BLUE STAR HOUSE, with Lia Siqueira | Siqueira Azul Architecture and Design

How would a beach house be designed and created by the residents? Mother, son, daughter. But all architects. How would it be? In this series of visits, I leave my house and go from house to house looking for the stories that the houses tell. I think that a house is a space that we occupy to develop, with the greatest well-being, love. I had the chance to make a house for the family. So this house was designed for all of us. I have two children, Bertino and Filipe. I've been married for 40 years. My husband loves the sea. Practically, this house had to be embraced by the sea. I'm a woman who loves nature, I'm very connected. In reality, we wanted it, as an architecture, to simply be a continuity in the nature that exists. I think that when an architect makes a house for himself, he has the chance, the privilege, to make his soul be portrayed there. This house has no borders. It makes it possible for you, at any time, inside the house, to relate to this exterior, to this nature. It gives you a certain freedom, which is very nice. It has a linear aspect. The floor is the only floor in the whole house. And it goes all the way to the pool. In reality, it reproduces all the elements that surround it. So, the fact that we have the floor with a beach, you know? It's sand. It's sand, so the beach is here, the wood is here, because it has all the green surroundings. I love wood, which is something very strong, right? It gives me a lot of pleasure, all the architecture, every object that has the interactive aspect. The fact that these doors can move, and whoever says how they move is us, I think it's super important. You become the author of the house, right? When you empower those who occupy it, it's spectacular. Because that person says, today I want it like this. We were very concerned about a drawing, a page, so that, in the end, it would be a single element. And what are these little openings? These little openings came from a need of mine to be able to perceive the state outside. If the day dawns, you perceive it. If the day darkens, you perceive it. And then you have more curiosity to relate to an environment that is through the plane. Lia, tell me a little bit about this garden. We are in the Atlantic Forest, right? And then there was a concern that it had this of the Brazilianness here too. And I thought that Burle Marx, all the line that his office still works, that it would be perfect here. The gaps that we opened and broke in the slab was together with the landscape project. It's a family house, it's our house. We participated a lot in the process, a lot of exchange of concepts, ideas, the way this house was becoming. As far as I remember, little one waking up every morning, the first person who was already awake, in front of the board, at the table in the living room, was her. And the last person to sleep too. So my image of architecture is dedication, passion, love. And at the end of the second year, all friends, let's do economics, DNA, let's go together. And the teachers looked at me and said, man, you're drawing, you're designing, you're sketching here, what are you doing in the economy room? And then one day he called us for dinner, formally, I had never done that. Then he said he wanted to go to architecture, I said, great, at dinner time. Then we went home, I went to the bathroom, I closed the door, I slipped on the door and I cried, I cried for hours. Maybe my first toy that I remember the most was a little doll house, so I liked to play there within the environment of the little house. Then I think it was natural to go that way. I think what I like the most is exactly this place of detail. I was entering the interior, the masonry, entering the coatings, the colors. When everything is ready in terms of architecture, you go in with detail, which in the end makes all the difference. The neutral colors that make the green, the blue of the sea, of the sky, of nature speak more. Small colors that we always tried to be the primary ones. We worked together, the three of us. It really was a six-handed thing, let's say. We get along very well. There is no family fight? No, there isn't. We already realize the limits, one respects the limits of the other. It's wonderful. The family fit together. It's a house that we contemplate, live, enjoy without having a light on, without having an air conditioner on. It's a house that has an amazing ventilation and lighting. We chose that it didn't have walls. And the doors, or you have sliding panels, or you have pivoting panels. So now you have the glass pivoting panels, now you have the pivoting panels. It's a house that Lia always said, the house is not mine, it's not your father's, the house is ours. It's a house that is always open to me, to my sister, to my friends, to my daughter now. It's this integration of the family within it. This was the Di Casa em Casa with Lia, Felipe and Bettina. Di Casa em Casa is a series of visits with the direction of Alberto, his and my script, Baba, Bruno's direction of photography, Fernanda's editing, Diogo's sound, Cristina in the harp, Thaleson on the piano, and Marcelo's finalization, recorded at Costa Verde, Rio de Janeiro. Thank you for being with us and see you at the next house.