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Eduardo souto de moura house in cascais

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Eduardo souto de moura house in cascais

  1. 1. Progetti66 Eduardo Souto de Moura Projects House in Cascais text by Silvia Fabi Località Location Praceta dos Ameeiros, Lote n° 2, Cascais, Portugal Cliente Client Luís Valadas Fernandes Progettisti Design Architects Eduardo Souto de Moura Collaboratori Collaborators Nuno Graça Moura, Camilo Rebelo, José Carlos Mariano Strutture Structural engineering AFA - Adão da Fonseca & Associados Luis Ferreira Alves Impianti Technical engineering Rodrigues Gomes & Associados Impresa di costruzione Building contractor Promafer Progetto Planning time 1994 Realizzazione Completion time 2002 1
  2. 2. Progetti Casa a Cascais L’architettura di Eduardo Souto de Moura re- 1 Dettaglio sull’angolo cupera una funzione iconica e rappresentati- dell’edificio e vista sul va, risultato di una ricerca sociale e insieme dislivello culturale, che limita la libertà creativa per fare 2 posto ad un impersonale ricerca di un più pro- Pianta del piano terra: 1. garage; 2. ingresso; fondo stato di necessità. Alla apparente natu- 3. lavanderia; 4. bagno; ralità-semplificazione con cui il linguaggio si 5. camera da letto; esprime, corrisponde una profonda complessi- 6. cantina per i vini; tà compositiva che spesso interpreta elementi 7. locale impianti; 8. rimessa; del pensiero come l’ambiguità, la citazione, 9. sala da bagno il paradosso. Ma la sintesi con cui le forme 3 si esprimono in termini più generali, libera Sezione trasversale l’architettura dalla necessità di un linguaggio 4 Fronte principale univoco seppur riconoscibile, di un approccio squisitamente operativo, che predilige la varie- tà dei riferimenti teorici e figurativi. La casa di Cascais è un esempio paradigmatico di come l’uso di forme semplificate si risolve pur sempre nella ricchezza metodologica, ri- vendica il primato della ricerca e del rigore sul- l’uso incondizionato delle forme; per questo il risultato dello schema planimetrico anonimo, privo di enfatizzazioni spaziali, corrisponde ad una trasposizione bidimensionale della realtà, che essendo proiezione include in sé le com- plessità dell’esperienza tridimensionale, senza palesarla. Paradossalmente l’abbandono di un certo ra- dicalismo linguistico appare come un’opera- zione rivoluzionaria, accetta le azioni anoni- me, parla delle cose come se fossero sempre esistite, rende invisibile le stratificazioni e le motivazioni strutturali, questo riporta l’archi- 268 3 4 2 1 9 5 6 7 8 0 0,5 2m 1Projects House in Cascais Detail of the building’s corner and view of the vertical descent 2 Ground floor: 1. garage; 2. hall; 3. laundry; 4. bathroom; 5. bedroom; 6. wine-cellar; Luis Ferreira Alves 7. machines room; 8. storage; 9. balneary 3 Cross section 4 Main elevation 3 4
  3. 3. Progetti Casa a Cascais 5 15 Pianta primo piano: 1. ingresso; 2. hall; 3. salone-soggiorno; 4. cucina; 5. dispensa; 6. 5 13 disimprgno; 7. Sala della televisione; 8. corridoio; 4 12 9. camera da letto; 10. 11 11 ingresso (suite); 11. bagno; 12. guardaroba; 13. suite; 11 11 14. terrazza; 15. scale 10 6 Vista angolare dell’edifico con scorcio sullo specchio d’acqua 6 8 7 12 Prospetto tergale 8 3 2 Sezione longitudinale 9 Dettaglio del fronte dell’edificio e specchio d’acqua 7 9 9 9 1 14 5 Luis Ferreira Alves 0 1 2m 670 The architecture of Eduardo Souto de Moura The striking appearance of the architecture 5 witnesses a rediscovery of an iconic and re- seen in perspective becomes particularly evi- First floor: 1. entrance; 2. entrance presentative function, the result of a social and dent when observing the initial sketch, that hall; 3. living room; at the same time cultural research that limits embodies the acumen with which the building 4. kitchen; 5.pantry; creative freedom in order to leave room for an has been inserted in the open space; the same 6. hall; 7. television room; impersonal research of a more profound state faithful representation is perceptible in the ac- 8. corridor; 9. bedroom; 10. hall (suite); of necessity. tual construction: the perfectly horizontal volu- 11. bathroom; 12. dressing The apparent naturalness and simplification of me, closed on three sides, is elevated from the room; 12. dressing room; the language is countered by a profound com- ground like a solid mass that rests on one point, 13. suite; 14. balcony; positive complexity that often interprets con- lightly. An uninterrupted glazed front overlooks 15. stairs 6 cepts as ambiguity, quotation, the paradox. But the garden in the direction of the pool, framing Lateral view of the the synthesis with which the forms are expres- the exterior landscape from the interior as if building and of the stretch sed from a more general point of view frees the it were a picture; this transition from object of water architecture from the need for a univocal even to building, this absence of scale introduces 7 Back elevation if recognizable language, from an exclusively one of the variables of de Moura’s vocabulary, 8 7 operative approach that tends to resort to a va- that leads one to see the great quotation of the Longitudinal section riety of theoretical and figurative references. small, the detail as the whole and vice versa, 9 The house of Casacais is a paradigmatic exam- from a surrealistic point of view. The materials Detail of the building front and stretch of water ple of how the simplified forms nevertheless and colors “all of them different and yet iden- witness a methodological richness, vindicating tical” are variations on the theme of gray, and the primacy of research and a rigorous, un- are reflected by the interior: the cold azulene compromising use of forms; this is why the ap- gray of the Cascais stones, the neutral gray of parently anonymous plan, without any spatial the sanded steel of the casing that remind ofProjects House in Cascais emphases, corresponds to a two-dimensional certain earth shades. The rear of the building transposition of reality, that by virtue of being a is characterized by the use of a yellow ceramic projection, embodies the complexity of a three- that covers the entire wall, the few openings dimensional experience without any undue are cuts, fissures and a single porthole that in conspicuity. Paradoxically, the abandonment addition to lighting the bathroom, provides a of a certain linguistic radicalism appears as a clue to the real dimension of the building. The revolutionary operation that, accepting anony- assembly of the part, that reduces the form to a mous actions, speaks about things as if they had neutral outline, turning it into a sole construc- always existed, conceals the layering and the tive essence, becomes in this, as in other “mo- structural motivations, making the architecture del” houses, a device capable of containing the rediscover a certain return to nature, to a silent differences and creating a profound and silent 8 presence in a given location. dialogue with the location. 0 1 2m
  4. 4. Progetti Casa a Cascais 1 10 tettura ad una certa rinaturalizzazione alla sua Sezione del fronte nord: 2 dettaglio del rivestimento silente presenza nei luoghi. L’efficacia dell’ar- 3 chitettura prospettica si mostra con nitidezza in ceramica: 1. lamiera di 4 zinco “Camarinha”; 2. “Delta piuttosto nello schizzo iniziale che riassume in 5 MS Dorken”; 3. “Roofmate” sé la percezione con cui l’edificio si inserisce 40mm; 4. completamento 6 spessore 1cm; 5. calcestruzzo 9 nello spazio aperto; la stessa fedele rappresen- alleggerito; 6. rivestimento in tazione è ravvisabile nella sua costruzione: il rame; 7. “Roofmate” 20mm; volume perfettamente orizzontale chiuso su 8. angolare in acciaio inox tre lati si solleva da terra come un masso solido 7 21 30x30x2mm; 9. soletta in cemento; 10. completamento lievemente appoggiato su un punto. 2 con additivo idrofugo; 22 Una vetrata continua si prospetta sul giardino 1 11. polistirene espanso; 11 verso la piscina e inquadra dall’interno verso 8 12. pittura impermeabile 23 l’esterno il paesaggio come una cornice; questo pigmentata; 13. piastrelle 24 30 di ceramica artigianale 25 passaggio dall’oggetto all’edificio questa 31 14x14cm; 14. “Wallmate” a-scalarità introduce una delle variabili del 40mm; 15. getto di 17 lessico di de Moura, che porta a considerare completamento; 16. zoccolo in modo surrealistico, il grande citazione del di finitura in marmo; 17. angolare in acciaio inox 26 piccolo, il dettaglio come il tutto e viceversa. 30x30x2mm; 18. solaio in 27 I materiali e i colori “tutti diversi e tutti uguali” cemento; 19. isolamento tendono al grigio, le variazioni e tonalità so- acustico; 20. marmo no rintracciabili nell’intorno: il grigio freddo 11 Dettaglio costruttivo Azulino delle pietre di Cascais, il grigio neutro della porta: 21. getto di dell’acciaio sabbiato degli infissi simile ad al- 9 completamento idrofugo; 28 cune sfumature della terra. Il retro è caratte- 22. angolare in acciaio rizzato dall’uso di una ceramica di colore giallo 10 galvanizzato; 23. getto di rinzaffo armata; 24. asta di 29 che riveste completamente la parete, le poche 11 acciao inox 8mm; 25. piatto aperture sono tagli, fessure e un unico oblò che 12 di acciaio inox 25x25x3mm; 0 5 20cm oltre a dare la luce al bagno, riporta alla reale 8 26. vetro temperato scala la dimensione dell’edificio. Il sistema di “Planiterme” 6mm ; 27. camera d’aria 6mm; assemblaggio delle parti, limita la forma a un 28. vetro “SP22”; 29. spessore contorno neutro riducendola alla sola essenza costruttiva che in questa, come in altre case Luis Ferreira Alves in neoprene; 30. struttura di sostegno; 31. compensato “modello”, diviene dispositivo capace di con- 12 Vista tergale dell’edifico tenere le differenze e di instaurare un dialogo 11 profondo e silenzioso con i luoghi.72 9 10 0 5 20cm 10 13 Cross section of the north 4 façade covering made by ceramics: 1. zinc plate 10 “Camarinha”; 2. “Delta MS Dorken”; 3. “Roofmate” 4 40mm; 4. finishing thickness 9 1cm; 5. lightened concrete; 6. copper coating; 10 7. “Roofmate” 20mm; 4 8. stainless angle bar 30x30x2mm; 9. concrete 15 floor slab; 10. waterproof finishing thickness; 11. foam 13 polystirene; 12. watreproof 16 pigmented paint; 13. handmade ceramics 17 tiles14x14cm; 14. “Wallmate” 40mm; 15. finishing thickness; 16. marble socle ; 17. reinforced concrete floor; 18. acoustic isolation; 20. marble 11 Structural detail of the main door: 21. waterproof finishinf thickness; 22. galvenized stainless angle bar ;Projects House in Cascais 4 23. reinforced rough-coat; 24. stainless bar 8mm; 18 25. stainless plate 25x25x3mm; 26. temperate 10 glass “Planiterme” 6mm; 11 27. air space 6mm; 28. glass “SP22”; 12 29. neoprene thickness; Luis Ferreira Alves 30. supporting structure; 17 31. plywood 12 19 Back view 10 20 12

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