Casa 3M: A Home That Adapts to Family Living | ARCHITECTURE HUNTER

I think architecture has to move people. Feel it before it exists. I think the most interesting thing about this house and this family is the number of children they have. So I think the house has a profile for that. It was designed for this type of family. In every project, we like to invent something interesting. Here is this big space, this big void. For me, it's the big strength of the project. The bottom part is a house that goes from inside to outside. It frames the garden. It almost looks like it has no walls, which are the side walls that make up the house. An unconventional structure to overcome and address the issue of architecture. That is, a structure that is not present, because it is only present in these four columns in a cross, but the rest disappears inside the architecture, mimicked by the stone and the concrete. The house above is the opposite. It's where the family is. The children were small. So it's closed on the outside and open on the inside. The house doesn't have a window to the outside. All the rooms above are facing a central courtyard. All the rooms are facing that same courtyard. That's the DNA of the house. This narrative of this project has that. So you get to a three-meter front. The house is called 3M because it's three meters of land, which suddenly reaches a huge empty space. It's the narrow with the wide, it's the low with the high. I think the empty space is also very decisive in this house, which is the place where the children can move around, play. There's no, don't touch here, don't touch there. Just deviate from the table, deviate from the sofa. And then the fun happens in the house. Light is one of the items I brought from my previous life. The architect is the one who will move with the light. It's natural, right? The artificial light is the architect along with lighting professionals. The question of architecture and the question of decoration work very well, which practically merge at the end. Throughout the project, sometimes things change for the interiors. The good thing is that for you to build a house, it takes a year and a half. Then you can better interpret the dream of each of these people. Everything is designed, absolutely everything. Wherever you look, there's a detail that was thought of. The light wood, yes. Caco's floor, easy to clean, easy to use. Which turns this garden that goes into the house. Here today I see a large garden made by Isabel Duprat. She's an artist, right? She spends hours looking at each point, if that tree is right, giving the shadow she wanted. And here there's a very interesting thing that I love, which is this cactus garden, which is a hyper original thing. Then I would say that the other fundamental element was the Cobogó in front, which, thank God, we did and then it worked out very well. It's a brand, the lighting is very beautiful, both internal and external, right? From the house. First you go down, you dry the work, you dry the subsoil with the diaphragm, you do the whole part of the lower level and it comes with the structure from the subsoil up, right? There are trellises here that make a big gap. And then, oddly enough, the concrete wall you see, it's supported by these trellises. You could normally think it's melted. No, it's supported by these concrete walls, so it was a very careful job to make the shape, put the trellises in the way that Marcio likes. It's impeccable. I'm saying impeccable in the execution of the house. For me, I love the proportion of the house, I was very careful with that. It's been a while since I've been here, when I came in, I was even surprised, it was good. This balance of proportions is something I think the studio does very well, modesty apart. The truth is that the market feels, in Marcio Koga's projects, a positive challenge. Everyone wants to work here, to be present in these projects. Here there was a dream team doing this job. I think the soul is in this mix and being able to see what the client likes, what he doesn't like, and being able to make this mix. The more you mix, the more personal things, for example, we make a lot of shelves, why do we make shelves? Because it's a place where you put your life. The design of the shelf is mine, but what will be inside is the life of those who live here, so that's really cool. I provide these people with spaces for them to put their own lives. I think that's what makes the project more alive.