With the exception of the metal stairs and the Alentejo-style fireplace with its black stone floor cladding, there is not a single line in the design for this house in the city of São Paulo that deflects from pure and simple orthogonality. Even the roofs are flat and become decked reflecting pools which, in addition to keeping out the weather, are inhabited by carp. This antiformalist austerity, no doubt a tribute to some of the remarkable aspects of the so called Paulista school, under whose disciplinary rigor both partners were trained, is, however, tinted in a very particular way by irruptions of lyricism and vernacular evocations.
The program resolution is operated by functional blocks differring in size and shape and distinguished distinguished according to the nature of their uses, based on a public/private gradient without lacunae: living room and library as social areas, office and dining room intermediate, and bedrooms, kitchen and veranda as private areas.
From front to back, the itinerary starts off with a sort of shop window beside the plot’s main entrance. This turns out to be an aviary, which prenounces other vernacular ingredients still to come. Then, the concrete blade laterally intercepts the compact volume of the double height living room at first floor level, converting itself into a jirau (mezzanine), or elevated interior walkway. The high living room wall by which it runs houses bookshelves from floor to top. Before reaching the bedrooms the slab converts itself into a glazed gallery, producing a kind of hiatus between the front and back blocks, as it runs alongside a small terrace (from which one accesses other enjoyable spaces on the roof top). In the heart of the domestic intimacy, from the entrance to the guestroom to that of the master bedroom, the circulation route converts into a window-lined corridor, completing the progressive interiorization.
If on the first floor the axis predominates over all, on the ground floor and in the external green areas the spaces communicate in a fluid manner, by means of a visual integration controlled by subtle shifts, pauses and the distinctive treatments of surfaces and openings, always aimed at an empirical accommodation of the living experience, a characterization of the environments that rejects the isotropic spatial continuum of more dogmatic rationalisms.
CALDEIRA, Vasco – Ubiracica House.
In: CALDEIRA, Vasco; FANUCCI, Francisco; FERRAZ, Marcelo; SANTOS, Cecilia Rodrigues dos – Francisco Fanucci, Marcelo Ferraz: Brasil Arquitetura Studio. São Paulo: Cosac Naify, 2005.
Architects: Francisco Fanucci, Marcelo Ferraz, Anderson Freitas, Fabio Mosaner
Date of project: 1996
Date of construction: 1996-1997
Gross floor area: 300m²
Location: São Paulo, SP
Publications: “Casa Ubiracica” Projeto, São Paulo, 1998, n.º 219, pág. 64/67 “Casa in Città” Abitare, Milão, 1998, pág. 214/215 ARAIUM, Cíntia. Simplicidade Planejada. Viver Bem, São Paulo, ano 10, n. 85, p. 52-57, out. 2000. CASA Ubiracica – Caderno Casas do Brasil. Arquitetura e Urbanismo, São Paulo, ano 15, n. 84, p. 59-61, jun./jul. 1999 _. Liberdade Experimental. Espaço D’, São Paulo, ano 3, n. 8, p. 60-65, ago. 1999.
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