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A Danca dos Ratos, a massive diptych by Luiza, hangs in the living/dining area. CH-24 Wishbone chairs by Hans Wegner for Carl Hansen & Søn surround a table designed by Tito. A vintage Thonet rocker sits next to armchairs that were brought from Germany by Luiza’s grandmother during World War II.
A Danca dos Ratos, a massive diptych by Luiza, hangs in the living/dining area. CH-24 Wishbone chairs by Hans Wegner for Carl Hansen & Søn surround a table designed by Tito. A vintage Thonet rocker sits next to armchairs that were brought from Germany by Luiza’s grandmother during World War II.
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Pabellón Dos Espacios Dos Momentos - RIMA Arquitectura
Guest casita dos...
Guest casita dos...
Conceição Dos Bugres' Collection on the bespoke shelf in the living room
Conceição Dos Bugres' Collection on the bespoke shelf in the living room
Un, Dos, Cha Cha Cha“A modern house design with a touch of Tiki, and, of course, a glowing lightbox sign,” Murphy says. “My wife who is from Spain was singing ‘Un, dos, cha cha cha’ one day and I though it was the perfect fit for the house.”
Un, Dos, Cha Cha Cha“A modern house design with a touch of Tiki, and, of course, a glowing lightbox sign,” Murphy says. “My wife who is from Spain was singing ‘Un, dos, cha cha cha’ one day and I though it was the perfect fit for the house.”
living room with Madalena Dos Santos Reinbolt's tapestries, Sergio Rodrigues' Millor sofa and Paulo Mendes da Rocha's paulistano chair
living room with Madalena Dos Santos Reinbolt's tapestries, Sergio Rodrigues' Millor sofa and Paulo Mendes da Rocha's paulistano chair
Campo Grande, a two-bedroom on the fourth floor, has a long balcony that curves around the corner of Rua dos Fanqueiros and Rua da Conceição.
Campo Grande, a two-bedroom on the fourth floor, has a long balcony that curves around the corner of Rua dos Fanqueiros and Rua da Conceição.
Dating back to 1853, London’s Westbourne Grove Church was renovated by DOS Architects, who took on the top two floors turning them into a light-filled, open plan loft. The walls and floors might be white, but the furniture and furnishings are anything but.
Dating back to 1853, London’s Westbourne Grove Church was renovated by DOS Architects, who took on the top two floors turning them into a light-filled, open plan loft. The walls and floors might be white, but the furniture and furnishings are anything but.
O conceito foi conseguido através da integração entre os ambientes. A casa tem 3 suítes, sendo duas dos filhos, mais próximas, e a do casal, próximo da varanda, o que propicia privacidade e aconchego.
O conceito foi conseguido através da integração entre os ambientes. A casa tem 3 suítes, sendo duas dos filhos, mais próximas, e a do casal, próximo da varanda, o que propicia privacidade e aconchego.
Artist's Studio House, Whidbey Island, Washington. Brett Webber, architect, Judy Geist, home owner. © Benjamin Benschneider All rights Reserved. Usage rights may be arranged by contacting WaMu and or Benjamin Benschneider Photography. Email: bbenschneider@comcast.net or phone 206-789-5973
Artist's Studio House, Whidbey Island, Washington. Brett Webber, architect, Judy Geist, home owner. © Benjamin Benschneider All rights Reserved. Usage rights may be arranged by contacting WaMu and or Benjamin Benschneider Photography. Email: bbenschneider@comcast.net or phone 206-789-5973
Na mescla de materiais, da delicadeza do vidro com a rigidez do Mdf e o conforto dos tecidos, encontramos o desejo do cliente de algo mais permeável para facilitar o visual limpo e permitir a convivência familiar.
Na mescla de materiais, da delicadeza do vidro com a rigidez do Mdf e o conforto dos tecidos, encontramos o desejo do cliente de algo mais permeável para facilitar o visual limpo e permitir a convivência familiar.
Afro-Brazilian sculptures, created using a variety of materials, play a vital role in representing the richness and diversity of Black culture in Brazil. These sculptures often reflect elements of African heritage, spirituality, and identity, serving as a powerful expression of the Afro-Brazilian experience. Artists incorporate materials like wood, bronze, clay, and even recycled objects to create works that highlight ancestral traditions, religious symbols, and personal histories. For instance, renowned Afro-Brazilian sculptors such as Zumbi dos Palmares and Heitor dos Prazeres use their work to explore themes of freedom, identity, and resilience. Their sculptures, often inspired by African deities and Afro-Brazilian religious practices, bring forth stories of empowerment, cultural continuity, and resistance. These sculptures also emphasize the diversity of the Black experience in Brazil, as they depict various aspects of Afro-Brazilian life, from spirituality and religion to family and community. The incorporation of different materials, from ceramics to metal, reinforces the idea of Afro-Brazilian identity as a dynamic, evolving, and multifaceted cultural force. In exhibitions such as Terreiro, these works become key representations of the intersection between African roots and Brazilian culture, honoring the strength and beauty of the Black community through their artistic expressions.
Afro-Brazilian sculptures, created using a variety of materials, play a vital role in representing the richness and diversity of Black culture in Brazil. These sculptures often reflect elements of African heritage, spirituality, and identity, serving as a powerful expression of the Afro-Brazilian experience. Artists incorporate materials like wood, bronze, clay, and even recycled objects to create works that highlight ancestral traditions, religious symbols, and personal histories. For instance, renowned Afro-Brazilian sculptors such as Zumbi dos Palmares and Heitor dos Prazeres use their work to explore themes of freedom, identity, and resilience. Their sculptures, often inspired by African deities and Afro-Brazilian religious practices, bring forth stories of empowerment, cultural continuity, and resistance. These sculptures also emphasize the diversity of the Black experience in Brazil, as they depict various aspects of Afro-Brazilian life, from spirituality and religion to family and community. The incorporation of different materials, from ceramics to metal, reinforces the idea of Afro-Brazilian identity as a dynamic, evolving, and multifaceted cultural force. In exhibitions such as Terreiro, these works become key representations of the intersection between African roots and Brazilian culture, honoring the strength and beauty of the Black community through their artistic expressions.
Cómo técnicas híbridas se diseñaron dos elementos fácilmente replicables para fomentar la apropiación de estos modelos y procurar el mejoramiento de las viviendas existentes. Se utilizaron casetones de tierra entre la estructura de madera del techo que funcionan como aislantes térmicos y sonoros. Las ventanas triangulares permiten la apertura de vanos sin la necesidad de colocar un elemento estructural horizontal respetando además el carácter estético ligado al estilo wixarika.
Cómo técnicas híbridas se diseñaron dos elementos fácilmente replicables para fomentar la apropiación de estos modelos y procurar el mejoramiento de las viviendas existentes. Se utilizaron casetones de tierra entre la estructura de madera del techo que funcionan como aislantes térmicos y sonoros. Las ventanas triangulares permiten la apertura de vanos sin la necesidad de colocar un elemento estructural horizontal respetando además el carácter estético ligado al estilo wixarika.
O piso em madeira ipê segue por todo piso, inclusive escada.do segundo pavimento. O painel em madeira freijó foi um recurso escolhido para ocultar as portas de acesso aos ambientes O banheiro da suíte casal é um dos pontos de destaque dentro da residência. Na busca de bem-estar, combinamos elementos naturais, cores, texturas e experiências. A vista é livre e ampla para o campo de golfe, o tom neutro vem no mármore Branco Paraná levigado, a banheira em posição estratégica leva o cliente a contemplação e descanso.
O piso em madeira ipê segue por todo piso, inclusive escada.do segundo pavimento. O painel em madeira freijó foi um recurso escolhido para ocultar as portas de acesso aos ambientes O banheiro da suíte casal é um dos pontos de destaque dentro da residência. Na busca de bem-estar, combinamos elementos naturais, cores, texturas e experiências. A vista é livre e ampla para o campo de golfe, o tom neutro vem no mármore Branco Paraná levigado, a banheira em posição estratégica leva o cliente a contemplação e descanso.
El espacio está compuesto por tres elementos: dos losas de hormigón y ladrillo separadas del piso debido a la humedad del lugar, las cuales adquieren una vocación de servicios; y una prótesis de madera y metal, adaptada a la regularidad del hormigón que delimita los espacios para dormir y sus respectivas áreas de estar. Además, es la encargada de compactar y empacar toda la vivienda, provocando grandes vacíos y pausas horizontales en su interior. Esta gran envolvente de madera, esconde una topografía, pequeños desfases espaciales, a manera de estratos, lo cual proyecta un juego de subidas y bajadas. Así, el acto de dormir se produce en lo más alto, vinculado a los pájaros mañaneros, a las copas de los árboles, y al perfil de las lejanas montañas; mientras, la sala de estar pública es lo más ligado al piso, casi al nivel del suelo, junto a las raíces de la vegetación.
El espacio está compuesto por tres elementos: dos losas de hormigón y ladrillo separadas del piso debido a la humedad del lugar, las cuales adquieren una vocación de servicios; y una prótesis de madera y metal, adaptada a la regularidad del hormigón que delimita los espacios para dormir y sus respectivas áreas de estar. Además, es la encargada de compactar y empacar toda la vivienda, provocando grandes vacíos y pausas horizontales en su interior. Esta gran envolvente de madera, esconde una topografía, pequeños desfases espaciales, a manera de estratos, lo cual proyecta un juego de subidas y bajadas. Así, el acto de dormir se produce en lo más alto, vinculado a los pájaros mañaneros, a las copas de los árboles, y al perfil de las lejanas montañas; mientras, la sala de estar pública es lo más ligado al piso, casi al nivel del suelo, junto a las raíces de la vegetación.