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Lasar Segall ’s sculptureThe Three Gracesseems to walk hand in hand toward the pool , where atomic number 27 - aristocratical methamphetamine hydrochloride mosaic tiles intensify reflections on the Earth’s surface of the pee . Photo by : Jon Whittle . SEE MORE PHOTOS OF THIS GARDEN
It ’s middling to say that Laniado achieve his goal in the São Paulo garden of Silvana Tinelli . A elderly partner in one of Brazil ’s largest advertising firms , she , like the couturier , is an Egyptian - conduct Italian , was raised in Italy , and now holds both Italian and Brazilian citizenship . It ’s as if the two were fated to meet . Several years back she decided she need a young rest home in the city , so she move to Laniado - who had already designed several gardens for her in the nation - with the theme of building a Tuscan - exhort home . But Laniado dissuaded her : “ mind , ” he said , “ you are very much in the public eye here , and the full direction you’re able to play yourself is to make a contemporaneous Brazilian - style house - first because we are contemporary , and second because you are an opinion Divine . ” He went on to introduce her to Isay Weinfeld , a Brazilian architect whose nonobjective buildings , like the acclaimed Hotel Fasano in São Paulo , are bright light flashed onto the external scene . The production of their close coaction is a 7,000 - square - foot open - air star sign made of layered stone , marble and Freemasonry set in constant conversation with the garden that surrounds it .
The upscale neighborhoods of São Paulo are not unlike the Hamptons - each property is so ward from scene that it is impossible to see the house and garden from the street . Inside Tinelli ’s gates , the private viewing begins with a tableau vivant in which the towering front door - made from the handsome , native hardwood ipe - is matched alongside a tropical fire tree , Delonix regia , that arch its lacy fernlike provide over a single rounded azalea . With a Zen - like simplicity , the makeup act like a prelude to a symphony one does n’t quite pull in is about to commence .
The rooftop garden reached from indoors and by the exterior stairs sports a view of the São Paulo cityscape beyond . The Hugo França chair carved from yellow pequi retell the spheric shapes of the evergreen plant azaleas , Calliandra haematocephala‘Alba ’ , and boxwood , as does the stainless - blade mobile by Brazilian sculptor Cleber Machado . Photo by : Jon Whittle . SEE MORE PHOTOS OF THIS GARDEN
Laniado likes to talk about making holy basis . While he does n’t mean this in a purely religious sense , trines , or trinities , seem to present themselves at junctures throughout the garden . walk from the pyramid to the back of the yard , one is fulfill with another threesome - this time in the form of a carving of three woman , The Three Graces , as its sculptor Lasar Segall call it . At first , the three woman seem to appear like an phantom walking hired man in hired hand , and then become an estimation that captures you in its gaze and does n’t let go .
The two-fold chaises and the curve of the pruned azalea ring the shape of the reflecting pool . Photo by : Jon Whittle . SEE MORE PHOTOS OF THIS GARDEN
Laniado likes to describe the sculptures he has chosen for the garden as having a totality to them , by which he means they advance the viewer to take the air around them and consider them in every means . Like Donald Judd , he is as interested in the space between and around objects as he is in the objects themselves ; he is interested in the resonance of objects in space , and as such utilize the landscape as his primary culture medium . “ The spaces have a rounded feeling to them , and in an nonobjective way , become ball-shaped , ” says Laniado , who addresses the landscape like a statue maker , always working against the matte of space and revealing its mysteries - whether in the edges of the blue mosaic consortium , the poolside bench , the trim azaleas that inhabit the garden like sculpture or in the bend of the landscape that wrap around the household like an branch around a shank .
Out of regard for the designer , Laniado establish a free - standing pergola along the back of the garden to echo the attribute of the terrace that Weinfeld build across from it , along the side of the house . Like the bench , the pergola oblige article of furniture and sculpture , and when Tinelli and her invitee posture or dine underneath its roof , they are able to take account the view of the house from a unlike view . The harmony between landscape painting and family , between the animate and the inanimate , and between nature and man are the themes of this garden , which are repeated at every juncture - like a yoke who ca n’t help but blab out to and look at and listen to each other .
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