Interpreting this 98-square-meter apartment in Sao Paulo from an artistic perspective is clearly a spatial archaeology of time overlay. When architects Felipe and Jordan Perez of FJ55 Arquitetos peeled off the old partitions, the exposed concrete beams and columns carried traces of construction in the 1950s - the wood grain indentations of the template joints and the occasional rust of the steel bars, which formed a wonderful resonance with the Basquiat posters brought back from New York by the owner and the Cini Boeri sofa found in the antique shop, allowing the industrial heritage to breathe again in contemporary life.

用艺术视角解读这座位于圣保罗的 98 平方米公寓，分明是一场关于 “时光叠印” 的空间考古。当 FJ55 Arquitetos 的建筑师 Felipe 与 Jordan Perez 剥开陈旧隔墙，裸露的混凝土梁柱带着 1950 年代的施工痕迹 —— 那些模板接缝的木纹压痕、偶然嵌入的钢筋锈迹，与业主从纽约带回的 Basquiat 海报、古董店淘来的 Cini Boeri 沙发形成奇妙共振，让工业遗产在当代生活中重获呼吸。

The L-shaped Freijó wooden cabinet at the entrance is the beginning of the narrative. The warm brown of the wood forms a temperature dialogue with the blue-gray of the beams and columns. The French bracket on the upper part of the cabinet not only carries the collection of vinyl records, but also echoes the raw power of the concrete structure with its hand-forged metal texture. In the center of the living room, the asymmetrical outline of the cantilevered beam is cleverly modified by the metal shelf. The fiddle-leaf fig on the shelf sways gently with the breeze, and its shadow casts a dynamic texture on the rough concrete ceiling. On a Sunday afternoon, the sun cuts through the space through the floor-to-ceiling windows, melting the silver-gray texture of the kitchen marble countertop, the kiln-changed traces of the Terracotta-colored island in the restaurant, and the pores and flaws on the concrete wall into a unified light and shadow poem. The designer deliberately retained the construction and repair traces of the bathroom wall. Those mortar patches of varying depths and the fine mortise and tenon joints of the custom wooden cabinets together tell the imperfect perfection.

入户玄关的 L 形 Freijó 木柜是叙事的开端。木材的暖棕与梁柱的青灰色形成温度对话，柜身上部的法式支架不仅承载着黑胶唱片收藏，更以手工锻造的金属质感，呼应着混凝土结构的原始力量。客厅中央，悬挑梁的不对称轮廓被金属搁板巧妙修饰，搁板上的琴叶榕随微风轻摆，其阴影在粗糙的混凝土天花板上投下动态肌理 —— 某个周日午后，阳光透过落地窗斜切过空间，将厨房大理石台面的银灰纹路、餐厅 Terracotta 色岛台的窑变痕迹，与混凝土墙面的气孔瑕疵熔铸成统一的光影诗篇。设计师刻意保留了卫生间墙面的施工修补痕迹，那些深浅不一的砂浆补丁，与定制木柜的精细榫卯共同诉说着 “不完美的完美”。

In the flowing space released after the partition walls were removed, furniture becomes the soft boundary of function. The master bedroom area is separated from the public space by only a set of floor-to-ceiling wooden cabinets. The hidden glass display cabinets in the cabinets display the vinyl records collected by the owner. In the morning, when the owner is making coffee in the open kitchen (the rounded corners of the island are specially polished into an ergonomic arc), the hammock swinging in the bedroom can be seen through the reflection of the record cover. The most touching thing is the work area design: the tabletop of the L-shaped wooden cabinet extends a 1.2-meter cantilever, and the power rail is hidden underneath. When the male owner is editing a video here, the record rack behind him and the Basquiat painting on the opposite wall form a creative field, and the sound of the hostess kneading dough in the kitchen becomes background music through the openness of the space. This design that liberates working from home from closed compartments allows the boundary between work and life to be naturally blurred like water stains on the surface of concrete.

拆除隔墙后释放的流动空间里，家具成为功能的柔软边界。主卧区域仅以一组顶天立地的木柜与公共空间分隔，柜身暗藏的玻璃展示格中，陈列着业主收集的黑胶唱片 —— 清晨，当主人在开放式厨房煮咖啡（岛台圆角特意打磨成人体工学弧度），可透过唱片封面的反光看见卧室里摇晃的吊床。最动人的是工作区设计：L 形木柜的桌面延伸出 1.2 米的悬臂，下方暗藏电源轨道，男主人在此剪辑视频时，身后的唱片架与对面墙上的 Basquiat 画作形成创意场域，而女主人在厨房揉面的声响，透过空间的开放性成为背景音乐。这种将 “居家办公” 从封闭隔间解放出来的设计，让工作与生活的界限如混凝土表面的水渍般自然晕染。

The Strips sofa in the living room is a stitching point of time. The modular design of the Italian designer in the 1970s forms a cross-time and space dialogue with the walnut coffee table left by the owners grandfather. The burn marks on the surface of the coffee table are retained as a mark of family memory. The Kiko armchair in the corner (Sergio Rodriguess classic model in the 1960s) has been re-upholstered, and its leather texture and the roughness of the concrete beams form a tactile symphony. The most warm is the sound system - the wooden speakers made by the owner himself are hidden in the Freijó wooden cabinet. When the vinyl record is turned, the vibration of the subwoofer and the resonance of the concrete floor produce a unique acoustic effect, as if the whole building is breathing with the music. This design that embeds personal experience into the space makes each object an emotional anchor: the UFO chandelier in the restaurant (designed by Fernando Prado) once illuminated the owners proposal scene, and the brass handles of the bedroom bedside table are transformed from the old door handles they brought back from their honeymoon trip.

客厅里的 Strips 沙发是时光的缝合点。意大利设计师 1970 年代的模块化设计，与业主祖父留下的胡桃木茶几形成跨时空对话，茶几表面的烫痕被保留为家族记忆的印记。角落里的 Kiko 扶手椅（Sergio Rodrigues 1960 年代经典款）经过重新 upholstery，其皮革纹理与混凝土梁柱的粗糙感形成触觉交响。最具温度的是音响系统 —— 业主亲手制作的木质音箱藏在 Freijó 木柜中，当黑胶唱片转动，低音炮的震动与混凝土楼板的共鸣产生独特的声学效果，仿佛整座建筑都在随音乐呼吸。这种将个人经历嵌入空间的设计，让每个物件都成为情感的锚点：餐厅的 UFO 吊灯（Fernando Prado 设计）曾照亮业主的求婚现场，卧室床头柜的黄铜拉手来自他们蜜月旅行带回的旧门把手改造。

Architecture should be a container for memory - this sentence engraved in the construction notes was presented in a concrete form at dusk. When the sunset in São Paulo gilded the concrete wall, the shadows of the plants on the metal shelves in the living room gradually lengthened, overlapping with the light and shadow on the record cover to form an abstract pattern. At this time, the apartment is no longer a 98-square-meter physical space, but a time fabric woven by the industrial genes of exposed concrete, the warmth of custom woodwork, and the stories of antique furniture. Here, the demolished partition walls are transformed into slices of memory, the retained beams and columns become the pillars of emotion, and every corner hides the dialogue between past and present, making living a continuously written spatial narrative poem.

“建筑应成为容纳记忆的容器”—— 这句刻在施工笔记里的话，在黄昏时分有了具象呈现。当圣保罗的夕阳为混凝土墙面镀上金边，客厅金属搁板上的植物影子逐渐拉长，与唱片封面上的光影重叠成抽象图案。此时的公寓不再是 98 平方米的物理空间，而是由裸露混凝土的工业基因、定制木作的温情、古董家具的故事共同编织的时光织物。在这里，拆除的隔墙化作记忆的切片，保留的梁柱成为情感的支柱，每个转角都藏着 “过去与现在” 的对话，让居住成为持续书写的空间叙事诗。

编辑：

夏边际

撰文：豆宝宝

校改：吴一仁

编排：布忠耀