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AC Apartment
AC Apartment
São Paulo, Brazil
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Other Projects by STUDIO ARTHUR CASAS
AC Apartment
São Paulo, Brazil
Firm
Type
STATUS
Built
YEAR
2025
SIZE
0 sqft - 1000 sqft
Photos
Designed to be his own residence, Arthur Casas' apartment is a synthesis of technical precision, functionality, and personal narrative. Located in Praça Henrique Monteiro – a mixed-use complex also designed by him – the space was conceived as a direct extension of his vision on architecture, design, and urban living. Every decision – from the layout configuration to the detailing of the carpentry – reflects a conscious effort to adapt to daily life, with spatial fluidity, integrated systems, and aesthetic intention. Here, Arthur Casas challenged himself to experience a truly urban, contemporary, and practical way of living – a stark contrast to his previous home, a 1940s house in the Pacaembu neighborhood, designed by architect Artigas, where he lived for nearly 35 years.
With around 300 sqm, the apartment’s layout was designed to eliminate unused spaces, prioritizing direct circulation and versatile environments. Full automation, custom solutions, and extensive use of natural materials create a precise, welcoming atmosphere that blends comfort and control, with visual neutrality to display his collection of items, including artwork, sculptures, books, photographs, cherished objects, and design pieces. “Designing for myself is very easy. I’m the best client for myself because I know what I like and how I live,” says Arthur Casas.
Upon entering the apartment, the integration of the spaces is immediately apparent. The door opens to a continuous social area, where the living room, dining room, home theater, and kitchen connect in a single architectural gesture. Circulation is fluid and unobstructed, with fixed elements that naturally organize the spatial flow.
In the living room, the Fusca sofa (Arthur Casas, Micasa) takes center stage, accompanied by Bauhaus chairs (Franco Albini), the Elda armchair (Joe Colombo), and a Desenho coffee table (Arthur Casas), atop which rests a selection of Bordallo Pinheiro ceramics, featuring collaborations with Ai Weiwei, Tunga, and Rosângela Rennó. The space is marked by the presence of art, with works by Mira Schendel, Carlito Carvalhosa, Anna Maria Maiolino, and Waltércio Caldas.
The transition to the dining room happens naturally. The Rino table (Arthur Casas, Etel) in canela wood slats is flanked by Flair’o armchairs (B&B Italia), complemented by sculptures from Rafael Oboé, Liuba Wolf, Ilha do Ferro, and Rhodes. Above it, a painting by Paulo Pasta marks the wall. Lighting is punctuated by embedded fixtures in the continuous wooden ceiling, which runs throughout the apartment.
The kitchen features the standout Disco stool (Arthur Casas, Studio Objeto) and Neolith Basalt Grey countertops, designed within a custom carpentry structure by Arthur. The cabinetry was designed to conceal appliances and optimize the space, allowing the environment to either integrate seamlessly with the social area or be closed off by a sliding door as needed.
Adjacent to the kitchen, the home theater revisits the Fusca sofa, now paired with a Tavolino 1932 side table (Gio Ponti), the Marsala armchair (Michael Ducaroy for Ligne Rosset), and a Henri Laurens tapestry. On the shelves, sculptures and plates by Livia Gorka, Pablo Picasso, and Jean Lurçat coexist with books and cherished objects. Above the composition, paintings by Mona Gorovitz and a sculpture by Ernesto de Fiori complement the scene.
The office, situated between the social and intimate areas, functions as a multifunctional space: in addition to being a workspace, it accommodates a bed for when one of the children visits. It features the Pivot High stool (Vitra) and Arthur Casas' miniature car collection, displayed in custom niches.
The corridor leading to the bedrooms is lined with wood, creating a serene transition to the private spaces. The walls are adorned with a collection of photographs, including works by Pierre Verger, Mario Cravo Neto, Bob Wolfenson, and Cristiano Mascaro. In the master suite, lighting is subtle, with vintage table lamps and technical lighting such as the Ledtube (Marset) and a ceramic lamp by California Studio (1960), combined with the continuous wooden ceiling and custom-designed furniture. The Giuseppe Scapinelli armchair and Via Appia marble nightstand integrate the space, punctuated by a series of paintings by artists such as Tarsila do Amaral, Emiliano Di Cavalcanti, Athos Bulcão, and Flávio de Carvalho.
Every technical detail was meticulously integrated: central vacuum, embedded sound system, invisible air conditioning, anti-moisture system, intelligent sensors, and full automation. The lighting, featuring fixtures from XAL – known for their precise radiation and symmetrical light distribution – highlights the artwork and materials without interfering with the architecture.
Living in an apartment he himself designed – from the building’s architecture to the layout, finishes, and furniture – gives Arthur Casas the rare opportunity to experience his architecture at scale 1:1. The Praça Henrique Monteiro project, which combines a hotel, restaurant, boulangerie, jazz club, and residences within a single complex, is for him a living organism in constant adaptation – an architecture inhabited from the inside out and from the outside in. “I had long envisioned living in a more compact apartment than my old house. When the Praça project came along, it was what I was hoping for in this new model of multifunctional buildings. You can imagine an entire life within this place,” explains Arthur Casas. “I couldn’t design my apartment without also designing the other components of the building, including the tower, restaurant, bar, and so on. For me, it’s essential to maintain this unified language,” the architect concludes.
With around 300 sqm, the apartment’s layout was designed to eliminate unused spaces, prioritizing direct circulation and versatile environments. Full automation, custom solutions, and extensive use of natural materials create a precise, welcoming atmosphere that blends comfort and control, with visual neutrality to display his collection of items, including artwork, sculptures, books, photographs, cherished objects, and design pieces. “Designing for myself is very easy. I’m the best client for myself because I know what I like and how I live,” says Arthur Casas.
Upon entering the apartment, the integration of the spaces is immediately apparent. The door opens to a continuous social area, where the living room, dining room, home theater, and kitchen connect in a single architectural gesture. Circulation is fluid and unobstructed, with fixed elements that naturally organize the spatial flow.
In the living room, the Fusca sofa (Arthur Casas, Micasa) takes center stage, accompanied by Bauhaus chairs (Franco Albini), the Elda armchair (Joe Colombo), and a Desenho coffee table (Arthur Casas), atop which rests a selection of Bordallo Pinheiro ceramics, featuring collaborations with Ai Weiwei, Tunga, and Rosângela Rennó. The space is marked by the presence of art, with works by Mira Schendel, Carlito Carvalhosa, Anna Maria Maiolino, and Waltércio Caldas.
The transition to the dining room happens naturally. The Rino table (Arthur Casas, Etel) in canela wood slats is flanked by Flair’o armchairs (B&B Italia), complemented by sculptures from Rafael Oboé, Liuba Wolf, Ilha do Ferro, and Rhodes. Above it, a painting by Paulo Pasta marks the wall. Lighting is punctuated by embedded fixtures in the continuous wooden ceiling, which runs throughout the apartment.
The kitchen features the standout Disco stool (Arthur Casas, Studio Objeto) and Neolith Basalt Grey countertops, designed within a custom carpentry structure by Arthur. The cabinetry was designed to conceal appliances and optimize the space, allowing the environment to either integrate seamlessly with the social area or be closed off by a sliding door as needed.
Adjacent to the kitchen, the home theater revisits the Fusca sofa, now paired with a Tavolino 1932 side table (Gio Ponti), the Marsala armchair (Michael Ducaroy for Ligne Rosset), and a Henri Laurens tapestry. On the shelves, sculptures and plates by Livia Gorka, Pablo Picasso, and Jean Lurçat coexist with books and cherished objects. Above the composition, paintings by Mona Gorovitz and a sculpture by Ernesto de Fiori complement the scene.
The office, situated between the social and intimate areas, functions as a multifunctional space: in addition to being a workspace, it accommodates a bed for when one of the children visits. It features the Pivot High stool (Vitra) and Arthur Casas' miniature car collection, displayed in custom niches.
The corridor leading to the bedrooms is lined with wood, creating a serene transition to the private spaces. The walls are adorned with a collection of photographs, including works by Pierre Verger, Mario Cravo Neto, Bob Wolfenson, and Cristiano Mascaro. In the master suite, lighting is subtle, with vintage table lamps and technical lighting such as the Ledtube (Marset) and a ceramic lamp by California Studio (1960), combined with the continuous wooden ceiling and custom-designed furniture. The Giuseppe Scapinelli armchair and Via Appia marble nightstand integrate the space, punctuated by a series of paintings by artists such as Tarsila do Amaral, Emiliano Di Cavalcanti, Athos Bulcão, and Flávio de Carvalho.
Every technical detail was meticulously integrated: central vacuum, embedded sound system, invisible air conditioning, anti-moisture system, intelligent sensors, and full automation. The lighting, featuring fixtures from XAL – known for their precise radiation and symmetrical light distribution – highlights the artwork and materials without interfering with the architecture.
Living in an apartment he himself designed – from the building’s architecture to the layout, finishes, and furniture – gives Arthur Casas the rare opportunity to experience his architecture at scale 1:1. The Praça Henrique Monteiro project, which combines a hotel, restaurant, boulangerie, jazz club, and residences within a single complex, is for him a living organism in constant adaptation – an architecture inhabited from the inside out and from the outside in. “I had long envisioned living in a more compact apartment than my old house. When the Praça project came along, it was what I was hoping for in this new model of multifunctional buildings. You can imagine an entire life within this place,” explains Arthur Casas. “I couldn’t design my apartment without also designing the other components of the building, including the tower, restaurant, bar, and so on. For me, it’s essential to maintain this unified language,” the architect concludes.
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