was the way Paulo
planned this house.

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00:00:59,760 –> 00:01:04,080
So, taking advantage of this situation

13
00:01:05,160 –> 00:01:07,720
in relation to the river,
which is channelized

14
00:01:07,800 –> 00:01:10,480
and can’t be seen
because there’s an avenue above it,

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00:01:10,560 –> 00:01:14,920
the house was designed
from these conditions.

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00:01:15,000 –> 00:01:17,920
Like other houses done by this architect,

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00:01:19,280 –> 00:01:25,960
the concrete structure made it possible
to lift the house from the ground,

18
00:01:26,040 –> 00:01:30,680
opening up space on the ground floor
and lifting the house off it,

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00:01:31,400 –> 00:01:35,520
and opening up the view of this valley
we’re talking about.

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00:01:41,880 –> 00:01:43,880
We’re going into the house.

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00:01:46,000 –> 00:01:48,240
There’s this very important concept

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00:01:48,320 –> 00:01:53,840
which is, although the house
is a private house,

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00:01:53,920 –> 00:01:59,800
it’ll always be related to the city.

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00:01:59,880 –> 00:02:04,160
So, the floor finish
is made from concrete

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00:02:04,240 –> 00:02:07,280
and it’s the same
concrete from the street

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00:02:07,360 –> 00:02:10,600
that enters this space here.

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00:02:10,680 –> 00:02:14,560
It’s a big space. It’s a space
that reaches the ground,

28
00:02:15,240 –> 00:02:22,080
and then the house casts a shadow
on that space.

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00:02:33,000 –> 00:02:39,640
The house consists
in these two spaces, essentially.

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00:02:39,720 –> 00:02:43,800
There’s is the ground floor,
which is open and airy,

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00:02:43,880 –> 00:02:46,240
and the house space,

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00:02:46,320 –> 00:02:49,480
which is that concrete box
suspended over the ground.

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00:02:56,560 –> 00:02:59,520
One more important thing to this house

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00:02:59,600 –> 00:03:03,520
is its structural design,

35
00:03:03,600 –> 00:03:10,400
the way the house structure makes
it possible to fill the land this way.

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00:03:10,480 –> 00:03:13,720
So, the house is…
Basically, this suspended volume

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has two lateral beams,

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00:03:16,680 –> 00:03:22,720
so there are two big, lateral
concrete beams arranged in parallel,

39
00:03:22,800 –> 00:03:27,960
and united by two slabs:
one ceiling slab and one floor slab

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00:03:28,040 –> 00:03:30,640
connected by transverse beams.

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00:03:30,720 –> 00:03:33,200
It’s a huge structural force

42
00:03:33,280 –> 00:03:35,960
to be supported on only four pillars,

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00:03:36,040 –> 00:03:38,040
which lift this house

44
00:03:38,440 –> 00:03:43,040
and open up this space on the ground.

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00:03:43,120 –> 00:03:48,960
There are these happy instances
where the architecture and structure unite

46
00:03:49,040 –> 00:03:54,240
to build a kind of poetry occupying
this space,

47
00:03:54,320 –> 00:03:56,640
this happy space we are in.

48
00:03:56,720 –> 00:04:00,720
This space for socializing
and get-togethers

49
00:04:00,800 –> 00:04:05,760
is made possible
due to a structural calculation.

50
00:04:05,840 –> 00:04:09,520
And this poetry has strength,
as we can see,

51
00:04:09,600 –> 00:04:14,200
and which is the well-recognized work
of Paulo Mendes da Rocha.

52
00:04:14,280 –> 00:04:19,720
What’s important to think about
with this house

53
00:04:19,800 –> 00:04:25,360
is the context in which it’s planned,
not only the geographical context,

54
00:04:25,440 –> 00:04:27,920
but also in the context
of architectural work.

55
00:04:28,000 –> 00:04:33,440
This house was built
during a specific time

56
00:04:33,520 –> 00:04:37,480
in Brazil’s history, and at that time,

57
00:04:37,560 –> 00:04:40,280
Paulo was thinking about this architecture

58
00:04:40,360 –> 00:04:45,200
as a way of relating to this context.

59
00:04:45,280 –> 00:04:50,520
It’s an answer to the city we’re in,
to the geographical conditions,

60
00:04:50,600 –> 00:04:54,040
but also to that social
and political context

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00:04:54,120 –> 00:04:57,280
that Paulo lived in at that time.

62
00:04:57,360 –> 00:05:02,680
This house might be considered
a kind of manifesto,

63
00:05:02,760 –> 00:05:10,440
because it’s stripped down
next to the fads and comforts

64
00:05:10,520 –> 00:05:16,240
we sometimes see in houses
and don’t even know why they are there.

65
00:05:16,320 –> 00:05:20,920
What is less important
is the exposed concrete,

66
00:05:21,000 –> 00:05:25,200
the lack of finishing,
next to the context in which it’s planned.

67
00:05:25,280 –> 00:05:30,760
That’s why I think
this Brazilian exposed concrete,

68
00:05:30,840 –> 00:05:34,080
just like Paulo, Artigas, and even Lina,

69
00:05:34,400 –> 00:05:39,520
brings an architect’s political stance.

70
00:05:42,360 –> 00:05:45,080
There’s a small opening in the earth,

71
00:05:45,160 –> 00:05:47,680
and it’s possible to make
a staircase there,

72
00:05:47,760 –> 00:05:49,960
a very generous staircase.

73
00:05:50,040 –> 00:05:55,760
There’s this little marquee connected
to the main volume of the house,

74
00:05:55,840 –> 00:06:00,280
and you get into the house
by that staircase.

75
00:06:00,360 –> 00:06:06,480
It’s a very special way
to enter this house.

76
00:06:11,320 –> 00:06:16,840
Speaking about this house,
I think the principal matter

77
00:06:16,920 –> 00:06:21,560
about this space we are in
is how compact it is.

78
00:06:21,640 –> 00:06:25,320
It’s also a matter of location.

79
00:06:25,400 –> 00:06:27,680
Just to situate us,

80
00:06:27,760 –> 00:06:30,840
we’re in a wealthy neighborhood
in São Paulo.

81
00:06:30,920 –> 00:06:34,800
You can see the houses next door,
the neighbors.

82
00:06:36,160 –> 00:06:41,960
But this didn’t make him
build a big house

83
00:06:42,040 –> 00:06:46,560
as we are used to seeing,
with many rooms and bathrooms.

84
00:06:46,960 –> 00:06:51,200
This house is a house that considers

85
00:06:51,280 –> 00:06:55,040
what is strictly essential for a family.

86
00:06:55,120 –> 00:06:57,640
This is a very simple house
if you think about it.

87
00:06:57,720 –> 00:07:02,240
It’s a huge living room
next to a kitchen,

88
00:07:02,320 –> 00:07:06,800
and all rooms are connected
to this single space.

89
00:07:06,880 –> 00:07:11,840
This is one way
of laying out the floor plan.

90
00:07:11,920 –> 00:07:13,800
Now, talking about the floor plan.

91
00:07:13,880 –> 00:07:16,360
With the floor plan at this level,

92
00:07:16,440 –> 00:07:18,480
this horizontal architectural level,

93
00:07:20,160 –> 00:07:24,160
how do you engage the house occupants

94
00:07:24,240 –> 00:07:27,720
in this common social space?

95
00:07:27,800 –> 00:07:32,040
This is also one way Pablo challenges us,
as I understand it,

96
00:07:32,120 –> 00:07:36,440
that is, to create a sociability different

97
00:07:36,520 –> 00:07:39,960
from that which other houses offer.

98
00:07:40,040 –> 00:07:45,440
The open rooms also break up
the secret house spaces.

99
00:07:45,520 –> 00:07:47,480
So, one of…

100
00:07:49,080 –> 00:07:55,080
open doors that reveal
a bedroom like this, it is…

101
00:07:55,160 –> 00:07:57,000
Let’s say it’s a way of…

102
00:07:59,000 –> 00:08:03,680
not only inviting this common space
into the living room

103
00:08:03,760 –> 00:08:07,320
to dismantle this private space,

104
00:08:07,400 –> 00:08:12,920
but also to transform
this small, private space

105
00:08:13,000 –> 00:08:15,920
into something in common
for those who occupy the house.

106
00:08:29,240 –> 00:08:31,920
It’s very shocking
to see the exposed concrete

107
00:08:32,000 –> 00:08:35,080
in a bedroom with a bed like that. So…

108
00:08:35,160 –> 00:08:39,480
And this floor,
which is a cold floor in this case…

109
00:08:39,560 –> 00:08:42,480
What’s important
is to understand the context,

110
00:08:42,560 –> 00:08:47,840
the context where these taunts
and criticism once fit,

111
00:08:47,920 –> 00:08:49,680
and maybe still do.

112
00:08:49,760 –> 00:08:54,280
The same thing about the zenith lighting.

113
00:08:54,360 –> 00:08:57,560
So, this space which is…

114
00:08:59,080 –> 00:09:04,040
This bedroom space has this lightning

115
00:09:04,120 –> 00:09:08,480
with a quality that is very astonishing.

116
00:09:08,560 –> 00:09:11,120
This light transforms this concrete,

117
00:09:11,200 –> 00:09:16,040
this heavy material,
into something light

118
00:09:16,120 –> 00:09:18,680
with all that formwork finish,

119
00:09:18,760 –> 00:09:23,640
the unfinished materials,
but that has a very important presence

120
00:09:23,720 –> 00:09:26,280
and also dismantles it little…

121
00:09:26,680 –> 00:09:30,760
It dismantles the matter of comfort
in a very incisive way.

122
00:09:30,840 –> 00:09:34,600
In this sense, this is a house

123
00:09:34,680 –> 00:09:38,040
that makes us think about these addictions

124
00:09:38,120 –> 00:09:41,360
we have in in our lifestyles.

125
00:09:41,880 –> 00:09:45,840
It’s not about a small house,
it’s a big house, but it is…

126
00:09:46,520 –> 00:09:50,400
It is just what’s necessary.

127
00:09:50,480 –> 00:09:56,240
This is what’s needed to make
a house for people to live in.

128
00:09:56,320 –> 00:09:59,280
We can say the same about the structure,

129
00:09:59,920 –> 00:10:03,040
which is actually the bathroom,
but it’s a bathroom

130
00:10:03,120 –> 00:10:08,720
that is a volume,
a shower volume inside the space

131
00:10:08,800 –> 00:10:10,480
which is the bedroom.

132
00:10:11,000 –> 00:10:13,960
The shower is inside that volume.

133
00:10:14,440 –> 00:10:19,200
The same thing
with common space inside the bedroom,

134
00:10:19,280 –> 00:10:21,240
there isn’t a very defined limit,

135
00:10:21,320 –> 00:10:23,840
there’s no door threshold
within these limits.

136
00:10:23,920 –> 00:10:25,560
In the bathroom it’s the same.

137
00:10:26,360 –> 00:10:30,520
I’m here, but I can’t say
if I’m still inside the bedroom

138
00:10:30,600 –> 00:10:32,440
or inside the bathroom.

139
00:10:39,560 –> 00:10:42,360
What I think about the most

140
00:10:42,440 –> 00:10:45,840
when I see Paulo’s work,

141
00:10:45,920 –> 00:10:49,840
and that of other architects also,
like Vilanova Artigas,

142
00:10:49,920 –> 00:10:52,280
is that the house

143
00:10:52,360 –> 00:10:56,200
is not a thing full of style

144
00:10:56,280 –> 00:11:01,200
that sets a style for that person
who is living in this place.

145
00:11:01,280 –> 00:11:06,400
It’s the opposite. It’s an empty shell

146
00:11:06,480 –> 00:11:09,040
with all this meaning we’re talking about.

147
00:11:09,120 –> 00:11:14,560
But what sets the tone for this habitation

148
00:11:14,640 –> 00:11:18,720
is the belongings of the people
who will live here.

149
00:11:18,800 –> 00:11:21,320
So, when you look at this space,

150
00:11:22,040 –> 00:11:27,640
it doesn’t matter if the table is here,
the rug there, if there’s…

151
00:11:29,720 –> 00:11:32,040
a place to store things.

152
00:11:32,120 –> 00:11:34,280
At the very least, they are your things.

153
00:11:38,720 –> 00:11:41,080
Going back to the house layout.

154
00:11:41,520 –> 00:11:44,840
Basically, it’s divided.
Bedrooms on one side,

155
00:11:44,920 –> 00:11:48,000
and a living room on the other,
and the kitchen…

156
00:11:48,080 –> 00:11:51,840
It’s the ideal space,
let’s put it this way.

157
00:11:52,240 –> 00:11:56,160
This separation between
the two living spaces and the kitchen

158
00:11:56,240 –> 00:12:01,720
is made by a volume in concrete also,
which doesn’t reach the ceiling.

159
00:12:01,800 –> 00:12:06,760
This structure that supports
the house conceptually

160
00:12:06,840 –> 00:12:09,480
is not impacted by this volume.

161
00:12:09,560 –> 00:12:14,120
Even when this necessary room separation

162
00:12:14,200 –> 00:12:16,360
is made in a very…

163
00:12:18,400 –> 00:12:23,760
very calculated way,
very planned to not interrupt

164
00:12:24,240 –> 00:12:27,320
this exchange between these spaces.

165
00:12:29,080 –> 00:12:34,840
The windows Paulo designed are details.

166
00:12:34,920 –> 00:12:41,040
This window is
a very light steel structure.

167
00:12:41,120 –> 00:12:44,080
The frame structure
is a very simple thing.

168
00:12:44,560 –> 00:12:46,960
It’s also not a manufactured thing.

169
00:12:47,040 –> 00:12:51,600
It’s planned to be simple
and used that way.

170
00:12:53,120 –> 00:12:55,880
The way to activate it
is also very simple.

171
00:12:55,960 –> 00:13:01,800
By using the structure’s weigh and gravity

172
00:13:01,880 –> 00:13:07,280
you can open it,
ventilating and creating, as I say,

173
00:13:07,360 –> 00:13:10,800
a connection between this space,
as I said downstairs,

174
00:13:10,880 –> 00:13:16,400
to the valley
and the river that was here once.

175
00:13:16,480 –> 00:13:24,000
In this kind of structure,
this detail is essential to get…

176
00:13:25,880 –> 00:13:30,800
to make a connection
between the interior and exterior spaces.

177
00:13:36,400 –> 00:13:40,480
I always imagine the conversations

178
00:13:40,560 –> 00:13:44,320
between the architects and the people
who are commissioning the work.

179
00:13:44,400 –> 00:13:48,240
How do you create a dialog
with that person

180
00:13:48,320 –> 00:13:50,800
without simply convincing them to do it,

181
00:13:50,880 –> 00:13:55,800
but making them understand
the purpose of this architecture?

182
00:13:55,880 –> 00:14:01,080
The permanency of this house,
intact and original,

183
00:14:01,160 –> 00:14:05,080
just as it was planned originally,
is a huge achievement.

184
00:14:05,840 –> 00:14:08,800
Having it in our city shows that…

185
00:14:09,960 –> 00:14:13,000
it’s possible to make some things.

186
00:14:13,080 –> 00:14:17,240
It’s a « manifesto house » in that sense.

187
00:14:22,840 –> 00:14:27,880
The Casa Masetti land is
in the Pacaembu neighborhood

188
00:14:27,960 –> 00:14:31,480
where it’s not possible to build up.

189
00:14:31,560 –> 00:14:35,840
Mr. Mario Masetti, who loved architecture,

190
00:14:35,920 –> 00:14:41,080
has many projects made
with famous architects of renown…

191
00:14:41,160 –> 00:14:42,960
from his point of view, of course.

192
00:14:43,040 –> 00:14:45,000
Because of that, he came to me

193
00:14:45,080 –> 00:14:47,600
when he bought the land
to build that house.

194
00:14:47,680 –> 00:14:51,240
The house’s weight load on this land

195
00:14:51,320 –> 00:14:55,720
forces that 100 foot retaining wall

196
00:14:55,800 –> 00:14:57,480
to the avenue underneath.

197
00:14:57,560 –> 00:15:00,760
What made us build the whole square
sharp and clear,

198
00:15:00,840 –> 00:15:03,720
from an engineering point of view,

199
00:15:03,800 –> 00:15:07,520
in order to evaluate and calculate that,
it’s supported by four pillars

200
00:15:07,600 –> 00:15:10,760
where you can calculate
that where the weight bows out

201
00:15:10,840 –> 00:15:15,240
won’t interfere with what would be
a retaining wall down there, etc.

202
00:15:15,720 –> 00:15:17,240
That’s what characterizes

203
00:15:17,920 –> 00:15:21,480
the accuracy with which
the house was built on the four pillars.

204
00:15:22,600 –> 00:15:27,760
This is what the whole house
and construction has…

205
00:15:27,840 –> 00:15:30,720
not just mine, but to emphasize

206
00:15:31,160 –> 00:15:36,400
that I like the things I make and build.

207
00:15:37,080 –> 00:15:40,040
There is a sense of playfulness and fun.