© Rafaela Netto

(c)RafaelaNetto

架构师提供的文本描述。Aruá大楼的设计考虑了四个不同的区块，它们由一个共同的垂直循环连接起来。这项工作类似于一个拼图，由四个建筑组成，有不同的蓝图和高度，合并为一个。这些卷的组合形成了一个上升螺旋，因为每个块都有一个比前一个更高的地板。这个运动启发了这座建筑的名字，意思是土皮里的蜗牛壳。

Text description provided by the architects. The Aruá building was designed considering 4 different blocks joined by a common vertical circulation. The work is similar to a jigsaw puzzle made up of four buildings with different blueprints and heights, merged into one. The combination of these volumes forms an ascending spiral, as each block has a floor that is higher than the previous one. This movement inspired the building’s name, meaning snail shell in Tupi. 

Text description provided by the architects. The Aruá building was designed considering 4 different blocks joined by a common vertical circulation. The work is similar to a jigsaw puzzle made up of four buildings with different blueprints and heights, merged into one. The combination of these volumes forms an ascending spiral, as each block has a floor that is higher than the previous one. This movement inspired the building’s name, meaning snail shell in Tupi. 

 © Rafaela Netto

(c)RafaelaNetto

 Ground Floor Plan

 © Rafaela Netto

(c)RafaelaNetto

具有不同模板的每个卷的策略使一系列具有Verandas和Gardens的penehouse处于相同的级别，例如房屋的院子，与仅通过第二层的开放区域的常规访问不同。每个块接收到不同的完成，以强调构成建筑物的每个卷的蓝图和占用之间的差异。

The strategy of each volume with a different template enabled a series of penthouses with verandas and gardens at the same level, like the yard of a house, different from the usual access to the open area exclusively through a second floor. Each block received a different finish, to accentuate the difference in the blueprint and occupation of each of the volumes that comprise the building.

The strategy of each volume with a different template enabled a series of penthouses with verandas and gardens at the same level, like the yard of a house, different from the usual access to the open area exclusively through a second floor. Each block received a different finish, to accentuate the difference in the blueprint and occupation of each of the volumes that comprise the building.

 © Rafaela Netto

(c)RafaelaNetto

 © Rafaela Netto

(c)RafaelaNetto

这座建筑包含了许多关于巴西现代建筑的参考资料。入口大厅完全是裸露的混凝土柱；景观设计非常热带；有一个由艺术家若昂·尼采(Jo O Nitsche)用水泥瓷砖制成的大型艺术面板；公寓的开口有滑动的百叶窗，建筑物的入口是一个裸露的混凝土入口，标志着公共和私人之间的过渡，也是人行道上的长凳。

The building includes many references to good Brazilian modern architecture. The entrance hall is entirely open underexposed concrete columns; the landscape designs are quite tropical; there is a large art panel made of cement tiles by artist João Nitsche; the openings in the apartments have sliding shutters, and the building is accessed through an exposed concrete entrance that marks the transition between public and private, and also serves as a sidewalk bench. 

The building includes many references to good Brazilian modern architecture. The entrance hall is entirely open underexposed concrete columns; the landscape designs are quite tropical; there is a large art panel made of cement tiles by artist João Nitsche; the openings in the apartments have sliding shutters, and the building is accessed through an exposed concrete entrance that marks the transition between public and private, and also serves as a sidewalk bench. 

 © Rafaela Netto

(c)RafaelaNetto

该项目的最终建筑量从一开始就涉及到建筑师，因为有关土地面积、建造面积、占用需求和模板之间的比例的立法迫使产生了某种强健和紧凑的结果。为此目的，使用体积变化还可以采用塑料方法来执行这些卷，在精细的立面和入口，特别是在体积较小的地方，完全用合成甲板加以加强。这套建筑的塑料效果旨在尽量减少新建筑的影响，与街道的城市形态进行对话，使之成为对行人和城市结构更友好的建筑。

The final architectural volume of the project concerned the architects from the beginning, as the legislation pertaining to the ratio between land area, constructed area, occupation need, and template forced a result somewhat robust and compact. To that end, the use of volume variation also allowed for a plastic approach to the implementation of these volumes, reinforced in the meticulous façades and entrance, especially in the smaller volume, entirely lined with synthetic decks. The plastic result of the set seeks to minimize the impact of the new construction, establishing a dialogue with the urban morphology of the streets, making this a friendlier building to pedestrians and the urban fabric. 

The final architectural volume of the project concerned the architects from the beginning, as the legislation pertaining to the ratio between land area, constructed area, occupation need, and template forced a result somewhat robust and compact. To that end, the use of volume variation also allowed for a plastic approach to the implementation of these volumes, reinforced in the meticulous façades and entrance, especially in the smaller volume, entirely lined with synthetic decks. The plastic result of the set seeks to minimize the impact of the new construction, establishing a dialogue with the urban morphology of the streets, making this a friendlier building to pedestrians and the urban fabric. 

 © Rafaela Netto

(c)RafaelaNetto

Architects FGMF Arquitetos

Location R. Cajaíba, 335 - Vila Pompeia, São Paulo - SP, 01257-040, Brazil

Authors Fernando Forte, Lourenço Gimenes, Rodrigo Marcondes Ferraz

Architect in Charge Fernando Forte

Area 3700.0 m2

Project Year 2018

Photographs Rafaela Netto

Category Residential

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