“每一个细节都是经过深思熟虑后创造出来的，以诠释巴西的美丽和惬意”
大卫-格拉
Kûara，在土著图皮-瓜拉尼人中意为太阳。Tupã的房子，是最高的神。Kûara每天都提供能量、热量、生命，所有的元素都使巴伊亚，这个由卡布拉尔领导的葡萄牙发现者在巴西上岸的省份，成为国家的财富，定义了巴西的身份本身。巴西人，最初是本地人，但不仅仅是，经过几十代人的混合，在种族多元化中，给我们的人民带来了独特的多样性，在关于这个国家的根源的迷人的叙述中，成为巴西身份的记忆，提醒我们什么是更珍贵的：我们丰富的自然，作为慷慨的母亲，为我们提供生存的主要基础，在一个迷人的邀请中，与环境建立健康的关系，在尊重和与自然和谐相处中定居。

“Each detail was thought and created to translate Brazil’s beauty and cozyness”
David Guerra
Kûara, meaning sun for the indigenous Tupi-Guarani. The house of Tupã, the supreme god. Kûara Delivers, every day, energy, heat, life, all elements that make Bahia, the province on which the portuguese discoverers, led by Cabral, disembarked in Brazil, a national treasure, that define Brazilian identity itself. The Brazilian, indigenous at first, but not only, mixed through dozens of generations, in an ethnic pluralism, bringing an unique diversity to our people, strength in a fascinating narrative about the roots of this country, becoming memory from the Brazilian identity, reminding us of what’s more precious: our rich nature, as generous mother, provide us the primary foundations of survival, in a fascinating invitation to a healthy relationship with the environment, settled in respect and harmony with nature.

这种郁郁葱葱的自然是在现场插入的，因为在占领的想法之前。一个有机的构成，其主轴是Mucugê河。雨林与 “mangue”（该地区特有的一种沼泽，拥有独特的生物群落）一起蓬勃发展，位于Arraial D’Ajuda的著名悬崖之间。200米长的海滩将我们带到大西洋提供的令人难忘的地平线上，大约500年前，葡萄牙人的 “标枪 “从西方来到这里，开始了巴西历史的新阶段。这种丰富的记忆和多样性是不容忽视的，因此，我们选择保护所有的本地植被，利用老酒店的结构在与老建筑相同的地方建造新酒店。景观建筑考虑到了这一点。Felipe Fontes把构图放在与所有当地植物的坦诚对话中，使他的解释与当地人一致。

This lush nature is inserted on-site, since way before the idea of an occupation. An organic composition, whose main axis is the Mucugê river. The rain forest flourishes in conjunction with the “mangue” (a kind of swamp endemic for this region, which hosts a unique biome), between the famous cliffs of Arraial D’Ajuda. The 200 meters of the beach take us to the unforgettable horizon offered by the Atlantic Ocean, on which, about 500 years ago, the Portuguese “caravelas” came from the west, beginning a new phase on Brazilian history. This richness of memory and diversity could not be ignored, opting, thereby, for the preservation of all native vegetation, using the structure of the old hotel to build the new one in the same places as the old buildings. The landscape architecture takes that into account. Felipe Fontes puts down composition in frank dialogue with all local flora, aligning his interpretation with the native.

建筑，首先考虑的是与保护区的丰富性建立稳固的共生关系，在乡土和现代建筑中，也回应了精致，对每个用于休闲和休息的难民来说是必不可少的。隐私、亲密和安静是必需品计划中的关键词。此外，来自海浪和鸟儿的声音，植被和海洋的香气，当然还有从保存完好的海岸线上看到的令人难忘的景色，都被视为不可触及的，使在库阿拉的逗留不仅仅是一个机会和放松的时间，而是与自然接触的积极体验。因此，简报要求一个现代和既定的项目，可以强调在一个被保护的热带雨林地区建设的特权。这种对话与所有的建筑和内部细节相融合，挽救了巴西的 “波萨”，旨在刺激客人之间的生活。

The architecture, thought primordially in establishing solid symbiosis with the richness of the reserve, in a vernacular and modern construction, also answers to the sophistication, essential to every refugee destined for leisure and resting. Privacy, intimacy, and silence were key words in the program of necessities. Also, the sounds from the waves and birds, the aroma of the vegetation and the sea, and of course the unforgettable views from the very preserved coastline, were treated as untouchable, and make the stay in Kûara not only a time of opportunity and relaxing but the active experience of contact with nature. Therefore, the briefing asked for a modern and established project, which could underline the privilege of being constructed in a preserved rain forest area. This dialogue merges with all architectural and interior details, that rescues the Brazilian “bossa” aiming to stimulate the living between guests.

在材料的选择上，有必要使用多样性，以寻求互动，重点关注木材的美，在其自然状态下，由木匠完美地执行，他们是大师Zanine Caldas的弟子。该作品在表面上非常丰富，如地板和墙壁，以及建筑元素，如威尼斯人、brise soleils和标准面板，使用的树种包括Cumaru、tatajuba、ipê和peroba。这种复杂性不仅要求有经验的木匠进行粗加工，而且要求在现场建立一个完整的车间来优化工作。竹子、天然纤维、稻草、柳条、皮革、巴西石头和其他手工制作的元素与意大利进口的Florim石头相抗衡，这些石头用于地板和浴室，尽管呈现出最高标准的工业化生产，但仍然呈现出天然岩石的感觉，没有水渗透的不便之处。

In the choosing of materials, it has become necessary to use diversity, in the search for interaction, with great focus in the beauty of wood, in its natural state, executed with perfection by carpenters, who were disciples of the master Zanine Caldas. The work is abundant in the surfaces, such as floor and walls, as well as architectural elements like Venetians, brise soleils, and standard panels, with species like cumaru, tatajuba, ipê, and peroba. The complexity demanded not just the rough work of experienced carpenters, but the creation of an entire workshop on-site to optimize the job. Bamboo, natural fibers, straw, wicker, leather, Brazilian stones, and other handmade elements counterbalance with Florim stones, imported from Italy, used in floors and bathrooms, which despite presenting an industrialized production of the highest standard, still presents the sensation of natural rock, without the inconvenient of water infiltration.

德国进口的Duravit瓷器、Trussardi的床单和欧舒丹（L’Occitane）的产品补充了这种多元性，将两个世界的精华结合起来：技术和自然。一个独特的建筑风格，导致了多元文化、真实和永恒，使用主要的绿色不是作为障碍，而是作为建筑不可分割的一部分。此外，来自Prodomo和Franccino的家具，寻找一种休息的氛围，在放松的同时不忘设计和巴西特色。床是由Elisa Atheniense用皮革制作的，带来了高度奢华的定制服务。艺术家丽塔-莱萨（Rita Lessa）的作品出现在所有的坐垫和许多纺织品上，其使命是代表巴西的黄色和绿色特征，其灵感来自于巴西的树木。椰子制成的汤盘，肥皂石的盘子，由当地劳工开发，除了重视工匠精神和乡土气息，还带来了区域主义文化之间的奇妙对话。

Duravit china imported from Germany, bedsheets from Trussardi and L’Occitane products complement the plurality, uniting the best of two worlds: technology and nature. A unique architectural style, which results multicultural, authentic and timeless, using the predominant green not as barrier, but as indissociable part of architecture. Besides, furniture from Prodomo and Franccino, searching for an atmosphere of rest, relaxing without forgetting the design and Brazilian identity. The beds are made in leather by Elisa Atheniense, bringing a customized service with high luxury. The work of artist Rita Lessa present in all cushions and many textiles has the mission to represent the Brazilian yellow and green identity, on drawings inspired by Brazilian trees. The sousplats made of coconut, plates in soapstone, developed by local labor, which besides valuing the artisanship and the vernacular, bring a curious dialogue between regionalist cultures.

Jomar Bragança专门为酒店拍摄的180张照片，揭示了发现海岸文化方面的个人面貌。我们身份的表达，由原住民、非洲人和葡萄牙人建立，在建筑、手工艺、宗教和渔民及可可出口发展的经济的图像中显示出来。此外，芒果、雨林、河流以及Arraial D’Ajuda、Porto Seguro、Caraíva、Trancoso、Coroa Vermelha、Santo André和Belmonte的海洋景观。在巴伊亚的文化中，居住着巴西身份的起源。这些图像显示了我们的自然之美，我们的信仰，我们在颜色、质地、材料方面的多样性。葡萄牙的巴洛克风格，本土艺术和非洲图案。最后但并非最不重要的是，我们敬爱的莫妮卡-罗尔夫（Monica Rohlfs）的精彩闪电项目，通过亿光生产的最先进的LED灯，创造了一个奇观，令人愉快和舒适，再次带来科技和自然之间的对话。

The 180 photographs by Jomar Bragança, made exclusively for the Hotel, reveal a personal look of the cultural aspect in the Discovery Coast. Expressions of our identity, built by indigenous, African and Portuguese, revealed in images of the architecture, the artisanship, religiosity and the economy developed by the fisherman and by the exporting of cacao. Also, the landscapes of mangues, rain forests, the rivers, and the sea of Arraial D’Ajuda, Porto Seguro, Caraíva, Trancoso, Coroa Vermelha, Santo André, and Belmonte. In Bahia’s culture resides the origins of the Brazilian identity. The images show our natural beauty, our faith, our diversity in colors, textures, materials. The Portuguese baroque, the indigenous art and African patterns. Last but not least, the wonderful lightning project by our beloved Monica Rohlfs (in memoriam), which through state of the art LED lamps, produced by Everlight, created a spectacle, pleasant and cozy, bringing, once again, the dialogue between tech and nature.

探索之路
该项目的特殊性从入口处开始，首先看到的是由建筑师设计的面板（和所有的细节一样），由积雪草木框架和白色胶合板的漂亮细节组成。这个作品总是作为一个整体在思考。光和影，充实和空虚，明亮和黑暗。对比是焦糖和木头、墙壁的葡萄酒和地板的灰色之间的颜色的对应位置的工具。

A PATH OF DISCOVERY
The project’s peculiarity begins in the entrance, on which the first sight is the panel, designed by the architect (as all details), composed by a frame of cumaru wood and a nice detail in white plywood. The piece is always thinking in the work as a whole. Light and shadow, fullness and emptiness, bright and dark. The contrast is an instrument for the counter position of colors between the caramel and the wood, the wine of the walls and the gray of the floor.

在早餐空间，有一个垂直木片的面板，涉及到内部，通过在结构中使用桉树，以及窗户和天花板的使用得到加强。这个序列的目的是为了实现动态对比，在这个序列上，光线以无限的方式排列在整个空间。在外部，另一个早餐区，允许客人在舒适的室内或海边的氛围中享受他们的用餐。

In the breakfast space, there’s a panel with vertical wooden pieces that involve the interior, reinforced by the use of eucalyptus in the structure, as well as the windows and ceiling. This sequence was brought aiming for dynamic contrast, on which the light arranges itself in infinite ways throughout the space. On the external, another breakfast area, allowing the guests to enjoy their meal inside the intimacy of a cozy interior or in the seaside atmosphere.

一条走道将接待处和酒店的休闲区连接起来。护栏指明了方向，对于一个通常的辅助元素来说，这是一个令人印象深刻的功能。在这里，护栏是主角，在酒店边上的建筑体量的奇妙游戏中漫游，把建筑物联系起来，虽然它们之间是分开的，但却紧密相连。到了休闲区，我们首先看到的是豪华的无边泳池，玩弄着我们自己的视角。就在大海的前面，两者之间有一种不可避免的联系。L型涉及到餐厅和它一起建立了一个休息室，有供逗留和日光浴的长椅。紧挨着游泳池的桑拿房使人的放松体验更加完美。

A walkway connects the reception to the leisure area of the hotel. The guardrail points the way, on an impressive function for a normally auxiliary element. Here, the guardrail is protagonist, roaming by the hotel on a marvelous game of architectural volume, tying the buildings, which, although separated between them, are closely connected. Getting to the leisure area, our first view is the luxurious infinity pool, playing with our own perspective. Right in front of the ocean, there’s an inevitable connection between both. The L shape involves the restaurant establishing a lounge along with it, with chaises longue for stay and sunbathing. The sauna right next to the pool completes the relaxing experience.

海边的餐厅成为酒店最引人注目的地方之一。可以容纳100人，更不用说一个独立的酒窖，装饰丰富，不仅是一个功能元素，而且是一个华丽的木板装饰。Parrilla也是一个有趣的元素，允许一个更精致的菜单，包括选择用不同的技术制作的贵族肉。然而，无可争议的是，餐厅中最突出的元素是闪电，由130盏灯组成，由该地区经验丰富的工匠团队手工制作，他们共同完成了一件具有表现力的艺术品。其结果是一个本质上的有机和和谐的组成，形成了一个象征性的树林，从上面照亮了环境，创造了光的效果和巴伊亚海边的风所引发的摆动的诗意，这些风穿过卑微的、谨慎的、看不见的上威尼斯人，对其用户产生了神秘和刺激的复杂性。

The restaurant by the sea becomes one of the most imponent points of the hotel. With capacity for 100 people, not to mention an independent wine cellar, richly ornated, working not only as a functional element but the decoration in a gorgeous wooden panel. The parrilla is also an interesting element, allowing for a more refined menu, including the option for noble meat made in different techniques. Nevertheless, unarguably, the most outstanding element in the restaurant is the lightning, composed of 130 lamps, and produced manually by a team of experienced craftsmen from the region, who worked together to deliver an expressive artwork. The result is an essentially organic and harmonious composition, forming a symbolism of the woods that bright the environment from above, creating light effects and poetry with the swing provoked by the seaside winds of Bahia, which go through, humble, discreet, invisible, the upper Venetian, generating a mysterious and stimulating complexity to its users.

在游泳池的甲板上，有一个1000平方米的空间，我们有一个酒吧，这是到达皮廷加海滩前的最后一个检查站，它的休息室距离海洋只有50米。沙滩上的沙发和躺椅带来了非常优雅的体验。海滩酒吧为客人和游客服务，其广阔的布局旨在为大多数人服务。酒吧的灯也是当地工匠的产品，由椰子纤维制成，允许光线从各个角度穿过。到了晚上，灯光散开，在房间里形成了一个美丽的构图。

Beyond the pool’s deck, which settle the space with its 1000 sqm, we have the bar, last checkpoint before reaching the Pitinga’s beach, with its lounge standing only 50 meters from the ocean. Sofas and chaises in the sand bring a very elegant experience. The beach bar serves guests and visitors, with a vast layout aiming to reach most people. The bar lamps, also products of the local craftsman, were made of coconut fiber, and allow light to go through in every way. At night, the light spreads, making a beautiful composition in the room.

最后是私人部分，有46个房间，面积从35到69平方米不等，加上4个139平方米的主人套房，包括客厅、一个设备齐全的厨房、盥洗室和一个带10人晚餐服的阳台以及两个摇摆沙发。卧室配备了空调和冰箱，遮光，意大利床垫和墙体的隔音效果，加强了休息和舒适的感觉。另外，在这些基础设施之外，酒店还有两个网球场、一个健身房和一个洗衣房。欧舒丹水疗中心是一个独立的建筑，有4个按摩室，配备了床、淋浴和浸泡浴缸。

Last of all, the private section, with 46 rooms, with sizes from 35 to 69 sqm, plus 4 master suites of 139 sqm, including living, a fully equipped kitchen, washroom and a balcony with dinner apparel for 10 and two swing sofas. The bedrooms are equipped with air conditioning and fridge, blackout, Italian mattress and wall with acoustic isolation, intensifying the feeling of rest and comfort. Also, beyond all this infrastructure, the hotel has two tennis courts, a gym, and a laundry. The l’Occitane Spa is an independent building, with 4 massage rooms equipped with beds, showers and immersion tubs.

总之，该酒店是为那些追求休息和放松的人设计的，与自然融为一体。是巴西当代设计、文化和美食的参考。一个创造了巴西建筑的现代概念的项目。隐私是首要的，豪华和最大的舒适度也是如此。是亲密的，但不是侵入性的，性格嵌入整个团队，训练有素的出席的必要性和喜好，没有客人意识到他们的行动。一个私人避难所。也许没有一个更简洁和有表现力的术语来定义Kûara酒店。一个纯粹的使用发现海岸的所有宁静的地方，有必要找到平衡和逃避日常工作和压力。

In conclusion, the hotel is made for those that aim for rest and relaxing integrated to nature. A reference in contemporary design, culture, and gastronomy in Brazil. A project that creates a modern concept of Brazilian architecture. Privacy is primary, as is the luxury and maximum comfort. Is intimist, but not intrusive, character embedded in the whole team, trained to attend the necessities and preferences, without the guests realizing their actions. A private sanctuary. Maybe there is not a more concise and expressive term to define the Kûara Hotel. A place of pure usufruct of all tranquility available in the Discovery Coast, necessary to find balance and escape everyday routine and stress.

Architects: David Guerra
Photographs :Jomar Bragança
Project Team : Jefferson Gurgel, Nínive Resende, Bernardo Hauck, Letícia Thibau, Juliana Valente
Country : Brazil