Avell Desvio Rubro is an installation conceived as a curatorial platform to discuss technology, desire and the climate crisis. Developed for CASACOR Santa Catarina 2026, the space that made the cover brings together architecture, art, design and industry within an entirely red chromatic field.

The color occupies floor, walls, ceiling, furniture and light. This continuity eliminates immediate domestic references and produces an experience of immersion. Reflective surfaces, technological elements and volumes of strong presence alter the perception of depth and keep the body aware of its position in space.

The project observes the tension between the promise of a life optimized by technology and the material impacts of that acceleration. Equipment, screens and digital components coexist with artworks and pieces of Brazilian design, forming a whole that brings together innovation, production, consumption and memory.

The curatorship brings together names such as Irmãos Campana and Cris Bertolucci, alongside other Brazilian authors. The pieces do not appear as isolated objects, since they take part in the construction of scenes, relations and questions. The architecture works as an editorial structure and determines approximations between works of different origins and scales.

The partnership with Avell and NVIDIA GeForce Brasil incorporates technology into the conception process itself and into the visitor's experience. Desvio Rubro proposes an intense, critical and sensorial interior, in which the future and environmental emergency are presented as simultaneous forces.

FairyMay Campeche was conceived as an immersive commercial interior in Campeche, Florianópolis. The project uses color, light, scale and repetition to build an atmosphere of fantasy with a contemporary language, avoiding literal and scenographic references.

Circulation works as a narrative sequence. Changes of geometry, framings and chromatic planes guide the visitor and reveal different situations of use. Each space has its own identity, but remains linked to the whole by a continuous palette and by elements that reappear in new proportions.

Curved surfaces reduce the rigidity of the boundaries and bring architecture, furniture and visual communication closer together. The lighting is incorporated into the volumes, highlights transitions and creates points of intensity without depending on a uniform general light. Reflections and transparencies expand the perception of the space and produce new layers of reading.

The project works the idea of enchantment through precision. Details, junctions, colors and objects are organized to sustain the commercial experience and to facilitate operation, display and lingering. The playful aspect is born from the relationship between the elements, without compromising functional clarity.

The architecture creates a recognizable place, suited to digital communication and to the in-person experience, with the potential to remain in the memory of those who pass through it.

This is the winning proposal in the competition for the authorship and curatorship of the Santa Catarina Pavilion at the first Brazilian Architecture Biennial. The project starts from the impossibility of representing the state through a single image and proposes a reading built out of differences, displacements and relations.

The curatorship brings together architecture, territory, modes of production and material culture in nuclei that can be traversed without a fixed chronological order. Projects, documents, objects, images and testimonies form an open field of research, in which historical references coexist with contemporary practices.

The exhibition design acts as an editorial instrument. Supports, planes and intervals organize approximations between works of distinct scales, allowing quick readings and more prolonged investigations. The route preserves voids and crossings, a condition that favors encounters between contents and visitors.

The identity of the pavilion avoids folkloric synthesis and observes Santa Catarina as a plural territory, formed by coastline, interior, industry, landscape, migrations and different building traditions. These layers appear through the selected works and through the relations established by the installation.

The project positions the pavilion as a space for debate. The exhibition architecture, the research and the curatorship operate together to present the production of Santa Catarina within a contemporary Brazilian discussion.

Ânima investigates the bathing room as a space for observing the body, memory and the transformations accumulated over time. Developed for Casa Dexco 2025, at Conjunto Nacional, the room articulates materiality, light and vegetation to build an experience of interiority.

The red and white striped floor establishes the graphic order of the project. Its geometry crosses the space and contrasts with walls of fluid design, organic cutouts and planes that come close without forming a rigid boundary. The composition leads the visitor through a sequence of framings and alters the perception of scale.

Red appears as a reference to Brazilian modernism and to Latin American visual culture. Applied across large surfaces, it takes on an architectural function and organizes the relationship between structure, objects and body. The presence of white preserves intervals of light and expands the reading of the curves.

In place of a whole image, the mirror presents a fractured surface. The fissures fragment the reflection and turn imperfection into the central element of the room. The piece registers the passage of the observer and proposes a reading of the body formed by layers, marks and changes.

Cobogós and openings filter the light, while tropical vegetation occupies gaps and edges. Light travels over leaves, mineral surfaces and colored planes, producing variations throughout the day. The project brings together modern references, Brazilian matter and a sensory spatiality within a bathing room conceived as a territory of identity.

Clínica Munaretto was designed to bring together reception, waiting, consulting rooms, procedures and support areas in a space of clear reading and controlled atmosphere. The spatial organization prioritizes direct routes, privacy and integration between architecture, lighting and technical systems.

The reception concentrates the identity of the project. Mineral surfaces, precisely drawn volumes and indirect light form a serene composition, without resorting to the conventional visual repertoire of clinical spaces. Concealed doors, recessed baseboards and continuous junctions reduce interruptions and reinforce the perception of unity.

Translucent glass filters views between circulation and rooms, preserving the entry of light. The choice of different degrees of transparency responds to the needs of each room and creates depth even in the most compact stretches of the plan.

Highly resistant materials appear with a tactile finish. Wall coverings, porcelain tiles, metals and washable surfaces were coordinated with the requirements of maintenance, acoustics and intensive use. The lighting combines comfortable general levels with focused light intended for technical work.

The result brings functional precision and a feeling of welcome closer together. Each element takes part in the clinical routine and contributes to a continuous experience from the moment of arrival, with an identity of its own and low visual noise.

In only 32 m², the project for Dimarmo turns stone from a displayed product into architectural matter.

The space was built out of the geological nature of the rocks themselves. Layers, cuts, veins, thicknesses and surfaces guide the design and create a dense, almost mineral atmosphere. The architecture works with the sensation of entering an excavated matter, where each plane reveals a new reading of the stone.

Travertine runs along the walls in large slabs positioned side by side. The horizontal drawing of the veins creates continuity between the pieces and makes the surface take on the scale of a landscape. The upper edges remain irregular, preserving a raw presence that makes the natural origin of the material evident.

Vertical profiles interrupt this continuity at precise intervals and reveal the logic of assembly. The tectonics remain visible. Stone, structure and junction are treated as parts of the same design.

In contrast, dark volumes appear as monolithic elements. The bar, the washbasin and the vertical planes concentrate materials of greater chromatic density and create points of depth within the space. In the powder room, a stone cylinder works as basin and pedestal, while another suspended volume repeats the same geometry above it. The oval mirror crosses the composition and multiplies reflections, textures and light.

The lighting was incorporated into the matter. Indirect sources run along the irregular edge of the slabs and reveal their reliefs. At other points, light passes through the thickness of the stone and brings out patterns that remain silent during the day. The room changes its reading as the lighting transforms.

The client area occupies the center of the space with large mineral surfaces in different tones. The proximity between table, bar, wall and floor creates an immersive experience, where the variety of the rocks can be perceived through color, touch, sheen, temperature and visual weight.

The project understands the showroom as a place of direct contact with matter. Each stone presents its own formation, its imperfections and its time.

The architecture only creates the conditions for that history to remain visible.

In just 32 m², the project for Dimarmo transforms stone from displayed product into architectural matter.

The space was built from the very geological nature of the rocks. Layers, cuts, veins, thicknesses, and surfaces guide the design and create a dense, almost mineral atmosphere. The architecture works with the sensation of entering an excavated matter, where each plane reveals a new reading of the stone.

Travertine runs along the walls in large slabs positioned side by side. The horizontal pattern of the veins creates continuity between the pieces and gives the surface the scale of a landscape. The upper edges remain irregular, preserving a raw presence that reveals the material's natural origin.

Vertical profiles interrupt this continuity at precise intervals and reveal the assembly logic. The tectonics remain visible. Stone, structure, and joint are treated as parts of the same design.

In contrast, dark volumes appear as monolithic elements. The bar, the washbasin, and the vertical planes concentrate materials of greater chromatic density and create points of depth within the space. In the powder room, a stone cylinder serves as both basin and pedestal, while another suspended volume repeats the same geometry above it. The oval mirror cuts across the composition and multiplies reflections, textures, and light.

Lighting was incorporated into the matter itself. Indirect sources run along the irregular edge of the slabs and reveal their reliefs. At other points, light passes through the thickness of the stone and brings out patterns that remain silent during the day. The space changes its reading as the lighting transforms.

The client service area occupies the center of the space with large mineral surfaces in different tones. The proximity between table, bar, wall, and floor creates an immersive experience, where the variety of the rocks can be perceived through color, touch, sheen, temperature, and visual weight.

The project understands the showroom as a place of direct contact with matter. Each stone presents its own formation, its imperfections, and its time.

The architecture merely creates the conditions for that history to remain visible.

Lumini Residence develops a residential identity out of light, repetition and color. The façade is organized by a regular grid of openings and balconies, crossed by a vertical core that receives a graphic composition of its own and acts as an urban reference.

Chromatic bands vary along the circulation tower. Earthy tones, grays and greens appear in modules of different heights, avoiding a mechanical repetition between floors. Dark aluminum brise-soleil deepen the shadows and reinforce the vertical reading of the building.

The base brings architecture and landscape closer together by means of planting beds, integrated benches and continuous surfaces. The entrances receive clear framings and built-in lighting, creating a recognizable transition between street, hall and common areas.

In the interiors, the same palette reappears in controlled proportions. Wood, stone and colored planes organize the party room and the hall, while linear lighting follows junctions, niches and circulation planes. The whole preserves unity without literally repeating the façade.

The project uses simple resources such as color, shadow, module and vegetation to build presence. The building becomes legible in the urban fabric and maintains a domestic atmosphere in the areas of collective use.

Royal Residence works with repetition, shadow and depth. Balconies, vertical planes, brise-soleils and framings form a continuous order, interrupted by differences of color and thickness. The building keeps a clear reading from a distance and reveals details as one approaches.

The palette uses mineral tones and chromatic accents to build identity without depending on applied elements. Color and material take part in the volume, mark the entrances and reinforce the perception of the different planes. Vegetation accompanies the base and the collective spaces, connecting the scale of the building to everyday use.

In the interiors, wood, stone and warm-toned surfaces extend the research of the facade. Lobby, party room, children's space and gym receive specific solutions, linked by a single system of proportions, lighting and finishes. The continuity reduces the sense of isolated rooms and establishes a common narrative for the whole.

The project addresses the residential experience from arrival to the shared living spaces. The architecture works as the identity of the development and as a structure for collective life, articulating modern memory, local materiality and contemporary use.

The Invicta stand at ABUP Show 2025 was conceived to present a new positioning of the brand by means of an act of revelation. Across 207 m², a long green curtain traces the outline of the program and replaces the conventional façade with a mobile, continuous and partly enigmatic surface.

The strategy brings exhibition architecture closer to fashion scenography. Instead of offering an immediate reading of everything that happens inside, the perimeter releases fragments, creates specific points of access and makes the approach be driven by curiosity. The stand does not present itself all at once. It lets itself be discovered in layers.

The unveiling is literal and conceptual. On crossing the fabric, the visitor finds illuminated galleries for the products, spaces for encounter and meeting rooms protected by new curves of curtain. The flexibility of the material allows openness and privacy to alternate without resorting to a rigid sequence of walls.

At the center, a large suspended luminous structure works simultaneously as identification, installation and reference of scale. Horizontal bars of light and reflective planes fragment the word Invicta, multiply the movement of people and make the stand recognizable from a distance inside the pavilion.

Green organizes floor, fabric, display cases and atmosphere. The chromatic concentration avoids the visual dispersion common to trade fairs and creates a stable field for the products, presented in light, backlit niches. White, glass and metallic reflections appear as precise counterpoints.

The formal simplicity depends on the finish, on repetition and on the control of the route. The architecture works with mystery without preventing access, with theatricality without resorting to excess, and with privacy without producing isolation.

The result turns Invicta's change of identity into physical experience. Entering, crossing, opening and discovering become actions associated with the brand, while the stand operates as commercial space, stage set and communication device.

Across 980 m², Admirá organizes leisure as a sequence of changes in rhythm. There are spaces for gathering, dwelling, bathing, contemplation and pause, connected by a material language that accompanies the resident through different moments of the day.

The experience begins at arrival. Even the circulation spaces and the garage receive a graphic treatment of their own, with a palette of mineral tones that draws parking spaces, walls and columns. Services and structure remain visible, incorporated into the composition. The architecture acknowledges the building's infrastructure and works with it as part of its tectonic expression.

In the social areas, light stone, wood, metal and neutral surfaces build a tactile and serene atmosphere. The mineral planes appear in countertops, walls and continuous volumes. Wood changes function as it runs through the project: it clads ceilings, structures pergolas, filters light through brise-soleil and establishes small zones of shelter.

This repetition creates unity without producing identical spaces.

In the gourmet spaces, the domestic scale brings kitchen and living area closer together. Stone countertops, leather stools, light fabrics and handcrafted objects form settings prepared for long gatherings, where cooking and lingering share the same scene. Natural light crosses curtains and light surfaces, while the wooden ceilings visually reduce the scale and create a sense of welcome.

The relationship between light and matter takes on another intensity in the outdoor areas. Pergolas draw shadows that shift throughout the day across floors, furniture and vegetation. The landscaping appears at different heights and densities, building filters between the spaces of dwelling and the vertical landscape of Balneário Camboriú.

By the pool, the furniture takes on geometries of sculptural character and brings the body closer to the water. Wood, fibers, vegetation and stone build an experience of direct contact with the surfaces. In the spa, the light filtered by the brise-soleil meets earthy tones, natural textures and low volumes, producing a silent and protected atmosphere.

On the rooftop, the architecture opens to the city. The landscape comes to occupy the background of the composition and the built elements become punctual: trees, pieces of furniture, fire, shade and small clusters for lingering in the open air.

Admirá was designed out of this alternation between exposure and shelter, density and void, light and shadow. Each space offers a particular way of using time.

Contemplating, admiring and enjoying cease to be merely words associated with the development and come to happen as spatial experience.

The brief came almost as an ultimatum: "Love it or leave it."

The 120 m² apartment no longer matched the way its residents wanted to live. The renovation had to answer a rather objective question: did it still make sense to stay there?

The transformation was total. The new architecture reorganizes the apartment from everyday experience and brings kitchen, dining and living together into a continuous sequence. Cooking, entertaining, working and resting come to share the same space, with different degrees of proximity and permanence throughout the day.

Materiality carries this continuity.

Wood runs across the floor in a herringbone layout and reappears on vertical planes, creating a warm base for surfaces of greater visual density. Graphite tones, dark stone, black metal and large planes of joinery define the kitchen. A deep blue crosses the social area as a precise chromatic interruption and establishes another layer of depth in the whole.

The tectonics remain deliberately exposed. Metal structures descend from the ceiling to support shelves and wrap the range hood. Blades, planes, junctions and thicknesses remain visible. On the island, different stones reveal weight, support and fit. Construction takes part in the language of the apartment and allows each material to be perceived also by the way it touches, supports or meets the next.

This logic reaches the furniture and the objects. Open shelving holds books, plants and pieces accumulated by everyday life. Low volumes preserve the visual continuity of the living area. Stone, wood, fabric and metal build a tactile experience marked by different temperatures, textures and reflections.

The renovation gave the apartment back something that had been lost: the desire to stay.

The question that began the project ended up answered by the space itself.

They stayed.

The project begins with a simple question: what should someone's first contact with a future home be like?

The ARRKA Sales Center was conceived to strip the real estate experience of the excessively commercial atmosphere that usually marks these spaces. Clients are received in an environment built from domestic codes, with the scale, the comfort and the informality of a living room prepared to welcome friends.

The 120 m² are organized as a succession of small situations for staying. Generous sofas, armchairs, dining tables, a bar and conversation areas allow each encounter to find its own rhythm. The sale no longer determines the atmosphere of the space. The project concentrates attention on the experience of arriving, sitting down, talking and staying.

Materiality establishes different degrees of intimacy.

The reddish wood builds a large volume that runs across walls and ceiling, forming a kind of enclosure within the space itself. Its continuity reinforces the perception of shelter and makes horizontal and vertical planes read as a single surface. The dark stone appears in low, dense volumes, drawing bases, countertops and supporting elements with a strong tectonic presence.

In the more open areas, light surfaces receive natural light and balance the density of the materials. An undulating panel introduces rhythm and depth through vertical repetition, while metal, cane webbing, fabrics and furniture pieces of distinct geometries add new scales of texture to the whole.

The architecture also works with framings. Wood-clad passages momentarily compress the visual field before revealing new rooms. Curtains in blue gradients filter the light along the façade. Artworks, objects and decorative pieces occupy the space without the logic of a commercial set design, like elements that could have been accumulated over time by whoever lives there.

This familiarity was the project's main instrument.

Before presenting a development, the center presents a possibility of life. A place where conversation can begin unhurriedly, around a table, an artwork, a coffee or a glass served at the bar.

The Dummagran showroom starts from a direct question: how to present natural stone without reducing its reading to small samples? Across 70 m² distributed over two levels, the project turns the space itself into a catalogue and places the visitor inside a composition built entirely from the possibilities of the material.

On the floor, different stones form a geometric grid in greens, grays and mineral tones. The reception emerges as a block of greenish stone, marked by vertical cuts that reveal thickness, sheen and precision of processing. The stair, clad in dark material, takes on a monolithic presence and leads to the upper floor as an extension of the exhibition.

The main wall works as a mineral library. Discs of different species are arranged over the wooden background and receive individual lighting. The circular format removes the samples from the conventional logic of the sample display, allows immediate comparisons and creates a composition capable of remaining legible even when the space is not in service.

Wood acts as an interval between the strongly patterned surfaces. Its warm tone establishes order and reduces the competition between the veins, while grazing light accentuates depths, edges and natural variations without making the stones uniform.

Scale, cut, finish and junction are presented as design information. Some pieces appear as continuous surfaces. Others are fractioned, grooved, overlapped or lit. The showroom demonstrates techniques and applications at the same time as it maintains an atmosphere close to that of a gallery.

Instead of building a neutral background for the product, the architecture takes geology as language. Each route brings the visitor closer to a different condition of the material and turns choice, comparison and specification into a spatial experience.

For Dynamis's first appearance with a project signed by the office, solar energy was treated as an experience of time.

The project starts from the circadian cycle and from the direct relationship between light, body and the passing of the hours. The stand is organized as a chromatic route that follows different moments of the day, leading the visitor through a sequence of blue, white and orange until reaching dusk.

The architecture arises from the repetition of inclined planes. Each blade receives a continuous line of light and undergoes a slight rotation in relation to the previous one. The succession of these elements creates a structure in apparent movement, forming tunnels, openings and framings that change as the visitor advances.

Light draws the tectonics of the project. It follows each plane, reveals its thickness and turns the constructive repetition into a luminous sequence. The effect changes according to the point of observation: parallel lines draw closer, cross and disappear in different perspectives.

Blue defines the beginning of the route and establishes an atmosphere associated with the first hours of the day. Gradually, lighter surfaces increase the luminosity until orange comes to occupy the architecture and leads to the last space.

At the center of this trajectory, a photovoltaic panel appears incorporated into the composition. The product is presented within the phenomenon that gives rise to it, making solar capture part of the spatial narrative. Around it, texts, equipment and charging points bring technology, information and experience closer together.

The bar closes the route in an entirely orange atmosphere. The chromatic shift marks dusk and turns the passage through the stand into an abstract reading of the daily movement of the sun.

Dynamis's identity also guides the graphic design. Blue and orange cease to work only as institutional colors and come to determine direction, depth, luminosity and circulation.

For a few minutes, walking through the stand means crossing a day.

Energy leaves a trail of light along the way.

The Heli Brasil Ecosystem was conceived as a hybrid habitat, where technology, nature and industry share one same structure.

At a fair marked by the repetition of graphic surfaces and temporary construction systems, the project concentrates its identity in the architecture itself. A red metal structure organizes the 100 m² into different cores of experience, encompassing areas for exhibition, meeting, dwelling and brand relationship.

The metal mesh establishes the main tectonic order. Curves, porticoes and large cylindrical volumes form a permeable structure, capable of defining spaces without completely interrupting the visual relationship between them. Red covers floor, furniture, structure and enclosures, turning the whole into a continuous chromatic presence inside the pavilion.

Vegetation occupies the upper part of these structures and grows over the industrial rigidity of the metal. Hanging foliage crosses the mesh and creates a suspended landscape, bringing together two universes central to Heli Brasil's positioning: technological development and environmental responsibility.

In the main core, a curved, translucent LED panel follows the geometry of the architecture. Image, light and structure begin to operate together. Lighting automation synchronizes different light sources with the audiovisual content and alters the perception of the space throughout the experience.

The light tubes appear loose inside the metal structures, almost like power lines crossing an organism. Their irregular arrangement introduces movement and contrast against the precise repetition of the mesh. Along the route, reflections, transparencies, vegetation and light produce different levels of depth.

Materiality follows the environmental discourse of the project. Reclaimed wood brings in texture and memory, while metal takes on a leading role for its durability, its capacity for disassembly and its recycling potential. The choice of materials also considers the cycle after the fair and the possibility of new uses.

Conversation areas appear protected by translucent red curtains. White furniture and transparent surfaces create small interruptions within the chromatic saturation and offer moments of greater intimacy inside a deliberately open and communicative architecture.

The project turns Heli Brasil's positioning into a physical experience. Technology appears as light, movement and information. Sustainability emerges in the material, in the vegetation and in the constructive logic. Industry reveals itself in the structure that supports all of this.

An ecosystem built to exist for a few days and to communicate a vision of the future.

In approximately 40 m², the office of Esatta Engenharia had to accommodate individual work, client service, meetings and storage without turning the reduced area into a sequence of compartments. The answer starts from few gestures, treated with continuity and with scale sufficient to organize the whole.

A dark wood volume runs through the space and gathers cabinets, niches, passages and support surfaces. Its rounded junctions soften the transition between the rooms and make the joinery be perceived as a continuous infrastructure, not as a collection of independent pieces of furniture.

In contrast, walls and ceiling receive a light green of low saturation. The color envelops the meeting and circulation areas, reduces the rigidity of the corporate program and establishes a silent atmosphere. Light wood on the floor and occasional pieces in earthy tones prevent the opposition between light and dark from becoming excessively graphic.

The transparent partitions preserve the visual depth of the office. They separate the main room and the shared workstation without blocking the entry of light or interrupting the longitudinal axis. The dark counter follows this axis and reinforces the perception of length, while the round table occupies the meeting area as a point of pause.

Illuminated niches appear only where the project needs to create thickness, hold objects or mark a passage. The lighting does not seek absolute uniformity. It works in layers, enhancing the curvature of the wood and producing zones of greater concentration within a diffuse base.

The precision of the project lies in the reduction of elements and in the controlled repetition of materials. By treating storage, circulation and identity as a single operation, the small office acquires unity and remains open to different forms of use.

The apartment was made inside a garage. The project takes that as the starting condition rather than a problem to hide: the original concrete stays exposed — the slab overhead with its pipework and tracks in view, the columns left standing in the middle of the room, the floor in burnished concrete. Nothing is added to explain the space; what holds the building up is what you see.

The rest is a short material list held to a narrow range. The walls are black, with a rough texture; against them, caramel leather — the armchair, and the capitonné panel in the bedroom. Metal-mesh chairs go with a round concrete table that carries a dry branch, and black glass blocks work as side tables. Dark millwork forms the kitchen, integrated into the room; a slatted door closes the bar, and the washing machine is built in under the counter.

One deliberate break: the bathroom is lined in white square tile, with a pink toilet. On the wall, a single word in large letters: BREATHE. A compact interior in Balneário Camboriú that keeps its structure in view and asks nothing more of it.

For Dynamis's participation in Intersolar South America 2024, energy is no longer represented as a symbol and comes to determine the spatial experience. The 72 m² stand is built from blue horizontal slats that form an apparently compact volume, yet allow the orange interior to be perceived in fragments.

The perforated skin filters the view, controls the exposure of the program and alters its reading as the visitor moves. At some points, the brand appears horizontally between the slats. At others, it is placed vertically and follows the height of the volume, turning communication into part of the structure.

Inside, successive luminous frames in blue and orange converge toward a central void. The gradual change of direction produces an accelerated perspective, close to a tunnel or a field of propagation. Light does not only illuminate the space. It draws depth, induces movement and materializes the idea of energy in flow.

The phrase Your energy makes all the difference, everything is energy repeats along one of the façades. The message loses the condition of isolated text and comes to compose a continuous surface, read simultaneously as pattern, texture and brand positioning.

The chromatic opposition organizes the whole architecture. Blue establishes the structure, the rhythm and the external presence. Orange appears as internal emission, heat and intensity. From a distance, the stand presents itself as a sharp body. On approach, it reveals overlaps, transparencies and different speeds of reading.

The project turns a compact area into an optical device recognizable within the pavilion. Product, encounter and communication are brought together by a language in which form, color and lighting work as parts of a single circuit.

For Harden's 100 m² stand, the constructive logic of tools is converted into architecture. Instead of resorting to the conventional display unit, the project creates an inhabitable metal matrix, precise and repetitive, capable of supporting products, communication, light and circulation within a single system.

The orange grid distributes the portfolio at different heights and turns the whole into a three-dimensional inventory. Objects, boxes, equipment and machines cease to occupy a background plane in order to construct the very perception of the space. Diagonal light bars interrupt the orthogonality of the structure and introduce a graphic tension linked to movement, to cutting and to the energy of work.

At the center, the display tower expands the brand's presence in the pavilion and allows the products to be perceived above the line of the neighboring stands. Around it, openwork modules form limits without producing opaque walls. The space remains visible from all sides, while the raised platform and the amber lighting along the floor define a clear territory within the fair.

The longitudinal bar works as a counterpoint to the density of the structure. Dark, continuous and protected by a large-scale canopy, it organizes service and stay under the inscription Harden Tool Bar. The name articulates tool bench and meeting space, shifting the commercial reception into a more social and less protocol-driven situation.

Black and graphite absorb part of the visual noise of the pavilion. Orange and warm light concentrate attention on the product and guide the route. Color, therefore, is not applied after form. It takes part in the structure, in the hierarchy and in the reading of the stand.

The result is simultaneously an exhibition system, a space for gathering and a demonstration of Harden's identity. Modularity, resistance and precision cease to be merely attributes of the products and come to determine the construction of the space.

For Heli Brasil's second participation developed by the office, the project starts from the language created previously and expands it into an area of 280 m². Instead of replacing the spatial identity built at the first encounter, the new stand works through continuity: exposed metal structure, tropical vegetation, translucent surfaces, light and the dominant presence of red return in a more complex configuration of greater scale.

The space is organized as a small territory within the fair. Routes cross different cores of exhibition, dwelling, service, technology and products, avoiding the conventional reading of a stand made up of a façade and independent interior spaces.

At the center, a circular structure concentrates the main exhibition experience. Heli machines occupy a platform surrounded by vegetation, metal structure and a large translucent media surface. The lighting incorporated into the structure reinforces its technological character, while the vegetal presence introduces a deliberately organic layer into the brand's industrial universe.

Around this core, smaller-scale volumes build different situations of use. Sinuous counters work simultaneously as gathering areas and as large planters. Open metal structures receive hanging vegetation, products, communication and furniture. Translucent panels allow movement and silhouettes to be perceived through the surfaces, maintaining a visual connection between the spaces without eliminating the sense of interiority.

Red ceases to work merely as an application of the corporate identity and comes to constitute the architecture itself. Floor, volumes, structures, furniture and lighting operate within a single chromatic family, counterposed by the black of the metal and the intense green of the vegetation.

If in the first project the question lay in building a spatial translation for Heli's identity, here that language gains scale and comes to organize a complete brand experience. The stand ceases to work merely as a support for the display of equipment and becomes an environment capable of articulating product, technology, gathering and dwelling.

Betting once again on the audacity of a manifesto space, Jeferson Branco arrives at his third CASACOR at the age of 29. The composition of the environment of the socializing bar of the show, signed by him, houses a hanging garden, organic pieces, and a questioning about where we come from and where we are going.

Nothing is square in the space that architect Jeferson Branco signs for CASACOR Balneário Camboriú (SC) 2023. Neither in form nor in personality. The [t3chno.DELTA], the project of the bar in the convivial space of the show, taking place on the coast of Santa Catarina and bringing the theme of Body and Dwelling, is a place to be contemplated and questioned, as asking is part of Jeferson's architecture decoration. The manifesto environment, inspired by a swamp, brings green, literally, from the ground to the ceiling, housing the most primitive forms of nature, the organic. And all this to alert about the excessive use of technology, bringing to the fore whether we are more in the cloud than connected to our roots.

In this project, Jeferson brings the rise of artificial intelligence as inspiration for the central theme of the space that asks: Where are we going? According to the architect, "the project is a reminder that the swamp is also a place of innovation and discovery, and brings a good-humored blend between biophilia and high-tech, the duality between ancestry and futurism, raising questions about where we come from and where we are going". And to do so, the almost 100m² that he transformed into a vast architectural delta has wood, stone, iron, and unique pieces that compose the, at least, provocative environment.

Among the elements that make up the [t3chno.DELTA] project are a cable automation system developed by students from PUC of Rio Grande do Sul, an Italian lamp designed in 1964 by Bruno Munari, contemporary stools by Leonardo Zanatta, a Forbes Under 30 designer, a sofa by Victor Vasconcelos, Pangea support tables in purplewood signed by Jeferson himself, who also signs the rug from the Protozoa collection. All this, while the use of Speranza, an exotic quartz extracted in Brazil, refers to the natural, and the brushed steel applied in some areas of the project brings the relationship with futurism and technology. And with this visual composition halfway between the Jetsons and the Flintstones, it is clear that the swamp is a fertile scenario where life is born, evolves, and adapts. Not necessarily in this order.

Continuing the tour through the details of [t3chno.DELTA], the curation of the pieces always makes the counterpoint of already established designers and the avant-garde in Brazil, always emphasizing this duality between past and future. On the walls, the botanical images of Walmor Corrêa share space with an organic mirror by Rodrigo Ohtake, while natural plants from Laura Rotter's landscaping fall from the ceiling. According to Jeferson Branco's partner and sister, Letícia Branco, "the environment should promote a moment of reflection for those who visit CASACOR, and we hope that, more than just appreciating, the visitor seeks to understand the message we are trying to convey by aligning forms, concepts, materials, and professionals from the past, present, and future."

Arrka's model apartment was developed as a synthesis of contemporary ways of living, with integrated spaces, fluid circulation and a clear material language.

The social area concentrates the project's main experience. Living, dining and kitchen share a single visual sequence, organized by a neutral base of light tones, natural wood and mineral surfaces. The integration allows the space to be perceived as a continuous whole, without losing the identity of each use.

Wood acts as an element of connection. It appears in panels, doors, joinery and furniture, building a warm and constant presence throughout the apartment. In counterpoint, light stone, white metals and natural fabrics keep the atmosphere light and expand the perception of luminosity.

In the kitchen, the stone island concentrates preparation, support and gathering. The curved design at its ends softens its presence and brings the volume closer to the body. Suspended metal shelves work with minimal thicknesses and leave objects and utensils exposed as part of the everyday composition.

The living room follows the same logic of continuity. Large wooden surfaces organize the main wall, while the low furniture preserves the field of vision and maintains the direct relationship with the façade and natural light. The rug introduces color and movement into a composition with a silent base.

Blue appears as a controlled rupture in the hall and in punctual elements of the furniture. The color creates depth, marks transitions and establishes a layer of identity within a predominantly light palette.

In the bedrooms, the scale becomes more intimate. Upholstered coverings, wood, wallpaper and indirect lighting build an atmosphere of rest. Soft greens, pinks and natural tones appear in small planes, objects and fabrics, bringing each space closer to a more personal register.

The tectonics of the project reveals itself in the meetings between planes, in the thicknesses of the joinery, in the cuts of the stone and in the way each material touches the next. The intention was to build a residential experience that is easy to read, where comfort, functionality and materiality remain visible in daily use.

The apartment organizes an idea of living based on continuity, light, texture and permanence.

The project began in an unlikely way. The office received a request for a quote for a fish market without quite understanding how that program had reached us. The proposal was sent with almost no expectation of continuity. The client not only approved the project but carried it out in full.

But the commission was not exactly a fish market either.

Annexed to the plant, the owner wanted to create a small experience kitchen to host chefs from the restaurants he supplies and put them in direct contact with the freshly arrived catch. A space of only 20 m² where product, preparation and encounter would become part of one and the same experience.

The proximity to the sea guided the project without resorting to a literal representation of the nautical universe. The reference came from the small waves that advance over the beach and, as they retreat, leave successive lines drawn in the sand.

That movement was abstracted and transferred to the ceiling. Curved layers run through the space at different heights, creating a suspended topography accentuated by indirect lighting. Between them, surfaces of mineral texture bring the architecture closer to the grain of the sand.

On the lower plane, natural stone takes on the chromatic counterpoint. Its bluish, green and reddish veins run across countertops and backsplash like geological matter in movement, while wood, white ceramic and light surfaces pare back the rest of the palette.

The small scale meant that practically no surface could be neutral. Ceiling, walls, countertop, lighting, furniture and the collection of illustrations of marine species together build the identity of the space.

The result is a professional kitchen reduced to the size of a meeting room: a place between the origin of the ingredient and what it may still become.

For EuReciclo, the architecture starts from the very matter that sustains the brand's discourse: what we consume, discard, recover and put back into circulation.

The project was developed at two complementary scales, an 18 m² stand and a 100 m² lounge, both conceived to turn data on recycling into a direct, visual and tactile spatial experience.

In the stand, green and blue fully occupy floor, walls and ceiling. The institutional colors leave the graphic surface and begin to build the space itself. Between them, a continuous line of light runs across horizontal and vertical planes in an organic drawing, connecting environments, furniture and communication as a flow in permanent movement.

Large open metal structures receive plastic waste and discarded packaging. The matter that normally disappears after consumption takes on architectural scale and becomes part of the façade. Its presence exposes quantity, volume and accumulation immediately, bringing abstract numbers closer to a physical perception.

Communication also takes part in the construction. Suspended panels present data on waste generation, recycling and environmental responsibility, creating different layers of reading along the route. The visitor moves among information, matter and light.

The design explores a simple and legible tectonics. Metal profiles, mesh, OSB, sheet panels, industrial furniture and reusable elements build a system conceived for assembly, disassembly and circulation between events. The choice of materials follows the logic of a temporary architecture aware of its own duration.

In the lounge, this same language takes on a scale of permanence. OSB structures organize benches and meeting areas, while industrial containers, metal pieces and volumes associated with the universe of disposal are incorporated into the furniture. The space works as an extension of the brand's identity and as a place for conversations, meetings and knowledge exchange.

EuReciclo speaks about transforming waste into new cycles. The project translates that principle into matter, route and construction.

The proximity of the sea orients this 143 m² apartment through light, through openness and through a materiality of natural character. The project builds a bright, everyday atmosphere in which wood, mineral tones, vegetation and points of color accompany the luminosity that crosses the rooms throughout the day.

The social area was organized as a continuous space. Kitchen, dining and living room share the same visual sequence, allowing different activities to take place in close proximity and without interrupting the reading of the whole. The furniture takes part in this organization through low volumes, slender structures and surfaces that preserve the sense of amplitude.

Wood establishes the main material order of the apartment. It appears on the floor, in the joinery, in the large vertical panels and advances over the kitchen ceiling, forming a continuous plane that delimits this core within the social area. The design of the grooves and junctions makes its construction evident and creates a precise tectonic reading between horizontal and vertical planes.

In the kitchen, a suspended white metal structure crosses the room and incorporates shelves, vegetation and the range hood. The visual lightness of the piece contrasts with the solid presence of the island and with the large joinery volumes. The tree next to the façade introduces another scale to the space and brings vegetation closer to domestic routine.

Terracotta appears as a chromatic inflection in the living room. The color occupies wall, ceiling and passage, creating a spatial cut that modifies the perception of the room without depending on new partitions. Light intensifies this surface throughout the day and establishes a direct relationship between color, architecture and time.

In the dining room, the white shelving unit is designed as an open and rhythmic structure. Objects, ceramics, books and plants occupy its intervals and let everyday life complete the composition. Wood, cane webbing and leather add new textures to the whole and reinforce a tactile, informal atmosphere.

The intimate rooms follow the same logic of clarity. Neutral tones, light wood and vertical elements build a silent space, with the joinery concentrating functions and freeing surfaces.

The apartment finds its identity in the encounter between matter, color and landscape. The architecture creates a serene base so that time, objects, plants and the residents' own life continue transforming the space.

For Mini King, the project starts from the idea of creating a small universe recognizable to children and, at the same time, comfortable for the adults who accompany them.

The architecture organizes the store as a sequence of situations of discovery. Low display units, accessible niches, furniture of rounded design and different heights bring the products closer to the children's scale and encourage a direct relationship with the space. Circulation remains open, allowing the gaze to cross the store and find different points of interest along the route.

Wood establishes the material base of the project and appears in panels, display units, counter and support elements. Its continuous presence creates unity between the different areas and introduces a domestic feeling into the commercial environment. White metal structures, natural fibers and green surfaces come in as light counterpoints, building a palette associated with nature and with play.

On the ceiling, large green fields crossed by lines of light turn the upper plane into an active part of the composition. The lighting follows the geometry of the architecture and helps to guide the route, while fiber light fixtures introduce texture and a scale closer to the body.

The reception incorporates the language of a small commercial façade, with a striped canopy and a marked frontal design. This gesture creates an architecture inside the store itself and establishes an easily recognizable point of arrival. Around it, display units, clothing racks and platforms draw different ways of presenting clothes, toys and accessories without losing spatial continuity.

The Mini King experience is built through scale, color, texture and movement. The space takes on the childhood imaginary with a certain delicacy, allowing the product to remain the protagonist and the architecture to work as a setting for discovery, circulation and dwelling.

The identity of the law firm Moraes & Araújo Advogados Associados begins to be built even before the first conversation.

In the reception, the geometry of the logo leaves the graphic plane and begins to organize the space. The natural stone counter was designed from the same angular logic present in the brand, transforming a functional element into a piece of strong tectonic presence. Its dark mass anchors the room and establishes the first gesture of recognition of the firm.

Gold appears as a line. Metal profiles cross the space, draw a large arch alongside the circulation, separating public and private, and reappear in light fixtures, signage and details. The repetition creates a kind of architectural filigree that guides the eye and connects different elements of the reception.

On the walls, the composition starts from references traditionally associated with law offices, such as boiseries, symmetry and vertical proportions. These elements are reorganized through gray planes, integrated linear lighting and metallic interferences. The light runs along the limits of the architecture, highlights frames and transforms the drawing of the walls over the course of the day.

Materiality works with few elements and strong contrast. Dark stone, golden metal, gray surfaces and soft-textured upholstery build a sober atmosphere, while the warm lighting introduces a layer of welcome to the experience of arrival.

The reception works as a synthesis of the language developed for the 150 m² of the office. Visual identity, furniture, lighting and architecture were conceived within a single system, allowing the brand to be perceived through matter, scale and the way the visitor moves through the space.

The result is an architecture of representation built from precision, rhythm and presence.

The studio's first international project arises from an encounter between two cultures. In St. Augustine, Florida, the Mademoiselle Hair Salon was conceived from a reading of commercial space that is simultaneously Brazilian and North American: less as an opposition between two repertoires and more as an exercise in translation between them.

The choice of city adds a particular layer to the project. Founded in 1565, St. Augustine carries one of the oldest urban histories in the continental United States. In this context, more traditional references of North American architecture and interiors appear reinterpreted by the studio. Joinery in a Provençal language, rhythmic panelling and the symmetrical organization of the stations establish a recognizable base for the local audience.

Over this more classical structure, the project introduces another vocabulary. Earthy tones, wood, cane webbing, natural fibers and vegetation shift the salon toward a warmer and more informal atmosphere, while arches, circular mirrors and points of light build a visual sequence along the space. Brazilianness does not appear as a decorative theme, but in the way materiality, color, nature and a less rigid relationship with the environment are combined.

The length of the salon is organized by the repetition of the styling counters, turning the succession of workstations into an architectural element. Large vertical arches establish rhythm and scale, while the lighting behind the mirrors accentuates the depth of this composition. At the center, waiting and service areas interrupt the linearity and bring the space closer to a domestic scale.

The project also marks a change of scale in the studio's trajectory: carried out in 2021 and followed remotely from Brazil, it became the first international work by Jeferson Branco Arquitetura. More than transporting a Brazilian aesthetic to another country, the Mademoiselle proposes an architecture capable of negotiating contexts, familiar enough to belong to Florida and foreign enough to carry another origin.

In 50 m², meu.coração.queima builds a house out of fragments of Brazil.

Created for CASACOR Florianópolis 2021, under the theme A Casa Original, Estúdio Manifesto starts from the Brazilian popular house and from a repertoire formed by objects, materials, gestures and memories present in everyday life. A straw hammock, a clay water filter, a rosary, plates, cups, plants from a grandmother's house and small affective objects share the space with natural stone, technology, contemporary furniture and high-precision finishes.

This approximation structures the high-low language of the project. The interest lies in the coexistence of different material, economic and symbolic values within a single house. The room turns this coexistence into a commentary on a country where abundance, inequality, memory and desire frequently occupy the same space. This critical dimension was one of the axes assumed by the project from its very conception.

Materiality carries an important part of this narrative. Stones extracted in states such as Bahia and Minas Gerais appear on large surfaces and draw attention to Brazilian mineral wealth and to the processes of extraction and export of these resources. Stone, traditionally associated with luxury, comes to carry a territorial and political dimension as well, since the raw material does not even remain in Brazil.

Terracotta, sky blue, wood, ceramics, straw and vegetation build an atmosphere of great sensorial intensity. The orange ceramic tiling wraps the bathroom as a continuous surface, reflecting light and expanding the chromatic temperature of the space.

Vegetation occupies the apartment, grows over structures, descends from the ceiling and mixes with the objects. Almond tree, ferns, snake plant and other species associated with Brazilian houses bring the interior closer to a recognizable domestic landscape, built by the coexistence of architecture and nature.

At the center of the space, a curved wall clad in slats organizes the program and creates different degrees of intimacy without establishing a conventional separation between the rooms. Light metal structures run along its upper part and receive plants, objects and everyday elements. Spatial division itself comes to work as a support for life.

There is also a deliberately autobiographical dimension. Family objects, religious references, popular pieces and personal memories enter the project without rigid hierarchy. The house leaves traces of whoever inhabits it. The whole does not seek the image of a generic residence, but an identity built by accumulation, affection, contradiction and belonging.

The experience oscillates between welcome and discomfort.

The hammock invites rest. The light is warm. The plants grow. The objects carry memory. At the same time, the architecture introduces questions about the origin of matter, about what the country values, what it exports and the images of Brazil we choose to preserve.

meu.coração.queima is born from this friction.

A Brazilian house made of beauty, affection, excess, memory and questioning.

The first headquarters of Jeferson Branco Arquitetura was conceived as a direct materialization of the way the office understands its own work.

In 40 m², the space concentrates creation, meetings, research, archive, client reception and gathering. The reduced scale required each element to have a precise function, but it also opened room to test ideas that were beginning to define the office's language at that moment.

The headquarters works as a laboratory.

Materials, colors, objects, constructive solutions and pieces of furniture are brought together without the intention of creating a corporate neutrality. The space takes on an experimental character and allows architecture, interiors, art, design and landscape design to coexist within the same work routine.

Blue runs across ceiling, walls and joinery in some rooms, establishing a continuous chromatic presence. Elsewhere, light wood and white surfaces expand the luminosity and balance the intensity of the color. The alternation creates different atmospheres within a compact plan and organizes the moments of concentration, meeting and pause.

Vegetation occupies a central position in the workspace. Suspended metal structures receive ferns and hanging species above the desks, shifting the garden to the ceiling and bringing nature closer to everyday activity. The living presence of the plants modifies the space over time and introduces a layer that cannot be completely controlled by design.

The tectonics remain legible. Metal structures, panels, profiles and different support systems appear as part of the composition. In the bar, cobogós support the stone countertop and remain visible. In the bathroom, blue ceramic tile, stone and linear elements build a small autonomous experience within the whole.

The furniture also takes part in this logic of experimentation. Tables, benches, shelves and support surfaces combine different materials and geometries, while objects, books, models and references accumulated by the office occupy the space as part of the creative process.

The glass partitions receive drawings and graphic fragments linked to the office's production, turning the separation between rooms into a surface of memory and communication.

The first headquarters records a specific moment of the practice: the office still small, compact and physically close, with creation and discussion happening within the same field of vision.

A workspace understood as a design tool.

A laboratory where ideas could be tested before going out into the world.

Inbrasul's headquarters was conceived from a corporate architecture of strong material presence, where identity, routine and work experience meet in a single language.

The project organizes the 350 m² by bringing structure, furniture and infrastructure closer together. Technical elements remain visible and take part in the composition. Cable trays, tracks, metal profiles and exposed installations draw the ceiling, while wood, stone, fabrics, vegetation and dark surfaces introduce density, texture and comfort.

In the executive office, the atmosphere is restrained and introspective. The joinery occupies the wall as a continuous system, alternating closed planes and lit niches. Doors, storage, books, objects and equipment are incorporated into a single surface, making functional organization itself part of the design.

The table establishes the tectonic center of the space. A dark, solid and precise base receives a stone slab marked by irregular veining, where natural matter interrupts the controlled geometry of the whole. Wood, leather and metal complete a palette built from different temperatures and responses to touch.

The lighting follows this intimacy. Warm lines appear recessed into the joinery, highlighting depths and objects, while a suspended luminaire crosses the space with a thin, almost graphic design. The light reveals the texture of the materials without eliminating their shadows.

In the lounge, the language changes rhythm. Green occupies large surfaces and creates an interior landscape of informal character. Over it, a metal structure draws the wall as a large mesh, receiving wooden boxes, books, objects and memories in different positions.

The ceiling exposes part of the infrastructure and reinforces the constructive reading of the space. Cables, profiles, luminaires and installations assume their technical presence. Wood warms the composition, while deep blue, earthy tones, black and vegetation build an atmosphere oriented toward encounter and permanence.

The executive office and the lounge present two experiences within a single headquarters. Concentration and pause, matter and light, precision and informality coexist in a project that understands the workplace as part of everyday life.

In only 9 m², the project concentrates different functions without turning the room into a succession of independent pieces of furniture. Storage, changing, display, nursing and rest are incorporated into the architecture itself, freeing the central area and building a continuous reading of the space.

The white joinery runs along the lower perimeter and extends into wall-hung cabinets with glass doors, organizing clothes and objects as part of the composition. Between them, open niches allow everyday pieces to remain visible and accessible. The natural wood crib introduces warmth in contrast with the light base and with the soft green that wraps walls and ceiling.

Over this more classical structure of language, marked by boiseries and regular proportions, a continuous line of light crosses walls and ceiling. The gesture deliberately breaks with the expectation of a traditional children's room: it turns lighting into drawing, brings out the geometry of the space and creates depth within a reduced floor area.

The result seeks to avoid an excessively themed setting. The elements associated with childhood appear in the objects, the layette and small characters, while the architecture remains permanent enough to accompany the transformations of the room over time.

Habitat Deca marks Jeferson Branco's debut at CASACOR Santa Catarina, still during his undergraduate studies in Architecture and Urbanism. The space arises as an unfolding of “Banheiro(a), um banheiro para... pessoas!”, overall winning project of the 22nd Concurso Estudos Deca in 2017 and first place in the Train or Subway Station Restroom category. The award carried the academic research into a built situation, open to the public and submitted to the everyday use of the show's visitors.

The starting point was a critique of the conventional division of public restrooms into male and female. The research investigated situations in which that separation produces embarrassment, insecurity or practical limitations, including children accompanied by guardians of another gender, older people and people who need assistance, as well as the questions linked to gender diversity. In Habitat Deca, these demands are gathered into a single space of collective use, with fully enclosed individual cubicles to guarantee privacy and safety.

The spatial configuration replaces segregation with a common area of permanence and care. The restroom comes to operate as shared territory, where architecture organizes different degrees of intimacy without determining in advance who may occupy each space. During CASACOR, the space remained functional and could be effectively used by visitors, turning the show into a field of observation for the design hypothesis itself.

The materiality brings the space closer to the idea of habitat. Dark wood, stone, abundant vegetation and water compose a dense atmosphere, crossed by white, blue and pink lighting. The vegetation occupies walls and areas next to the sanitary ware, while the sanitary fixtures leave their strictly utilitarian position and come to be part of the spatial composition. The floor-mounted basin was associated with water as a fountain and the urinal incorporated into the vegetation, a strategy recorded in the publications of the time.

Neon establishes another layer of reading. Recognizable forms from conventional restroom signage are enlarged and superimposed, graphically dissolving the binary separation the project questions. In contrast with the organic presence of the plants, the artificial light introduces an urban and technological language, placing nature and behavioral transformation within the same narrative.

Habitat Deca establishes, already in Jeferson Branco's debut at an architecture show, a practice guided by research and by position-taking. The space starts from an everyday program in order to discuss inclusion, autonomy, privacy and the way architecture keeps pace with sociocultural changes. The official 2018 presentation itself defined the space as one capable of receiving different users without barriers or discrimination.

Side table in stone quarried in Brazil, 47 × 39 cm, in three heights

Side table from the Pangea collection. 47 × 39 cm, in three heights: 42, 52 and 62 cm.

Series 01 is made with stone quarried in Brazil. Stone is a natural material and may vary from piece to piece. Other stones and other leg colors on request. Design and manufacture JBARQ, 2021.

Side table in solid Tauari with a natural oil finish, 47 × 39 cm, in three heights

Side table from the Pangea collection. 47 × 39 cm, in three heights: 42, 52 and 62 cm.

Series 02 is made in solid Tauari, by hand, with a natural oil finish that can be tinted to the project's tone. Finishes: Diamante, Natural, Ambar, Jaspe, Granada and Carvão. Design 2023; manufacture Hortensia Móveis.

Chair in solid Tauari, made by hand, 50 × 50 × 85 cm, launched at Milan Design Week in 2025

Chair in solid Tauari, made by hand. 50 × 50 × 85 cm (W × D × H). Design from 2023; manufacture Hortensia Móveis.

The collection is named after Luiz Antonio, a ferret. The piece was launched at Milan Design Week, in April 2025, JBARQ's first participation in the event.

Side table made from stone offcuts, Series 01 of the Tropicália collection, 45 × 30 × 52 cm

Side table from the Tropicália collection, Series 01. Made from offcuts of fine stone, leftovers brought back into use as a piece. The forms are curved, organic; the reference is Brazilian modernist landscape design, in particular the work of Roberto Burle Marx.

Measures 45 × 30 × 52 cm. Produced by MINITH. Designed in 2023, launched in 2025.

Handmade rug in ECONYL, regenerated nylon; sized per project, in the proportion of the drawing

Rug from the Protozoa collection. The drawing starts from the forms of microorganisms: organic outlines, vibrant colors. It is made by hand, in a semi-artisanal process, by TAPEÇARIA ITALIANA.

The yarn is ECONYL, 100% regenerated nylon made from waste recovered from the ocean and from landfills: fishing nets, industrial plastics, fabric scraps. Made to order. Sizes follow the project, keeping the proportion of the original drawing. Samples in more than 80 colors. Designed and launched in 2023.

Wall-mounted side table in a block of raw stone reclaimed from construction waste, 25 cm wide

Wall-mounted side table from the Runa collection. A block of raw stone, reclaimed from construction waste, receives a cut that holds the top. The cut refers to runes, artifacts in stone. Made by MINITH. Designed 2023, launched 2025.

Series 01: 25 × 27 × 21 cm.

Handmade wall-mounted side table in solid Taquari, stainless steel fixing, 25 cm wide

Wall-mounted side table from the Irupê collection. Handmade in solid Taquari, with a choice of several tones and stainless steel fixing. The shape comes from the aquatic plants the Guarani call irupê. Made by Hortensia Móveis. Designed 2024, launched 2025.

Series 01: 25 × 26 × 6 cm.

Table lamp made from natural stone offcuts, stepped body, 13 × 13 × 43 cm

Lamp from the Kûara collection, produced by MINITH. Designed in 2024, launched in 2025. Made from natural stone offcuts, waste from the construction industry, in a stepped structure.

Table version: 13 × 13 × 43 cm (W × D × H). Two editions: standard and limited.

Floor lamp made from natural stone offcuts, stepped body, 20 × 20 × 175 cm

Lamp from the Kûara collection, produced by MINITH. Designed in 2024, launched in 2025. Made from natural stone offcuts, waste from the construction industry, in a stepped structure.

Floor version: 20 × 20 × 175 cm (W × D × H). Two editions: standard and limited.

Wall lamp made from natural stone offcuts, stepped body, 12 × 12 × 12 cm

Lamp from the Kûara collection, produced by MINITH. Designed in 2024, launched in 2025. Made from natural stone offcuts, waste from the construction industry, in a stepped structure.

Wall version: 12 × 12 × 12 cm.

Sand-cast aluminium stool; designed 2023, produced by JBARQ, 45 × 45 × 35 cm

The Mercúrio stool was designed in 2023 from the passage of matter from the liquid to the solid state. The form records that moment; the name comes from the metal that occurs liquid in nature.

Series 01 is cast in aluminium by the sand casting process and produced by JBARQ. It measures 45 × 45 × 35 cm. Launched in 2025.

Pingos vase, Molle Design; four series, 15 × 15 × 31 cm

Pingos is part of the Raízes do Sul line, from Molle Design's Raízes collection; designed in 2023 with Jeferson Branco, launched in 2024. The pieces have organic texture and spherical details; the reference is the water of southern Brazil: Rio Guaíba, Lagoa dos Patos, the Santa Catarina coast.

The vase measures 15 × 15 × 31 cm, takes dried plants or water, and comes in four series, 01 to 04.

Pingos candleholder, Molle Design; two series, 15 × 15 × 16 cm

Pingos is part of the Raízes do Sul line, from Molle Design's Raízes collection; designed in 2023 with Jeferson Branco, launched in 2024. The pieces have organic texture and spherical details; the reference is the water of southern Brazil: Rio Guaíba, Lagoa dos Patos, the Santa Catarina coast.

The candleholder measures 15 × 15 × 16 cm and comes in two series, 01 and 02.

Pingos fruit bowl, Molle Design, 29 × 29 × 17 cm

Pingos is part of the Raízes do Sul line, from Molle Design's Raízes collection; designed in 2023 with Jeferson Branco, launched in 2024. The pieces have organic texture and spherical details; the reference is the water of southern Brazil: Rio Guaíba, Lagoa dos Patos, the Santa Catarina coast.

The fruit bowl measures 29 × 29 × 17 cm.

Double version of the Irupê: 50 cm wide in solid Taquari, stainless steel fixing

Wall-mounted side table from the Irupê collection. Handmade in solid Taquari, with a choice of several tones and stainless steel fixing. The shape comes from the aquatic plants the Guarani call irupê.

Series 02, double version: 50 × 25 × 6 cm, twice the width of Series 01, in a horizontal arrangement. Launch coming; we notify via WhatsApp.

Resin stool, translucent or solid; designed 2023, produced by BY POLY, 40 × 40 × 32 cm

The Plasma stool was designed in 2023 from the passage of matter from the liquid to the solid state. The form records that moment; the name comes from the metal that occurs liquid in nature.

It is made of coloured resin, translucent or solid, produced by BY POLY. Bubbles and imperfections are left on purpose and fix the movement of the material. It measures 40 × 40 × 32 cm. Launch coming; we notify via WhatsApp.

Wall-mounted side table in a block of raw stone reclaimed from construction waste, 50 cm wide

Wall-mounted side table from the Runa collection. A block of raw stone, reclaimed from construction waste, receives a cut that holds the top. The cut refers to runes, artifacts in stone. Made by MINITH. Designed 2023.

Series 02: 50 × 27 × 21 cm, twice the width of Series 01. Launch coming; we notify via WhatsApp.