Vertical yellow and grey stripes decorate the exterior of this family house in Mexico by León firm tactic-a (+ slideshow).
Located in the city of Lagos De Moreno, the two-storey residence was designed by tactic-a to make the most of natural light while also maintaining privacy for the clients and their two daughters.
An L-shaped plan frames a private garden in the south-east corner of the site. The architects have added a row of south-facing windows behind, which open the space out to a double-height living and dining room at the centre of the house.
A sawtooth roof creates additional windows facing eastward, bringing morning light into the top floor and down into the living room.
Other windows are partially concealed behind the facade, creating sets of thin apertures that are reminiscent of barcodes.
“The north facade is blind and windows on the west facade are ending with full transparency into the garden in search of the best sunlight and thermal conditions,” said the architects.
A staircase with thick wooden treads ascends from the living room to the first floor, which has the master bedroom at one end and the shared children’s bedroom at the other.
The master bedroom also leads out to a roof terrace with a pebbled surface.
A garage forms the south-west corner of the house and features wooden doors that match up to a wooden picket fence that extends around the back garden.
Photography is by Diego Torres + Gerardo Dueñas.
Here’s a project description from the architects:
Huit House
The location of the house in Lagos De Moreno, firstly induces to develop a typology related to its historical condition (north and east facades are open to the outside, trying to get close to walls and colony’s buildings scale) in contrast, the facades of west and south playfully try contemporary living typologies currently undergoing an intense process of change and revision, in this case is peculiarly attractive by the degree of collaboration that occurred with the clients.
While this family is formed by four members, only two rooms were built, one for parents and another (with multiple possibilities of customisation) for their two daughters in order to encourage their negotiation and socialisation skills. In the house there’s also a large social space, a home office where the couple could work and a media room that can also be room for guests.
This program is materialised by an ‘L’ shaped block. The upper level has a light covering, divided into three double sections light oriented triangles pointing eastward. The north facade is blind and windows on the west facade are ending with full transparency into the garden in search of the best sunlight and thermal conditions (south).
A system ‘ladder-bridge-lamp’ located in the heart of the house acts as a filter between activities: work, socialising and cooking. The upper level that contains the two rooms on each extremes of the house allows a double height for the home office and the socialising space.
These flat-packed schools have been designed for assembly in Southeast Asia by Californian architects Amadeo Bennetta and Dan LaRossa (+ slideshow).
Bennetta and LaRossa’s project was the winning entry for a competition launched by non-profit charity Building Trust to design a self-assembly educational facility for migrant and refugee communities on the border of Thailand and Burma.
The buildings are designed to be taken apart and reassembled several times over, and assembly drawings are available for anyone to download from the Building Trust website. These include cutting dimensions for the steel frame and instructions for both prefabricated elements and on-site construction.
They also lays out tips and suggestions for site preparation, time forecast and how many people each stage will need.
“The concept of the Moving school project is to provide displaced or informally settled communities with safe, well designed spaces that provide the core functions of both school buildings and community hubs,” said Louise Cole, co-founder of Building Trust.
The structure comprises a prefabricated steel frame, which sits elevated from the ground to minimise flooding.
The steel frame is covered with a white waterproof fabric and clad in locally crafted bamboo panels to allow light to filter inside.
The structure features a mono-pitched roof with a veranda, where the user enters the building through sliding bamboo doors.
The veranda is shaded to the front of the structure by thin bamboo blinds, which hang off the steel frame. A gap between the main roof and the secondary roof allows for passive ventilation.
David and Louise Cole co-founded Building Trust in 2010 to support educational and community-based projects in Asia, Europe, Africa and the Americas. For this project they followed the lead of home-assembly furniture specialist Ikea, which previously used its expertise in flat-pack design to redesign refugee shelters.
Here is some more information from Building Trust:
Open source design is all the rage at the moment but has there actually been any evidence that open source sharing has resulted in built projects for poverty stricken communities?
Building Trust recently went one step further in their efforts to make good design accessible to all by following the lead of flat pack furniture specialists IKEA. They have released assembly drawings for their first school building project that supports refugee and migrant communities. The PDF booklet that can be downloaded from their website not only gives the cutting dimensions for the steel frame and instructions for both prefabricated elements and on site construction. It also lays out tips and suggestions for site preparation, time forecast and how many people each stage will need.
The MOVING school project was established by Building Trust to create solutions for public and school buildings to serve displaced refugee and migrant communities living on the Thai-Burmese border. The project sparked a design competition which saw the winning design by Amadeo Bennetta and Dan LaRossa built last year. The building design allowed for the school to be built and disassembled and constructed again many times over responding to the lack in land rights for the displaced Burmese communities.
The assembly drawings were originally compiled to provide the school and community with a set of instructions for relocating the completed project. However, the demand from numerous other schools for a similar design has resulted in the assembly drawings pack and an online tool kit. Building trust hope the kit will inspire people to build
News: visitors to the museum at the Dessau campus of the Bauhaus can now spend the night in the dormitories of the former German Modernist design school (+ slideshow).
Reconstructed room in the Studio Building at Bauhaus Dessau
Guests can book accommodation in the Studio Building once occupied by architecture and design students at the Bauhaus campus in Dessau, Germany, which is now a museum dedicated to the movement.
Reconstructed room
Visitors stay in one of the 28 rooms in the building, which were once let to junior masters and promising students.
Reconstructed room
Previous inhabitants include Marcel Breuer, Josef Albers, Erich Consemüller, Herbert Bayer, Franz Ehrlich, Walter Peterhans, Hannes Meyer and Joost Schmidt, plus Marianne Brandt, Gertrud Arndt, Gunta Stölzl and Anni Albers on the “ladies floor”.
Marianne Brandt room
The 24-square-metre studio flats are starkly decorated and minimally furnished. Boarders have to use the communal bathrooms and showers like the residents in the 1920s would have done.
Marianne Brandt room
One single room has been accurately reconstructed with the original furnishings, while others have been kitted-out with work by their previous occupants.
Josef Albers room
Prices start from €35 per night for a single room, while a double room on a Friday or Saturday night costs €60.
Franz Ehrlich room
The Bauhaus school was founded by Modernist German architect Walter Gropius in 1919 and was originally located in Weimar.
Studio Building (Prellerhaus) by Walter Gropius, 1925/26 – view from east. Photo by Silvia Höll
The campus was relocated to Dessau in 1925, where the iconic listed building was constructed in the Modernist style. The school was then moved again to Berlin in 1932 before closing down in 1933.
Images of fantasy goddesses are hidden in brightly-coloured graphics on the walls, floor and ceiling of this exhibition space in Reykjavík, Iceland (+ slideshow).
Berlin-based Icelandic graphic designer Siggi Eggertsson created a set of eight posters that fit together in different ways to form a seamless, patterned wallpaper across the interior of Spark Design Space.
Photograph by Vigfus Birgisson
Eggertsson used a mixture of curved and straight lines to generate the complex pattern. “My work is all based on grids and construction of geometric shapes,” Eggertsson told Dezeen.
“I normally work with warmer and less saturated colours, but for this exhibition I wanted to create something overly colourful, so I decided to use only pure CMYK colour blends,” he said.
Photograph by Vigfus Birgisson
On closer inspection, the graphics merge together to form images of women or ‘skvís’, the Icelandic term for a young, pretty and smart girl.
Photograph by Vigfus Birgisson
“They are sort of imaginary muses, said Eggertsson. “I knew I wanted to make a system of modular posters that could connect to each other in numerous ways to create a seamless pattern, but didn’t really know what to draw.”
“At first I thought about creating abstract patterns but then realised it would be more fun to draw pretty girls,” he added.
The exhibition continues until 16 November.
Here’s some information from the exhibition organisers:
SKVÍS at Spark Design Space
There is a special relationship between mind, sight, fine muscular movements and hands which, together with its reflection in the virtual world of digital technology, has given birth to a new species of of homo sapiens. The American science fiction writer William Gibson wanted to refer to this new-born species as “Cyber-punks”.
That was 30 years ago. This species has from early childhood had an almost unbreakable bond with a keyboard, a computer screen and a mouse. The infinite virtual world seems to be a dwelling place, an extension, and a reflection of their feelings and thoughts. When this proximity reaches a certain stage they become one and the same, the virtual world and the species.
Siggi Eggertsson is an artist of this new world. He was born in 1984 and will turn 30 next year. His life has been a constant journey in the virtual world almost since birth. He has never paused to consider the ordinary. He dives deep into the basic squares which the visual presentation of the screenshot and the printed matter are based on.
If patterns were a pure geometry without reference to the biological world such as flora or fauna, they were arabic or eastern. Patterns with a reference to flora or fauna, plants and birds, originated in Rome. A combination of the abstract and the real are found in Indian or Chinese mandalas.
The methodology is in fact the same. Squares based on horizontal and vertical lines. The density of the squares, or the resolution as we now call it, is the only thing that decides whether we can read into the pattern a representation of something real. The highest resolution digital photograph can be blown up until it ends up like squares on a ruled page without a reference to anything real. Siggi also uses a quarter of a circle pasted into a square – that is what his personal style is based on.
The exhibition consists of eight modular posters. The nature of the pattern is almost always spiritual – a suggestion of divine beauty. This beauty of infinity is always present in Siggi’s work. This may be related to methods for expanding ones mind, whether by use of substances or meditation.
That world has goddesses floating about, as can be seen in Siggi Eggertsson’s representation. He invites us on a guided journey as someone who has seen a world none of us have seen. This is a journey into infinity where we fleetingly catch a glimpse of the goddesses and make the briefest of eye contact.
Beijing studio Atelier TeamMinus has completed a visitor centre for an ancient Buddhist memorial in Tibet, which features stone walls, a central courtyard and 11 rooftop observation decks (+ slideshow).
Located in the Chinese province of Yushu, the Jianamani Visitor Centre accompanies the Jianamani cairn – a historic mound of inscribed stones amassed by pilgrims over the last three centuries.
Atelier TeamMinus was commissioned to design the building in 2010, shortly after an earthquake hit the region. As well as providing an information source for tourists, it functions as a community centre for the local residents who worked hard to repair the damage caused by the natural disaster.
The architects used traditional Tibetan architecture as a guide when generating the plan of the building. They created a square building with a central courtyard, then surrounded it with observation towers that offer views of various historical landmarks nearby.
Stone was used for the walls, resonating with the inscribed stones that make up the Jianamani memorial.
“The stone masonry is done by local masons, using the same kind of local rock from which Mani stones are carved,” explained the architects.
The rooftop decks were constructed from timber, some of which was sourced from earthquake debris.
Inside, the building is laid out over two floors and accommodates a post office, a clinic, public toilets and a small research archive.
Read on for a project description from Atelier TeamMinus:
Jianamani Visitor Centre
Yushu is a highly regarded religious centre to Tibetans. Its significance comes mainly from Jianamani, the world’s largest Tibetan Buddhist cairn. With a history of over 3 centuries, Jianamani currently bears over 250 million pieces of Mani stones, and is still growing with new pieces added daily by pilgrims.
In Yushu, more than 40% of the populations live on the carving of Mani stones. To the Yushu community, nothing compares to Jianamani. After the 2010 earthquake, Yushu-ers immediately set off to repair Jianamani, long before they started repairing their own houses.
The Jianamani Visitor Centre serves both visitors and the local community. To visitors and pilgrims, it provides information about Jianamani and its history complemented by viewing the surrounding historical sites. To local Yushu-ers, it provides a post office, a clinic, public toilets and a small research archive.
The Jianamani Visitor Centre consists of a square building with a courtyard in the centre, and 11 observation decks surrounding it. The central square volume features the typical Tibetan layout. Of the 11 observation decks, 2 point to Jianamani, 9 point to historic/religious sites related to Jianamani, including: Leciga, Genixibawangxiou, Cuochike, Dongna Zhunatalang Taiqinleng, Zhaqu River Valley, Lazanglongba, Rusongongbu, Naigu River Beach, and Kuanyin Rebirth Site.
The Jianamani Visitor Centre is mainly built with the local construction techniques. The stone masonry is done by local masons, using the same kind of local rock from which Mani stones are carved. The railings around the roof terrace and the observation decks are made of wood, with some parts recycled from earthquake debris.
A brass table with a gently rippled surface provides the reading area of this Japanese library dedicated to the sea and designed by Swedish studio ETAT arkitekter (+ slideshow).
Architects Erik Törnkvist and Malin Belfrage of ETAT inserted the small library inside a 1920s schoolhouse on Awashima Island – one of the 12 islands within Japan’s Seto Inland Sea that is hosting the Setouchi Triennale 2013.
As one of a series of projects organised for the art exhibition, the Sea Library is a place where visitors are invited to donate any books containing history or stories of the ocean.
The rectangular brass table fills the centre of the space, allowing enough space for eight people to sit and read together. The architects have also added a rippled brass screen in front of one wall, creating wavy reflections of the interior that are reminiscent of water.
“[The] refurbishment is designed to highlight the material and spatial qualities of the existing wooden building and to enhance its relationship to the sea,” said Törnkvist and Belfrage.
Brass brackets support wooden shelves along the edges of the room, providing storage areas for books that have been collected in various languages.
Here’s a project description from ETAT Arkitekter:
Library in Awashima
ETAT arkitekter/ETAT Architects has been commissioned by Art Setouchi to design a library located on Awashima Island in the Seto Inland Sea, Japan.
The new library is housed in an existing heritage-classified building from the 1920’s located on the port’s sea front. ETAT’s refurbishment is designed to highlight the material and spatial qualities of the existing wooden building and to enhance it’s relationship to the sea. For new additions the predominant material is brass, which is used as wall surface, for fittings and for the 3.6 x 3.6 meters reading table.
The library is a regional development project in order to revitalise Awashima and the project is part of the art and architecture triennale Setouchi International Triennale 2013.
The library was opened in early October 2013 and has since attracted more than 1,000 visitors.
This railway station in the Netherlands by Dutch studio NL Architects comprises a cross formation of shipping containers that frame a transparent waiting room and cafe (+ slideshow).
NL Architects designed the Barneveld Noord station for Dutch national railway service ProRail, which is upgrading 20 stations across the country as part of a campaign called Prettig Wachten, or Pleasant Waiting. The aim is to make waiting for trains a more comfortable experience for passengers.
“One of the keys to the success of Prettig Wachten is to introduce human presence on these stations, to create some sort of informal supervision,” said the architects, explaining the concept to add features such as WIFI and artwork to stations.
The architects used shipping containers to create a temporary structure that could easily be relocated.
“Containers seemed a cheap and light material that can easily be put together and taken apart, ” the architects told Dezeen. “These huge building blocks allowed us to create a large sculpture with minimal effort.”
Three of the containers form a roof above the glazed waiting room. One has an open bottom, creating a double-height space, while the other two are sealed to provide overhead storage.
A fourth container has been flipped on its side to form a clock tower in the middle of the structure. A toilet is located inside, with a skylight overhead to let in natural light.
A gilded chicken sits on the top of the tower, as a reference to the local egg farming industry that earned the route its nickname “chicken line”.
Photography is by Marcel van der Burg, apart from where otherwise indicated.
Here’s a project description from the architects:
Barneveld Noord
ProRail, responsible for the railway network in the Netherlands, together with the so-called spoorbouwmeester Koen van Velsen (the national supervisor for railway architecture) started a campaign to make waiting more comfortable: Prettig Wachten.
Photograph by Bart van Hoek
Travellers experience waiting on a station as much longer then waiting within a vehicle. Surveys have indicated that waiting time is experienced as three times longer than it actually is. In this respect especially small and medium sized stations proof a big challenge. These smaller stations are usually unmanned, desolate, often creating a sense un-safety. What can we do to improve them?
The waiting areas of in total twenty stations throughout the country will be upgraded, both functionally and cosmetically: introduction of washrooms, wifi, floor heating, railway TV. Or art! One of the keys to the success of Prettig Wachten is to introduce human presence on these stations, to create some sort of informal supervision.
Photograph by Bart van Hoek
An effort is made to create small multifunctional shops. In Wolvega for instance a flower shop will be opened, the florist will also be serving coffee and will even be cleaning the restrooms.
Photograph by Bart van Hoek
In Barneveld Noord a bike-repair shop will be included run by people that are ‘differently able’. They will contribute to the maintenance and hopefully prevent the broken window syndrome. In Barneveld Noord a new station will be build. Well station, perhaps more a bus-stop. But then again, quite an intriguing bus stop. It is supposed to be a temporary structure. Hence the station will be build out of shipping containers. The containers contain space, but also form space. They will be combined into an explicit arrangement. Together they form an ambiguous but strong sign. Minimum effort, maximum output.
Long section
Three containers are ‘suspended’ in the air. Together they form a ‘roof’. One contains the installations, the other storage. The third will be opened at the bottom. It forms the headroom for the enclosed but fully transparent waiting area, creating a double high space.
Cross section
The fourth container is flipped to an upright position. It makes an instant tower. The tower contains a clock. And a wind vane. Since Barneveld is the egg capital of the Netherlands – the station is located on the so-called Chicken Line – not the typical rooster will be mounted, but a gilded chicken. The tower holds a lavatory, 11.998mm high, topped by a glass roof. Royal Flush.
Front elevation
Project: train station in the framework of Prettig Wachten, 2011, Completion: 2013 Initiative ‘Prettig Wachten’ and Supervision: Spoorbouwmeester Koen van Velsen / ProRail Client: ProRail NL Architects: Pieter Bannenberg, Walter van Dijk, Kamiel Klaasse Project Architect: Gerbrand van Oostveen Team: Kirsten Hüsig, Barbara Luns, Gert Jan Machiels and Gen Yamamoto with Aude Robert and Christian Asbo Consultant: Movares Contractor: Strukton
Dutch Design Week 2013: Dutch creative agency …,staat has designed the interior and branding for this alternative supermarket in Amsterdam, where ingredients are grouped together as recipes rather than food types (+ slideshow).
The interior for Bilder & De Clercq by …,staat includes a cafe area, which has a counter decorated with handmade turquoise tiles.
Wooden panels are hung across the ceiling and merge into shelves behind the bar to display bread.
Sections of the counter are cut out to accommodate freestanding wooden units with glass shelves.
Instead of traditional supermarket aisles, the store features bespoke white tiered frames with wooden surfaces for displaying food. The steel frames are grouped according to the ingredients of each dish, which is pictured and described above the produce.
The graphic identity, packaging and kitchenware for Bilder & De Clercq was also designed by …,staat.
The black, grey and turquoise colour scheme is applied to take-away coffee cups, printed recipes and store cards.
The range of kitchenware includes chopping boards, vegetables peelers and spatulas, all of which come in wood or metal.
Named Fogo Island Inn, the building is the latest edition to an ongoing arts residency programme being established on the Newfoundland isle. So far Saunders Architecture has completed four of six live-in artists’ studios and, most recently, this 29-room hotel and cultural attraction.
Photograph by Iwan Baan
The building has an X-shaped plan comprising one two-storey volume and an intersecting four-storey block, both clad in timber.
Photograph by Iwan Baan
Dozens of narrow columns support the protruding ends of the building, ensuring it has a minimal impact on the rocks, lichens and plants that make up the coastal landscape.
Photograph by Alex Fradkin
“The inn is completely tied to Fogo Island and traditional Newfoundland outport architecture by the way it sits in the landscape and the materials used throughout,” said the architects.
Photograph by Alex Fradkin
“The knowledge and skill of local carpenters and craftspeople were essential for establishing the details used throughout the buildings,” they added.
Photograph by Iwan Baan
The smallest side of the building contains a series of public facilities, including an art gallery, a library dedicated to local history, a cinema, a gym and various meeting and dining areas.
Photograph by Alex Fradkin
The four-storey structure runs parallel to the seafront and accommodates the 29 guest suites. The majority of these come with their own wood-burning stoves, plus three of the rooms feature a mezzanine floor.
Photograph by Alex Fradkin
A deck on the roof of the building offers saunas and outdoor hot tubs, while laundry facilities and storage areas occupy an extra building nearby.
Photograph by Iwan Baan
Here’s a project description from Saunders Architecture:
Fogo Island Inn
The Fogo Island Inn is a public building for Fogo Island with 29 rooms for guests. The building, located between the communities of Joe Batt’s Arm and Barr’d Islands on the Back Western Shore, is an X in plan. The two storey west to east volume contains public spaces while the four storey south-west to north-east volume contains the remaining public spaces and all the guest rooms and is parallel to the coast.
Photograph by Iwan Baan
The public areas on the first floor include an art gallery curated by Fogo Island Arts, a dining room, bar and lounge, and a library specialising in the local region. The former president of Memorial University Newfoundland, Dr. Leslie Harris, donated the foundational material for the library. The second floor includes a gym, meeting rooms, and cinema. The cinema is a partnership with the National Film Board of Canada. The fourth floor roof deck has saunas and outdoor hot tubs with views of the North Atlantic.
Photograph by Iwan Baan
All guest rooms face the ocean with the bed placed directly in front of the view of the Little Fogo Islands in the distance with the North Atlantic beyond. The room sizes vary from 350 square feet to 1,100 square feet. Guest rooms are located on all four floors with the 21 rooms on the third and fourth floors all having a wood-burning stove. The ceilings of the rooms on the fourth floor follow the slope of the roof and the three rooms on the east are double volume spaces with the sleeping area located on the mezzanine.
Photograph by Iwan Baan
An outbuilding to the south of the inn contains service functions like laundry, storage, wood fired boilers, backup generator, and solar thermal panels on the roof. The required number and orientation of the solar panels dictated the form of the outbuilding and the angle of the roof. The space between these two buildings creates an entry court and frames the main entrance. Vehicle parking is off site.
Photograph by Iwan Baan
The inn is a fully contemporary structure, built using modern methods. Ecological and self-sustaining systems were subtly integrated from the beginning of the project, incorporating the latest technologies to reduce and conserve energy and water usage. It is a highly insulated steel frame building and the windows have the equivalent rating of triple pane glazing. Rainwater from the roof is collected into two cisterns in the basement, filtered, and used for the toilet water and also to be used as a heat sink. The solar thermal on the outbuilding panels provide hot water for in-floor heating, laundry and kitchen equipment.
Photograph by Iwan Baan
The inn is completely tied to Fogo Island and traditional Newfoundland outport architecture by the way it sits in the landscape and the materials used throughout. The building hits the land directly without impacting the adjacent rocks, lichens and berries. The exterior cladding is locally sourced and milled Black Spruce. The knowledge and skill of local carpenters and craftspeople were essential for establishing the details used throughout the buildings.
Photograph by Alex Fradkin
The interiors of the inn continue the incorporation of the traditional with the contemporary. The materials, history, craft techniques and aesthetic of outport Newfoundland are the starting point for what has become a long term and ongoing collaborative project between contemporary designers from North America and Europe and the men and women makers and builders of Fogo Island and Change Islands. The furniture, textiles and interior surfaces throughout the inn are reminders that you are on the Back Western Shore of Fogo Island.
Photograph by Iwan Baan
The Fogo Island Inn is owned by the Shorefast Foundation, a Canadian charitable organisation established by Zita Cobb and her brothers with the aim of fostering cultural and economic resilience for this traditional fishing community. The project has been a collaborative effort now lasting over 7 years starting with the relationship between the Fogo Island based Shorefast Foundation and the Newfoundland born and Norway based architect Todd Saunders. This atypical collaboration continues to be a happy adventure and is a kind of miracle considering the typical client-architect relationship on a project of this scale and duration.
A spiral staircase made from Brazilian ironwood links two floors inside this São Paulo house, which was designed by Brazilian architect Isay Weinfeld as a private gallery and guest house for two art collectors (+ slideshow).
Isay Weinfeld was commissioned by the couple to create a house they could use to present exhibitions, host parties and house guests during events such as the São Paulo Art Biennial.
Located on the same street as both the client’s own home and the Isay Weinfeld-designed Yucatan House, Casa Cubo is a three-storey building in São Paulo’s Jardins district.
A double-height living room on the ground floor is the largest space in the house. With white walls and a poured concrete floor, it offers a blank canvas for displaying pantings, sculptures and a selection of designer furniture pieces.
Two staircases are visible inside the room. On one wall a folded steel staircase leads up to a first-floor mezzanine accommodating a library, while on the opposite side a wooden staircase ascends from the first floor to three bedrooms at the top of the house.
Both staircases are suspended from above and appear to be floating just above the floor.
Furniture chosen for the living room includes pieces by Alvar Aalto, Pierre Jeanneret, Gio Ponti and Lina Bo Bardi. Glass doors run along one edge and open the space out to a terrace, garden and lily pond.
The exterior of the house is primarily clad with cement panels, apart from a section near the top that is covered with wood.
Casa Cubo, the initiative of a couple of art collectors, was conceived to house a lodging and support center to artists and the development of the arts, but with all necessary facilities to serve as a home. The program was solved within a cubic block, split vertically into three levels and a mezzanine, whose façades are treated graphically as a combination of lines defined by the cladding cement plaques, by the glass strip on the mezzanine, and the striped wood composition that changes as the bedroom windows are opened and closed.
The service nucleus is located at the front of the ground level, comprising a kitchen, a restroom, a dining room and an entrance hall giving way to the wide room with double ceiling height and polished concrete floor, intended to host events, exhibitions or even work as a lounge that opens onto the backyard.
The mezzanine of the lounge, standing on the slab topping the service nucleus on the ground floor, houses the library, which is marked by three strong elements: a shelving unit extending the whole back wall, a strip of fixed glass next to the floor and a spiral staircase covered in wood that leads to the private quarters upstairs.
Private quarters consist of 3 bedrooms and a living room thoroughly lit through a floor-to-ceiling opening. The garage and service areas are located in the basement.
General contractor: Fernando Leirner – Bona Engenharia Structural engineering: Benedictis Engenharia Ltda Staircase mettallic structure engineering: Inner Engenharia e Gerenciamento Ltda Electrical and plumbing engineering: Tesis Engenharia Ltda Air conditioning: CHD Sistemas De Ar Condicionado e Instalações Ltda Landscape design: Isabel Duprat Paisagismo
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