Given these conditions, the Studio MK27 project is situated on a corner lot, seeking a high degree of transparency and connection with nature, while simultaneously guaranteeing privacy. In this context, Rodrigo Oliveira's landscaping is a key element of the project: the vegetation acts as a filter, a refuge, and a spatial mediator, as if the garden had always been part of the site.
The MK27 project reinforces a recurring strategy in the work of this Brazilian firm: the resolution of the relationships between openness and enclosure, and between light and shadow.
On the ground floor, an almost entirely transparent glass envelope contains the social spaces, allowing the living areas and terraces to open directly onto the garden. A spatial quality is created that spills out from the center of the floor plan, where a more opaque volume houses the kitchen and service areas, contrasting with the surrounding transparency.
Biribinhas House by MK27. Photograph by Fernando Guerra.
The material palette employs a series of neutral tones: wood, mineral surfaces, and pebble floors evoke sand and natural earth, allowing the vegetation to extend the tactile qualities of the architecture.
The upper floor, formed by a long horizontal volume, houses the bedrooms and appears to float above the garden and the canopies of the biribinha trees, which cast shifting shadows on the wooden surfaces that make up the movable panels regulating sunlight, ventilation, and privacy throughout the day.
Biribinhas House by MK27. Photograph by Fernando Guerra.
Rather than creating an ornamental tropical landscape, the design establishes a continuity with the region's native vegetation, while the shadows cast by the vegetation and the protective elements continually transform the interiors.
Rodrigo Oliveira's landscaping mediates between architectural transparency and the density of the Atlantic Forest, creating an immersive environment in which the built form and tropical nature coexist as part of a single spatial experience.
Biribinhas House by MK27. Photograph by Fernando Guerra.
