© Fernando Guerra | FG+SG

费尔南多·格拉

十年前，当StudioMK 27试图用裸露的混凝土做一个项目时，许多建设者说这实际上是不可能的。是的，对吧-巴西在使用生料混凝土方面有着广泛的现代传统？在一个特定的时期，在90年代，材料的使用急剧下降，仅限于少数几个建筑师，偶尔使用它，而没有固定一个建设性的诀窍。

Ten years ago, when StudioMK27 tried to do a project using exposed concrete, many builders said that this was practically impossible. Yeah, Right - Brazil that has a vast modern tradition in the use of raw concrete? During a determinate period, in the 90´s, the use of the material declined sharply, restricted to the few architects that used it experimentally e sporadically, without fixing a constructive know-how.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在过去的十年中，对裸露混凝土的设计和规范的认识得到了重新审视和发展。现代野蛮人以形式上的真理为借口，采用了生硬的混凝土。实际上，钢筋混凝土要求建造复杂的模板，一般采用新的木材，质量好，使其成为一种昂贵的材料。建筑的撕裂纹理需要精确的木工总工艺，安装负的建筑物手工木料。另外，混凝土需要特殊的成分才能在固化前充分发挥作用。当混凝土变形时，它实际上处于最后的配置状态，这使得它成为一个危险的过程，几乎没有出错的空间。

Throughout the last decade, the recognition of the design and specification of exposed concrete has been revisited and developed. The modern brutalists adopted raw concrete under the pretext of formal truth. In reality, reinforced concrete imposed the construction of complex formworks, generally with new wood and of good quality, making it a costly material. The construction of a ripped texture needs precise carpentry of total craftsmanship, mounting the negative of the building in hand-made wood. Additionally, the concrete needs a special composition in order for it to be worked adequately before solidifying. When deformed, the concrete is practically in its final configuration, making it a risky process, with little room for error.

 © Fernando Guerra | FG+SG

费尔南多·格拉

另一方面，混凝土是建筑和时间流逝的一种x射线，表面不仅有最小的缺陷，而且还有木材的结。正如人们已经说过的，它是液态石。近十年来在生混凝土中施工的经验表明，制造一种绝对完美的材料是不可行的。屋宇结合了这种在裸露混凝土中的设计和施工经验。

Concrete is, on the other hand, a type of x-ray of the construction and of the passing of time, where the surface is impregnated not only with the smallest defects but also the knots of the wood. It is liquid stone, as has already been said. The experience of constructing in raw concrete during these last ten years has shown StudioMK27 the impracticality of making an absolutely perfect material. The House of Ipês incorporates this experience of design and construction in exposed concrete.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在这个房子里，材料是在整个上部的体积中以一种激进的方式使用的，因此，大的混凝土盒子似乎漂浮在玻璃体积的上方。客厅一直延伸到阳台和花园，门完全打开，冲淡了室内和外部的隔阂。正门是通过旋转板完成的，这些面板也完全打开了前面的花园。在室内空间里，一张长而不规则的沙发在房间周围蠕动，构成了一个没有不同方向层次的空间。

In this house the material is used in a radical manner throughout the upper volume and, as such, the large concrete Box appears to be floating atop a glass volume. In the living room, which continues to the veranda and the garden, the doors open entirely, diluting the division between interior and exterior. The main entrance is done through pivoting panels that also open entirely to the front garden. In the internal space, a long irregularly-shaped sofa wriggles around the room, constructing a space with no hierarchy among the different orientations.

 © Fernando Guerra | FG+SG

费尔南多·格拉

在顶层，一间电视房将循环分配到卧室，卧室由立面混凝土墙上的一块木块点亮。木砖提供了内部巨大的热舒适，使它可以完全控制照明。

On the top floor, a TV room distributes the circulation to the bedrooms, which are lit by a wood block on the concrete wall of the facade. The wooden brises offer the interior great thermal comfort and makes it possible to totally control the lighting.

 © Fernando Guerra | FG+SG

费尔南多·格拉

房子的结构包括大跨度，强调浮动盒子的想法，除了安抚一个完全自由和连续的空间。生混凝土的使用指的是现代建筑，在美学上和功能上都是如此，比如在与这种现代建筑的对话中。以其宏伟的跨度和野蛮的材料，伊佩斯之家表现出一种清醒和时间的浸染，暴露了建筑生命的存在。

The structure of the house incorporates large spans which accentuate the Idea of a floating Box, besides propitiating a totally free and continuous space. The use of raw concrete refers to modern buildings, aesthetically and functionally, as in a dialogue with this modern architecture. The House of Ipês, with its grand spans and brute material, transpires a sobriety and the concrete impregnated by the passage of time, exposes the existence of the life of the building.

Architects Studio MK27 - Marcio Kogan, Lair Reis

Location São Paulo, Brazil

Category Houses

Architect in Charge Marcio Kogan

Area 1343.0 sqm

Project Year 2011

Photographs Fernando Guerra | FG+SG