ciguë

From prototyping in France to wooden structures in Jakarta, ciguë’s practice embodies a growing world

ciguë, with their portfolio of projects around the globe, has created a world within a world. Rooted in their Parisian beginnings, each project carries fragments of the places they’ve worked, building a collective vision that continually evolves. In an interview with NR, founding partners Alphonse Sarthout, Camille Bénard, and Guillem Renard delve into the projects and processes that define the spaces that they create.

We heard that ciguë was founded when you all were in architecture school in Paris. It’s almost as if you’ve grown up in the industry together. How have your relationships evolved throughout the years?

A: When we started, there was no topic we wouldn’t share with each other. In the beginning, we could spend an entire day just talking about one project—this helped us a lot to build a foundation of ideas and understand our direction. After 20 years, we now share a common intuition. There’s much less talking than before and more acting with trust in each other.

C: For some people, there is life and then there is work. We [the partners] never tried to separate these things. Our beliefs from our private lives are applied in our professional lives too. For us, it’s all one and the same: life is research; it’s a playground; it’s also a lot of work.

A: Maybe the biggest challenge is having the team grow beyond the partners—we need to employ people. Many journalists still use the word ‘collective’ to describe us, but really today, we are a company with partners and employees trying to keep up that spirit.

We try not to have any hierarchy in the creative process: but we still work toward collective thinking that goes beyond the architect, contractors, craftsmen, and clients. We’ve tried from the beginning to have everyone around the table, working toward a common idea. We strongly believe that the best projects we’ve done were not just us in a corner having nice ideas—it’s best when we can build relationships.

Your work with Ace Athens is one the firm’s largest projects to date in terms of both scale and scope. The Hotel & Swim Club is a 120-room property with a pool, gallery, and café. Notably, the project works around the renewal of the Fenix Hotel. What was one part of the space that challenged you? One part that inspired you?

A: Ace Athens is actually not the biggest project we’ve worked on, but at the moment, it is the biggest project to be realised and delivered.

A big challenge: The balconies on the façade make the building very particular. The rule was one balcony to one room, so we had to preserve the rooms’ partitions. Additionally, there were legal restraints. If we demolished something in the hotel, we couldn’t rebuild it as a hotel, because current urban planning regulations only permit housing developments.

We also had to find a way to give the exterior a certain elegance. Unfortunately, it was a very fragile structure that required reinforcing the concrete with very specific techniques. When we found the hotel, it had a very 80s-90s style of mixed material with these ugly plastic additions. It was not very inspiring, so we had to strip it to the bone to revive the structure.

C: I see two major things in this rehabilitation. First, it reflects the kind of architect we want to be. Existing buildings are everywhere, and our focus is to take something that’s falling and give it a new life. This belief has guided our company’s history.

Second, once you give life to the rehabilitation, the question then becomes how to connect it to the city and make it embody the place it’s in. We partnered up with a friend of ours, Matthieu Prat, who has spent a lot of time in Athens finding artists in the local scene. This collaboration [which resulted in showcasing the works of 18 Athenian artists in the hotel] was an essential part of this process.

In the Aesop Nashville store, there’s these tall wooden beams with shelves mimicking an ax intersecting a tree. It’s noted here that you were inspired by the American legacy of “first growth pine.” We’re interested in your first interactions with Nashville and what led you to the discovery of this site-specific phenomenon?

G: With our projects, we try and find a way to blend with the locals. We walk through the streets, finding some materiality to ground us. But this is a good question because, being French, it’s not so easy to casually navigate a place like Tennessee.

We ended up finding this guy who was a kind of collector in what seemed to be a sawmill factory. We pushed open the doors to his space and we discovered these crazy old wood beams and dismantled logs from the beginning of the 20th century. They were super nicely refurbished. That’s when we said, “here is our project.” For us, it expressed the historical legacy through a material – we could work with it as a starting point.

C: It brought all these archetypes of America into one gesture, or one scene.

A: What Guillem described is a process we’ve been doing for every project abroad. If the conditions allow it, we request to withhold from designing until we get a chance to be on site for a few days. Of course, it’s not easy to say to the client, “in order to design, we need you to pay for a trip first.” But for us, this is very important.

We did this for Isabel Marant in Tokyo. We spent almost a week walking around the city, going to the harbor, finding factories, people working with local materials. We do all this to get inspired and immerse ourselves in the culture.

C: In general, we don’t want to find ourselves imposing our French culture onto a project. Rather, what interests us is discovering how cultures can blend. That’s where we’re seeking to design from.

Your work is known for its connection to craftsmanship and prototyping. There are a lot of fixtures (including elaborate systems and contraptions) within the Aesop stores that are made by the team at ciguë. Given your emphasis on craftsmanship and custom design, but with a growing international presence, how has your process for creating custom pieces evolved? Are your prototypes still primarily developed in France, or do you now collaborate with local artisans in different regions?

C: Overtime, the tools of architecture have been reduced to the lines on AutoCAD. We didn’t recognize ourselves in this. Our practice was born from the will to make things as well as to design them. We prototype because it’s very evocative and allows us to get rid of words and drawings. So many ideas can be summed up just in one piece.

Sometimes we also use prototypes to discuss with the makers that execute the designs. We’ve found that it’s a super rich and fast way to exchange ideas without language.

A: At the beginning, we were designing and building everything ourselves systematically. When we started to have projects abroad, we were obliged, almost forced, to have our project built by others—at least that’s how we perceived it. But after a few projects, we discovered that collaboration with local makers made the process so much more interesting.

For one of the first stores we did abroad, we built everything here in France. We shipped it, installed it there in three days, and then came back to Paris. It was a challenge. We made it, but then we just realized we couldn’t see the city or meet anyone there. In the end, it was just like any project done in our workshop in France.

One or two years later, we did a project in Tokyo for Isabel Marant. There, we discovered Japanese craftsmanship, and it was amazing. The first meeting we had, we didn’t say anything. We were at a table filled with materials and samples. There was a language barrier, but through the materials, we could see there was a deep understanding between us. After this, we took a bit of distance from systematically building everything ourselves

In the Arabica coffee space in Jakarta (2023), the architecture pulls from both Javanese crafts, traditional Indonesian dwellings, and the heritage of Dutch colonial architecture – all influences that are palpable in the city. I’m interested in understanding the process of building this wooden structure.

G: On this project, carpentry was a big challenge because there is a lot of wood available for use within Indonesia. All the wood from the country is going abroad now for furniture and other uses. They are struggling a lot to keep the material in their territory. Because of this, it was a big challenge for us to get the clients, the engineers, and the other stakeholders to understand the idea behind having a wood building.

We wanted to integrate into the neighborhood’s old wooden construction. This area was a historic neighborhood, and we wanted to emphasize that.

A: Playing with the archetypes of the Javanese house, with its big, airy, ventilated structures, made sense to us. It wasn’t in a nostalgic way. It was more because, if it’s been this way for centuries, then there must be a reason. Unfortunately, with modernity, there have been so many aspects of traditional architecture that have been erased through technology. With air conditioning and concrete as fast building methods, there has been a loss of the specificities of certain architecture that makes it rich.

C: Such as was this case in Jakarta, sometimes we build new buildings. This isn’t a light act for us—we feel a strong responsibility. That’s why we look to invoke a certain culture or link it to local knowledge about buildings.

Working so much in the public-facing retail sector, your spaces have more foot traffic than say an office or private residence. Are there any standout memories you have of the public interacting with your spaces in an unexpected way?

A: I’m reminded of what we did for the Citadium project. It is a department store, mainly for young people, kids, and teenagers. The funny story is that the manager of the place had always been a fan of music and radio, so he decided to create a radio station in the space. The renovation happened during COVID.

G: It was a DJ booth and a welcoming radio station for Rinse, Paris. It plays electronic music and everything on a web radio that’s strongly resonant in the young generation.

A: During COVID, all the clubs in Paris closed, but Citadium was open because of capacity rules. They could still welcome people. This radio station became the only place you could hear live music, DJs and performances. The initial intention to create a radio station is already cool, but then during COVID, it became an important communal place.

In every city, project, and prototype, Ciguë’s work is about a unified voice—not singular, but a composition of many stories, colors, and textures gathered over their years of practice. Reflecting this ethos, in NR’s conversation, Alphonse says, “Throughout our projects, we want to feel like we’re still on the path of discovering who we are. If we realize one day that we’re just repeating the same style because we’re Ciguë and that’s what Ciguë should do, then we just won’t make sense anymore. Every project is a new story. Every project is an occasion to reinvent ourselves and meet new people, new materials, invent ways of doing things.”

Credits

  1. ciguë architecture, Isabel Marant Store, Tokyo-Omotesando. Photography by Koyo Takayama.
  2. ciguë architecture, Ace Hotel, Athens. Photography by Pasquale De Maffini.
  3. ciguë architecture, Aesop Store, Nashville. Photography by Aesop.
  4. ciguë architecture, Isabel Marant Store, Tokyo-Omotesando. Photography by Koyo Takayama.
  5. ciguë architecture, Arabica Coffee Shop, Jakarta. Photography by Ricky Adrian.
  6. ciguë architecture, Citadium, Paris. Photography by Maris Mezulis.

Vincenzo De Cotiis

Vincenzo De Cotiis: Navigating the Intersection of Analysis and Experimentation in Architecture and Art

Vincenzo De Cotiis, an architect and artist from Milan, Italy, has built a career that blends the past and future through his unique design philosophy. After studying at the Politecnico di Milano, he founded his studio in Milan, which serves as both his home and the center of his creative work. De Cotiis’ designs result from continuous analysis and experimentation, merging space and time, cultural layers, and unexpected leaps. His projects, though complex, are powerfully expressed through their materials.

Your architectural philosophy is deeply rooted in a continuous process of analysis and experimentation. Can you elaborate on how this approach shapes your work?

My work is an ongoing dialogue between analysis and experimentation, where each project is a journey through layers of cultural and temporal significance. This process allows me to create spaces that resonate with history while embracing future possibilities. By continuously challenging conventional boundaries, I strive to evoke emotional responses through the interplay of materials and forms.

How do you select the materials for your projects, and what role do they play in your creative process?

Materials are chosen for their ability to convey stories and emotions. Each project requires careful consideration of how each material can contribute to the overall experience. I do not limit myself to a fixed list of materials but allow the concept and context of each project to guide my choices. This flexible approach enables me to explore new possibilities and create unique designs.

Your studio in Milan is the heart of your creative endeavors. How does the city itself influence your work?

Milan’s rich cultural heritage and dynamic contemporary scene provide a constant source of inspiration. The city’s architecture, art, and vibrant design community encourage me to blend traditional craftsmanship with innovative techniques. This fusion of old and new is reflected in my work, creating pieces that are both rooted in history and forward-looking.

If I asked you to take me to a place in Milan that holds special significance for you, where would it be and why?

I would take you to the Brera district, which is a hub of artistic and cultural activity. The juxtaposition of historic buildings with modern galleries and studios embodies the essence of Milanese creativity. It’s a place where tradition and innovation coexist harmoniously, much like in my own work.

Your work often balances between the future and the past. How do you achieve this equilibrium in your designs?

Achieving balance involves a deep respect for the past while being open to future innovations. I draw inspiration from historical contexts and reinterpret them through a contemporary lens. This approach allows me to create designs that are timeless yet progressive, embodying a sense of continuity and evolution.

Can you give us an example of a project where materiality played a crucial role in shaping the design?

It is difficult to choose a single series, as all my projects hold deep importance for me, and each explores materiality in unique ways. Every project is an intellectual exploration of how materials can interact and transform each other. In every work, I seek to discover the intrinsic properties of the materials and bring out their expressive potential, creating a dialogue between material and form that transcends time and space.

Your work often involves unexpected interactions within spaces. How do you approach creating these unique experiences

Creating unique spatial experiences involves a meticulous process of layering different elements to provoke curiosity and engagement. I aim to disrupt conventional expectations by integrating unexpected materials, forms, and textures, encouraging viewers to explore and interact with the space in new and meaningful ways.

What are some of the intellectual and artistic challenges you face in your design process?

One of the primary challenges is maintaining a balance between artistic expression and functional design. While my work leans heavily towards sculptural and conceptual art, it must also serve practical purposes. Navigating this dichotomy requires continuous experimentation and refinement to ensure that both aspects coexist harmoniously.

Looking ahead, what directions or projects are you excited to explore in the future?

I have a profound appreciation and understanding of the history of art, which deeply influences my work. Each of my series is rich with references to the past, yet my aim is always to reinterpret these elements in a contemporary way. I am excited to continue this exploration, blending historical influences with contemporary art principles to create innovative and timeless pieces. I am particularly enthusiastic about projects that allow me to delve deeper into this fusion, bringing forth new and unique interpretations that resonate with today’s discerning audience.

In order of appearance

  1. Vincenzo De Cotiis Foundation. Photography Wichmann + Bendtsen. Courtesy of Vincenzo de Cotiis Foundation.
  2. Vincenzo De Cotiis. Installation View, Archaeology of Consciousness Exhibition, Venice. 19 April – 24 November 2024. Photography Wichmann + Bendtsen. Courtesy of Vincenzo de Cotiis Foundation.
  3. Vincenzo De Cotiis Foundation. Photography Wichmann + Bendtsen. Courtesy of Vincenzo de Cotiis Foundation.
  4. Vincenzo De Cotiis Foundation. Photography Wichmann + Bendtsen. Courtesy of Vincenzo de Cotiis Foundation.
  5. Vincenzo De Cotiis, DC2316 VENICE, 2023. Hand-painted recycled fiberglass, German silver, fabric. Courtesy of Vincenzo de Cotiis Foundation.
  6. Vincenzo De Cotiis, DC2310 VENICE, 2023. Hand-painted recycled fiberglass, Murano cast glass, German silver. Courtesy of Vincenzo de Cotiis Foundation.
  7. Vincenzo De Cotiis, DC2312 VENICE, 2023. Blown Murano glass, cast brass. Courtesy of Vincenzo de Cotiis Foundation.

Husband Wife

Crafting Comfort: The Journey of HUSBAND WIFE

Founded in 2015 by Brittney Hart and Justin Capuco, Husband Wife is a New York City-based design studio known for its sophisticated yet playful and eclectic interiors. Throughout our conversation, we explored the profound connection between “comfort” and contemporary design, delving into a nuanced discussion that intertwined social and cultural analyses of the concept.

To start our conversation, I’m intrigued to learn about the journey that led to the establishment of Husband Wife.

Our name sort of started as a joke. We bought the domain name for our wedding in 2010 while we were still working for other designers. As life went on we realised we wanted to have a bit more control over our lives and express our own design visions. We realised we already had a website….and then a name. It felt a bit tongue-in-cheek but also mildly anonymous, which we like. More importantly, it led to us thinking about what it meant to do this together, and that design can be about duplicity and negotiation. Although we share so many common interests, like our guiding light of sci-fi and antiques, we’ve realised that it’s more our differences that are our strength. We have the respect and capacity to see each other eye-to-eye, but we want there to be differences in opinion. Now that our team has grown, we have built this into our mantra.


Describe Husband Wife in just three words.

Romantic, restrained, considerate.


Given your New York base, how do you perceive the city artistically, and what changes do you anticipate in its artistic landscape?

We both come from a very specific music scene that has a strong DIY ethos and for us that is a nostalgic detail we hold on to. Simultaneously, New York seems to balance on this tightrope of time where everyone pushes forward while still having nostalgic concepts of the past. We’ve accepted this and bred it into our thinking about projects. For many artists and creatives in NYC, some of these notions of time are coming to the forefront in different ways. For instance, we are already seeing our generation grow companies that reject prescribed notions of the future, most noticeably embracing craft (seeming of shoot of the DIY-ethos) and narrative (in varying ways, see Bode, TIWA Select, Studio Giancarlo Valle). For us, we see this manifesting in our own way; always searching for a thorough line of modernity where this layering of time creates a framework for real life. We hope that the people that occupy our spaces have a voice.

Could you elaborate on your definition of “comfort”? 

In the same way that the city seeps into an artist’s perspective, every gesture within a home imprints on the person experiencing it. To us, when you’re truly aware of your space and everything in it, you’re engaging in the present moment in a way that keeps you emotionally awake. We see our spaces as a bespoke response to the outside world and take the time to study our clients’ lives. For us comfort is this attention to the users movements and feelings. These can be small moments that feel personal and considerate. Observing the weathering of a wooden cabinet or the patina of a brass bowl; the comfort that comes with this idea is almost meditative to us.

Building on the idea of comfort, what societal and cultural needs do you believe people are seeking to fulfil ? 

Connection. We believe in the power of local communities, from our home in Bed-Stuy Brooklyn, to subcultures in music, to the NY design scene – we’ve seen how these relationships affect life positively. New York City, in particular, shows how these different groups can interact and, we believe, was a real reason for acceptance and cultural change in the 21st century. Sadly, many of these smaller scale communities are disappearing. We believe homegrown communities create a sense of comfort and belonging and we don’t want to see them disappear. 

We try to express this in our work by embracing our communities and supporting others’. We design our spaces to foster connection – sometimes it’s the smallest acts like a refurbished piece of furniture or art from a local gallery that reinforce this notion. We believe most people seek a sense of place, grounded in comfort, and crafted through meaningful connections.

Your work often explores the interplay of volume, scale, and form. Can you delve into how you leverage these elements in your designs?  

Everything we do is an expression of tension layered in research. A brutalist building may inform the design for a piece of furniture. A vintage picture frame might influence paneling applied to a dressing room. There are so many lessons we can glean from historical codes, interpreting them in subtle ways, and tailoring to our clients’ lives. Ultimately we try to use unexpected interplay in volume and form as a tool that transports our clients (and perhaps resets) their perspective 

Something we refer to often is Marina Abramović and ULAY’s ‘Rest Energy’ art performance piece  where each person is responsible for holding the other in steady balance with what’s happening in  every moment. Abstractly, this is how we go about every project – holding mirrors up to each other’s instincts. Practically, we believe moments of tension in design (the unexpected) create  follies that allow engagement in the moment.

Can you share some of the most emotionally resonant projects you’ve undertaken and what made them particularly memorable? 

Every project is emotional in its own right because each contains a completely idiosyncratic charisma that’s tied to the character of its residents, the minutiae of the building’s architecture, and the research that went into every object sourced for the space. This astute awareness of the relationships that are fostered with every brief – through our clients, collaborators, vendors, and team – is something we hold dearly. It’s a dance of challenge and joy, of puzzle-piecing and of letting go. It’s an immense privilege to be a part of people’s interior lives. 

That being said, one project that has been long important to us is a residence we are developing in Ohio for a lovely couple and their growing family. This is a large historic home on the National Historic Register with an incredible, beautiful, and weird composition. This is a gothic mansion with true historical craft and a wild history of ownership. Details include a repurposed chapel with original confessionals, limestone wrapped gardens, and a vaulted dining room on the top floor of the property. We have been working on the project for five years, slowly creating a space that reconciles our clients’ grand property with their humble and family-oriented lives. This was a client that took a risk on us quite early in our studio’s existence – so in a sense, we feel that we have all grown together.

Looking forward, what aspects of Husband Wife’s future are you most enthusiastic about, and can you give us a glimpse of any upcoming projects or collaborations? 

Having completed our first hospitality project earlier this year, we’re curious to explore more eclectic mediums of space moving into the future. The infusion of residential beauty into commercial settings can be an intriguing test of design’s malleability in which the intimacy of private space is translated for public consumption. At this moment in time, we are working on an eclectic residence for a well-known contemporary artist, composer partner, and two children. They bring their own sensibilities to the conversation. Finding our common ground – or more specifically – negotiating a design language has been a rewarding challenge. Here we are blending historical codes with modernity to create a vibrant, engaging space for her family to play, love, host parties, relax, and in New York – find as many places to hide storage as possible. In her words the result is “blade runner meets art nouveau”.

In order of appearance

  1. Steinway Tower, Residence, New York, 2022. Photography by Nicole Franzen. Courtesy of Husband Wife.
  2. One Hanover Square Offices, New York, 2023. Photography by William Jess Laird. Courtesy of Husband Wife.
  3. Orange Barrel Media Office, New York, 2023. Commercial Project. Photography by Nicole Franzen. Courtesy of Husband Wife.

Studio MK27

Brazilian Architecture: A Poetic Exploration with Marcio Kogan

Architect Marcio Kogan, a native of São Paulo, brings a fresh perspective to Brazilian modernist principles through his minimalist design approach. Established by Kogan in the early 80s, Studio MK27 has emerged as a prominent player in contemporary Brazilian architecture. Situated in the vibrant atmosphere of São Paulo, the studio seamlessly integrates traditional building techniques with innovative design concepts, providing refined and elegant solutions. Kogan’s remarkable achievements extend to his status as an honorary member of the AIA, his role as a professor at Escola da Cidade, and his recognition among Brazil’s top 100 influential individuals.

Marcio Kogan, your accolades are as impressive as they are extensive. From being an honorary member of the AIA to your contributions to esteemed institutions like Politecnico di Milano and MASP. Could you share shortly with us the journey of Studio MK27 from its inception to its current stature?

It’s been practically a lifetime dedicated to architecture and a body of work built slowly and consistently, with the help of an excellent team.

The studio was founded in the early 80s, right after my graduation, and turned into a collaborative practice in the beginning of the 2000s and today is composed of 60 collaborators internally. Since 2010, Studio MK27 has constantly grown and globalised its activities, creating a larger and more diverse group of consultants and partners around the globe. The team members are great admirers of the Brazilian modernism generation and seek to fulfil the task of rethinking and giving continuity to this iconic architectural movement.

I like to think that Studio MK27’s architecture represents attention to detail – we give the same importance to a master plan as we do to a doorknob – and the effort to create a flawless architecture. This quest for perfection fascinates me.

If you had to describe Brazilian architecture with a poem, what would it be?

Instead of a poem about Brazilian architecture, I will choose a phrase from a Brazilian architect, Oscar Niemeyer, which is my motto: life is more important than architecture.

Speaking of poetry, we were fascinated by Casa Azul. What were the main challenges in designing the house amidst the lush and protected nature of Serra do Guararu?

Because Serra do Guaruru is an environmentally protected area, there was a tight delimitation of where the house could be deployed. This demand led the architecture to raise the house on pilotis, generating a 12-meter span and with 3 meters cantilever.

The newly configured terrace became the main social and leisure area of the house. Also, by raising the house, the living area could linger amidst the treetops and enjoy the sea view. I visited this house last week, and I was happy to confirm that it’s still one of my favorites.

Could you provide further insights into the Casa Na Mata project, which appears to be another compelling case study? Looking forward, how do you envision the relationship between architecture and nature evolving in future projects, considering the success of this organic integration in the current design?

The Jungle House clients, a couple with four kids, wanted a house to be used on weekends and holidays, as the plot is located on Sao Paulo state’s coast. They also wanted a nice social space to gather friends and family. The site is in a rainforest region and has a mountainous topography with dense vegetation, the idea was to insert the house into the landscape as unobtrusive as possible while maintaining the connection to the existing vegetation surrounding it and allowing for the sea view.

The placement of the house, in between trees and in such topography was a great challenge, but what at first appeared to be a limitation, actually, prompted us to seek a bolder and more creative architectural solution. In that sense, nature never limits us, it always drives us. We always seek to give maximum importance to the site. How to get the maximum feeling from the space? How to extremely integrate the landscape? How to be delicate with which surrounds us? These are constant concerns of our team.

What makes C+C House unique, and what motivated the choice to integrate revolving windows into the facade design as a significant feature? 

The C+C house is one of our urban houses, and as São Paulo is a very dense city, the plots are mostly narrow, so we need to get creative when developing the architecture. No matter the size of the plot, there is a constant search for enlargement of spaces.

In this house, the upper volume appears to float, supported by a linear wall that extends throughout the plot, connecting all living areas. A white-painted mashrabiya makes up the freestanding façade system, with pivoting windows that are totally imperceptible when closed. It also works as a light filter, allowing for a controlled transparency. These camouflaged openings balance the notions of empty and full. The entire project revolves around this dilution of limits between the interior and exterior, creating an intense and spatial dynamic.

What aspects of working on private homes have fascinated you the most? 

When I graduated I wanted to work with social housing, which was challenging, because they are mostly governmental projects, and here in Brazil everything was poorly made, with no desire to do better. I ended up migrating by coincidence to the opposite side, extremely luxurious houses, which gave me the possibility of doing something that I really like, deep detailed, and the possibility of doing everything with perfection, from the architecture to the interiors, from the large to the small scale, and sometimes, even contributing to the house’s soundtrack.

Marcio Kogan, your contributions extend beyond design practice to academia, where you inspire future generations of architects. How do you see this mentorship aspect influencing the studio’s legacy? 

For me it is very clear that teaching is a two-way street. Every time I go to workshops in Mantova, Italy, the mission is to teach, but end up learning just as much.

What are the challenges and opportunities faced by young architects in Brazil today, and how do socio-political factors influence their work? 

São Paulo is currently undergoing a huge transformation due to an enormous  boom in civil construction, and this unrestrained onrush upon the city profoundly disturbs me. The restaurant where we used to have lunch near Studio MK27 was demolished so that a building could be raised. And so was the bakery, the café and the florist’s, which means the destruction of what I hold dearest in my neighbourhood. Everything is disappearing. On the one hand, we have a lot of work ahead of us, but on the other, the city’s history is fading.

The ethos of Studio MK27 is deeply rooted in formal simplicity and meticulous attention to detail. How do these principles translate into your approach towards sustainability and environmental consciousness in architectural design?

We are always pursuing sustainability goals. For us, sustainability reflects a cultural deepening, an improvement of values and an understanding of our performance in space – the environment itself.

In order of appearance

  1. Blue House (Casa Azul), Guarujá, São Paulo, Brazil. 2015-2020. Architecture Studio MK27. Architect Marcio Kogan. Co-Architect Samanta Cafardo. Interior Design Diana Radomysler. Photography by André Scarpa. Courtesy of Studio MK27.
  2. Jungle House (Casa Na Mata), Guarujá, São Paulo, Brazil. 2009-2015. Architecture Studio MK27. Architect Marcio Kogan. Co-Architect Samanta Cafardo. Interior Design Diana Radomysler. Project team Carlos Costa, Eline Ostyn, Laura Guedes, Oswaldo Pessano,  Fernanda Neiva, Mariana Simas and Ricardo Ariza. Photography by Fernando Guerra. Courtesy of Studio MK27.
  3. C+C House (Casa C+C), São Paulo, Brazil. 2011-2015. Architecture Studio MK27. Architect Marcio Kogan. Co-Architect Samanta Cafardo. Interior Design Diana Radomysler. Project team Carlos Costa, Eline Ostyn, Laura Guedes, Mariana Simas and Ricardo Ariza. Photography by Fernando Guerra. Courtesy of Studio MK27.
  4. Hotel Fasano Itaim, São Paulo, Brazil. 2018-2023. Architecture and interiors Studio MK27. Architects Marcio Kogan and Diana Radomysler. Co-architect Luciana Antunes. Project team André Sumida, Carolina Klocker, Giovanni Meirelles, Gustavo Ramos, Letícia Lacerda, Luísa Vicentini, Oswaldo Pessano, Regiane Leão, Renato Périgo and Ricardo Ariza. Photography by Fran Parente. Courtesy of Studio MK27.

Subscribe to our
Newsletter