RB House Marcos Bertoldi Arquitetos

 © Alan Weintraub

艾伦·韦特鲁布

架构师提供的文本描述。这座房子符合一位年轻继承人和收藏家的抱负和生活计划。经过详尽的搜索，该网站位于Graciosa乡村俱乐部(Graciosa Country Club)旁边，该俱乐部是最高级的俱乐部，高尔夫球场位于城市的最中央。它的特殊性：尺寸，格式，立法和邻里塑造和制约了几个设计决策。

Text description provided by the architects. This house corresponds to the ambitions and life project of a young heir and collector. The site, exhaustively searched, is located beside Graciosa Country Club, the most exclusive club with the golf course most centrally located in the city. Its particularities: dimensions, format, legislation and neighborhood shaped and conditioned several design decisions.

 © Alan Weintraub

艾伦·韦特鲁布

为大型聚会和招待会建造一座房子的想法也将是该项目发展的核心。

The idea of a house for large parties and receptions would also be central in the development of the project.

 © Alan Weintraub

艾伦·韦特鲁布

这所完全用钢筋混凝土建造的房子是这间办公室的提议，它在这个项目中看到了一种替代强大建筑的方法，因为它的体积很大，而且没有传统的风格让步。

The house entirely built with reinforced concrete was a proposal of this office, which saw in this project an alternative to a powerful architecture for its volume and without the conventional stylistic concessions.

1200平方米的场地相对较小，安装大型程序时，拱形一侧的三角形不利于建筑物的设计。沿着高墙的高尔夫球场的一条狭长的维修棚只允许从二楼看到想要的景色。该项目的纵向指导原则来源于地段所带来的困难之间的关系，以及客户最重要的要求：充分利用高尔夫球场的景观。

The site of 1200m2 was relatively small for the large program to be installed, and the triangular shape with one side in an arch did not facilitate the design of the building. A narrow strip of maintenance sheds of the golf course along a high wall would only allow the desired views from the second floor of the house. The vertical guideline of the project came from the relationship between the difficulties presented by the lot, together with the most important requirement of the client: to make the most out of the views of the golf course.

这样，主要用途只发生在二楼。

This way, the main uses only happen from the second floor of the building.

 © Alan Weintraub

艾伦·韦特鲁布

这所房子有五层楼-一楼和四层。地面和第一层的目的是：出入口、露台和汽车棚、服务、工作人员公寓和设施，并有一个独立的入口，从进入该房子的同一广场，即私人收藏的画廊。

The house consists of five floors - the groundfloor and four more. The ground and the first floors were intended to: accesses, patio and car shelter, services, staff apartments and facilities, and with an independent entrance from the same square that accesses the house, the gallery for the private collection.

画廊空间不包括在项目的非官方范围内。主要的想法是在住宅的不同空间之间安装艺术品。然而，由于一楼的面积过剩，加上收藏了大量的艺术品，我们认为最好是建议创建一个画廊，这个想法很快就被客户吸收了。因此，展览空间被设计成一个双高天花板的“T”字形图，其中一条“T”的腿被保留在墙壁之间的花园里，计划用于雕塑展览、水镜和水上花园。这座画廊是屋顶花园，它的覆盖范围重建了地面上两层的场地，提供可从房间的地板和安装在玻璃盒中的主大厅进入的草地区域。

The gallery space was not included in the inicial scope of the project. The main idea was to install the artworks among the different spaces of the residence. However, due to the surplus of areas in the first floors and the inclusion of large scale art pieces to the collection, we thought  it would be good to suggest the creation of a gallery, idea that was rapidly absorbed by the client. Thus, the exhibition space was intalled in a "T" shape plan with double-height ceiling, with one leg of the "T" reserved for a garden between walls, planned for sculpture exhibitions, water mirror and water garden. The coverage of this gallery, a roof garden, recreates the site two floors above the ground , providing a grassy area accessible from the floor of the rooms and from the main hall installed in a glass

 © Alan Weintraub

艾伦·韦特鲁布

当代艺术收藏品是在二十年前开始形成的，当时主人指派我们设计他的第一套公寓。我们从80年代开始的一系列本地艺术家开始。在接下来的几年里，收藏了一系列具有国家和国际范围的艺术家，并成为当地博物馆和重要的巴西艺术家和集市的参考。

The contemporary art collection began to be formed twenty years ago, when the owner assigned us to design his first apartment. We started with a series of local artists from the 80s generation. In the next years the collection has housed a series of artists with national and international scope, and has became a reference to local museums and important Brazilian artists and marchands.

 © Alan Weintraub

艾伦·韦特鲁布

这所房子大约有1750平方米，是为一对夫妇和两个女孩设计的。

The house, of approximately 1750m2, was designed for a couple and two girls.

在一楼，除了车辆出入口外，还有一个部分被玻璃盒子覆盖的大广场，没有墙壁和巨大的比例，是通往主大厅的通道(那些从房子后面乘汽车来的人也可以进入)和私人美术馆。四层高层可以通过三种不同的方式进入：从电梯或坡道到主要区域，以及通过楼梯到达服务区。

On the groundfloor, apart of the vehicle access, a large square partially covered by the glass box with no walls and monumental proportions is the access to the main lobby, (also accessible for those who come by car from the back of the house), and to the private art gallery. The four upper floors can be accessed in three different ways: by lift or ramps to the main areas, and by stairs to the service areas.

 © Alan Weintraub

艾伦·韦特鲁布

从一楼的主大厅，我们走上两层，进入水平，房间之间隔着洋红色的木制品，被一扇26米长的丝带窗扯开，第一眼看到高尔夫球场和通往秘密花园的通道。这一种包括3种Pau-Ferro(凯撒属植物)，一种产于巴西大西洋福雷斯特的本地树种。这层是专门为女儿的房间，客房，以及可容纳日常用途的房间，如房子的主厨房，它连接自己与其他两个厨房通过货运电梯。还有第四间厨房供工作人员使用。

From the main lobby on the groundfloor, we go up two floors to access the level with the rooms separated by the magenta woodwork, ripped by a ribbon window of 26 meters long with the first views of the golf course and access to the secret garden. This one contains 3 species of Pau-Ferro (Caesalpinia Ferrea), a native tree from the Brazailian Atlantic Forrest. This floor is dedicated to the daughters rooms, the guest room, and the rooms that accomodate daily uses such as the main kitchen of the house, which connects itself with the other two kitchens by a freight elevator . There is still a fourth kitchen for staff use.

 © Alan Weintraub

艾伦·韦特鲁布

三楼有更大的空间，是专门为更大的家庭互动和大型接待的楼层。它是带有双层玻璃盒子的地板，它横贯整个大的混凝土砌块，一边穿过高尔夫球场，一边面对着城市的天际线。这层楼也是房子的主套房，通往屋顶游泳池的外部楼梯的秘密花园，以及通往可欣赏高尔夫球场景观的侧面露台的通道。

The third floor contains the larger spaces and it is the floor dedicated to the bigger family interactions and large receptions. It is the floor with the double-height glass box, which runs transversally through the large concrete block, poring over the golf course in one end and facing the city skyline at the other end.  This floor also houses the master suite of the house, with access to the secret garden containing the external staircase to the rooftop swimming pool, and access to the side terrace with views of the golf course.

 © Alan Weintraub

艾伦·韦特鲁布

四楼可供白天使用的社交和家庭活动，如甲板、游泳池、休息室和酒吧，所有这些活动都有广阔的高尔夫球场前景，还有桑拿浴室和带烧烤架的厨房作为午餐。游泳池上覆盖着由艺术家保罗·里道菲(Paolo Ridolfi)绘制的一幅原画中的玻璃马赛克。它在圣保罗被执行、拆卸和装箱，并被带到库里蒂巴进行最后安装。内部的空间，在夹层之间的两个空洞的玻璃盒，容纳了一个桌子，一个DJ和舞池。

The fourth floor accomodates the social and family activities for daytime use, such as deck and swimming pool, lounge and bar, all of them with broad prospects of the golf course, plus sauna and kitchen with barbecue grill for lunch. The pool is covered in glass mosaic from an original drawing by the artist Paolo Ridolfi. It was executed, disassembled and boxed in São Paulo and brought to Curitiba for its final installation. The internal space, in the mezzanine between the two voids of the glass box, houses a table for a DJ and a dance floor.

 © Alan Weintraub

艾伦·韦特鲁布

采用的塑料语言将钢筋混凝土实体砌块的体积法作为质量增减工作的重点，其中坡道的循环隧道和楼梯的垂直循环体积撕裂了建筑物的主体，使立面以贯穿建筑物的循环为代表。(鼓掌)

The plastic language adopted prioritized the volumetry of solid blocks made out of reinforced concrete in a work of additions and subtractions of masses, where the circulation tunnels of the ramps and the vertical circulation volumes of the stairs rip the main body of the building, causing the facades to be represented by the circulations that run through the building.

 © Alan Weintraub

艾伦·韦特鲁布

正面，更多的体积和雕塑，有很少的开放，相对于玻璃盒，空中和透明，其中涵盖了三高入口广场。这是两个不锈钢门-一个进入房子，另一个进入私人画廊-背景为12米高的U玻璃包层。

The front facade, more volumetric and sculptural, has few opennings as opposed to the glass box, aerial and transparent, which covers the triple-height entrance square. This is where the two stainless steel doors are - one to access the house and the other to access the private gallery -  with the background of a 12 meters high U-glass cladding.

 © Alan Weintraub

艾伦·韦特鲁布

后立面，更外向和渗透，是体积更大的搅拌，由形状和比例的场地和城市立法。它包括几个开口和梯田，以更好地结合景观。

The rear facade, more extroverted and permeable, is volumetrically more stirred, conditioned by the shape and proportions of the site and by the urban legislation. It includes several openings and terraces for a better integration with the landscape.

 © Alan Weintraub

艾伦·韦特鲁布

拟议中的家具，也被理解为一套收藏品，是从业主以前的房屋中运来的国际家具的组合，以及由二十世纪和当代的主要建筑师和设计师创造的一批巴西受版权保护的现代家具和当代家具。

The proposed furniture, also understood as a collection, is a mix of international furniture brought from the previous houses of the owners, and a collection of Brazilian copyrighted modernist and contemporarty furniture, created by leading architects and designers of the twentieth century and the present generation.