This Brazilian house is a statement that only reveals itself upon closer inspection, so deeply is it set into its context. Casa Lilaya ‘is located in Alto Paraíso de Goiás, in a rural area close to the Chapada dos Veadeiros National Park, in Brazil,’ says Alan Chu, the architect behind it. ‘It sits near a river that runs through the site, immersed in the native vegetation of the Cerrado biome. The sky is vast, and the hills and plateaus fade into the horizon.’
The region is known for ecotourism, but perhaps not as you’d expect. Those interested in holistic living may have heard of the area's strong mystical connections, credited to the high concentration of crystals in the local soil.
Casa Lilaya sits low in a clearing and is accessed by a winding dirt road. It comprises a low, single-storey volume, with crisp lines that seamlessly extend into the landscape.
Inside Casa Lilaya, a minimalist Brazilian house
The client asked for a simple country retreat that was cost-efficient. The two-bedroom home is an example of elegant restraint; however, it was not conceived in pursuit of a specific aesthetic, as Chu explains.
‘It grew out of the experience I wanted to create. How can we perceive time, and how can we create a journey, within a simple building with a limited area? Dividing the plan into quadrants automatically creates four distinct dimensions; I would say at least four different moments in time, without using more area to achieve this. Each quadrant has its own orientation and its own views.’
Chu was careful to note that the region has a long dry season and a rainy one, so he felt it was important to lift the house off the ground to protect it from seasonal changes. It is reminiscent of similar Japanese house typologies.
A long wall extends out from the project's primary volume and acts as a welcoming 'arm' guiding guests towards the main entrance and into the home. It also provides a cosy seating area. This wall is 80cm thick and runs 31m, crossing the entire house. It takes on different functions along its length: seating, the kitchen counter, shelving, the entrance porch, and closets.
Chu, however, designs from the inside out, ‘but always with a sense of aesthetics and proportion’, he says. ‘The experience begins before arriving: a drive along a winding road through the vegetation, then the first glimpse of the house, a moment of mystery and approach. Inside, each room reveals a different landscape.
‘The walls that extend beyond the building create a sense of movement and freedom, and at the same time they give the house a longer, more horizontal, and elegant proportion. The monochromatic palette reduces noise and the amount of information. It is a way to quiet the mind and reinforce the presence of the natural landscape.’
Stepping inside is an invitation to relax. The material palette is minimalist and calming, comprising terracotta, cement, and solid-wood joinery. Large floor-to-ceiling windows open up to nature outside.
Chu concludes: ‘I like the harmony and coherence of the whole. Above all, I am glad to have designed a house that escapes the stereotype of the country cabin. It is hard to imagine it anywhere else. It was made to be there, and that is essential.’
