Architecture Portfolio - Rafael Mourão - 2021 by Rafael Mourao

ARCHITECTURE PORTFOLIO RAFAEL SOARES MOURÃO

I’ve been a music fan since I was a child, but throughout life, it occurred to me that just as music is built with notes, the house is built with bricks; just as a musician designs a symphony, an architect composes a building. Sudenlly the art of architecuture becames something deeper and more meaningfull to me. Following that path, i’m thrilled to face the challenges of imagining the unimagible, whilst keeping a grounded foot to realize that architecture can have a huge impact in the world we live. In this manner, i focus my studies so that this impact is positive and the most sustainable as possible Im looking forward to those challenges that improve me, both in a personal and professional matter.

RAFAEL SOARES MOURÃO

Curriculum Vitae rafamourao200@gmail.com +55 (11) 94321-3516 BRAZIL - São Paulo, SP linkedin.com/in/rafael-mourão-4b0009158

EDUCATION 2000 - 2015

Colégio Marista Arquidiocesano School formation

2016 - 2021

Universidade Presbiteriana Mackenzie Bachelor of Architecture and Urbanism

EXPERIENCE 2017 - 2018

Nadir Mezerani Arquitetura e Urbanismo - Intership Sketch Up modeling and construction drawings in AutoCAD

2018 - 2019

RFM & Sérgio Porto - Cidade Matarazzo by Jean Nouvel - Intership Civil work monitoring, elaboration of quantitative spreadsheets, detailing in AutoCAD, Revit documentation, colaboration with Triptyque and Ateliers de France, complementary projects analysis

2019 - 2021

FGMF - Intership Elaboration of project apresentations, AutoCAD drawings, Revit/Arhicad modeling and documentation within all project phases, Twinmotion/Lumion renders, Sketch Up concept studies and diagrams, Rhino3d studies and diagrams

2021 - Current

FGMF - Junior Architect and part-time BIM Manager Elaboration of project apresentations, Revit/Archicad modeling and documentation within all project phases, projects detailing, Twinmotion/Lumion renders, Sketch Up concept studies and diagrams, compatibilization of complementary projects such as instalations, HVAC and structure, client meetings

PUBLICATIONS 2021

Revista Projeto - Yearbook of 2021 SKR MOOU by FGMF

SOFTWARES Revit Advanced

Rhino3D Advanced

Maya Intermediate

Twinmotion Advanced

Photoshop Intermediate

Archicad Advanced

Grasshopper Intermediate

AutoCad Advanced

Lumion Intermediate

InDesign Intermediate

Creative

Determined

Proactive

Coworking

Sociable

SKILLS

LANGUAGES Portuguese Native

English C1/B2

Spanish B1/A2

MS Office Advanced

MODEL DONE IN MAYA DURING FLUIDITY 2.0 CLASSES WITH MARIANA CABUGUEIRA

COURSES LABI UDEMY ESCOLA COLETIVA DE PROJETOS ARTURO TEDESCHI EIXO design morphine

FLUIDITY

INMOTION | MAYA

FUTURLY

FLUIDITY 2.0 | MAYA TERRA X TERRA | RHINO3D + GRASSHOPPER

PARAMETRIC ARCHITECTURE

RESE ARCH

SPBIM

APRESENTAÇÃO E CONCEPÇÃO NO ARCHICAD

equim

digital art movement | rhino3D + GRASSHOPPER + MAYA

SELECTED PROJECTS MAN AND SEA - COMPETITION DRUMS HOTEL - COMPETITION TARIQ ALSALAM BRIDGE SANTO AMARO LIBRARY MARIA ANTÔNIA MULTIFUNCTIONAL BUILDING FDE SCHOOL CUBE HOUSE Bioclimatic Architecture POMPONET BUILDING MUSIC AND ARTS INSTITUTE JOÃO GOULART COMPLEX KAIRA LOORO WOMENS HOUSE - COMPETITION MATILDE RESIDENCE FGMF PROJECTS

08 16 26

man and sea maritime

museum

compet i t io n

TYPE: competition team: ana lange - caio caccacos - giancarllo bruno - guilherme braga - joão matos SOFTWARES: revit - RHINO3d - autocad

//MAN AND SEA// Both historically have had an inseparable relationship, not only biological matters, but also for essential matters. Man may differ from other animals in terms of their reasoning and consciousness of their own living reality. This difference could define one of the main characteristics of human beings: the incessant search for anwsers and knowledge. While the sea, mysterious by its own nature, had aways intrigued humans to dive headfirst and venture out to discover all of its hidden secrets. As it was made for each other: the sea provoking human curiosity so they go on adventures to discover the mysterious secrets that have been kept in the depths of the seas, almost like a treasure box locked with the most precious secrets of the planet.

desire to explore our own world and all of its

//CONCEPT// Like the sea, the museum hold to society, guarding our greatest assets: our reach them by venturing into the museum.

The building was designed so that its com pedestrians through a permanently moving fa well as a sea voyage, an uncertainty and a “ sharpening curiosity when viewed from the o

This relationship culminated in diffent important stages of our history, that have built our society as we know it today

As a counterpoint to this idea of uncertaintie volumes of the museum, two opaque volum and restaurant) in the “continental” part of th on land is readily understood by the visitor, an

The exchange of knowledge of different cultures from different continents, which was only possible through this relationship. The sea not only provided these exchanges but the

Internally, the museum was designed so tha creating the surprises of a sea voyage, throu

s secrets.

connected by an elevated route.

ds precise knowledge, ready to be transmitted r culture and knowledge. And you can only

The path is designed so that the traveler can discover the museum through an elevated route on his outward journey, and through the ground on his return journey. In both cases, the visitor is having contact with the exhibition. Therefore, the flow in the project is continuous, predictable, uniform and unidirectional, thus avoiding meetings and disagreements in a narrow building.

mplex interior is partially seen by external façade, a fabric that diffuses light, creating, as “ mystery” of the building’s internal dynamics, outside.

es and diffusion of the vision of the internal mes are proposed (administration, auditorium he land (near the square). In this way, what is nd what is at sea is an uncertainty, a mystery.

at the visitor never knows what lies ahead, ugh exhibits of different sizes and levels,

From Orla Pref. Paulo Conde you can see the sea and all the mystery that it brings. To those who dare to venture, it brings the hope of finding new worlds. On land, two stable and secure volumes are seen on firm ground, in contrast to uncertain volumes floating over Guanabara Bay. On the way to the pier, the pedestrian is faced with mists over the water. From here silhouettes of what he could find through the semi-opaque curtain are seen. There is the fear of the unknown, but there is also the courage to discover the worlds and universes still hidden inside each box.

FLOOR PLAN - MUSEUM

SECOND FLOOR - MUSEUM

SECTION - MUSEUM

The exhibition program was diluted into smaller blocks, in different sizes, heights and levels, spread over the land, with the objective of creating a trip full of surprises for the visitor. While the auditorium and restaurant blocks are positioned to create an internal square, giving a new dynamic and activation to the area.

Walkways and ramps connect the exhibition blocks, creating an elevated path. Based on this, the paths are designed in such a way that there is a continuous and unidirectional flow, allowing the visitor to experience the museum from above, on the way to and through the ground, on the way back.

The exhibition blocks are built by a wooden structural grid, interrupted at specific points in the main visual axes promoted by the city of Rio de Janeiro. Candelária’s visual axis, which creates the central section of the volume, and the bay’s format axis, which creates the final interruption of the structure.

Finally, the main volumes of the museum are protected by a movable fabric façade, which filters light, controls the sun and wind, in addition to creating the diffuser effect, which leaves the internal dynamics uncertain when viewed from the outside.

Drums Hotel I n vo k i n g t h e B e n e vo l e n t S pi r i ts TYPE: UNIVERSITY PROJECT TEAM: RENAN OLIVIEIRA - GABRIEL RIBIEIRO - PEDRO VICTOR GOIS SOARES SOFTWARES: MAYA - RHINO3D - AUTOCAD - ILLUSTRATOR - PHOTOSHOP

Drums Hotel

I n vo k i n g t h e B e n e vo l e n t S pi r i ts Initially, some possibilities were thought to guide the project. The proposal were willing highlight the importance of the site, its nature, its location in relation to the city – on top of the hill, standing out, making it possible to contemplate all of surrounding nature. And also, highlighting the native cultures, the sons of the Sun and all their traditional knowledge. We also looked at the masters of architecture. Alvar Aalto, for example, designed public spaces inspired by the classical, adapting them to local construction techniques and culture, according to production possibilities of his time, bending wood for furniture or ceilings, for example. Others did and do the same, Niemeyer, Snøhetta, SANAA, etc. Finally, we add to these factors, site, culture and practice of the masters, to the expectations of a contemporary world, for example, the optimization of the structure, the reduction of carbon footprint and the feasibility of a more efficient construction, all achievable by use of available technological tools. So we learn that the natives understand the existence of three worlds, the Middle World, this physical world, the Upper Wold and the Underworld. Such categorization fitted perfectly the hotel’s site plan. The lobby works as a distributor for the three worlds, marked by a large reflecting pool that supports this act. So, we understand that the place of celebrations, of being with our friends and family, celebrating, including ceremonies, the Middle Word, was equivalent to the restaurant. It stands out on the ground, inviting the city to get to know this place, as well as enabling, with its views, whoever is there to connect with the city in a unique way. The SPA joins them to form the main architectural object. The curves of the roof place the object in the landscape, calling attention to it and, at the same time, trying to integrate with the site. The SPA equals the Upper World, at the top of this hill, in remembrance of the Sami holy mountains. The space allows for moments of relaxation, integration between people and at the same time isolation. It also allows the connection with nature, whether through the views of the forest, the openings to receive the different kinds of lights from the sky, or even the change of weather, taking advantage of the extreme cold in outdoor pools. The intention is a space that allows for unique experiences that will remain in the memory. Underworld takes place in the cabins, where guests can retire and settle in rest. The cottages were arranged in groups of 3 to 4, or isolated. There are different types of cabins, adding sauna and living to the basic floor plan, with the volume extension movement, in a contemporary modularity.

Restaurant (Middle World)

Cabins (Underworld)

The place to get together, to connect with people and with the city

A place to rest, to connect with nature and with our inner selves

SPA (Upper World) Remembering the holy moutains, it is made to promote unique experiences

Room / Sauna - 12 un.

Section - R

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK ST

PRODUCEDBY BYAN ANAUTODESK AUTODESKSTUDENT STUDENTVERSION VERSION PRODUCED

PRODUCED PRODUCED BY BY AN AN AUTODE AUTOD

RSION

Room - 30 un.

PRODUCED BY AN AUTODESK STUDENT VERSION

Section

NT VERSION

ESK STUDENT DESK STUDENT VERSION VERSION

Cabins Plans and Section - 1/100

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED

n - SPA

PRODUCEDBY BYAN ANAUTODESK AUTODESKSTUDENT STUDENTVERSION VERSION PRODUCED

Restaurant

PRODUCED BY AN AUTODESK STUDENT VERSION

Room / Sauna / Living - 4 un.

TARIQ ALSALAM BRIDGE A

BRIDGE

BETWEEN

TYPE: UNIVERSITY PROJECT SOFTWARES: MAYA - RHINO3d

WORLDS

How can architecture tell a story? The project proposal is born from the awareness of the civil war in Syria, symbolizing a bridge that offers a way out of the war, an opportunity for refugees to go to a beautiful and peaceful place. The bridge was divided into two parts: the right side (Syria side), with a tortuous path, distorted and with an unpredictable structure, also making it difficult to cross among the wreckages of war, as it is difficult to leave the country in search of a better place. The left side, meanwhile, is a place that offers new life opportunities for those crossing the bridge. With an elegant and symmetrical structural system, full of green areas and living spaces, this side represents life without war, a shelter for the needy. However, when a refugee crosses the border in search of a better place to live, a metaphor for crossing the bridge to the other side, there is still a masked war they have to face, xenophobia. Some refugees face difficulties in settling due to cultural differences and seem to not belong. With this in mind, the structure tries to dialogue with the Arabic letters “WAR” on the left and “PEACE” on the right. True peace will only be achieved when Syria comes to a ceasefire, therefore, when people accept each other and live peacefully in the only place they really identify, their homeland.

The curved structural elements of the brigde are emphasized by continuous strips of lights, creating the strong sillhouette enlighten crossing. Each side was thought differently, with distinguished materiality: the left side with clean and minimalist materials, as well as fluid furniture that mix with the structure. However, the other side is arid, covered with old worn out wood planks, recalling the deserts of Syria.

The structure was idealized in a steel frame with curved beams that follows the organicity of the bridge and a steel deck flooring system, thus enabling the light and thinner structure. The reinforced concrete structure interlocking the whole system as well as serving to brace the bridge

BIOCLIMATIC ARCHITECTURE G E N E R ATIV E SYSTEMS A ND S USTA INABILITY TYPE: GRADUATION PROJECT SOFTWARES: RHINO3D - GRASSHOPPER - REVIT

project conception After analyzing the Zuidas masterplan, the region to be worked on is Ravel, as it is practically being rebuilt from scratch. Given this fact, it was studied how the new subdivision would be, and which land could be the best option for the development of the project proposal. Taking into account the river, which was practically buried before, is being restructured into the landscape, and the privileged location near to the main routes of the Zuidas, the Beethovenstraat and De Boelelaan, this region in Ravel proved to be the best place to propose a project with different connections, accesses, and influences on the surrounding environment.

Through this proposal, the issue of insolation with the chamfer, the depths of the slabs a light, in order to also be able to passively he

Using parametric development software, functions linked to annual sunshine in the city in order to capture as much sunlight as pos

n is also an important factor to be considered, are reduced, allowing the best use of natural eat the interior of the project.

The diagram also shows the places most affected by the lack of solar incidence and enables analysis and parties in order to minimize the consequences of these limitations, especially when it comes to a country with a cold climate.

all facades were submitted to generative y of Amsterdam. All faces were deconstructed ssible.

With the established volume, public spaces were proposed together with green areas at all levels of the project. The terraces provided by the deconstruction of the volumes became areas for leisure and socializing, always focusing on social gatherings and the pedestrian’s walk through all spaces.

The entire volumetry of the project was developed with the aid of generative modeling software, that is, the data on areas, heights, ceiling height and spatialities served as inputs for manipulating the volumetry based on the best possible capture of natural light, however. After decomposing the facade through this generative analysis, a study was developed aimed at mapping the amount of hours that each level of the building would receive throughout the year. According to LEED certification parameters, less than 250 hours of lighting throughout the year is not acceptable in the areas of greatest use in a building that intends to have sustainable characteristics. Taking this factor into account, the regions of the project that did not meet this demand for minimum natural lighting were mapped on all floors. Based on the results obtained, approximately 26% of the project has natural lighting for less than 250 hours per year. With the positioning of rigid cores, technical areas, store warehouses and kitchens within the subsequently mapped spots, there is a 12% reduction in areas that do not meet the LEED benchmarks, totaling approximately 77% of the project with good to excellent natural lighting throughout the year.

An intercalated panel was proposed to compose the entire façade of the project. The panel will be subdivided into two parts, one opaque and the other translucent to, while allowing the entry of light into the building, assist in thermal inertia and maintain the project’s internal heat. This proposal is based on an attempt to improve the project’s energy performance, by allowing natural light to enter the building strategically enabling the minimization of expenses with artificial lighting and the possibility of maximizing heating through solar irradiation. In addition, if one of the main points to improve the project performance in a cold climate is also the reduction of heating expenses, it is in this regard that an excellent efficiency in relation to thermal inertia is present, the building needs to have a good thermal inertia to take advantage of heat from direct irradiation as well as from the heating system itself.

Given the priority given to insolation as a crucial factor for the development of the project, as a passive heat gain mechanism and reduced energy expenditure on heating and artificial lighting, another analysis to be made is in relation to the speed and temperature of the winds, which can directly influencing heat gain and loss throughout the day, in addition to helping to renew indoor air. Both graphs show that the winds have higher speed and higher temperature at the beginning of the day, coming mainly from the southwest direction, which decreases until the end of the day. Therefore, strategies need to be thought of to allow the circulation of hot winds in the main directions and to stop or minimize the coldest winds throughout the day. For this, automated tilting frames were developed and arranged throughout the entire project envelope. With the help of graphics of this type, it becomes easier to predict the behavior of the winds throughout the year and take actions that improve the project’s performance.

Esc.: 1 : 25

46,50

GUARDA-CORPO DE VIDRO EMBUTIDO

MANTA ALWITRA

PLACA CIMENTÍCIA

FORRO EM MADEIRA RIPADO

CAIBRO 15x6 cm

PLACA CIMENTÍCIA

TERRA PERFIL METÁLICO "T" COM PLACA CIMENTÍCIA

0,70

ESQUADRIA BASCULANTE AUTOMATIZADA

0,06

PISO ELEVADO COM ISOLAMENTO TÉRMICO E ACÚSTICO

0,70

0,57

0,18 0,10 0,18

CABOS DE CALEFAÇÃO

PISO ELEVADO COM ISOLAMENTO TÉRMICO E ACÚSTICO

GRELHA PARA VENTILAÇÃO

INT.

CABOS DE CALEFAÇÃO

VIGA MLC COM REFORÇO EM LVL PARA PERFURAÇÕES

EXT. ESQUADRIA EMBUTIDA NO PISO

EXT.

0,20

VIGA MLC COM REFORÇO EM LVL PARA PERFURAÇÕES

0,19 MOTOR

5,13

CHAPA METÁLICA DE PROTEÇÃO

LAJE CLT 100mm

ESQUADRIA BASCULANTE AUTOMATIZADA

VIDRO INSULADO

ESQUADRIA BASCULANTE AUTOMATIZADA

0,18 0,10 0,18

Nível 2

0,45

0,74

ESQUADRIA BASCULANTE PARA VENTILAÇÃO INTERNA

12,00

3,65

0,45

ISOLAMENTO TÉRMICO

FORRO EM PAINEL RIPADO

0,06

FORRO EM PAINEL RIPADO

DRENAGEM

0,10

0,11 0,47

0,74

CHAPA METÁLICA DE PROTEÇÃO

Nível 2

RALO ESFÉRICO IMPERMEABILIZAÇÃO

0,10

ISOLAMENTO TÉRMICO

0,16

MANTA BIDIM

0,11 0,47

12,00

MANTA BIDIM

IRRIGAÇÃO

0,18 0,10 0,18

ESQUADRIA EMBUTIDA NO FORRO PERSIANA

LAJE CLT 160mm

RUFO

LAJE CLT 160mm

0,45

0,16

LAJE MISTA CLT 100mm + EPS 20mm + 80mm CONCRETO ARMADO

INT. 42,00 N+08 ESC

0,20

0,19

RIPADO EM MADEIRA IRRIGAÇÃO

RIPADO EM MADEIRA

IMPERMEABILIZAÇÃO

FRESTA PARA ESQUADRIA VENTILADA

RUFO METÁLICO

DRENAGEM

0,57

BARROTE METÁLICO

0,57

BARROTE METÁLICO

0,16

TERRA PERFIL METÁLICO "T" COM PLACA CIMENTÍCIA

0,20

CAIBRO 15x6 cm

RALO ESFÉRICO

0,86

DECK DE MADEIRA

N+09 ESC

0,45

GUARDA-CORPO DE VIDRO EMBUTIDO

0,51

REVESTIMENTO DE SACRIFÍCIO

VIGA DE MLC

0,15 0,10 0,15

Detalhe Floreira com Guarda-Corpo

Esc.: 1 : 25

Painel Empresiarial Detalhe Floreira com Guarda-Corpo 4 Esc.: 1 : 25 Esc.: 1 : 25 Corte Painel Vidro 2 Esc.: 1 : 25

46,50 N+09 ESC

0,45

FORRO EM MADEIRA RIPADO

0,45

FORRO EM MADEIRA RIPADO

FRESTA PARA ESQUADRIA VENTILADA FRESTA PARA ESQUADRIA VENTILADA

VARIÁVEL

PERSIANA

VARIÁVEL

ESQUADRIA BASCULANTE PARA VENTILAÇÃO INTERNA

PAINEL TRANSLÚCIDO

EXT.

3,65

0,20

ESQUADRIA BASCULANTE PARA VENTILAÇÃO INTERNA

INT.

PISO ELEVADO COM ISOLAMENTO TÉRMICO E ACÚSTICO

ESQUADRIA DE ALUMÍNIO

VIDRO INSULADO LAMINADO

CABOS DE CALEFAÇÃO

TRILHO EMBUTIDO EM PAINEL OPACO

GRELHA PARA VENTILAÇÃO INT.

EXT.

REVESTIMENTO DE SACRIFÍCIO

0,45

REVESTIMENTO DE SACRIFÍCIO

0,20

RUFO LAJE MISTA CLT 100mm + EPS 20mm + 80mm CONCRETO ARMADO

RUFO 42,00 N+08 ESC LAJE MISTA CLT 100mm + EPS 20mm + 80mm CONCRETO ARMADO

EXT.

42,00 N+08 ESC

0,45

0,20

INT.

0,20

GRELHA PARA VENTILAÇÃO

VIGA DE MLC

Painel Empresiarial Esc.: 1 : 25

Detalhe Esquadria Comercial- Planta Esc.: 1 : 25

18,00 Nível 3

18,00

Nível 3

0,18 0,10 0,18

PERFIS METÁLICOS PARA TRAVAMENTO DA ESTRUTURA PERFIS METÁLICOS PARA TRAVAMENTO DA ESTRUTURA ISOLAMENTO TÉRMICO ISOLAMENTO TÉRMICO PAINEL OSB3 PAINEL OSB3 PERFIL METÁLICO PARA PERFIL METÁLICO PARA ESTRUTURAÇÃO ESTRUTURAÇÃO REVESTIMENTO EM PAINEL RIPADO REVESTIMENTO EM PAINEL RIPADO

MOTOR

5,13

PISO ELEVADO COM ISOLAMENTO TÉRMICO E ACÚSTICO

EFAÇÃO

12,00

0,51

0,15 0,10 0,15

Esc.: 1 : 25

VARIÁVEL VARIÁVEL PAINEL TRANSLÚCIDO

PAINEL TRANSLÚCIDO

VARIÁVEL PAINEL OPACO

Esc.: 1 : 25

VARIÁVEL PAINEL OPACO

PILAR MLC

PARAFURO AUTOPERFURANTE

ESQUADRIA DE ALUMÍNIO

ESQUADRIA DE ALUMÍNIO VIDRO INSULADO LAMINADO VIDRO INSULADO LAMINADO TRILHO EMBUTIDO EM PAINEL OPACO TRILHO EMBUTIDO EM PAINEL OPACO

MONTANTE METÁLICO PARA MONTANTE METÁLICO PARA ESTRUTURAÇÃO ESTRUTURAÇÃO PERFIS METÁLICOS PARA PERFIS METÁLICOS PARA TRAVAMENTO DA ESTRUTURA TRAVAMENTO DA ESTRUTURA ISOLAMENTO TÉRMICO ISOLAMENTO TÉRMICO PAINEL OSB3

Esc.: 1 : 25

CHAPA DE APOIO PISO ACABADO GRAUTE CONTRAPISO CHUMBADOR LAJE

PAINEL OSB3

REVESTIMENTO EM PAINEL RIPADO REVESTIMENTO EM PAINEL RIPADO

0,15 0,10 0,15

Esc.: 1 : 25

INT.

lhe Esquadria Comercial-ComercialPlanta Detalhe Esquadria Planta

Nível 2

Corte Painel Opaco Corte Painel Opaco

0,20

EXT.

VARIÁVEL

INT.

12,00

0,15 0,10 0,15

e Painel Vidro Corte Painel Vidro

INT.

0,16

Nível 2

0,20

Nível 2

EXT.

0,19

12,00

0,16

CABOS DE CALEFAÇÃO EXT. ESQUADRIA EMBUTIDA NO PISO ESQUADRIA EMBUTIDA NO PISO

INT.

0,20

INT. EXT.

0,20

CABOS DE CALEFAÇÃO EXT. NO PISO ESQUADRIA EMBUTIDA NO PISO

PISO ELEVADO COM ISOLAMENTO TÉRMICO E ACÚSTICO

CABOS DE CALEFAÇÃO

0,51

5,13

VIDRO INSULADO

0,19

SULADO

DO COM RMICO E CÚSTICO

PERFIS "C" PARA FECHAMENTO PERFIS "C" PARA FECHAMENTO

5,13

ESQUADRIA BASCULANTE AUTOMATIZADA

MOTOR

0,18 0,10 0,18

0,57

ULANTE TIZADA

0,57

FORRO ESQUADRIA EMBUTIDA NO FORRO

0,86

Nível 3

VIGA

PILAR MLC

PARAFURO AUTOPERFURANTE CHAPA DE APOIO PISO ACABADO GRAUTE CONTRAPISO CHUMBADOR LAJE VIGA

0,00 Térreo