exhibition: copacabana floor, Berlin 2013
oak wood / steel. The steel is burned under temperatures between 225° and 325°
wood / engraved wood. The engraved wood is generated using laser cut, which burns the soft wood away and leaves the grooved structure
burnt oak wood / ceramic 18x18x2 (cm)
color tests for concrete
process: wave milled and filled with ceramics, concrete, steel or leather and are finally waxed.

Copacabana is a concept for a floor pavement composed of square wood tiles, where a wave pattern is continuously repeated. The pattern is engraved in each tile with different materials, which in turn have different color treatments and particular details emerged from the process of confection. The composition of tiles looks for contrasts, enabling dialogues within elements of the piece and with the ones who come in contact with it. This interplay between components leads to a very sensorial experience, rather than a static designed surface. The inclusion of “errors” in the process and final product increases a subtile perception and interaction with the piece, contributing to a emotion-driven architecture, where the space breathes vividly.

My work is strongly inspired by brazilian’s vital energy, its lightness and rhythmic, and the bold and rolling forms of Tropical Modernism from the 50’s until the 1970’s. The construction of Brasilia is an example of this visionary aesthetic audacity I admire and take as a path to follow. I enjoy playing with contrasts between materials and try to place them in uncommon ways, expecting it will lead to a tension in which elements gain voice and communicate with each other. Once their behavior is not predictable, materials rise and develop a story of their own, they vividly move and react.

The diversity of materials and the many-sidedness emerged through their interaction leads to a sensitive contact to the designed pavement. Through the antagonism arranged on the floor, direct physical reactions include people in the conversation. Rough – smooth, warm – cold, soft – hard are examples of relations that at once embrace the one who gets in touch with it. Apart from these operational conflicts between materials, elements of chance included in the resulted tiles, for example cracks in the wood or concrete surface – or as I call “productive errors” – enrich not only the aesthetic complexity of the pavement but the very physical dialog with it. The surface of the tiles is perceived with time and conducted through color and structure change. All theses processes of interaction embody a memory which is given through alternative layers of experience and communication, highlighting the vivid pulsation of compositions in question. Tiles can be individually combined and rotated. They are suited for interior as for exterior areas, as well as to be applied vertically or at furnitures.