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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00:00:22,000 –> 00:00:27,400
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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00:00:34,280 –> 00:00:37,280
e foi essa condição geográfica
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00:00:37,360 –> 00:00:40,960
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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00:00:47,640 –> 00:00:51,440
e próximo de uma pequena escarpa.
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00:00:52,040 –> 00:00:59,680
Essa foi a forma que o Paulo
pensou essa casa.
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00:00:59,760 –> 00:01:04,080
Então tirar o proveito dessa situação
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00:01:05,200 –> 00:01:07,800
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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00:01:10,560 –> 00:01:14,920
mas a partir dessa condição
é que a casa foi pensada.
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00:01:15,000 –> 00:01:17,920
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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00:01:46,000 –> 00:01:51,080
Tem um conceito bastante importante
que é, mesmo quando a casa,
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00:01:51,160 –> 00:01:53,840
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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00:02:02,960 –> 00:02:07,280
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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00:02:15,240 –> 00:02:19,880
e então, a casa faz uma sombra
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00:02:20,400 –> 00:02:22,080
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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00:02:43,880 –> 00:02:49,360
e o espaço da casa, que é essa caixa
de concreto suspensa do chão.
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00:02:56,560 –> 00:02:59,520
Outra coisa importante,
muito importante desta casa
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00:02:59,600 –> 00:03:03,520
é o projeto de estrutura dela.
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00:03:03,600 –> 00:03:06,800
Então, a forma como a estrutura
da casa possibilita…
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00:03:07,240 –> 00:03:10,400
Essa forma de ocupar este terreno.
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00:03:10,480 –> 00:03:13,720
Então a casa está…
Basicamente, esse volume suspenso
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00:03:14,160 –> 00:03:16,600
tem duas vigas laterais,
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00:03:16,680 –> 00:03:22,720
então são duas grandes vigas laterais
de concreto, dispostas paralelamente,
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00:03:22,800 –> 00:03:27,960
unidas por duas lajes:
uma laje de teto e uma de piso
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00:03:28,040 –> 00:03:30,640
conectada por vigas transversais.
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00:03:30,720 –> 00:03:33,200
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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00:03:43,120 –> 00:03:48,960
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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00:03:54,320 –> 00:03:56,640
este espaço festivo em que estamos.
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Este espaço de confraternização,
de reunião
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00:04:00,800 –> 00:04:05,760
é possibilitado por um cálculo estrutural.
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00:04:05,840 –> 00:04:09,520
E é essa a poética forte,
como podemos ver,
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00:04:09,600 –> 00:04:14,200
que é uma coisa muito reconhecida na obra
do Paulo Mendes da Rocha.
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00:04:14,280 –> 00:04:19,720
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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00:04:25,440 –> 00:04:27,920
mas também o contexto da obra
do arquiteto.
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Esta casa foi feita
durante um momento específico
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00:04:33,520 –> 00:04:34,840
da história do Brasil,
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00:04:35,400 –> 00:04:40,280
e o Paulo, naquele momento,
estava pensando nessa arquitetura
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00:04:40,360 –> 00:04:45,200
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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00:04:48,520 –> 00:04:51,880
para essas condições geográficas,
mas também,
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00:04:51,960 –> 00:04:57,280
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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00:05:02,760 –> 00:05:08,480
porque é uma casa muito despojada
no sentido dos modismos
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00:05:08,560 –> 00:05:11,640
e dos confortos que, às vezes,
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00:05:12,080 –> 00:05:16,240
vemos nas casas e nem sabemos
o porquê estão ali.
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00:05:16,320 –> 00:05:20,920
O que menos importa aqui
é o concreto aparente mesmo,
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00:05:21,000 –> 00:05:22,760
a falta de acabamento,
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00:05:22,840 –> 00:05:25,200
mas sim o contexto
em que isso foi pensado.
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00:05:25,280 –> 00:05:30,760
Por isso que eu acho
que esse concreto aparente brasileiro,
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00:05:30,840 –> 00:05:34,080
assim como o Paulo, Artigas
e mesmo a Lina,
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acarreta um posicionamento político
dos arquitetos.
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00:05:42,360 –> 00:05:45,080
O terreno tem uma pequena abertura
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e é possível fazer a essa escada
desse jeito,
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00:05:47,760 –> 00:05:49,960
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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00:05:55,840 –> 00:06:00,280
e que você chega na casa
por essa escada mesmo.
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00:06:00,360 –> 00:06:06,480
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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00:06:16,920 –> 00:06:21,560
sobre este espaço em que estamos…
é de como ela é compacta.
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00:06:21,640 –> 00:06:25,320
Isso também é um posicionamento.
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00:06:25,400 –> 00:06:30,840
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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00:06:36,160 –> 00:06:41,960
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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00:06:57,720 –> 00:07:02,240
É um grande espaço de estar
junto com uma cozinha,
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00:07:02,320 –> 00:07:06,800
e todos os quartos conectados
a esse espaço, nesse único espaço.
92
00:07:06,880 –> 00:07:11,840
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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00:07:24,240 –> 00:07:27,720
neste espaço comum social?
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00:07:27,800 –> 00:07:32,040
Isso também é uma forma de provocação,
que eu entendo, do Paulo.
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00:07:32,120 –> 00:07:36,480
Digamos assim,
gerar uma sociabilidade distinta
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que outras casas possibilitariam.
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00:07:40,040 –> 00:07:45,440
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…
103
00:07:55,160 –> 00:07:57,000
Vamos dizer que é uma forma de…
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00:07:59,000 –> 00:08:03,680
não só convidar esse espaço comum
da sala de estar
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00:08:03,760 –> 00:08:07,320
para desmontar este espaço privado,
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00:08:07,400 –> 00:08:12,920
mas também transforma
este pequeno espaço particular
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00:08:13,000 –> 00:08:15,920
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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00:08:35,160 –> 00:08:39,480
E este piso,
que é um piso frio nessa situação,
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00:08:39,560 –> 00:08:42,480
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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00:08:59,080 –> 00:09:04,040
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.
118
00:09:08,560 –> 00:09:11,120
Essa luz é que transforma esse concreto,
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00:09:11,200 –> 00:09:16,040
esse material com esse peso
em uma coisa absolutamente leve,
120
00:09:16,120 –> 00:09:18,680
com todos os acabamento das fôrmas,
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00:09:18,760 –> 00:09:23,640
material inacabado, mas que tem
uma presença muito importante
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00:09:23,720 –> 00:09:26,280
e desmonta também um pouco…
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00:09:26,680 –> 00:09:29,040
Acho que desmonta
de uma forma muito incisiva
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00:09:29,120 –> 00:09:30,760
essa questão do conforto.
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00:09:30,840 –> 00:09:34,600
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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00:09:41,880 –> 00:09:44,320
Não é que seja uma casa pequena,
é uma casa grande.
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00:09:44,400 –> 00:09:50,400
Mas, ela é o que
é o absolutamente necessário.
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00:09:50,480 –> 00:09:56,240
É isso que precisa para fazer uma casa
para as pessoas morarem.
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00:09:56,320 –> 00:09:59,280
O mesmo dá para dizer desta estrutura,
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00:09:59,920 –> 00:10:03,040
que é, na verdade, o banheiro,
mas é um banheiro
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00:10:03,120 –> 00:10:08,720
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.
135
00:10:11,000 –> 00:10:13,960
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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00:10:19,280 –> 00:10:21,240
não há um limite muito definido,
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00:10:21,320 –> 00:10:23,840
não há uma soleira na porta
desses limites.
139
00:10:23,920 –> 00:10:25,560
No banheiro é a mesma coisa.
140
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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00:10:30,600 –> 00:10:32,440
ou do banheiro da casa.
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00:10:39,560 –> 00:10:42,360
O que eu mais considero
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00:10:42,440 –> 00:10:45,840
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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00:10:49,040 –> 00:10:52,280
e outros arquitetos é que a casa
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00:10:52,360 –> 00:10:57,960
não é uma coisa… cheia de estilo
que vai dar um estilo
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00:10:58,040 –> 00:11:01,200
para aquela pessoa
que está vivendo nesse lugar.
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00:11:01,280 –> 00:11:02,320
É o contrário.
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00:11:02,400 –> 00:11:06,400
Ela é uma casca vazia
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00:11:06,480 –> 00:11:09,040
com todos esses significados
que estamos dizendo.
151
00:11:09,120 –> 00:11:14,560
Mas, o que vai dizer o tom dessa ocupação
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00:11:14,640 –> 00:11:18,720
são os objetos da pessoa
que vai morar aqui.
153
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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00:11:29,720 –> 00:11:34,280
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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00:11:41,160 –> 00:11:44,840
Basicamente, ela se divide.
Então quartos para um lado,
158
00:11:44,920 –> 00:11:48,000
a sala para o outro e a cozinha,
159
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,
162
00:12:01,800 –> 00:12:06,760
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.
164
00:12:09,560 –> 00:12:14,120
Mesmo quando essa separação
de ambientes é necessária.
165
00:12:14,200 –> 00:12:16,360
é feita de uma forma muito…
166
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.
172
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,
175
00:13:01,880 –> 00:13:07,280
você consegue abrir, fazer ventilar
e criar, vamos dizer assim,
176
00:13:07,360 –> 00:13:10,800
a conexão deste espaço aqui,
como eu disse lá embaixo,
177
00:13:10,880 –> 00:13:16,400
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.
183
00:13:44,400 –> 00:13:48,240
Como é que você faz
para criar um diálogo com essa pessoa
184
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
00:14:43,160 –> 00:14:44,840
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
3
00:00:19,600 –> 00:00:21,360
at the beginning of the 70s.
4
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.
9
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.
12
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,
15
00:01:10,560 –> 00:01:14,920
the house was designed
from these conditions.
16
00:01:15,000 –> 00:01:17,920
Like other houses done by this architect,
17
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,
19
00:01:31,400 –> 00:01:35,520
and opening up the view of this valley
we’re talking about.
20
00:01:41,880 –> 00:01:43,880
We’re going into the house.
21
00:01:46,000 –> 00:01:48,240
There’s this very important concept
22
00:01:48,320 –> 00:01:53,840
which is, although the house
is a private house,
23
00:01:53,920 –> 00:01:59,800
it’ll always be related to the city.
24
00:01:59,880 –> 00:02:04,160
So, the floor finish
is made from concrete
25
00:02:04,240 –> 00:02:07,280
and it’s the same
concrete from the street
26
00:02:07,360 –> 00:02:10,600
that enters this space here.
27
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.
29
00:02:33,000 –> 00:02:39,640
The house consists
in these two spaces, essentially.
30
00:02:39,720 –> 00:02:43,800
There’s is the ground floor,
which is open and airy,
31
00:02:43,880 –> 00:02:46,240
and the house space,
32
00:02:46,320 –> 00:02:49,480
which is that concrete box
suspended over the ground.
33
00:02:56,560 –> 00:02:59,520
One more important thing to this house
34
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.
36
00:03:10,480 –> 00:03:13,720
So, the house is…
Basically, this suspended volume
37
00:03:14,160 –> 00:03:16,600
has two lateral beams,
38
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
40
00:03:28,040 –> 00:03:30,640
connected by transverse beams.
41
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,
43
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.
45
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
61
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
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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
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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…
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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
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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
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00:14:51,320 –> 00:14:55,720
forces that 100 foot retaining wall
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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.
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00:15:22,600 –> 00:15:27,760
This is what the whole house
and construction has…
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00:15:27,840 –> 00:15:30,720
not just mine, but to emphasize
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00:15:31,160 –> 00:15:36,400
that I like the things I make and build.
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00:15:37,080 –> 00:15:40,040
There is a sense of playfulness and fun.
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