如蜗牛壳般盘旋上升的螺旋空间

Aruá Building / FGMF Arquitetos

来自建筑事务所的描述：Aruá公寓由4个不同的体块组合而成，形成垂直循环的系统，该项目外观形态就如同不同高度与造型组合而成的拼贴图形，这些体量组合在一起形成向上盘旋的视觉效果，因为这些体量的高度各不相同，从而呈现出螺旋上升的状态，因此这座建筑得名“Aruá”，意为“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.

建筑的每个体量都结合有一系列的楼顶住宅，这些住宅都带有花园和露台，这有别于通过二楼所进入的开放区域，这些空间形成独特的私家院落。每个体块有着不同的完成效果，从而在强调自身体量的同时，也平衡了建筑的不同部分。

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.

这座建筑的设计参考了许多巴西优秀现代建筑作品，其入口门厅完全开放，其下方是外覆包层的混凝土柱子，场地的景观设计符合热带气候，其中有着艺术家João Nitsche用混凝土面砖制作而成的大型艺术面板。建筑的开口处设置有滑动百叶，人们可以通过开敞的混凝土入口进入建筑，这个灰空间也表达了私人空间与公共空间之间的过渡，同时还设置有长凳供人们休息。

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.

建筑师从项目初始就充分考虑了最终的建筑体量，因为场地面积、建筑面积、功能需求以及模板尺度等之间的比例关系与规范使得该项目的布局较为紧凑，因此，多样化体量便应运而生。这些体块之间的关系体现于建筑立面和入口处，尤其是在小型体量上。建筑师还运用了合成面板。设计方案把建筑对场地的影响降至最低，同时与城市街道形成对话，让建筑与市民、城市之间的关系更加亲密友好。

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.