Interior design
Six years of residential and commercial projects, most of them carried through to construction documents. That is the part of the work I am known for and the part most studios skip.
Every project begins with listening. Before thinking about form or material, I want to understand who is going to live there: the routine, the habits, what needs to work better and how you want to feel in the space.
Then I take the lead. Layout, millwork, materials, furniture and light are decided at the same time, and every choice has a reason. A stone is chosen also for the way it takes the light.
How it works
The composition is the point of all of it. Materials chosen for how they age, not how they photograph. Proportion before decoration. A room should look like the person who lives in it, which means it should not look like my portfolio.
Light comes in alongside, not afterwards. Deciding the layout and the lighting in the same drawing is what keeps a ceiling from being filled with downlights to cover for a plan that was never lit.
Then the detailing, which is where the project either survives the building site or does not.
What you receive
A project leaves here as a set, not as a mood board.
Layouts, floor patterning and elevations, dimensioned.
Millwork drawn to the detail: sections, hardware and the finish on each face.
FF&E schedules a buyer can order from without calling me.
I work to a documentation standard I built myself: a fixed layer and labelling system, scenes in a fixed order, every sheet under my own title block. It was made so a contractor opening the file on site finds what they need on the third page, not on the phone.
For design studios
I also work as an extra pair of hands, under your name: drafting and construction documentation in AutoCAD, reflected ceiling plans, millwork details and FF&E schedules, from your drawings and to your standards.
Documents are issued under your licensed professional — I am not the author of record. What that looks like in practice.
Where I work
Interior design works at a distance once the survey is right: measured plans, ceiling heights, existing services and photographs of what is there. With those, the project runs the same whether the property is in Belo Horizonte, in another Brazilian state, or abroad.
For clients outside Brazil I take interior design and lighting design remotely. Architecture only when the build is here.
In person I cover Belo Horizonte and the surrounding region, and São Paulo. Visits elsewhere are arranged separately, with travel quoted alongside.
What remains of an interior is the everyday use, and what still looks good once the novelty wears off.