Oscar Niemeyer, the architect who built the country’s new capital of Brasília in reinforced concrete, did just that. His Casa das Canoas sums up the era’s groovy simplicity. Curvaceous walls bend free-form with a slab of squiggle-shaped concrete sandwiched on top. European and American architects were shocked, revolted and awed in equal measure. In 1949, fellow brutalist João Batista Vilanova Artigas also designed his own home. Modern materials became the star: bare concrete walls, unplastered stone, raw steel and vast panes of glass, all angled into fabulous shapes barely imaginable outside Brazil.
The home designed by Julio Roberto Katinsky in 1972 followed suit. It was his chance to realize insomniac architect dreams and to solve 20th-century problems of security, privacy and searing South American sun with verve and a truckful of concrete.
Guests enter the Katinsky house through the carport. A street gate is locked behind the vehicle, after which visitors cross a threshold into a display case of Brazilian modernism. This urbanist dream is a vision of unfinished stone. Ceilings, struts and a spiral staircase have been poured to order in the São Paulo suburbs. As with so many contemporary Brazilian structures, a concrete jungle gives way to an actual one. Floor-to-ceiling windows overlook a tangled city garden where gunmetal-gray walls are riven by the emerald-green of rainforest trees.
The tropical climate is both friend and foe. Stone trellises play with the sun’s rays, so that dappled beams of light reach the upstairs study. The bedroom requires no central heating, but it does need louvered panels that swing outside the giant window frame to allay the midday sun. Back downstairs, the living room ceiling extends into the garden to create a portico of deep shade. The property’s cement embrace dispels the fug of the city’s shirt-sticking humidity.