建築師通常比其他人更好地掌握一種表達形式。即使是偉大的建築師也主要在他們的祖國留下自己的印記，有時甚至不敢出國。Arthur Casas則是這兩條規則的例外。他在住宅建築、商業空間、房地產開發和設計領域同樣遊刃有餘。正如他所說，“我對我的職業有一個整體的看法，所以我喜歡探索所有的領域和規模;從城市主義到產品設計。”
Architects often master one form of expression better than others. Even great architects leave their mark mainly in their country of origin, sometimes never daring to go abroad. Arthur Casas is an exception to both of these rules. He is equally at ease in the areas of residential architecture, commercial spaces, real estate development and design. As he states, “I have a holistic view of my profession, so I like to explore all areas and scales; from urbanism to the minor object design.”
Arthur Casas出生於1961年，和巴西首都巴西利亞的誕生處於同一時期。經歷了巴西建築最好的時期，對一個建築師來說，任何事情都是可能的，包括設計整個城市——重新組織城市地區的生活方式。Arthur Casas的童年和巴西利亞之行給了他這種自由，讓他在職業生涯中恪守現代主義原則。
Arthur Casas was born in 1961, around the same time as the capital of Brazil, Brasilia. He experienced the best period of Brazilian architecture, when anything was possible for an architect, including designing a whole city – reorganizing the way of life in urban areas. He brought from his childhood and his visits to Brasilia this freedom, and a commitment to modernist principles in his professional life.
Arthur Casas於1983年畢業於聖保羅的麥肯齊大學建築與城市規劃專業，他的職業生涯始於室內設計和產品設計，最大的特點之一是不斷地通過與他的團隊進行激烈的對話來重新定義他的工作，這種對話的指導原則是使他的項目得到廣泛認可的品質。
Arthur Casas graduated from Mackenzie University of Sao Paulo in architecture and urbanism in 1983, who built his career starting with interior and product design, One of his strongest characteristics is to constantly reinvent his work through an intense dialogue with his team, guided by the qualities that have given his projects broad recognition.
長期以來，住宅工作一直是Arthur Casas的主要內容。正如Arthur Casas所解釋的那樣，“我的姓是Casas，在葡萄牙語中是‘房子’的意思。我想我從來沒有認真考慮過其他職業。我從8歲開始畫房子，從未停止過，也許這就是我們所說的職業。”
Residential work has long been a staple of the office. As Arthur Casas explains, “My family name is Casas, which in Portuguese means ‘houses’. I guess I never thought seriously about another profession. I started drawing houses when I was 8 years old and never stopped, maybe it’s what we call vocation.”
Arthur Casas對自然環境和材料的選擇給予了相當大的關注，特別是從2003年開始，Arthur Casas的工作重點是減少建築對環境的影響。他的設計的這方面在最近的作品中特別強調，如2015年米蘭世博會巴西館(與Atelier Marko Brajovic)。3672平方米的展館基於“靈活、流暢、分散的網絡理念，體現在建築的各個方面，代表著國家的多元化。”
The considerable attention given by Arthur Casas to the natural environment and to the choice of materials. Especially beginning in 2003, Casas placed an emphasis in his work on reducing the environmental impact of architecture. This aspect of his designs is particularly emphasized in such recent work as the Brazil Pavilion for Expo 2015 Milan (with Atelier Marko Brajovic). The 3,672m2 pavilion is based on the “idea of a flexible, smooth and decentralized network, present in every aspect of the building and representing the country’s pluralism.”
Arthur Casas的現代風格的確在一定程度上得益於他的祖國巴西的精妙和多樣性，但他早就展示了自己在設計中創造多樣性和驚喜的能力。在米蘭的巴西館，他證實了自己作為拉丁美洲最重要的在世建築師之一的地位。從內到外，從對象到景觀，Arthur Casas的創作在水平尺度上有著內在的聯繫。對話是構思項目的關鍵，從椅子到城市規劃，都受到現代和當代、巴西和世界主義精神的影響。
The modern approach of Arthur Casas does owe some of its subtlety and variety to his native Brazil, but he has long since shown his capacity to create variety and surprise in his designs. With the Brazilian Pavilion in Milan, he confirms his status as one of the most significant living Latin American architects.From inside to outside, from object to landscape, Studio Arthur Casas’ creations are intrinsically connected in a horizontal scale. Dialogue is the key for conceiving projects that range from a chair to an urban plan, influenced by a spirit both modern and contemporary, Brazilian and cosmopolitan.
儘管受到了現代巴西建築的影響，但最讓他感動的建築師，尤其是在本土尺度上，是弗蘭克·賴特。賴特是一個知道如何處理所有規模的項目，同時具有同樣的重量和重要性的人。Arthur Casas的工作在巴西獲得了20多年的好評。他用隨意而優雅的詞彙拯救了巴西現代主義的創新傳統。
Despite having had much influence from modern Brazilian architecture, the architect who touched me most, especially in the domestic-scale, was Frank Lloyd Wright. He was the one who knew how to work with all scales of projects concomitantly with the same weight and importance. Arthur Casas‘s work has been praised in Brazil for over two decades. With a casual, yet elegant vocabulary he rescues the innovative tradition of Brazilian Modernism.
