The owner usually occurs by himself or only in the apartment with his partner, which allows for design such as completely open, scaffolding. Each place flows into the next without the requirement of internal doors. This design also emphasizes the transparent appearance of the mirror load-bearing wall. In the same vein, the bathroom opens on the bedroom with another scaffolding, for the architect, gives a certain holiday -like atmosphere. “The metaphor of the sea and the sky continues with the dining room carpet, which is like a type of island on this ocean and, suspended above the table, a light stability in the shape of a moon on a beach.” Behind this, a curtain provokes a wall of rain.
Objects, decorations and furniture reflect the liberalism of the building with the 1960s, 1970s, and more contemporary pieces, including Diama David, a pierre hanging lamps in the kitchen, and timely scones since the 1950s. The collection of the owner of the artifacts involves a painting by Andre Saraiva in the dining room, another by Aki Kuroda, and a vase by Gateano Paes. In shiny white bathroom, a Louis XIV mirror is attached with a smooth bathtub. “These small adverse effects create a form of abstraction that gives rise to a sense of timelessness that sometimes seems almost ancrontive. This apartment can occur from the 1970s or it can happen from the 2040s. I like to find out that ambiguity.”
The color white, in a variety of colors, plays an important role in the design of the Lesonoff-RARCard. The house celebrates natural light and also the texture that attains it. The light may be an acute white at the height of the day, but at the other time, when it is soft, the surfaces of the apartment detect the prosperity and diversity of the material, texture, and almost a sensory sense of subtle continuity. “From the entrance of the living room, we can see many different colors of white: the resin on the wood, shining concrete roof, marble, curtains, white back of the lacquer radiator, and cabinet on the right.
