residential

The project arises from the need for a space to cook, eat, and socialize that integrates organically with the exterior of the residence and its garden. The Outdoor Kitchen functions as an extension between the built space and the existing open area.

The intervention consists of three primary elements that define the architecture and project guidelines: a delicate fixed canopy made of wood and glass, a monolithic counter that houses the cooking equipment, and a new floor – extending at the same level as the existing floor, connecting the interior with the exterior.

The canopy creates a shelter over the space, providing a shaded area that allows for long periods of use and a more flexible occupation of the covered space. The modular structure, made of solid Garapeira wood, rests on the side walls, the residence’s facade, and is supported at the front by a single pillar, placed at 1/3 of the span. The round pillar creates a visual composition with the existing Jabuticaba tree and embraces the joint between the two beams that bridge the free span of the structure.

The counter, finished in cement, is a monolithic element that dialogues with the pre-existing aesthetic. It’s a sculpture that not only serves the space but transforms it, marking the presence of solidity amid the fluidity of the space and nature.

The new floor is the link that connects the house and the garden. Made of Fulget, the floor harmonizes in terms of materiality with both the existing travertine marble floor and the new counter.

Finally, the space invites a broader exploration and enjoyment of the residence’s garden – a truly outdoor space shared by the human residents, as well as the various plants and animals that find refuge there.

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Outdoor kitchen

cultural

The Colombia Pavilion for the 27th São Paulo International Book Biennial (ENTRE-REDES) is a project that emerged from the border-encounter between Colombia and Brazil. Starting from the Amazonian territory — a shared, ancestral, and central space (though historically marginalized) for both countries — our proposal sought to reimagine what the materialization of this dialogue and its complexities could be.

With the intent of creating a narrative through the most significant elements of the Amazonian landscape and its cosmologies, we explored references in the mountains and forests, in the archetype of the Maloca, and in nets — an element that supports fishing, work, and rest in the region.

The pavilion is structured around three tree-pillar supports and three programmatic spaces that flow into one another: at the center, the La Vorágine exhibition, and at the ends, an auditorium and a bookstore. A large net spans the entire length of the pavilion, creating a topographic canopy reminiscent of Colombia's Amazonian hills — Pajarito, Mono, and Mavicure. In the bookstore, the net reappears as closures for the modular shelves, which form a large circle and invite visitors to a collective experience.

As a reflective exercise and proposal regarding the territory in which the Biennial is situated — adjacent to the Bom Retiro neighborhood — we introduced residual materials from the textile industry into the project. The various poufs and cushions in the auditorium, exhibition, and children's area were made by the local collective of seamstresses, Flor de Kantuta, using fabric scraps discarded daily in the region.

After the pavilion's dismantling, the project continues and unfolds into new possibilities. Through the donation and reintegration of materials, it was possible to refurbish the playroom and library spaces at the 9 de Julho Occupation (Bela Vista, São Paulo).

Despite the initial temporary nature — the Biennial lasts 10 days — the desire to materialize a project as a "network" that weaves together different territories and narratives, capable of building bridges and re-signifying its own existence, proved to be possible.








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ENTRE-REDES

Honorable Mention in the Construir Escuelas_Espacio Públicos competition by institution La Escuela with our project “Collective Constructions: carpentry as a radiating place for spatial articulations” carried out in partnership with Ocupação 9 de Julho/MSTC and FAU Mackenzie. 

Proposal for requalification of the current carpentry shop located in Ocupação 9 de Julho, central region of São Paulo - SP, Brazil. A small-scale physical intervention with great reverberation potential, capable of producing infinite collective educacional spaces in and for the city.

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9 de Julho Carpentry School

Study underway for modular and prefabricated house project with reused materials - Sítio Katatau

Located in an isolated region in Chapada Diamantina, between the municipality of Palmeiras and Vale do Capão. The project envisages the use of reused components supplied by Arquivo SSA such as door frames, windows, sheets of tempered glass and shorter pieces of solid wood in the configuration of structures and closures.

From a replicable base module (3.5mX3.5m) it is possible to create different configurations, meeting specific demands and allowing the construction of environments to be phased. All parts are assembleable/disassembled, ensuring the possibility of full reuse of materials.

The architecture adapts to different types of terrain and integrates with the landscape with subtlety, providing contact with nature and minimal constructive interference in the life of the existing flora and fauna.

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katatau house

Time Transitions is a public installation developed for the second edition of the Sharjah Architecture Triennial, "Beauty of Impermanence: An Architecture of Adaptability," curated by architect Tosin Oshinowo.

Located at the entrance of the old Al Jubail Vegetable Market in Sharjah, United Arab Emirates, the 18-meter-high installation serves as an observatory to restore the view from the old market to the waterfront. Despite being considered a specimen of modern architecture in Sharjah, the old market, built in 1980, was deactivated and faced imminent demolition. The construction of its successor on the opposite side of the street involved a significant intervention, including the landfilling of part of the waterfront and the consequent distancing from its decades-old predecessor.

While the old market was designed based on passive thermal conditioning principles, the architecture of the new market results from the use of artificial climate control as a starting point. Face to face, the two architectures evoke reflections on the spatial transformations that have shaped Sharjah in recent decades.

The installation's formal reference is the ancient wind towers—a vernacular architectural technology for cooling buildings—symbolizing a breath of fresh air for the recently abandoned and now reoccupied market. The vertical element in a region with lower-rise buildings serves to highlight the presence of the old market in the urban landscape.

The decision to use a scaffolding system was made due to its quick assembly/disassembly and the almost endless possibility of reuse after the Triennial's conclusion, avoiding the generation of waste common to major architectural events. Demolition waste blocks were incorporated into the structure as counterweights. At night, these blocks stand out due to the lighting, provocatively elevating them to the status of archaeological artifacts from a non-linear time. The structure is partially covered by a shading screen, suggesting an architecture still in (and constantly in) construction. The screen overlays the landscape perceived by the visitor while traversing the installation, ensuring greater thermal comfort during the day.

"Time Transitions" explores impermanence and the need for adaptation but also invites reflection on the meaning of a regenerative architecture that values cultural traditions and promotes policies for the reintegration of abandoned urban spaces into the city fabric. Through these reflections, alternative epistemologies for architecture are envisioned, based on the idea that material and immaterial ruins play a fundamental role in rethinking possible futures in a dystopian present.


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Time Transitions

commercial

Project located in the historic neighborhood of Santo Antonio Além do Carmo in Salvador - BA.

The project in a rented property required minimal but strategic interventions to configure a new space. Ziggy Pizza Pub should be a relaxed and plural place, offering affordable pizzas, an art gallery for exhibiting local artists and live music.

From the beginning, the reuse of materials was understood as a design methodology, in such a way that key elements of the space were defined and designed based on the offer of materials provided by [Arquivo SSA](https://arquivoreuso.com.br/), a materials reuse start-up, and A Ponta, one of the most emblematic junkyards in the city of Salvador.

The project is configured by four key pieces of furniture that define the space and its uses: a single table to serve customers, a central lamp, a service counter and a pizza preparation table.

With the aim of bringing the space closer together and democratizing it, a single table serves as support for all customers at Ziggy. The table top arises from the combination of pine board (3m x 0.3m x 2cm) and standard metal cable tray (3m x 0.1m x 5cm), two materials whose factory lengths are the same (avoiding cuts and waste of material).

Above the table, the central luminaire is positioned, which is made up of three cable tray sheets fixed together. Commonly used as a support element for the electrical infrastructure, in this case the cable trays are subverted from their original role and themselves configure the design of the lamp.

On the sides of the room, the electric trays are used as shelves to support the paintings and various objects displayed at Ziggy with an open gallery proposal.

The counters that house the pizza cashier and showcase were designed by incorporating old reused tempered glass.

The pizza preparation counter open to the public mentions the combination of different ingredients and flavors. Different pieces of stone (granite and marble) were used in it, which were combined and fixed to form the top of the bench. The structure was made from scrap metal specialized in stainless steel elements.

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Ziggy Pizza Pub

When designing a space, infinite others are designed in parallel – from extraction and manufacturing to disposal, the processes involved in construction and their places of origin and destination are countless and in most cases absolutely dissociated.

The installation “Virgínia in suspension” seeks to highlight the elements belonging to and found in the Virgínia Building and present them as artifacts fundamentally constitutive of this space/time.

Walking among these material fragments - urban ruins - is an invitation to understand what is intangible about their presence, and how a large part of humanity has approached their way of producing spaces in recent centuries.

What reflections can we make when time and matter are suspended?


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Virginia in Suspension - Design Week 2023

furniture

With a design developed by RUÍNA, the Família TRE furniture is made up of three modular units made from reuse and zero material waste.
The leftover laminate resulting from the furniture industry has a long useful life but is conventionally discarded, generating costs for the producer and final consumer, in addition to worsening environmental liabilities. TRE reverses the logic, making any leftovers an activity with financial returns for the producer, while contributing to a more intelligent and environmentally responsible production chain.

TRE modules can be used together or separately, enabling different uses and appropriations.


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TRE Family

Seeking to renovate some rooms in the apartment, the project consists of specific interventions in the bathroom and office areas. Storage and permanence spaces were optimized through the reconfiguration and creation of furniture.

The office space gained a work desk with drawers, a shelf and a hanging cabinet, as well as an L-shaped bench with built-in movable drawers.

In the bathrooms, new countertops along with upper and lower cabinets provide greater organization of spaces. The elements also contributed to the environments gaining greater amplitude and natural lighting.

Together, the 3 intervention environments make up a unit in terms of materiality, language and space occupation strategy.

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Vila Mariana's Apartament

The integration of the kitchen and social area and the expansion of the living room were the primary intervention premises. A concealed inverted beam in the wall between the living room and bedroom became apparent during the demolition and required a strategy to connect these two spaces separated by the structural element above the floor. It was decided to use the support beam for a piece of furniture facing both sides, dividing the areas without visually separating them and allowing for different types of use.

The need for two suites required rethinking the service area, which no longer had a small poorly ventilated and poorly lit bathroom. Instead, a bathroom was built with access from the main suite, and a guest toilet was added facing the corridor for common use. The wall dividing the kitchen from the service area was enclosed with sliding windows made of wood and glass, extending up to the ceiling, providing visual permeability from end to end and allowing natural light and ventilation to flow.

Throughout the project, a strategy was devised for the reuse of existing materials. With the help of a small-scale crusher, a variety of aggregates were produced on-site for reuse in subfloors, plastering mortar, rendering, countertops, and floors, as well as coverings and finishes. During the process, we developed our own material for the execution of floors and countertops called "entulhite," which utilizes crushed debris as an aggregate and resembles the well-known terrazzo. Solid bricks from wall openings were reused to construct the structures of the kitchen and service area countertops. Old tiles that covered the bathrooms were used as flooring and wall coverings in the balconies, applied in fragments.


Paraíso's Apartament 

Furniture project developed with a single sheet of raw plywood and PET laminate and sucupira wood drawer insert. 

In order to meet a variety of uses and mainly suit different environments, the furniture can be used 270 degrees. The initial demand was for a piece of furniture that would fill the void between the stove and the sink counter, as support and storage, but could be easily moved and used in other environments.

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270º FURNITURE

Entering and visiting the exhibition space must be like being in a city built based on androcentric logic. The expographic elements, in addition to supporting the works, symbolize and reinforce, through physical experience, the contrasts explored as a narrative in the photographs and the tensions generated from them – light and dark, masculine and feminine, public and private. These elements are part of the infraordinary universe, they are banal, everyday, common: the bars and fences that separate places and bodies; the concrete and stone blocks that build cities and – sculpted – monuments.

The supports of the photographs bring linearity and verticality. The possible routes between the supports – on the contrary – are multiple, unpredictable and “indomesticable”. They break with the imposition of the exhibition space by detaching themselves from the walls to create, themselves, other planes of observation of the photographs, between and through.

The implementation of these elements in the exhibition space, as it approaches modernist planning – and therefore strongly influenced by the gender perspective – proposes an inverse movement to the linear, Cartesian and progressive one: to reach the end of the exhibition it is necessary to return through the same path. the way you came. The return presents another perspective, suggesting the dissolution of hegemonic historical-cultural constructions based on the idea of past, death and memory: cemetery of beliefs.



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Gross Structure

The project was developed based on the premise of translating the brand's identity into spatial experience. The experience is divided into three moments: the administrative, financial, inventory and exhibition space. In addition to the concept, the space also had to meet a very pragmatic demand: being able to house — at different times — four types of program: store, showroom, inventory and dining room. The diversity of uses required us to think of elements as devices that enable the expansion and contraction of space. A movable bench that fits into the joinery furniture, racks that move up and down according to your needs, in such a way that several scenarios materialize in the same environment.

The racks should bring subtlety and dynamics to the space, and to this end, the brushed steel pieces were curved, configuring elements of greater organicity and giving movement to the displayed clothing items. With the aim of reducing costs — but still being able to work with higher-cost materials — stones discarded by a local marble factory were used to compose the base, handles for the racks and support surface for a mobile bench.

The larger blocks of yellow sandstone were drilled so that the vertical supports of the macaws could be fitted and fixed - in such a way that the weight of the block acts as a foundation and anchor. Smaller blocks were carved, sanded and drilled, serving as handles for the mobile racks. The marble sheet used was completely irregular and was therefore cut within the intact perimeter of the piece, and then fixed onto the structure of the store's mobile bench.


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Carol Arbex's Store

Intervention in a semi-detached house built in the 1960s.

The project aimed to create a multipurpose space in the residence from an underused area that originally housed a service area and backyard.

The new space should house a large program including a living and dining room, guest bedroom, bathroom and a small laundry room. The backyard should be renovated and integrated into the interior space from a balcony.

Carrying out structural reinforcements with metal pillars and beams made it possible to remove a large part of the internal walls, expanding and integrating the needs program in the same environment. Using a section of soil excavated under the house, it was possible to expand the useful area of ​​the intervention.

With independent access from the rest of the residence, the project configures a small apartment with an integrated area, large spaces with generous lighting and ventilation.
