Light, almost white, made of few textures, with something distant about it, as if a house imagined by the sea had somehow found its way into the metropolis. But little by little, the city began to grow into it. What was once neutral gained density, shadows, curves and gestures. The open living room and kitchen welcome, while a long stretch of cabinetry conceals and reveals small niches along the way, like little pauses within a continuous surface.
The geometry reveals itself gradually. A diagonal wall draws the entrance into the house, while the acoustic curves escape towards the outside. Their rounded edges soften the encounters, almost as if shaped by sound itself. In the corridor, a red curtain closes off the intimate spaces like a theatre curtain, creating a passage between two worlds, the end of the first act.
There are also cows, velvets and vertical grains. The texture of wood, the weight of fabric, the lines of the patterns, small yellow and beige stones, Brazilian furniture from different eras. The house remains restrained, but it is no longer exactly neutral. These small interruptions weave through that initial idea of calm, making what once seemed distant feel closer, more urban, more lived-in.
In the end, neutrality was a choice, allowing the house to remain unfinished in the best possible sense. There are spaces for objects, for craftsmanship, for colours and for the stories that are yet to come. A house does not need to be finished when we finish it. A house gathers layers over time, until the objects, furniture, sounds and stories continue to draw it.
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