Body in motion,
work in progress

At erriá, planning the space is not limited to proportions and schedules: it is about finding the space in transition - observing how matter organizes itself, how light travels through the void, and how detail announces the life that is to come. Just like the monitoring of a work, allowing oneself to experience new spatialities, whether at a design fair, in museums, or in exhibitions, becomes a way of thinking about architecture beyond the project.

In this edition, we intersperse our monitoring of the work with a sequence of creative trips and immersions.

At fairs like Maison & Objet in Paris, we were inspired by references of design and decoration that have translated, throughout this year, into tangible project solutions. These are spatial experiences that provoke new readings of scale, light, and matter, perceptions that, in an almost invisible way, return to the erriá and become project choices.

At erriá, planning the space is not limited to proportions and schedules: it is about finding the space in transition - observing how matter organizes itself, how light traverses the void, and how the detail announces the life to come. Just like the follow-up of a work, allowing oneself to experience new spatialities, whether at a design fair, in museums, or in exhibitions, becomes a way of thinking about architecture beyond the project.

In this edition, we intersperse our follow-up on the work with a sequence of trips and creative immersions.

At fairs such as Maison & Objet in Paris, we draw inspiration from references in design and decoration that translated, over the course of this year, into tangible project solutions. These are spatial experiences that provoke new readings of scale, light, and matter, perceptions that, in a nearly invisible way, return to erriá and transform into project choices.

In January, we resumed in São Paulo the Pedroso Residence, initially remotely, revisiting a project that had been completed in 2024, but which still kept a room in waiting, reserved for the couple's future baby.

More than finishing a room, it was about creating an ambiance for a new chapter of the house, translating in form and texture the delicacy of this beginning: wallpaper, curtains, lamp, rug; choices that expand the previous project, maintaining the coherence of the ensemble and welcoming a new way of living.

In September, we completed the project during an onsite visit that was not only technical but also emotional, to reconnect with a space that grew along with the family and which has now become the setting for what was once a dream.

The renovation of the Carraro Residence, in March, was taking its first steps, with clean walls and full of expectation. By October, the space had transformed: flooring laid, metalwork completed, marble countertops installed. The second half of the year marked the transition from the departure of the civil teams to the arrival of the carpentry and finishes, the moment when detail becomes tangible.

Each fitting in the materiality of the space reflects references that surpass the construction site: travel memories, everyday gestures, cultural repertoires that translate into texture and proportion.

The renovation of Residência Carraro, in March, took its first steps, with clean walls and full of expectations. By October, the space had transformed: flooring laid, metalwork completed, marble countertops installed. The second semester marked the transition from the departure of the civil teams to the arrival of the joinery and finishes, the moment when detail becomes tangible.

Each fitting in the materiality of the space reflects references that go beyond the construction site: travel memories, everyday gestures, cultural repertoires that translate into texture and proportion.

Between one visit (to the site) and another, the gaze continues to expand. A pause that echoes the desire for presence and permanence — the production in suspension as a creative gesture.

In Paris, the installation clinamen, by Céleste Boursier-Mougenot, at the Bourse de Commerce, transformed sound into matter: porcelain floating on water and colliding gently, filling the void with music. Months later, the exhibition Vertigo, at the Fondation Carmignac, in Porquerolles, dissolved the boundaries between architecture and nature, reiterating how spatiality can simultaneously contain and liberate — this is the balance we seek in each project.

Between one visit (to the site) and another, the gaze continues to expand. A pause that echoes the desire of the erriá for presence and permanence — the production in suspension as a creative gesture.

In Paris, the installation clinamen, by Céleste Boursier-Mougenot, at the Bourse de Commerce, transformed sound into matter: porcelain floating on water and gently colliding, filling the void with music. Months later, the exhibition Vertigo, at the Fondation Carmignac, in Porquerolles, dissolved the boundaries between architecture and nature, reiterating how spatiality can both contain and liberate — being the balance we seek in each project.

In June, we crossed the Atlantic to document the Midtown Residence in New York, a project conceived remotely and now reunited in the built space.

The architect personally travelled to oversee the photoshoot and conduct the documentation with the necessary technical support, under the direction of her photographer. The shoot marked a new perspective on the project — not the first, but one that translates it into image. The light, textures, and reflections of the city now reveal the mature character of the space, in its coexistence with time.

In June, we crossed the Atlantic to record the Midtown Residence in New York, a project conceived remotely and now reencountered in the built space.

The architect travelled personally to oversee the photoshoot and conduct the recording with the necessary technical support, under the direction of her photographer. The shoot marked a new perspective on the project — not the first, but the one that translates it into image. The light, textures, and reflections of the city now reveal the mature character of the space, in its coexistence with time.

Still in New York, at the Whitney Museum, Christine Sun Kim treated listening as a visual gesture — an exhibition that reminded us that understanding is also an act of observing, reiterating our quest for attentive listening. This idea permeates the studio's work: listening to each person and each intention in the initial dialogues of a project, so that future choices reveal what is already latent - the identity, rhythm and presence of those who will inhabit the space.

At the Museum of Arts and Design (New York), the exhibition of Jonathan Adler left two strong marks: his resilience in following his materiality through less-trodden paths until his work resonates with the space that contains it; and his ability to see spatiality beneath diverse materiality. A keen and free gaze that finds matter and meaning in the small things that make up everyday life.

Still in New York, at the Whitney Museum, Christine Sun Kim treated listening as a visual gesture — an exhibition that reminded us that understanding is also an act of observation, reiterating our quest for attentive listening. This idea runs through the work of the studio: listening to each person and each intention in the initial dialogues of a project, so that future choices reveal what is already latent - the identity, the rhythm, and the presence of those who will inhabit the space.

At the Museum of Arts and Design (New York), the exhibition of Jonathan Adler left two strong marks: his resilience in following his materiality through little-trodden paths until his work resonates with the space that contains it; and his ability to perceive spatiality in diverse materiality. An attentive and free gaze that finds matter and meaning in the small things that make up daily life.

During the same period, we followed the pair of projects for the same client: Coelho Residence and Leon Ades Showroom. The first, an adapted warehouse, was designed to be functional and flexible, a space that can be both a residence and a gallery, where the furniture defines the use and time dictates the occupation.

The second has, in recent months, undergone fine adjustments — lighting, furniture, and façade details — and is now preparing for the vernissage scheduled for November.

In the same period, we followed the duo of projects for the same client: Coelho Residence and Leon Ades Showroom. The first, an adapted warehouse, was designed to be functional and flexible, a space that can be either a residence or a gallery, where the furniture defines the use and time dictates the occupation.

The second has been undergoing fine adjustments in recent months — lighting, furniture, and facade details — and is now preparing for the vernissage scheduled for November.

And so we arrive at September with the Clodomiro Residence, where the flows of the work have intensified. From the initial stage of construction, still with exposed structures and raw surfaces, we have advanced to the completion of the apartment: stone flooring defining the layout, masonry and metalwork marking pathways, lighting design creating atmospheres. There, every detail speaks of the body — from the metal shelf that organizes flows to the custom-designed doorbell. Everything is ready for the moment when the space ceases to be a work and becomes a home.

From the first chosen wallpaper to the last exhibition visited, the quarter was about following: processes, journeys and silences. It is in this movement between doing and observing that the erriá is maintained — a body in constant presence, between the concrete and the moment.

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October, 2025
Erriá Team

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SÃO PAULO

ola@erria.com.br

+55 11 9 6383 2494

MILANO

ciao@erria.com.br