MARCIO KOGAN HAD been working towards structure for a little over a decade when he determined to close down his São Paulo, Brazil, agency for half a 12 months to make his first full-length movie. It was 1987, and he’d already accomplished 13 shorts, however creating a characteristic required selecting between what he then thought of his two parallel callings.
The film, “Fire & Passion” (1988), a comedy about a group of acquaintances wandering by means of an unnamed metropolis, was “a disaster in every way,” he says now. “I lost everything in making that film, but I learned a lot about architecture: about proportion, the movement of light, the play of artificial and natural light.” Tall and trim with curly grey hair and a rumbling chortle, Kogan, 69, actually appears the a part of an affable director, presiding over a desk of his colleagues and collaborators on the again patio of the places of work for his 40-person Studio MK27, positioned within the rich São Paulo neighborhood of Jardim Paulista. “After that, I had no doubt that I should focus completely on architecture.”
In the outside dwelling and eating room, linen-covered furnishings and a 1950s rattan chaise longue by Martin Eisler and Carlo Hauner.Credit…Stefan RuizThe exterior of the home is clad in eucalyptus.Credit…Stefan Ruiz
Whether projecting over white-sand seashores exterior Rio de Janeiro or hunkered down in his hometown’s dense city panorama, the homes Kogan designs are all the time cinematic, outlined by their dramatic approaches and horizontal volumes; by setlike interiors, overseen by his 61-year-old colleague Diana Radomysler, which might be by some means each plush and spare; and by a direct reference to the character past them — just like the viewfinder on a wide-angle digicam, Kogan’s homes typically take intention on the panorama.
But in Casa Vista — a four-bedroom weekend residence accomplished in 2019 for a couple from São Paulo and their three grownup kids — Kogan and his colleagues Samanta Cafardo, 46, and Beatriz Meyer, 44, together with the panorama architect Isabel Duprat, 66, constructed not simply a digicam however a home of screens the place each floor refracts and displays mild. Set on a windy bluff exterior the stylish Bahian seashore city of Trancoso, Casa Vista is constructed not only for views, however from them.
THE HOUSE BEGINS with a glimpse of a lengthy, shingled gable, round 20 toes excessive, peaking over a tropical cover: a pale grey roof of a conventional fisherman’s cottage prolonged almost 200 toes. A flagstone path winds between native araçá, aroeira and cainito timber and beds planted with Mexican shrimp crops, their pink heads dotted with tiny white flowers. Around the trail’s first curve, the roofline disappears from sight, changed by vertical slats of ashy eucalyptus — harking back to a conventional materials in northeastern Brazil constituted of the spindly branches of the biriba tree — which appear to develop straight down over the facade like petrified roots. Round one other bend and the backyard reveals not a home however a tableau: a 39-by-11-foot opening that frames a distant strip of the Atlantic and the emerald garden earlier than it.
The curved terraces of the backyard slope towards the Atlantic.Credit…Stefan RuizThe tropical vegetation in Isabel Duprat’s entrance backyard conceals the size of the home from the road, providing solely glimpses of its supplies and shapes.Credit…Stefan Ruiz
When the 9,074-square-foot mission started in 2014, the purchasers — Sergio Moraes Abreu, 63, a businessman, and his spouse, Vivian Leite, 57, a graphic designer — requested for “a small cabana,” Leite says, the place their household might collect for holidays. She and her husband first visited the coastal fishing village in 1986, when it was nonetheless a discreet seashore vacation spot common with transplants from São Paulo. When this 2.6-acre piece of land turned out there (the couple additionally purchased two adjoining plots to make sure privateness), it proved irresistible.
The couple had labored with Kogan’s agency on their 2012 residence in São Paulo, referred to as Casa Cubo, a concrete prism lifted over a skirt of glass and aluminum and surrounded on all sides by one other of Duprat’s sensuous tropical gardens. Hidden from the street within the leafy residential neighborhood of Jardim Paulistano, that home took the oblong type of São Paulo’s omnipresent concrete towers and compressed it. Casa Vista, in contrast, takes the basic form of a Trancoso cottage — a field topped with a triangular roof — and explodes it. In the blueprint’s first iteration, Kogan and his colleague Renata Furlanetto, 46, broke the home into eight separate villas organized round a riverlike pool. The proposed constructing, Furlanetto says, was additionally a village of types, modeled on Trancoso’s Quadrado, or central sq., with its open esplanade and colourful adobe cottages. But the dream of the house, Leite says, was to make a place “where we could all be together, not separated in our rooms,” in order that they scrapped the unique plans and requested Kogan to carry the entire mission below one roof.
In the first bed room, an Isamu Noguchi ground lamp, a 1960s Jean Gillon armchair and a platform mattress and brauna wooden aspect tables by Studio MK27.Credit…Stefan RuizPerforated partitions of Viroc — a dense wood-and-cement composite — enclose the home’s inside areas, pixelating the panorama exterior.Credit…Stefan Ruiz
Built from metal beams heavy sufficient to face up to the sturdy sea winds that blow up the 65-foot-high escarpment on which it sits, the home has an outer construction that levitates 14.6 inches off the bottom and frames an immense void, 151 toes lengthy and 11 toes excessive, with bookends of biriba at both aspect. Walls of Viroc (a dense wood-and-cement composite) collapse in on themselves like folding screens, creating a home inside a home. A veranda overlooking the gardens on both aspect loops across the inside area, an open-air hallway that connects three bedrooms, a small den, a toilet and a lounge. The rectangular blocks of biriba at every finish seem to help the load of the roof — there are, in actual fact, hidden concrete columns all through the home — but in addition comprise a kitchen on one aspect and the couple’s suite on the opposite.
“The engineer was afraid when we showed him the plans,” Kogan says. “It’s not complicated, but it’s audacious.” Approaching from the street exterior, it’s simple to miss the formidable constructing, which hides behind heliconias, colocasias, araçás and erythrinas, making itself seen solely in items. The first vignette you encounter upon coming into the property is a 1,862-square-foot outside dwelling and eating room centered round a assortment of midcentury furnishings, chosen from antiques shops round São Paulo and reupholstered in sun-bleached shades of taupe and beige. For Leite, whose predominant residence and workplace are crowded with brightly coloured artworks and objects collected on her travels, the concept of a home adorned in such washed-out tones was unappealing at first, however Radomysler insisted: “I didn’t want to introduce strong colors inside because nature was doing that for us.”
The 568-square-foot outside dwelling area connects a stone pathway, winding by means of dense tropical vegetation, to the yard, with its low grasses in gradients of inexperienced and grey.Credit…Stefan RuizDuprat’s natural backyard design strikes a highly effective distinction with the home’s stark geometric rigor.Credit…Stefan Ruiz
In lieu of colour, the home turns into a examine in texture. In the indoor lounge, a close to facsimile of the al fresco one, 10 pendant lamps woven from a darkish pure fiber referred to as piaçava dangle over a 16-foot eating desk carved from a size of pequiá wooden. Distressed sand-hued linen covers a pair of deep sofas designed in 2009 by Diesel for Moroso; the Dutch hotelier and former Diesel artistic director Wilbert Das, who lives in Trancoso, is a good friend. Brushed basalt flooring, warmed by the fixed sunshine, are delicate as talc underfoot.
All of those muted surfaces double as screens for the play of sunshine that lends the home its drama. Circular apertures perforate the Viroc partitions, pixelating the view and reworking the flamboyant panorama into a pointillist canvas; it’s the inverse of trompe l’oeil, with pure magnificence manipulated to seem like portray. Around midday, when the solar is excessive, the Viroc’s matte white floor displays the greens and blues of the encircling backyard and distant ocean. In the night, the low mild initiatives dramatic silhouettes of philodendrons onto the folding partitions like shadow puppets.
With the Viroc partitions pulled again, the indoor and outside dwelling rooms each turn out to be lenses for capturing spectacular vistas of a windswept backyard, designed by Duprat, and, previous that, the Atlantic.Credit…Stefan Ruiz
THESE PLAYFUL FLOURISHES additionally trace on the home’s third-act reveal. Stepping by means of the open lounge brings you into Duprat’s again backyard, the one level from which your complete construction comes into view, its lengthy, monolithic kind all of a sudden as sturdy and uncompromising as a warehouse. To soften the rigidity of the constructing and degree out the plot, which initially sloped towards the sting of the property, the place it dropped steeply into the greenery, Duprat formed the garden with curved concrete tiers, etched into the grass just like the traces of a topographical map. Strong winds made it inconceivable to maintain the type of lush vegetation that grows on the home’s different aspect, so she selected as a substitute to plant undulant beds of Dallis grass and crimson fountain grass — extra harking back to the Hamptons than a typical Bahian backyard — that mirror the home’s somber palette of grays in a scale of moss and sage. “Instead of fighting with the environment,” Duprat says, she selected crops that might “give life to the wind,” their continuously rippling floor “a homage to the sea.”
The backyard, deliberate with the construction itself, is the home’s decision. From the far fringe of the backyard, the construction turns into a fishing cottage once more: a wood field topped with a shingled triangle framed by sky and grass. The home, so porous from inside, transforms into a windowless mass. No longer a display screen, it’s now a soundstage, airtight and self-contained, in order that its residents might create their very own personal reminiscences inside its rooms. “When I design a project, I like to think that I’m a character inhabiting that space,” Kogan says. “It’s such a pleasure to imagine other lives.”