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The building consists of two volumes. At the front, the main residential volume, with 5 floors, and at the back, a two-story warehouse that served the commerce that existed on the ground floor.

The intention of preserving the identity and chronology of the building dictated that the facades were maintained and preserved, innovating in the interior.

Small apartments were created, meeting the demand at the time. Traditional materials were used, such as pine flooring, color patterned cement tiles, Lioz stone. Atriums and corridors stood out for their contrast, with a bolder design, favoring concrete, metal and integrated lighting.

The connection between the two volumes is materialized with a wooden pergola, and a minimalist garden, with tree bark and a birch tree in the center.
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The renovation of the building stems from the desire to adapt the existing space to the needs and expectations of a young couple, prioritizing the relationship between the interior and the outdoor gardens. In the approach to the facades, an effort was made to respect the characteristics of the neighborhood, keeping the house faithful to its shared identity.

Inside, the focus was on creating surprise and novelty, particularly in the practical and functional aspects of the house, such as the “reading cabinet,” storage solutions, visibility between spaces, and flexibility in compartmentalization.

In the selection of finishes and materials, an effort was made to reproduce the tones and textures of the vegetation found outdoors, prioritizing natural and traditional materials, such as brushed oak flooring, polished cement, and glazed Portuguese ceramics.
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The Lóios Gymnasium is located in the center of a group of residential buildings and represents a very important element for energizing the resident population. Until then, the pavilion was rundown and its facilities were insufficient for the demand. At the initiative of the Marvila Parish Council, the pavilion’s changing rooms were renovated and expanded, adding a new gym room.

The main vector of the project was the need to obtain a low-cost construction, resorting to alternative construction solutions, using primary materials as the final finish.

That is, an attempt was made to use economical materials in an optimized way, insofar as their application resulted in a resistant and even sophisticated final finish.
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Wellness Building
The concept of “wellness” was central. AG7 wanted an environment that promoted silence, well-being, and reconnection with nature. The common areas were covered in natural wood, creating a harmonious contrast with the concrete and vegetation. The core of the building, exposed in some places, also received this treatment to emphasize biophilia and welcoming.
AGE 360 won awards such as the iF Design Award 2021, received recognitions such as the IF Design Awards 2021, the Honorable Mention at the Architecture Masterprize 2020 and the Rethinking The Future Awards 2022 in the Housing category, the Rethinking the Future seal and the FITWEL certificate, which recognizes projects focused on the health and well-being of users.


These recognitions highlight the positive impact of the project on the real estate market and the urban context of Curitiba. The first Brazilian wellness building places all the pillars of well-being for residents in a project that unites three unique seals: Green Building Council (GBC), FITWEL, and Lapinha Spa, a pioneering well-being and integrative health retreat.

Architectural landmark
A residential building is visible from various city points without losing connection with the surroundings. The low-density site with privileged views of Barigui Park imposed structural and volumetric challenges. Using a procedural methodology, AO carried out 48 volumetric studies to complete the final configuration, comply with local regulations, and maximize the urban and natural perspectives, revealing a dynamic volumetry with chamfers that became the project’s identity.

Integration between mineral and organic elements
AGE 360 adopts a concrete exoskeleton to ensure flexibility in the interiors and free the apartments from pillars. This structural solution optimizes the internal layout and redefines the relationship between residents and space, offering versatile layouts and unobstructed views. The decision also introduced a strong aesthetic element, emphasizing the tower’s verticality and dialoguing with the concept of lightness.
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There is no glue, screws, or intervention beyond the precision of its assembly. Each piece relies on the density of the material itself, a method that invokes a sense of permanence while rejecting excess.


The concept comes from the fusion of languages. Names such as Angelo Mangiarotti, whose work with the weight of the material and joints set a precedent for this type of rigor, and Isamu Noguchi’s exploration of stone, where function dissolves into art, are starting points but not definitions. Dualde’s work permeates architecture, interiors, and furniture, imprinting his vision for subtlety, intimacy, and silence.

The pieces were seen at the 20th Design Miami in dialogue with names such as Lina Bo Bardi and Francisco Brennand through the JCRD Design Gallery. In Brazil, the pieces can be ordered directly from the architect.
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ROOTED tells the story of the relationship between humans and nature, which connects all the works on display, organized around different aspects of this connection; this exhibition builds on
the company’s previous exhibition, Unrooted, held in the first half of this year, which addressed the traumas of displacement and migration. This sequence also implicitly suggests that we can overcome the uncertainty of identity and origin by returning to our “roots” in nature. Through the eyes of these Brazilian artists, we are invited to examine our relationship with nature and draw new strength from it.

Divided into five sections, ROOTED presents the role that the relationship between humans and nature continues to play in artistic production. Linked by this affinity, the 15 contemporary artists deliver a “Tropical Expressionism” that Tarsila do Amaral, a pioneer of Brazilian Modernism, also represented in this exhibition, coined half a century ago.

– ORIGIN
Roots refer to a person’s family origins, ancestry, and the traditions passed down from generation to generation. These roots form the basis of a person’s identity. Today, Brazil is working to come to terms with its history. Brazil’s postcolonial roots are a complex web of historical, cultural, and social influences that have shaped and continue to shape the country. They are essential to understanding Brazilian identity and the nation’s challenges. Brazilian artists Carmezia Emiliano, Sonia Gomes, Iêda Jardim, and Rosana Paulino explore their country’s postcolonial roots and complex identity, reflecting on the multiple influences and conflicts resulting from the colonial era and its consequences.

– IDENTITY
Brazilian culture is characterized by its diversity. Its cultural roots are based on the influences and traditions of different continents, which come together to shape its thinking, behavior, and values. In nature, roots connect plants to the soil and provide them with food. Likewise, cultural influences anchor people in their community and history, giving them a sense of belonging and identity. The representation of the environment and everyday rituals are expressions of customs that integrate people into their private, social, and historical contexts. Tarsila do Amaral, Beatice Arraes, Lúcia Laguna, Paula Siebra, and Larissa de Souza portray these elements in their work.
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©Architects Office
From the first visit to the site, it became evident that the coastal context of Santa Catarina, marked by urban verticalization over the last 50 years, required an architectural response that could preserve the essence of the place: unique geological formations, with rocks of varying resistance, shaping a coastline of almost untouched natural beauty.
The MONOLYT residential project, which is scenic, cinematic, and atmospheric, draws on rocks as its conceptual spark. The concept extends beyond the natural element, inspiring the creation of forms and volumes that evoke the erosive process. Human intervention aligns with natural wear, sculpting spaces, and pathways that respect and celebrate the original rocks, maintaining the balance between raw and refined.
Rock as a Monument
With topography defined by the unevenness between two plateaus, the 180-meter-deep site is juxtaposed between the sea and the river. Considering the APP (Permanent Preservation Area) strip, 30 meters of native vegetation by the watercourse are respected and preserved in their original state. The project begins to take shape only from the remaining stretch: a transitional architecture mimicking local symbols.

©Architects Office
A large monolith emerges from the ground. This raw rock is sculpted by human erosive processes and synthesized into two adjacent volumes occupying distinct levels. Each resulting block is eroded to form central courtyards, admitting natural light and ventilation in a rhythm of solids and voids.
The program erodes the monolith. The four residential units on each floor divide the blocks into their respective sections, each oriented differently, following a logic of staggered stratification. The fissures between these sections create new permeability, creating user pathways and voids as subsystems of open spaces inhabiting the sculpted rocks.
Rock as Atmosphere
The journey across the site, extending to the Permanent Preservation Area (APP), transforms walking into a playful experience. Landscaping that restores native vegetation delineates social areas, strengthening the bond with pre-existing nature. The flooring, composed of rocky fragments, guides paths connecting the internal areas of the residence, creating visual and sensory continuity.
Water emerges as the last and most symbolic element of this ecosystem. On the ground floor, reflecting pools evoke the sensation of entering a grotto, connecting architecture and nature. Private pools interact directly with the original rocks within the units, symbolizing MONOLYT’s identity and a link between the project and its natural surroundings. This underlines the integration between minerals and water.

©Architects Office
Rock as Treasure
Beyond stones and open spaces, the next subsystem of MONOLYT’s architecture explores the rock as a treasure—a concept evoking discovery and preciousness. This principle is analogous to pyrite, a rock that, when stripped, reveals a cuboid formation with unexpected brilliance, comparable to the hidden richness in the project. Within the erosive process, these architectural elements function as blocks that settle and inhabit the carved spaces, defining everything from the access gatehouse to the equipment composing the common areas, with programs such as a spa, gym, and club.

Rock as Furniture
The design process reaches the micro-scale of the building and even influences the furniture proposal. The presence of more stone pieces—either exclusively designed for the project or selected during the curatorial process—further reinforces rock’s potency as an inspiring source and its ultimate integration with the object it inhabits. “Monolyt offers a scenic, cinematic, and atmospheric residential space, in which architecture complements the natural environment and integrates form, materiality, and experiences.” – Greg Bousquet.
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©TARI Architects
One of the starting points of the intervention focuses on investigating the critical dialogue between the educational edifice and the surrounding context, in order to define its social intent.

©TARI Architects

©TARI Architects
The complex, in fact, presents itself not only as a space for education but above all as a city place, in which society and sociality could be daily reinforced. A place where the children, in addition to studying, will be able to understand the importance of growing up as part of a cohesive community, while the families will benefit from a meeting spot open to the city.

©TARI Architects
The large elevation developed along the main street has multiple functions and meanings: a backdrop to the square itself as well as a landmark for the city, a device for an active dialogue with the citizenry as well as a protecting diaphragm for the school environments and for the green backyard that emerges as a green heart related to the didactic spaces.
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©TARI Architects
A critical reading of the existing context leads to a fundamental question: How to properly intervene according to the peculiarity of the site, accommodating the needs of the developing city while protecting the natural landscape?

©TARI Architects
On the one hand, the new school will have to fit organically into the morphology of the peri-urban fabric in which it is inserted; on the other, it will have to embrace the landscape dimension in order to become a unique space.

©TARI Architects
In this context, the relationship between nature, uncontaminated, and the built, artifice, emerges not as antithetical, opposed, but as dialogic and precisely resolved in the physical space of contact between one and the other.

©TARI Architects

©TARI Architects
The new volume is conceived, in fact, as gradually leaning towards the surrounding natural context, opting for morphological and figurative solutions favoring a system profoundly integrated with the exterior, developed on a single level and acting as a spatial synthesis between the urban and natural landscapes.
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©TARI Architects
The intervention site is located in a village consisting of a multitude of buildings with predominantly moderate heights, picturesquely making room between the gorges of the two valley of Santo Spirito and Serviera and doubled by the cultivated fields that carve out the land – an image that inspired Escher in creating a woodcut of the village in the late 1920s.

©TARI Architects
In fact, the pitched roofs and the general topography of the place guided the development of the new project revolving around the elaboration of the roof as a pivotal element – the realization of an element that is simultaneously context integrated and recognisable.

©TARI Architects
A “NEW ROOF” AMONG THE ROOFS of Fara San Martino. An ANTI-LANDMARK that can only be perceived from certain glimpses of the village itself.

©TARI Architects
In order to emphasize the importance of the roofing, it is HORIZONTALLY HIGHLIGHTED almost as if it were a canvas, suspended with respect to the stereometric volume of the school, allowing the students to enjoy a 360-degree view of the surrounding landscape, while also accommodating a series of open-air functions freely available to the students and the teachers of the school.
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