Casa Lola by interior designer Jan Eleni Lemonedes and Ronnie Stam

Casa Lola by interior designer Jan Eleni Lemonedes and Ronnie Stam


Casa Lola by interior designer Jan Eleni Lemonedes and Ronnie Stam located in Porto Seguro, Bahia, Brazil | The Hardt

 

Casa Lola by interior designer Jan Eleni Lemonedes and Ronnie Stam located in Porto Seguro, Bahia, Brazil. Bahia, municipality of Porto Seguro, the town of Trancoso. There is, among other simple constructions, an abode of disconcerting simplicity. The light walls, the white cement, the wood of doors and doorways, the surrounding woods and the fringe flowers on the facade are part of a kind of samba played by a symphony orchestra, a Candeia for four pianos and a violin.

 

All right, Candeia was not from Bahia, but from Rio. And this beautiful Bahia house is not the result of local creativity, but the head of a New Yorker: Jan Eleni Lemonedes, interior designer, which explains the trained look to trace beauties anywhere. Her initial contact with her husband, Ronnie Stam, the creative director, and her daughter, Lola, with Trancoso, took place in 2010 when the family spent ten days in the village and was captured by the beach, food, music and the Square. Soon the searches began for a refuge nearby. 

 

When finding this little house with areas of fisherman’s nook, closed the deal and Jan started the reform project. Of the original construction, only half of the existing area remained, 45 m², where a studio type, a charming cottage works. With an eye on more space, the couple raised, on the same ground, the second residence, with 125 m² and rustic atmosphere similar to the first. Inside the old space, the wooden bench of Trancoso makes a beautiful composition with the round breadboard hanging on the wall – with Brazilian face, the piece came from New York. “We have created an internal patio with a swimming pool that promotes the connection between the two”, says Jan. In every corner of Casa Lola, as the architectural group was baptized, one sees the Dati brand, a local artisan who used eucalyptus for to compose banks, chaises, beds and other pieces that contributed to the RG Bahia of the dwelling. 

 

 


 

The pleasure of taking care of each item, she says, is what gives personality to the setting. “All the decisions, from the choice of the floor to the walls, were well thought out,” he says, indicating how he appropriated space already during the process of building the houses. And making is no way to say, because the inspiration that gave rise to the proposal came from Trancoso’s loom sheets , with that elegant rusticity of hand-made.  While residing in aloft in Manhattan and consider herself a typical new yorker, Jan believes that the seasons in Bahia, which can last for up to two months and happen about three times a year, have made her a more patient person. “New Yorkers have a fast pace. In Trancoso, things are much slower, “he says. 

 

But this only improves the place where, for her, “even the imperfections become perfect in our eyes.” And if the identification with this land is so great, living permanently in the village would be in the plans of the family? Jan says that he sees this possibility on the horizon: “Yes, in an ideal scenario …”. 

 


 

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Salto House (2013) by AMZ Arquitetos

Salto House (2013) by AMZ Arquitetos

Salto House (2013) by AMZ Arquitetos located in Salto, Brazil | The Hardt

Salto House (2013) by AMZ Arquitetos located in Salto, Brazil. Situated in Salto, the countryside of Sao Paulo, this is a vacation dwelling for a large family; with a total area of 650m² built on a 2500m² plot. The interior common spaces (garage, laundry, and guest bedrooms excluded), are continuous. The kitchen wall is a large sliding panel that allows the integration to the dining room whenever desirable (as shown in the schematic plan).

 

 


 

Social areas that overlook the valley are all glazed. On the west facade, a wooden vertical brise-soleil was applied in order to protect the living room from the afternoon sun. The bedrooms are protected by sliding louvered doors. In the edges of the house, near the neighbor’s setback limit, blank walls frame the interior views and maintain privacy
inside the glazed areas.

 

© Maíra Acayaba  

 


 

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Aigai Spa by figueroa.arq

Aigai Spa by figueroa.arq

Aigai Spa by figueroa.arq located in Vila Madalena, São Paulo, Brazil | The Hardt

 

Aigai Spa by figueroa.arq located in Vila Madalena, São Paulo, Brazil. The Spa is designed as an urban oasis. A place of meditation, serenity, and relaxation. The construction of this place looks for a different universe spring, not necessarily in opposition to the “exterior universe”, but in search for an equilibrium and stillness, usually disregarded in the places we inhabit day-to-day. In the Roman mythology, Aigai was a kingdom of deep-sea, where Neptune, god of freshwater and the sea, restore his energies. It is a place where anything disturbs him and at the same time, he knows all that happens on the surface. Acqua Spanadae or Salut Per Aqua – It still remains uncertain the etymological origin of the word SPA. It is a fact that there is 5.000-year history very well recorded about our relationship with water in aquatic rituals of body treatment or spiritual purification. This history is inseparably linked with that in the Middle East, and since then is an important part of our relationship with nature in the pursuit of health, balance, and relaxation.

 


 

Like coins, there are two sides to this wall. The wall that closes is not only a defensive wall. If on the one hand, it may seem confrontation, it is purposeful to improve a strong and clear intention in relation with the city. On the other hand, it is a welcoming wall, of internal organization, of imperceptible subtlety from outside. Slightly raised from the ground, it takes advantage of the setting back imposed by the urban laws to provide a transition space between the collective and the individual, in view of the corner condition of the 720sqm original plot. The façade in concrete, finely textured, works as a mediating skin. It frames the wide ceramic tile panel and the large vertical garden. The large green wall around the corner, where it wraps and stretch to the other opposite side of the plot. The constructed surface area of 1.200sqm is distributed among the ground floor, the upper volume, and a semi-underground floor, where the garage and facilities rooms are placed. The Spa is accessed by a footbridge, which starts from the garden -of public use and reception-, cross a reflecting pool, and rises onto the platform developed beside the large ceramic tile panel. In the opposite corner, a glass door gives access to the reception room, where a small open-air patio with a reflecting pool covering all its extension, provides de necessary light to the room. Light dramatizes the beauty. Wind and rain enter the oasis and qualify the nuances of life. Architecture is a way through people could feel the nature. Pablo Neruda wrote about the poetics of the Patio “A patio is a wonderful place, where the Earth and the Sun meet at the midday”. José Luis Borges do it too: “Patio, the channel of sky… The patio is the slope down which the sky flows into the house”. What makes a patio a special place is an appropriate choice of is geometrical proportions and the integrating function for which it is conceived.

 

 


 

On the main floor, after crossing the customers changing rooms, there are the internal light patios, comfortable waiting and relaxation areas, with gardens and reflecting pools. In the largest of all the patios there is a big pool, a wide relaxing space, protected and shaded. In all, there are seven treatment rooms. Six of them in the ground floor and the other one in the upper floor (with separate entrance), where messages and special baths are offered. Also important for the treatments, the relation with the exterior and nature was possible in Aigai was made possible by the 12 designed patios. With reflecting pools and gardens, and the patio is like another. Usually, we forgive the perception that the sky is also nature. In metropolises like São Paulo could be the first and only relation that most people have daily with nature.

 

 

Photos by © Leonardo Finotti

 


 

 

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Residence Gardens (2017) by Drucker Architects and Associates

Residence Gardens (2017) by Drucker Architects and Associates

Residence Gardens (2017) by Drucker Architects and Associates located in the Jardins, Sao Paulo, Brazil | The Hardt

 

Residence Gardens (2017) by Drucker Architects and Associates located in the Jardins, Sao Paulo, Brazil, a set of neighborhoods single-family family houses and tree mass protected by the historical patrimony, this house has 550sqm of built area, divided into two floors, ground and upper. The original terrain had a slope of four meters of height in relation to the level of the street. With this in the ground, we put the garage, warehouses, technical facilities, part of services, dependencies of employees with canopy and accesses by stairs internal and external.

 

 


 

The upper deck has been installed at the top of the existing slope and juts out onto the ground floor, which is just above street level. On the upper floor the program was organized around a central patio, whose U-shaped plan is articulated by a circulation, with washbasin, internal staircase, kitchen cupboard and an intimate room, and by two wings parallel to the external road. The closest wing to the street houses a large Living Room with Living Room, Dining Room, Home Theater, and Balconies. In the back, wing we have a sequence of four suites, the last being the master suite.

 

 

The construction, of reinforced concrete apparent by slats of wood, has components in steel, wood, and glass, marked materials in the set. The floor, in travertine Roman marble of internal environment, was also used in the external area, and the absence of unevenness highlights the continuity between exterior and interior (there is a system of rainwater capture built into the stones). One of the highlights of the project was the brusses of the master suite, which now function as a sunroof (it modulates the entrance of light to its total fence), and sometimes as doors to open.

 

 


 

This residence is designed to promote personal renewal and well being, through spaces where the landscape and architecture meet to replenish and invigorate the spirit. So the central courtyard has a contemplative vertical garden, trees with a small grassy area and a swimming pool, with transshipment all around it promoting a sense of water mirror that reflects this garden. This patio, together with the extensive glass doors of the sliding doors of the two wings and also of the twelve pivotal glass doors of the front facade, allows the residents the direct contact of the whole residence with the exterior and its large tree mass.

 


 

Internally we look for a dichotomy created by the walls of apparent slatted concrete and the lightness of the frames in large glass cloths that open completely to the vertical garden patio and to the huge existing trees of the street and the surroundings. In order to accentuate the light entering the large front room (east side) a structured setting with a metal pergola with glass in the cover and pivoting doors also in transparent glasses was designed. This arrangement provided an unusual interaction with the treetops, which seem to invade the interior of this large concrete hall, with no pillars in the middle. The house also has rainwater reuse, solar energy capture, cross ventilation, windows with heat treatment, thermal insulation of polystyrene in the roof, digital lighting control, recycled wood,

 

© Ruben Otero

 


 

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https://thehardt.com/architecture/ds-house-2015-studio-arthur-casas/

 

 


 

Jungle House (2015) by Studio MK27 – Marcio Kogan + Samanta Cafardo

Jungle House (2015) by Studio MK27 – Marcio Kogan + Samanta Cafardo

Located in Guarujá, Brazil, Jungle House (2015) by Studio MK27 – Marcio Kogan + Samanta Cafardo | The Hardt

 

Located in Guarujá, Brazil, Jungle House (2015) by Studio MK27 – Marcio Kogan + Samanta Cafardo. The project is located on the Paulista shore in the region of the Rain Forest and the land has a mountainous topography with dense vegetation. The introduction of this house to this landscape has the objective of optimizing the connection between architecture and nature, privileging the view looking out to the ocean and the incidence of sunlight in the internal spaces.  Furthermore, the positioning of the house on the site obeyed the previously-open area in the vegetation.   The main volume of the house is elevated from the ground and seems built into the topography.  The house, therefore, projects itself out from the mountain. The contact elements between the slope and the construction – as for example the wooden decks – were shaped to respect the existing land, thereby creating an organic interaction between nature and the architectural elements. In the part that it comes out of the mountain, the structure touches the ground with only two pillars.

 

The 3 floors of Jungle House create a clear programmatic division for the project: the ground floor houses a large covered wooden deck, connected to a small room for the children; on the first floor there are six bedrooms – five of them with small verandas with hammocks – and a tv room; the third and last floor is the social area of the house, including a swimming pool, a living room, and the kitchen.    Thus, the architecture defined an inverted vertical organization of the program when compared to what is usually done in single-family houses: while the pool and the social areas are on the roof, the bedrooms are located on the floor below. The deck is on the ground floor- protected by the projection of the house – is an ample and generous space that configures a shaded shelter for the children to play.  The utility rooms are also located on this story.

 

 


 

From the wooden deck on the ground floor starts the stairs to access the house volume that “interrupts” the concrete slab. Before entering the closed space, one passes an intermediary space, enveloped by concrete and which houses a luminous work by the artist Olafur Eliasson.  The interiors project sought to create a modern atmosphere, offering a cozy feeling necessary to remain in this tropical environment. The landscape recomposes the native species.  When one is in the house, the relationship with the surrounding vegetation occurs not only through the view but also through the plants that surround the wooden decks.  On the ground floor, you can stroll in the midst of trees; on the first floor, light enters filtered through the tree-tops; and on the roof, there is the vegetation with the ocean in the background. The architecture of the house privileged the use of exposed concrete and wood, as much in the interior spaces as well as the exterior.  The bedrooms have wooden sun-screens, small brises-soleil, mounted as folding doors that can be manipulated by the users according to the climatic needs.

 

In the Jungle House, the project began with a transversal cut which allowed for the positioning of the pool to be semi-built-in to the slab thereby not losing any area on the floor below.  Furthermore, the infinity pool, as well as the raised border relative to the height of the deck, make it such that the view and the landscape serve as an extension of the pool waterline. To lessen the height of the top floor and thus get an external proportion more horizontal to this volume, the floor in the living room was lowered by 27 cm relative to the external wooden deck.

 

 


 

This last floor offers a spatial sensation which synthesizes the principles of the house: on one side, there is a deck which houses the hot tub and the sauna – where there is an intense relationship between the architecture and the mountain and its vegetation; on the other side, a ground fireplace and the pool; in the center – between these two free spaces – in the living room open to both sides and with cross-ventilation.  This social space has a radical relation with nature, by means of both the view of the ocean as well as the proximity to the forest in the mountain.

 

 

© Fernando Guerra | FG+SG

 


 

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