Eco-friendly Architecture: Jurumirim House by Sergio Sampaio Arch + Tectônica | ARCHITECTURE HUNTER

When we come across this context of exuberant nature, we are faced with so much beauty, so much grandeur, and if you do a project that takes advantage of this view, but does not focus attention, you tend to normalize the beauty, you think everything is natural. So here, the strategy I used was to make a box, sometimes hermetic, sometimes semi-open, to work with light and shadow, to control the visuals, and obviously to make the visual that faces the dam, but in a controlled way, so it is flat, it is frame, so it gives the scale of the man, it is a low right foot, flattens your look, compresses the space, forces your look horizontally, gives more attention to what happens in that square. I thought about the organization of the program in a regular plot of beams and pillars that obeyed a pre-established grid, to arrange the internal spaces. So, despite being a rigid and simple pavilion, it has two well-defined cores, a totally intimate core, composed by the five suites, and on the other side, the leisure areas, fireplace, barbecue, star, TV room, sink, kitchen, which has a much more social character than service in this construction. And between these two cores, an open square. You enter the house, you do not know what you will find behind this door, and you come across an axis that starts with a water mirror, which extends through the spa, which is adjacent, which already merges with the pool, towards the water of the dam. So, in this way, you make a link, you make the water of the dam, it is inside the entire space of the house. And just like from the point of view of the roof, sometimes it is completely leaked, sometimes it is closed with glass. This space receives rain, receives wind. You notice when the sun variations, when the sun is open, when it is cloudy, when the night is full moon. So, this makes this patio something vibrant and dynamic. And if you come ten times to this house, you will have ten different sensations. We are working with immaterial things. I'm talking about light reflection, shadow, wind. So, the reflection of glass doubles the reflection of water, integrates the spaces. I'm talking about texture. Wood is a super organic material. So, you do not have a beam like the other, a wall like the other. It reacts in a different way, it works, compresses. It is always a living organism. You bring its texture as an expressive component of the composition. And the taipa, which is a super transcendental element, it is the soil of the land itself, which we transform into building, into shelter. You notice the interference of man's hand, it is something more artisanal. All this comes from this box. What do you do with a banal box? Turn it into something surprising, playful. It takes the soul of those who can enjoy it. It is the opportunity to get closer to nature, to hear the birds, to put your foot on the ground, to feel the grass. So, architecture is more of a precursor to this experience.