

Conceived as a fluid space, the apartment can function as a fully open-plan layout or, through sliding panels, be configured into up to two bedrooms. This adaptability allows the architecture to respond to changing needs, making the space dynamic and suited to contemporary living.
The light wood millwork structures the apartment as a continuous plane, where doors, panels, and storage units merge almost imperceptibly. The absence of visible handles keeps storage discreetly concealed, ensuring generous functionality while preserving visual lightness and formal clarity.



All vintage pieces have been fully restored, maintaining their structural and formal integrity. They represent key moments in 20th-century design, bringing historical depth and cultural identity to the project.
In the dining area, the table designed by Giotto Stoppino in the 1970s assumes a sculptural presence. Surrounding it, the DCM (Dining Chair Metal) chairs by Charles & Ray Eames, produced by Vitra, reinforce the strength of international modernism. Adjacent to this ensemble, a geometric painting by Brazilian Indigenous artists adds graphic intensity to the space.

In the living room, the 1960s German sofa, distinguished by its unique, clean, and lightweight design, establishes a comfortable and elegant foundation, accompanied by an Italian 1980s TV stand. The Rocking Chair by Verner Panton adds fluidity and organic expression, while the Mocho stool by Sergio Rodrigues balances the composition with its strong material presence.
The ceiling luminaires designed by Tom Dixon introduce a contemporary and sculptural gesture to the space.
In the kitchen, two numbered and authenticated artworks, one by Le Corbusier and the other by Oscar Niemeyer, expand the project’s cultural dimension. A traditional Portuguese rug reinforces the connection to the local context.



In the study area, works by Paul Klee and Jean-Michel Basquiat introduce chromatic and expressive tension. A cowhide rug adds natural texture, while the 1950s armchair by Peter Hvidt consolidates the formal coherence of the setting.
The entrance hall features a Danish sideboard from the 1960s, a bench by Edmund Homa from the 1970s, a mahogany-framed mirror, and a Pakistani Kilim rug, creating a composition that balances design and craftsmanship.








The relationship with the exterior also guides the project. The windows open onto the canopy of a tree, bringing a constant presence of greenery into the apartment. Indoor plants extend this natural atmosphere, reinforcing continuity between landscape and architecture.
In the bedroom, the HEDWIG bed establishes a contemporary base, paired with nightstands by Sierra Móveis, while a Tiffany lamp creates a more intimate ambiance.


LX Apartment synthesizes spatial integration, concealed storage, and the appreciation of historical design and art, resulting in an architecture that organizes daily life while building identity through the conscious selection of each element.

