在Casa Cor Rio 2019年展会上，我们设计了我们的Studio Elã作为对歌手Ney Matogrosso的致敬。70平方米的工作室被巧妙地划分为几个空间，在这些空间里，我们影射了艺术家生活中的一个段落。
In the show Casa Cor Rio 2019, we idealized our Studio Elã as a tribute to the singer Ney Matogrosso. The 70m² studio was subtly divided into a few spaces in which we alluded to a passage in the artist’s life.
衣柜：改造的地方。在这里，我们每天以我们想要的方式向世界展示自己。
在这里，我们讲述了内伊职业生涯中的巨大转变，即1973年Secos e Molhados的雷鸣般的首次亮相。在巴西，一个完全创新的表演和诗意的想法。第一张专辑的销量超过了70万张，乐队成为巴西流行音乐中最成功的乐队之一。乐队在1974年发行第二张专辑时解散了。
Closet: The place of transformation. Where we assemble ourselves daily in the way we want for the world.
Here we tell the story of the great transformation in Ney’s career that was the thunderous debut of Secos e Molhados in 1973. A performative and poetic idea that was totally innovative in Brazil. The first album sold more than 700 thousand copies and the band became one of the biggest successes in Brazilian popular music. The band disbanded in 1974 with the second album released.
为了营造这一时刻的氛围，我们在商店的橱窗里放置了一件由Senac de SP公司借出的内伊在Secos e Molhados表演中穿的原始服装。在它旁边，我们有梳妆台，所有这些转变的概念对象。镜子邀请我们审视内心，认识到我们真正是谁。它讲的是这种自我发现。此外，在它的反映中，我们有一幅大画 “Minha alma cativa”（我的俘虏的灵魂），这是一个非常有影响力的人物，有一个美丽的内伊歌唱的姿态，由艺术家泰南-卡斯特罗独家制作，它以一种非常直接的方式传达了这个舞台的地方和在那个时刻出现在公众面前的艺术家。
To set the ambiance of this moment, in the shop window we have put, among other pieces, an original costume worn by Ney in the Secos e Molhados show, lent by Senac de SP. Beside it we have the dressing table, the concept object of all this transformation. The mirror invites us to look inside and recognize who we truly are. It speaks about this self-discovery. Besides, in its reflection, we have the big picture “Minha alma cativa” (My captive soul), a very striking figure with a beautiful gesture of Ney singing, made exclusively by the artist Thainan Castro, which communicates in a very direct way this place of the stage and the artist who emerged to the public at that moment.
浴室：亲密接触的地方。在那里，我们与自己独处，与我们的记忆和我们最亲密的情感在一起。在这里，我们讲述一下台下的内伊。羞涩、矜持，对于普通大众的想象，几乎是一个对立的人物。他出生在南马托格罗索州内陆的贝拉维斯塔，一直表现出艺术天赋。他公开谈论了伴随他童年的孤独，因为他是一个与其他人不同的男孩。许多家庭冲突伴随着这一时期，其特点是与他的军人父亲意见不一致。18岁时，他加入了航空业，作为离开家的一种方式。他从未与艺术界保持距离。他生活在里约、圣保罗和巴西利亚之间，直到他加入Secos e Molhados。所有这些经历使内伊成为一个非常清楚地意识到名声所固有的吸引力的人，并始终保护自己不受媒体的加剧的骚扰。
Bathroom: The place of intimacy. Where we are alone with ourselves, with our memories and our most intimate emotions. Here we tell a little of Ney off the stage. Shy, reserved, an almost antagonistic figure to the imaginary of the public in general. Born in Bela Vista, in the countryside of Mato Grosso do Sul, he has always shown artistic talents. He speaks openly of the loneliness that accompanied him in childhood because he was a boy who was different from the others. Many family conflicts accompanied this period marked by disagreements with his military father. At 18 he joined the aeronautic as a way to leave home. He never distanced himself from the artistic universe. He lived between Rio, São Paulo and Brasília until he joined Secos e Molhados. All these experiences made Ney a person very conscious of the appeals inherent to fame and always shielded from the exacerbated media harassment.
将这段话具体化，我们在浴室的墙壁上使用了陶土色的地板，这与更衣室更轻的覆盖物形成对比，诱发了一种更亲密和庇护的气氛。一个不那么漫画化的项目的自然性显示了内伊的这另一面，他在私人生活中呈现的更加谨慎、内敛和保留。刻有 “Minha alma captativa”、”Meus caminhos tortos “和 “Meu Sangue Latino “的植物罐子讲述了他的故事的所有这些组成部分，使他成为他自己。
Materializing this passage, we went up with the terracotta tone of the floor in the bathroom walls, which, in contrast with the much lighter covering of the closet, already induces this more intimate and sheltered atmosphere. The naturalness of a less caricatured project shows this other side of Ney, more discreet, contained and reserved that he presents in his private life. The jars with plants engraved with “Minha alma captativa”, “Meus caminhos tortos”, and “Meu Sangue Latino” speak of all these components of his story that make him the person he is.
厨房：我们把地球提供的元素带到这里，并使我们的炼金术滋养身体、思想和精神。由自然界提供的营养。
在这里，我们叙述了内伊与自然的关系，在他的个性中，这一特征如此引人注目，激发了所有环境的物质性。在内伊一生中所居住的许多城市中，他总是报告说与自然有某种情感上的记忆。今天，他的主要庇护所是他在该州内陆的农场，也注定要释放被环保机构拯救的动物。在声明中，他说他如何需要这种与自然的接触来感觉良好，并且在他死的那一天，他想作为其守护神回来。
Kitchen: The place where we bring the elements that the earth provides and make our alchemy to nourish body, mind, and spirit. The nutrition provided by nature.
Here we tell about Ney’s relationship with nature, a trait so striking in his personality that inspired all the materiality of the environment. In the many cities Ney has lived in throughout his life, he always reports some kind of affective memory with nature. Today his main refuge is his farm in the interior of the state, also destined to the release of animals rescued by environmental agencies. In his statements he says how much he needs this contact with nature to feel good, and that the day he dies he would like to return as its guardian spirit.
安东尼奥-博克尔的作品 “愈合 “以艺术的方式标示了这种关系，我们可以将地球元素带入环境中。除了更随性的厨房，有用于悬挂物品的钩子和用丹尼斯-布劳恩的陶瓷制作的人性化的开放式架子，指的是农村的氛围，我们还有作为餐桌的大型中央岛，并有一棵jabuticabeira树，这是大自然作为提供者和其更新周期的最大象征。在我们讲述的这个关于内伊的生活的故事中，它是与永恒的交汇点。艺术为所有冒险献身于它的人提供了永恒。
Punctuating this relationship in an artistic way is the work “Healing” by Antonio Bokel, where we can bring the earth element into the environment. Besides the more spontaneous kitchen, with hooks for hanging objects and open shelves humanized with Denise Braune’s ceramics that refer to the rural ambience, we have the large central island that serves as a dining table and has a jabuticaba tree, the greatest symbol of nature as a provider and its cycles of renewal. It is the meeting point with the eternal in this story we tell about Ney’s life. The eternal that art provides to all those who venture to dedicate a life to it.
房间：与公众关系的场所。我们在哪里接受对方。公共的东西渗透到私人的地方。这里我们说的是内伊与公众和一般媒体的关系。他以对自己的剧目要求严格而闻名，对自己的事业管理要求非常高，他从不屈服于营销的呼吁，也不屈服于利用国际事业的激励。他一直负责其作品的构思，甚至在许多作品的照明上签字。他是一个一直提倡与公众直接接触的艺术家。他在社交网络上回答他的粉丝，并且在没有顾问的情况下，亲自在他家接待我们，谈论环境项目。他与公众和他的作品的直接和真实的关系，当然是产生这种对他的形象的一致钦佩的原因。
Room: The place of relationship with the public. Where we receive the other. Where the public permeates the private. Here we talk about Ney’s relationship with the public and the media in general. Known for being a rigorous artist with his repertoire and very demanding with his career, he never gave in to marketing appeals, nor to the incentives to leverage an international career. He has always been in charge of the conception of his works, even signing the illumination of many of them. He is an artist who has always promoted direct contact with the public. He answers his fans on the social networks and, without an advisor, he received us personally at his house to talk about the environment project. His direct and true relationship with the public and with his work is certainly what generates this unanimous admiration for his figure.
面向外面，通过俯瞰大海的大窗户，客厅成为我们环境的大舞台。宽敞而诱人，吊床框住了客厅，它表明，在不丧失自己身份的情况下，让其他人感到舒适是可能的。以自己的方式接受，对自己的真相诚实，这是内伊一直以来向世界暴露自己的方式。
Facing outward, through large windows overlooking the sea, the room becomes the grand stage of our environment. Spacious and inviting, with a hammock composing the living room, it shows that it is possible to make other people comfortable without losing your identity. Receiving in your own way, being honest with your truths, the way Ney has always exposed himself to the world.
第四：我们与对方分享我们最深的感情的地方。这里我们说的是内伊在与关系和性有关的禁忌方面的立场。他公开谈论了他已经经历过的经验，他看到了独立于感情的性和一起发现两者的完整性。她谈到了她所拥有的爱情，并且在没有道德主义的情况下，谈到了激情可以成为一种令人不安的感觉。
Fourth: The place where we share our deepest feelings with each other. Here we talk about Ney’s attitude towards the taboos linked to relationships and sexuality. He speaks openly about the experiences he has already lived, the way he has seen sex independent of affection, and the completeness of discovering both together. She talks about the loves she has had and, without moralism, about how passion can be a disturbing feeling.
完全与客厅融为一体的房间，邀请参观者从这个更开放的角度来了解内伊一直以来对关系方式的看法和归化。他暴露的关系环境表明，他从来没有给禁忌或耸人听闻的空间来压制他的作品。带有大号床大小的贵妃椅的大沙发成为我们寻求的这种共生关系的概念对象。它温暖的赤土色调诗意地将一直从他的内心溢出的性欲以艺术和交流的形式带到公众面前，明智地使用，而不落入加剧性吸引力的陷阱中。
The room totally integrated to the living room invites the visitor to this more open perspective of how Ney has always seen and naturalized the ways of relating. The environment of his exposed relationships suggests how he never gave room for taboos or sensationalism to override his work. The large sofa with a chaise the size of a queensize bed becomes the concept object of this symbiosis we sought. Its warm terracotta shade brings the libido, which has always overflowed from his inner self to the public, in a poetic way, in the form of art and communication, wisely used without falling into the trap of exacerbated sexual appeal.
床上用品、墙上的挂毯、地板上的镜子，这些元素都唤起了她所经历的伟大爱情的温暖和亲密感。
The bedding, the tapestry on the wall, and the mirror on the floor are elements that summon the warmth and intimacy of the great loves she experienced.
Architects: Natália Lemos, Paula Pupo
Area : 67 m²
Year : 2019
Photographs :Denilson Machado – MCA Estúdio
Manufacturers : Deca, AutoDesk, Casa Julio, Castelatto, DIMLUX (BOMMA), Dimlux, Galeria Hathi, Guilha, Microreve, Novo ambiente, PAREDE, Piso, SABBIA, Trimble Navigation
Architects Responsible : Natália Lemos, Paula Pupo
Project Team : Carla Rodrigues, Carolina Kopper, Júlia Braga
Clients : Casa Cor Rio de Janeiro
Engineering : Perpetuum Engenharia
Landscaping : Wabi-Sabi Ateliê
Consultants : Andrea Brito Velho
City : Praça Mauá
Country : Brasil