Açucena Home by Tetro Arquitetura

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A spot immersed in lush Atlantic Rainforest nature. A terrain stuffed with massive leafy timber, foliage, shrubs, birds, and wild animals. A difficult topography with a steep slope is attribute of the Nova Lima area in Minas Gerais. That is the place the place Casa Açucena is inserted.

The venture is a response to a delicate studying of the place. Within the first contact with this terrain, it’s already evident the necessity to preserve its pure traits. The act of trying upwards, from the bottom to the cover of timber, elevated as much as fifteen meters above floor stage, was decisive for the creation of the idea. The way to construct in a spot with such steep topography, whereas sustaining the unique nature? The way to give the residents the day by day expertise of trying up and seeing the sky via the treetops. These had been the questions that guided all design selections.

The preliminary understanding that structure ought to mildew to the terrain, and never the opposite means round, was the start line. The home rises above the bottom and the animal and flora develops beneath. This system shapes itself by occupying the empty areas between the timber. No timber are eliminated. The topography shouldn’t be modified. Artwork and Nature in excellent concord. From this level on, no selection or design determination was made by the style or will of the architect. All the things is a response and is meant to strengthen an idea.

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The home, in its white shade, is a shock to those that arrive. Its randomly positioned black pillars mix in with the trunks. The home appears to drift. Its fluid plan, a results of this system’s occupation among the many timber, and its openings and folds within the slab, to succeed in the view of the treetops, generate volumetry. The structure is harmoniously inserted subsequent to the pure vegetation however maintains its presence. Shock and novelty are values inherent to artwork. Casa Açucena presents itself as a white flower within the midst of nature.

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– by Matt Watts