Text description provided by the architects. Léo Shehtman's already traditional participation in CASACOR SP leads the visitor of the 2019 edition to a true contemplation of luxury. The abundant use of exotic “Nacarado” marble, which floats along the entire length of the water mirror - no less than 18 linear meters - stands out, and which, along with the composition created by two wooden tones that refer to a subtle light effect and shade, can be observed from all spaces. Interacting with the purity and timelessness of these materials, a select range of furniture pieces - much of which is supplied by “Dunelli” - produces an axiomatic counterpoint between old and contemporary. Punctually, design stars pieces - among them the very Brazilian “Katita” armchair, by Sérgio Rodrigues - radiate an exclusive shine.
But it is the bronze statue - reinterpretation of the original marble piece called “Fauno Barberini”, currently on display at the Glyptoteca in Munich, Germany - the real sun that entitles the project. Coming from Roman mythology (appropriation of Satyr, in the Greek version), the Faun is a hybrid figure between human and animal that followed Bacchus, the god of wine. The introduction of this work brings the unique atmosphere of Classical Antiquity to the year 2019, demonstrating the priceless value of the art, culture and history of Western civilization. Its presence is, in itself, an evocation to the collective unconscious that, even today, is related to the times that precede the Christian Calendar. This is the magic that only art is capable of providing.
Like the Barcelona Pavilion designed by the architect Mies van der Rohe in 1929, the formal purity present in Casa do Fauno represents the heart of the design concept, so closely linked to the modernist precepts of simplicity, uniqueness and clarity. An example of this fluidity is certainly the hybrid furniture that separates the living room from the suite without, however, segregating them completely. In the same way, the wooden “muxarabi” lining extends over the water mirror in the shape of a pergola, allowing natural light to be responsible for creating graphically exuberant shadows on the marble wall and the “Portinari” porcelain floor. Three large pivoting glass doors, by “Cinex”, are discreetly imposing elements that separate the kitchen from the water mirror, without depriving any part of this mutual relationship established throughout the project.
Simple, but not simplistic, horizontal lines are used on a large scale, giving the space a majestic sense of unity that invites an integrated and intimate journey, where a profusion of textures affects the senses. The wood, so present in this Shehtman production, heats up even the flamed black granite, defying the old conceptions about the materials - including brass, which shines in a harmonious dissonance within the universe included in this composition. Several other works of art, as well as the “Pormade Décor” wallpaper are pleasant surprises strategically placed to the delight of the observer.