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Lasar Segall ’s sculptureThe Three Gracesseems to walk paw in hand toward the pool , where cobalt - blue methamphetamine mosaic tiles intensify reflection on the aerofoil of the water supply . Photo by : Jon Whittle . SEE MORE picture OF THIS GARDEN
It ’s clean to say that Laniado achieve his goal in the São Paulo garden of Silvana Tinelli . A senior partner in one of Brazil ’s largest advertising firms , she , like the designer , is an Egyptian - born Italian , was raised in Italy , and now holds both Italian and Brazilian citizenship . It ’s as if the two were designate to meet . Several years back she decide she wanted a novel home in the city , so she go to Laniado - who had already plan several gardens for her in the state - with the idea of building a Tuscan - inspired house . But Laniado dissuaded her : “ take heed , ” he said , “ you are very much in the public eye here , and the good way you may defend yourself is to build a contemporary Brazilian - flair house - first because we are contemporary , and 2nd because you are an sentiment God Almighty . ” He went on to insert her to Isay Weinfeld , a Brazilian designer whose nonobjective buildings , like the acclaimed Hotel Fasano in São Paulo , are bright light flaunt onto the international scene . The production of their close-fitting collaborationism is a 7,000 - straight - foot open - atmosphere house 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 guard from scene that it is impossible to see the house and garden from the street . Inside Tinelli ’s gates , the private viewing get down with a tableau in which the towering front door - made from the giving , native hardwood ipe - is pit alongside a tropical flame tree , Delonix regia , that arches its lacy fernlike leaves over a single rounded azalea . With a Zen - like simpleness , the musical composition acts like a preliminary to a symphony one does n’t quite realize is about to begin .
The rooftop garden reach from indoors and by the exterior stairs sports a view of the São Paulo cityscape beyond . The Hugo França chair carved from sensationalistic pequi restate the globose shapes of the evergreen plant azaleas , Calliandra haematocephala‘Alba ’ , and boxwood , as does the unstained - steel Mobile River by Brazilian sculpturer Cleber Machado . Photo by : Jon Whittle . SEE MORE photograph OF THIS GARDEN
Laniado like to talk about making holy ground . While he does n’t intend this in a stringently religious sense , trines , or trinities , seem to acquaint themselves at joint throughout the garden . walk from the Pyramids of Egypt to the back of the yard , one is met with another threesome - this time in the grade of a sculpture of three women , The Three Graces , as its sculptor Lasar Segall call it . At first , the three charwoman seem to appear like an phantasm walk helping hand in hand , and then become an musical theme that captures you in its regard and does n’t have go .
The double shay and the curve of the pruned azalea echo the shape of the reflecting puddle . Photo by : Jon Whittle . SEE MORE picture OF THIS GARDEN
Laniado likes to describe the sculptures he has take for the garden as deliver a sum to them , by which he means they encourage the viewer to walk around them and view them in every mode . 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 reverberance of object in space , and as such uses the landscape painting as his main sensitive . “ The spaces have a rounded impression to them , and in an nonobjective way , become ball-shaped , ” enjoin Laniado , who addresses the landscape like a sculptor , always work against the sluggishness of space and unwrap its mysteries - whether in the edges of the blue mosaic pond , the poolside bench , the pruned azaleas that live the garden like sculpture or in the curved shape of the landscape that wraps around the business firm like an arm around a shank .
Out of respect for the architect , Laniado built a loose - standing pergola along the back of the garden to repeat the dimension of the terrace that Weinfeld construct across from it , along the side of the house . Like the terrace , the pergola fit article of furniture and sculpture , and when Tinelli and her guests baby-sit or dine underneath its roof , they are capable to prize the view of the house from a different perspective . The harmony between landscape painting and house , between the animate and the inanimate , and between nature and man are the themes of this garden , which are ingeminate at every join - like a match who ca n’t help but talk to and seem at and listen to each other .
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