Desenhado no Brasil
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Nenhum projeto corresponde a esse termo.

Terral Building — Brasil, 2025Destaque
Terral BuildingBrasil · 2025
MAC Panamá — Cidade do Panamá, 2026
MAC PanamáCidade do Panamá, Panamá  ·  2026
Fascino — Goiânia, 2024
FascinoGoiânia, Brasil · 2024
Matice Pavilion — São Paulo, 2026
Matice PavilionSão Paulo, Brasil  ·  2026
Uiara Lamps Tryptych — Milano, 2026Destaque
Uiara Lamps TryptychMilano, Itália · 2026
Orgânica Building — Santa Catarina, 2024
Orgânica BuildingSanta Catarina, Brasil  ·  2024
Matice Pavilion — São Paulo, 2026 Destaque
Matice PavilionSão Paulo, Brasil  ·  2026
Sofia Pavilion — São Paulo, 2025
Sofia PavilionSão Paulo, Brasil  ·  2025
Masterplan for the Brazilian Architecture Biennial — Pavilhão das Culturas Brasileiras, 2026
Masterplan for the Brazilian Architecture BiennialPavilhão das Culturas Brasileiras, Ibirapuera  ·  2026
MAC Panamá — Cidade do Panamá, 2026
MAC PanamáCidade do Panamá, Panamá  ·  2026
Sofia Pavilion — São Paulo, 2025Destaque
Sofia PavilionSão Paulo, Brasil  ·  2025
Mesa Austral — Brasil, 2025 LoopDestaque
Mesa AustralBrasil  ·  2025
Orgânica Building — Santa Catarina, 2024
Orgânica BuildingSanta Catarina, Brasil  ·  2024
Forma e Substância — Museu Oscar Niemeyer, 2023
Forma e SubstânciaMuseu Oscar Niemeyer, Curitiba  ·  2023
Tess Pavilion — São Paulo, 2025 Destaque
Tess PavilionSão Paulo, Brasil · 2025
Orgânica Building — Santa Catarina, 2024 Destaque
Orgânica BuildingSanta Catarina, Brasil  ·  2024
Forma e Substância — Museu Oscar Niemeyer, 2023
Forma e SubstânciaMuseu Oscar Niemeyer, Curitiba  ·  2023
Pampa Lamp Series — Rio Grande do Sul, 2025
Pampa Lamp SeriesRio Grande do Sul, Brasil · 2025
Tess Pavilion — São Paulo, 2025
Tess PavilionSão Paulo, Brasil · 2025
Sofia Pavilion — São Paulo, 2025Destaque
Sofia PavilionSão Paulo, Brasil  ·  2025
Aparador Caapora — Brasil, 2025 Destaque
Aparador CaaporaBrasil  ·  2025
Orgânica Building — Santa Catarina, 2024 Loop
Orgânica BuildingSanta Catarina, Brasil  ·  2024
Tectônicas em Exílio — Brasil, 2025 Destaque
Tectônicas em ExílioBrasil  ·  2025
Tapete Força de Maré — Brasil, 2025
Tapete Força de MaréBrasil  ·  2025
Tess Pavilion — São Paulo, 2025
Tess PavilionSão Paulo, Brasil · 2025
Masterplan for the Brazilian Architecture Biennial — Pavilhão das Culturas Brasileiras, 2026Loop
Masterplan for the Brazilian Architecture BiennialPavilhão das Culturas Brasileiras, Ibirapuera · 2026
Masterplan for the Brazilian Architecture Biennial — Pavilhão das Culturas Brasileiras, 2026
Masterplan for the Brazilian Architecture BiennialPavilhão das Culturas Brasileiras, Ibirapuera  ·  2026
Uiara Lamps Tryptych — Milano, 2026 Loop
Uiara Lamps TryptychMilano, Itália  ·  2026
Orgânica Building — Santa Catarina, 2024
Orgânica BuildingSanta Catarina, Brasil · 2024
Encantaria Sofa — Brasil 2026, 2026Destaque
Encantaria SofaBrasil 2026
Urban Masterplan — Passo Fundo, 2026Loop
Urban MasterplanPasso Fundo, Rio Grande do Sul  ·  2026
Masterplan for the Brazilian Architecture Biennial — Pavilhão das Culturas Brasileiras, 2026
Masterplan for the Brazilian Architecture BiennialPavilhão das Culturas Brasileiras, Ibirapuera · 2026
Sofia Pavilion — São Paulo, 2025
Sofia PavilionSão Paulo, Brasil · 2025
Urban Masterplan — Passo Fundo, 2026
Urban MasterplanPasso Fundo, Rio Grande do Sul  ·  2026
Fascino — Goiânia, 2024
FascinoGoiânia, Brasil  ·  2024
Era — Itapema, 2022
Era Itapema, Brasil · 2022
Athene Garden — Goiânia, 2025
Athene GardenGoiânia, Brasil  ·  2025
Athene — Goiânia, 2025
AtheneGoiânia, Brasil  ·  2025
Terral Building — Brasil, 2025
Terral BuildingBrasil · 2025
Apartamentos decorados - Fascino — Goiânia, 2024
Apartamentos decorados - FascinoGoiânia, Brasil  ·  2024
Tapete Tesselar — Brasil, 2025
Tapete TesselarBrasil  ·  2025
Banco Mambo — Brasil, 2025
Banco MamboBrasil  ·  2025
Sofia Interiors — São Paulo, 2025
Sofia InteriorsSão Paulo, Brasil  ·  2025
Terral Interiors & Landscape — Brasil, 2025 Destaque
Terral Interiors & LandscapeBrasil  ·  2025
Terral Building — Brasil, 2025
Terral BuildingBrasil  ·  2025
Tess Pavilion — São Paulo, 2025
Tess PavilionSão Paulo, Brasil · 2025
Orgânica Building — Santa Catarina, 2024
Orgânica BuildingSanta Catarina, Brasil · 2024
Uiara Lamps Tryptych — Milano, 2026
Uiara Lamps TryptychMilano, Itália · 2026
Era — Itapema, 2022
Era Itapema, Brasil · 2022
Pop-Up Invicta — São Paulo, 2025
Pop-Up InvictaSão Paulo, Brasil · 2025
Tapete Tesselar — Brasil, 2025
Tapete TesselarBrasil · 2025
Terral Interiors & Landscape — Brasil, 2025
Terral Interiors & LandscapeBrasil · 2025
Athene Garden — Goiânia, 2025Destaque
Athene GardenBalneário Camboriú, Brasil · 2025
Athene Garden — Goiânia, 2025
Athene GardenBalneário Camboriú, Brasil · 2025
Terral Interiors & Landscape — Brasil, 2025Destaque
Terral Interiors & LandscapeBrasil · 2025
Mesa Austral — Brasil, 2025
Mesa AustralBrasil · 2025
Athene Garden — Goiânia, 2025
Athene GardenBalneário Camboriú, Brasil · 2025
Era — Itapema, 2022
Era Itapema, Brasil · 2022
Uiara Lamps Tryptych — Milano, 2026
Uiara Lamps TryptychMilano, Itália · 2026
Tectônicas em Exílio — Brasil, 2025
Tectônicas em ExílioBrasil · 2025
Encantaria Sofa — Brasil 2026, 2026
Encantaria SofaBrasil 2026
Era — Itapema, 2022
Era Itapema, Brasil  ·  2022
Banco Mambo — Brasil, 2025
Banco MamboBrasil · 2025
Athene Garden — Goiânia, 2025
Athene GardenBalneário Camboriú, Brasil · 2025
Sofia Pavilion — São Paulo, 2025
Sofia PavilionSão Paulo, Brasil · 2025
Mesa Austral — Brasil, 2025Destaque
Mesa AustralBrasil · 2025
Pop-Up Invicta — São Paulo, 2025Destaque
Pop-Up InvictaSão Paulo, Brasil · 2025
Pop-Up Invicta — São Paulo, 2025
Pop-Up InvictaSão Paulo, Brasil · 2025
Athene — Goiânia, 2025
AtheneBalneário Camboriú, Brasil · 2025
Forma e Substância — Museu Oscar Niemeyer, 2023
Forma e SubstânciaMuseu Oscar Niemeyer, Curitiba · 2023
Forma e Substância — Museu Oscar Niemeyer, 2023Destaque
Forma e SubstânciaMuseu Oscar Niemeyer, Curitiba · 2023
Pampa Lamp Series — Rio Grande do Sul, 2025
Pampa Lamp SeriesRio Grande do Sul, Brasil · 2025
Pampa Lamp Series — Rio Grande do Sul, 2025
Pampa Lamp SeriesRio Grande do Sul, Brasil · 2025

Estúdio

São Paulo, Lisboa

Formado em Arquitetura em 2018, Leonardo Zanatta iniciou a carreira após vencer cinco troféus no Prêmio Saint-Gobain de Arquitetura Sustentável, incluindo o Destaque Inovação, prêmio tradicionalmente concedido a carreiras consolidadas como a de Paulo Mendes da Rocha, que o recebeu no mesmo ano. Tornou-se o profissional mais jovem a receber a distinção.

Com uma produção centrada em experimentação, sustentabilidade e pesquisa de materiais, foi reconhecido pela municipalidade de Abu Dhabi no Cool Abu Dhabi Challenge, selecionado entre 1.700 escritórios do mundo inteiro, com uma solução técnica para mitigar ilhas de calor urbano no Oriente Médio. Aos 27 anos, isso o colocou na lista da Forbes Brasil como o profissional mais promissor do país com menos de 30.

Em 2023, depois de colaborar em escritórios de arquitetura consolidados de São Paulo, fundou a própria prática. Em dois anos o escritório entrou no Casa Vogue 50 e depois na lista AD100 da AD México y Latinoamérica. O estúdio atua hoje como um coletivo, entre arquitetura, interiores, desenho urbano, mobiliário colecionável, iluminação e exposições.

Estúdio Leonardo Zanatta — Press
Press

Tess Pavilion

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Tess Pavilion

São Paulo, Brasil · 2025
FotografiaAndré Scarpa
PrêmioArchello Pavilion of the Year
EstruturaExposed steel
ProgramaCommercial and exhibitions

The Tess Pavilion adopts strategies for passive thermal efficiency and structural decoupling. The flat roof is designed as an autonomous slab, dissociated from the main volumes, allowing continuous ventilation and permanent shading.

The rhythmic metallic structure, with slender columns and tensioned elements, was inspired by the image of a harp, and works as the organizing matrix of the space. It is left exposed, without cladding, stating the constructive logic with formal economy.

Although initially intended as a commercial space, the building was designed to also host rotating cultural exhibitions, working as mixed-use urban infrastructure.

Tess Pavilion — Main facade, photography André Scarpa
Main facade, photography André Scarpa
Tess Pavilion — Isometric view
Isometric view
Tess Pavilion — Roof and columns
Roof and columns
Tess Pavilion — Detail, tensioned structure
Detail, tensioned structure
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 5
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 6
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 7
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 8
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 9
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 10
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 11
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 12
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 13
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 14
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 15
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 16
Tess Pavilion, pavilhão em São Paulo, 2025 — vista 17

Sofia Pavilion

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Sofia Pavilion

São Paulo, Brasil  ·  2025
FotografiaIsrael Gollino
ReferênciaMalevich, Arkitektons
RuaZacarias de Góis
ProgramaPavilion

The Sofia Pavilion is a 380-square-metre commercial space located in Campo Belo, São Paulo. Developed for Nortis, the project gathers reception, exhibition, meeting and support areas in a composition formed by independent volumes, gardens and circulation spaces.

The proposal draws on references from Brazilian Concrete and Neo-Concrete art. Planes, blocks and openings are organised as elements of an abstract composition, while also responding to the programme and to the visitors' route. The separation between volumes creates passages, framed views and intermediate outdoor areas, reducing the reading of the building as a single closed block.

The interiors follow the same logic adopted in the architecture. The palette of materials and colours is restrained, while furniture, lighting and display elements are positioned to keep the relationships between rooms and gardens visible. Some of the pieces were designed by Estúdio Leonardo Zanatta, including prototypes from its design division.

Indoor and outdoor areas were treated as parts of a single spatial system. Vegetation occupies the intervals between the blocks and appears at different points along the route. The project uses this alternation between built volumes, voids and gardens to organise the commercial uses without resorting to excessive internal divisions.

Sofia Pavilion — Volumetric model
Volumetric model
Sofia Pavilion, pavilhão em São Paulo, 2025 — vista 2
Sofia Pavilion, pavilhão em São Paulo, 2025 — vista 3
Sofia Pavilion, pavilhão em São Paulo, 2025 — vista 4
Sofia Pavilion, pavilhão em São Paulo, 2025 — vista 5
Sofia Pavilion, pavilhão em São Paulo, 2025 — vista 6
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 1
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 2
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 3
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 4
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 5

Matice Pavilion

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Matice Pavilion

São Paulo, Brasil  ·  2026
FotografiaEverson Martins
PeleVertical steel chains
MaterialWeathering steel
DetalheTapestries designed for the project

Situated where Pinheiros and Jardins meet, the Matice Pavilion is a real-world study in how architecture adapts to climate and context. Instead of chasing visual impact with massive forms, it relies on passive design and dynamic elements.

The standout feature is a floating facade of vertical steel chains that ripple with the city breeze. This porous layer acts as a dynamic brise-soleil: it blocks harsh sun, blurs the line between sidewalk and interior, and casts shifting shadows onto glass and floor.

Sustainability here is not bolt-on technology. Thermal comfort is solved by the architecture itself: a broad overhanging roof, deeply shaded edges, recessed glass, strategic greenery, and the moving chain screen.

Matice Pavilion — Street facade, photography Everson Martins
Street facade, photography Everson Martins
Matice Pavilion — Chain skin
Chain skin
Matice Pavilion — Canopy
Canopy
Matice Pavilion — Tapestry, interior
Tapestry, interior
Matice Pavilion — Skin study
Skin study
Matice Pavilion, pavilhão em São Paulo, 2026 — vista 6
Orgânica Building, edifício em Santa Catarina, 2024 — vista 1
Orgânica Building, edifício em Santa Catarina, 2024 — vista 2
Orgânica Building, edifício em Santa Catarina, 2024 — vista 3
Orgânica Building, edifício em Santa Catarina, 2024 — vista 4
Orgânica Building, edifício em Santa Catarina, 2024 — vista 5
Orgânica Building, edifício em Santa Catarina, 2024 — vista 6
Orgânica Building, edifício em Santa Catarina, 2024 — vista 7

Orgânica Building

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Orgânica Building

Santa Catarina, Brasil  ·  2024
Pavimentos49
PaisagismoBurle Marx Office
ObraWalmor Corrêa
SituaçãoUnder construction

Across approximately 800 square metres of common areas, the project avoids literal references to the marine universe and builds its relationship with the coast through curves, textures, transparencies and gradual variations of light. Natural materials and soft-toned surfaces establish a serene base, while furniture, artworks and fixed elements introduce density and identity. Circulation organises sequences of compression and openness, frames gardens and brings together rooms with distinct uses. Landscape takes an active part in the interiors through courtyards, planters and extended views, reducing the separation between air-conditioned areas and outdoor spaces. Each room preserves functional autonomy while sharing a common grammar of continuous forms, precise proportions and fluid transitions. More than a succession of leisure areas, the ensemble was conceived as an extension of domestic life, able to gather reception, rest, conviviality and contemplation in a coherent spatial experience.

Orgânica Building — Rooftop
Rooftop
Orgânica Building — Main facade
Main facade
Orgânica Building — Lobby, tile panel
Lobby, tile panel
Orgânica Building — Burle Marx landscaping
Burle Marx landscaping
Orgânica Building — Walmor Corrêa, study
Walmor Corrêa, study
Orgânica Building — Interior
Interior
Orgânica Building — Isometric view
Isometric view
Orgânica Building, edifício em Santa Catarina, 2024 — vista 8
Orgânica Building, edifício em Santa Catarina, 2024 — vista 9
Orgânica Building, edifício em Santa Catarina, 2024 — vista 10
Orgânica Building, edifício em Santa Catarina, 2024 — vista 11
Orgânica Building, edifício em Santa Catarina, 2024 — vista 12
Orgânica Building, edifício em Santa Catarina, 2024 — vista 13
Fascino, edifício em Goiânia, 2024 — vista 1
Fascino, edifício em Goiânia, 2024 — vista 2
Fascino, edifício em Goiânia, 2024 — vista 3
Fascino, edifício em Goiânia, 2024 — vista 4
Fascino, edifício em Goiânia, 2024 — vista 5
Fascino, edifício em Goiânia, 2024 — vista 6
Fascino, edifício em Goiânia, 2024 — vista 7
Fascino, edifício em Goiânia, 2024 — vista 8

Fascino

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Fascino

Goiânia, Brasil  ·  2024
BiomaCaatinga
PaisagismoRicardo Cardim
FachadaMortar blend developed in lab
EstratégiaHorizontal brise-soleil

Goiânia faces a distinct climatic duality: six months of drought followed by six months of intense rainfall. The single constant throughout the year is heat. The project emerged from a fundamental need, shade.

Horizontal brise-soleils shade the facades facing long-stay interiors, reducing cooling loads and enhancing cross-ventilation. The same elements work as light shelves, reflecting daylight deeper into the rooms.

The landscaping uses only native species from the Caatinga biome, which reduces reliance on irrigation and mitigates the ecological risk of invasive species.

Forma e Substância — Pedestrian view from main street
Pedestrian view from main street
Forma e Substância, instalação em Museu Oscar Niemeyer, 2023 — vista 2
Forma e Substância, instalação em Museu Oscar Niemeyer, 2023 — vista 3
Forma e Substância, instalação em Museu Oscar Niemeyer, 2023 — vista 4

Forma e Substância

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Forma e Substância

Museu Oscar Niemeyer, Curitiba  ·  2023
EstruturaRented modular scaffolding
TecidoDonated to Retalhos e Nós
TipoInstalação
AbordagemCircular lifecycle

Forma e Substância (Form and Substance) is a site-specific installation created for the main hall of the Oscar Niemeyer Museum, in Curitiba. The project uses a modular system of metal scaffolding and translucent textile surfaces to build routes, framed views and different levels of opacity within the exhibition space.

The structure, normally associated with the construction site, is displaced into the museum and starts to work as a support for light, shadow, projections and movement. Illuminated tunnels, areas of permanence and zones filled with aromatic vapours are distributed along the route, so the installation is perceived through successive approximations rather than from a single point of view.

The design refers to Russian Suprematism and to El Lissitzky's Proun environments, in which abstract forms leave the plane and begin to organise space. In Forma e Substância, planes, voids and transparencies are used to turn geometry into direction, density and scale.

At the end of the exhibition, the scaffolding returns to the rental system and the fabrics are directed to reuse. The project treats the installation as a temporary structure, built with reversible components and organised to reduce waste.

Forma e Substância — Installation at night
Installation at night
Forma e Substância — Volumes and light
Volumes and light
MAC Panamá — Fabric and scaffolding
Fabric and scaffolding
MAC Panamá — Volumetric exploration
Volumetric exploration
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 3
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 4
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 5
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 6
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 7
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 8
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 9
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 10
MAC Panamá, projeto institucional em Cidade do Panamá, 2026 — vista 11

MAC Panamá

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MAC Panamá

Cidade do Panamá, Panamá  ·  2026
Consulta8.3% of Boca La Caja
EnvoltóriaRecovered wood, patinated copper
ProgramaMuseum, retail, plaza
TipoConcurso

The first step was to reassess the program together with the community. A consultation was carried out with a sample representing 8.3% of the population of Boca La Caja, alongside interviews with communal authorities from San Francisco.

The stair ceases to be circulation and becomes a gallery: its dimensions invite the visitor to stop, and the works are seen on the way up. Below, the ground floor is released as a shaded plaza occupied by popular commerce.

The expository safe is wrapped in panels of wood recovered from the demolition of the Zonian houses in the Canal Zone. The material has already been through the salt air, and returns to the building carrying that history.

Masterplan for the Brazilian Architecture Biennial — Exploded programme
Exploded programme
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 2
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 3
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 4
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 5
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 6
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 7
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 8
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 9
Masterplan for the Brazilian Architecture Biennial, instalação em Pavilhão das Culturas Brasileiras, 2026 — vista 10

Masterplan for the Brazilian Architecture Biennial

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Masterplan for the Brazilian Architecture Biennial

Pavilhão das Culturas Brasileiras, Ibirapuera  ·  2026
Área20,000 m²
ConceitoInvisible Borders
EdifícioOscar Niemeyer
FotografiaEverson Martins

The masterplan for the first Bienal de Arquitetura Brasileira recognizes the symbolic weight of occupying a building by Oscar Niemeyer and reopening it to public life.

Developed from the concept Invisible Borders, the proposal dissolves Brazil's political divisions and reorganizes the country through its biomes: Amazon, Cerrado, Caatinga, Atlantic Forest, Pampa and Pantanal. The Bienal becomes a living geography, where states are grouped by rivers, vegetation, climate and terrain.

It draws from the intelligence of Brazilian street markets, especially the Feira de Caruaru, understanding temporary occupation as a collective and adaptable form of architecture. Each pavilion works as a territorial stall within a larger civic field.

Masterplan for the Brazilian Architecture Biennial — Pavilhão das Culturas Brasileiras
Pavilhão das Culturas Brasileiras
Masterplan for the Brazilian Architecture Biennial — Masterplan
Masterplan
Urban Masterplan — Rammed earth pavilion
Rammed earth pavilion
Urban Masterplan — Gridshell pavilion
Gridshell pavilion
Urban Masterplan — 3D printed pavilion
3D printed pavilion
Urban Masterplan — Main hall
Main hall
Urban Masterplan — Tectônicas em Exílio
Tectônicas em Exílio
Urban Masterplan — SirleiOldoni_AdesivoPiso_0004.jpg
SirleiOldoni_AdesivoPiso_0004.jpg
Urban Masterplan — EversonMartins_@arq.em.foto_LoungeWestwing_02.jpg
EversonMartins_@arq.em.foto_LoungeWestwing_02.jpg
Urban Masterplan — adrianopacelli_IMG_6694.jpg
adrianopacelli_IMG_6694.jpg
Urban Masterplan — adrianopacelli_piaui_blackarquitetos-2.jpg
adrianopacelli_piaui_blackarquitetos-2.jpg
Urban Masterplan — EversonMartins_@arq.em.foto_SC_05_apagada.jpg
EversonMartins_@arq.em.foto_SC_05_apagada.jpg
Urban Masterplan — EversonMartins_@arq.em.foto_RS_06.jpg
EversonMartins_@arq.em.foto_RS_06.jpg
Urban Masterplan — adrianopacelli_BAB 26-8.jpg
adrianopacelli_BAB 26-8.jpg
Urban Masterplan — adrianopacelli_IMG_6282.jpg
adrianopacelli_IMG_6282.jpg
Urban Masterplan — SirleiOldoni_Brasilia_0006.jpg
SirleiOldoni_Brasilia_0006.jpg
Urban Masterplan — adrianopacelli_TCL-4.jpg
adrianopacelli_TCL-4.jpg
Urban Masterplan — SirleiOldoni_Fachada_0004.jpg
SirleiOldoni_Fachada_0004.jpg
Urban Masterplan — SirleiOldoni_Fachada_0007.jpg
SirleiOldoni_Fachada_0007.jpg
Urban Masterplan — SirleiOldoni_Fachada_0007.jpg (18)
SirleiOldoni_Fachada_0007.jpg
Urban Masterplan — SirleiOldoni_Fachada_0005.jpg
SirleiOldoni_Fachada_0005.jpg
Urban Masterplan — adrianopacelli_BAB 26-11.jpg
adrianopacelli_BAB 26-11.jpg
Urban Masterplan — adrianopacelli_BAB 26-13.jpg
adrianopacelli_BAB 26-13.jpg

Urban Masterplan

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Urban Masterplan

Passo Fundo, Rio Grande do Sul  ·  2026
Terreno661,625.28 m²
ConclusãoEstimated 2033
EstruturaWatercourses and green corridors
TipoPlanned neighbourhood

The project for a new planned neighbourhood begins with the understanding that urban development must operate beyond the logic of subdivision, incorporating infrastructure, landscape, mobility and collective life as structuring elements of value.

The masterplan is organized around the preservation of watercourses, permanent preservation areas and green corridors, which become the main spatial and ecological axes. Landscape is not a residual condition, it is the organizing system that defines roads, public spaces and density.

A main centrality and two subcentralities organize everyday life, concentrating commerce, community facilities and social interaction.

Abu Dhabi Skins — Aerial view
Aerial view
Abu Dhabi Skins — Street sections
Street sections

Abu Dhabi Skins

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Abu Dhabi Skins

Abu Dhabi, Emirados Árabes Unidos  ·  2020
ConcursoCool Abu Dhabi Challenge
SeleçãoAmong 1,700 offices
SistemaAlgae bioreactors
FocoUrban heat island

Designed for the Municipality of Abu Dhabi, the Urban Skin Experiment envisions the city as a living organism, with circulatory systems, tissue layers and metabolic processes.

Bionics offers a refined toolkit by merging natural and artificial mechanisms. Paired with bioreactors, algae can be far more efficient than trees in capturing CO2. Scaled to the city, this could improve air quality, lower temperatures and raise local oxygen levels.

The proposal enhances pedestrian circulation with minimal impact and reduced emissions, placing urban resilience and climate adaptation at the core.

Uiara Lamps Tryptych — Thermal performance
Thermal performance

Uiara Lamps Tryptych

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Uiara Lamps Tryptych

Milano, Itália  ·  2026
FotografiaPaolo Benvenuto, Gabriel Soares, Stefano Ronchi.
MateriaisCarved wood, Cellulose Fabric, Translucent onyx, Travertine.
LinhaELZ Design
TipoLuminária de piso
PreçoSob consulta
AcabamentosMadeiras amazônicas e tecido de celulose e Rochas naturais
DimensõesDimensions : Uiara I 25 x 25 x 160 cm; Uiara II 25 x 25 x 160 cm; Uiara III 25 x 25 x 80 cm

Uiara is part of an expanded line called Encantaria, inspired by Brazil's originary cosmology. The collection stems from anthropological research dedicated to recovering entities whose presence in the myths of deep Brazil remains alive to this day through oral tradition, despite the imposition and overlay of foreign mythologies such as the Greek, Roman and Norse.

Each piece in the line honours an encantado. In this case, Uiara, from the Nheengatu iiyara, is evoked as a Tupi-Guarani deity associated with the protection of bodies of water and the vital cycles of the forest.

The myth of Uiara becomes even more critical in a context of expanding extractive activity in northern Brazil, where rivers are silted by mining and the forest is often treated with little respect by illegal extraction. Here, Uiara can be understood as the personification of a productive process that respects the forest and, by extension, the encantados that inhabit it.

Estúdio Leonardo Zanatta — Photography Paolo Benvenuto
Photography Paolo Benvenuto
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UIARA I - STONE.jpg
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UIARA III - STONE.jpg
Estúdio Leonardo Zanatta — imagem 16
Estúdio Leonardo Zanatta — UIARA III-WOOD.jpg
UIARA III-WOOD.jpg

Contato

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StudioSão Paulo | Lisbon
Instagram@_leonardozanatta
Pinterestleonardozanattadesign
RegistrationCAU A159874-0

Política de privacidade

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Propriedade intelectual. Fotografias, desenhos, textos e pictogramas exibidos aqui são propriedade intelectual do Estúdio Leonardo Zanatta, protegidos por lei. Materiais técnicos e promocionais podem ser reproduzidos para divulgar projetos do Estúdio Leonardo Zanatta. Qualquer outro uso exige autorização por escrito.

Solicitações, correções e remoções: contato@leonardozanatta.com.br

Era Itapema Interiors

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Era

Itapema, Brasil  ·  2022
Ano2022

Texto do projeto em edição.

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Orgânica Interiors

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Orgânica Interiors

Itapema, Brasil  ·  2023
Ano2023

Texto do projeto em edição.

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Consciente Show Apartments

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Apartamentos decorados - Fascino

Goiânia, Brasil  ·  2024
Ano2024
DeveloperConsciente Empreendimentos

Conceived as a sequence of residential interiors able to present different ways of living without reducing the show apartment to a product showcase. The identity of the project draws on the chromatic richness of the Cerrado flora, especially the tones found in seeds, fruits, barks and flowers of the biome. Rather than reproducing their forms literally, these references appear as points of colour set over a base of natural materials, woods, tactile fabrics and mineral surfaces. Kitchen, living and dining are treated as a continuous field, while panels, shelving and joinery organise uses, storage and privacy. The furniture gathers authorial pieces and names of Brazilian design, reinforcing a contemporary atmosphere linked to the territory. Lighting combines indirect sources and precise accents to change the perception of the rooms throughout the day and highlight artworks, textures and volumes. Each unit responds to a distinct resident profile while keeping a common language. The result is a set of commercial spaces that preserve domestic verisimilitude and turn the visit into an experience of colour, matter and real possibilities of appropriation.

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Aparador Caapora

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Aparador Caapora

Brasil  ·  2025
Ano2025
ManufacturerVEDAC

The Caapora sideboard belongs to the Encantaria line and springs from the idea of an Amazonian xylotheque turned into furniture. The piece is composed of small modules of different Brazilian species — among them coração-de-negro, muiracatiara and muirapiranga — sourced from sustainable management in Pará. The diversity of colours, grains and densities makes the material richness of the forest visible without converting it into illustrative ornament. Handcrafted in São Miguel do Guamá by master woodworker Robson Teixeira Gomes, the sideboard brings traditional techniques close to contemporary assembly solutions. The solid-wood feet receive the “turu” texture, inspired by the perforations produced by the Amazonian mollusc, while a carved sphere introduces an organic, slightly enigmatic presence. Internal drawers with touch-opening preserve the continuity of the volume. The modular system suggests the possibility of growth and repetition, like an organism formed by segments. Caapora does not literally depict the forest's guardian entity; it evokes her presence through the variety, resistance and memory held in each fragment. The object thus works as a material archive of the forest and as the expression of a production chain bound to territory, responsible management and the handing down of craft knowledge.

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Athene

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Athene

Goiânia, Brasil  ·  2025
Ano2025
DeveloperFhaus

Athene Garden is a residential development based on the integration of architecture, interiors and landscape. Located in a planned neighbourhood surrounded by preserved vegetation, the project uses species, woods, seeds and fruits of the Atlantic Forest as references for the definition of materials and colours.

The interiors, designed by the studio, adopt a palette based on tones identified in the vegetation of the biome, applied to joinery, fabrics, finishes and furniture elements. Ricardo Cardim's landscape design expands this research through the use of native species and the approximation between built spaces and gardens.

The common areas were organised to maintain visual relationships with the vegetation and favour natural light and ventilation. Gardens, courtyards and circulation spaces act as transition zones between indoor and outdoor areas.

The project also incorporates environmental comfort and efficiency strategies throughout the development. The proposal considers both the performance of the spaces and the impacts of the building's construction and operation, aiming to establish a more direct relationship between architecture, landscape and local context.

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Athene Interiors

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Athene Garden

Goiânia, Brasil  ·  2025
Ano2025
DeveloperFhaus

For the collective spaces of the development, based on research into the colours, materials and species of the Atlantic Forest. The starting point was not a direct reproduction of the forest, but the observation of the tones present in woods, seeds, fruits, barks and leaves, later translated into a palette of mineral surfaces, fabrics, joinery and points of colour. This investigation establishes continuity with Ricardo Cardim's landscape design, whose presence runs through the architecture and takes part in the construction of the interior spaces. Halls, lounges and social areas are organised by clear visual axes, framed views of vegetation and gradual transitions between shade, light and matter. The furniture combines authorial pieces and Brazilian design, avoiding the generic neutrality common in residential developments. Indirect lighting values textures and volumes, while precise accents guide the perception of artworks and objects. A work by Walmor Corrêa expands the project's relationship with biodiversity by introducing an artistic and imaginative reading of Brazilian fauna. Rather than building an image of luxury through accumulation, Athene works with proportion, detail and coherence between interiors, art and landscape, creating spaces that act as an extension of the garden and of domestic life.

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Sofia Interiors

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Sofia Interiors

São Paulo, Brasil  ·  2025
Ano2025

The Sofia Pavilion is a 380-square-metre commercial space located in Campo Belo, São Paulo. Developed for Nortis, the project gathers reception, exhibition, meeting and support areas in a composition formed by independent volumes, gardens and circulation spaces.

The proposal draws on references from Brazilian Concrete and Neo-Concrete art. Planes, blocks and openings are organised as elements of an abstract composition, while also responding to the programme and to the visitors' route. The separation between volumes creates passages, framed views and intermediate outdoor areas, reducing the reading of the building as a single closed block.

The interiors follow the same logic adopted in the architecture. The palette of materials and colours is restrained, while furniture, lighting and display elements are positioned to keep the relationships between rooms and gardens visible. Some of the pieces were designed by Estúdio Leonardo Zanatta, including prototypes from its design division.

Indoor and outdoor areas were treated as parts of a single spatial system. Vegetation occupies the intervals between the blocks and appears at different points along the route. The project uses this alternation between built volumes, voids and gardens to organise the commercial uses without resorting to excessive internal divisions.

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Tapete Força de Maré

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Tapete Força de Maré

Brasil  ·  2025
Ano2025
ManufacturerTapeçaria Italiana

Força de Maré (Tidal Force) is a rug collection developed from the physical concept that describes the deformations produced by the gravitational interaction between bodies. Rather than representing planets or cosmic landscapes, the project translates into the textile plane phenomena such as attraction, displacement, orbit, resonance and the distortion of matter and space. Chromatic masses approach, compress and create zones of tension, as if the surface were subjected to different gravitational fields.

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Tapete Tesselar

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Tapete Tesselar

Brasil  ·  2025
Ano2025

The Tesselar Rug is born from the transposition of the manual gesture into an ECONYL production process. Its original drawing was made in India ink on paper and later converted into a pattern without correcting the small imprecisions produced by the hand. Oscillations in thickness, misalignments, interruptions and minimal differences between the modules were preserved and turned into active elements of the composition. The procedure extends into the creative field the rug's own artisanal manufacturing logic, refusing the absolute regularity normally associated with geometric repetition.

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Tectônicas em Exílio

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Tectônicas em Exílio

Brasil  ·  2025
Ano2025

Tectonics in Exile is a site-specific installation conceived to occupy the interval between two pillars of the Pavilhão das Culturas Brasileiras, in Ibirapuera Park. The project appropriates Oscar Niemeyer's architecture to establish a relationship of tension between modern form, matter and territory. Compacted earth, rock and timber, materials associated with construction and with the geology of the countries of the Global South, constitute a structure that acts not only as an exhibition object but as a spatial argument. In the main hall, the image of a Global North metropolis, 17 metres long and 5 metres high, appears as a monumental surface, set against the physical density of the extracted materials. This juxtaposition exposes the unequal chain that sustains much of contemporary urban development: while natural resources, energy and labour are continually displaced from the South, their wealth reappears converted into infrastructure, image and luxury in the great cities of the North. The installation turns this economic relationship into bodily experience, bringing together architectural scale and material presence. Rather than illustrating extractivism, Tectonics in Exile makes its spatial logic visible: the separation between the place from which matter is taken and the place where its value is concentrated.

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Terral Sky Home Club

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Terral Building

Brasil  ·  2025
Ano2025
DeveloperMontclass Group

In Porto Belo, Santa Catarina, the project was conceived to reflect the tropical essence of the Atlantic Forest without turning the biome into a decorative theme. Woods, stones, fibres, natural fabrics and earthy tones build a material base linked to the coast, while Brazilian design acts as a common thread between rooms of different scales and uses. Authorial pieces by the studio coexist with works and furniture from different generations, forming a plural and recognisable domestic landscape. Gardens cross the boundaries between indoor and outdoor areas, frame views and create shelter for birds, bees and other pollinators.

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Terral Interiors & Landscape

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Terral Interiors & Landscape

Brasil  ·  2025
Ano2025

Texto do projeto em edição.

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Banco Mambo

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Banco Mambo

Brasil  ·  2025
Ano2022

Handcrafted in a family woodworking shop based in Canela, Rio Grande do Sul, the piece is executed in solid wood. The design uses thick planes and exposed joints, keeping visible the relationship between top, sides and supporting structure. The three versions were conceived for distinct uses, from individual seat and side support to a collective bench for residential, commercial or circulation areas.

The name Mambo refers to the designer's cat, without resulting in a figurative representation. The association appears in the low proportions and the horizontal volume of the piece.

The oil finish keeps the grain and the natural variations of the wood visible. As each bench is produced from solid pieces, differences in tone and surface pattern are part of the final result. The variation in length allows the same model to be used at different scales without changing its constructive language.

Mambo Series-01 measures 70 × 47 × 47 centimetres; Mambo Series-02 measures 150 × 47 × 47 centimetres; Mambo Series-03 measures 180 × 47 × 47 centimetres.

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Mesa Austral

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Mesa Austral

Brasil  ·  2025
Ano2025
ManufacturerSerafini

A monolithic architecture at domestic scale

Austral Dining Table is conceived as an architectural object translated into the scale of living. Designed by Leonardo Zanatta, the table draws from South American geology and the cultural vocabulary of Brazilian art and tropical modernism. Produced by Serafini, Austral Dining Table transforms marble into a medium of territorial expression. More than a functional surface, it becomes a spatial presence shaped by mass, rhythm and structural clarity. The monolithic character reinforces permanence while maintaining compositional balance. Marble is treated not as decorative finish but as narrative material, carrying geological memory into contemporary living environments through refined luxury marble design.

Constructive rhythm and sculptural composition The sculptural base is composed of interlocking stone volumes arranged in a tridimensional composition of solids and voids. This tectonic logic recalls Brazilian modernist architecture and the constructive experimentation of twentieth century Brazilian art. The horizontal top contrasts with the fragmented vertical pedestal, creating tension between continuity and articulation. Designed by Leonardo Zanatta for Serafini, Austral Dining Table positions structure as visual language. The piece articulates rhythm, contrast and structural honesty through marble mass. Rather than relying on ornament, the design expresses identity through proportion and tectonics, establishing a powerful architectural presence within contemporary dining spaces.

Custom marble identity by Serafini Crafted by Serafini with advanced Italian stone expertise, Austral Dining Table is fully custom in marble selection, finish and detailing. The project reflects a dialogue between Latin American geological heritage and refined marble craftsmanship. Each stone reveals a distinct mineral narrative, reinforcing the uniqueness of every piece. Designed by Leonardo Zanatta, the table embodies a vision of luxury marble design rooted in material authenticity and cultural memory. Through customization, Austral Dining Table adapts to diverse interior contexts while preserving its monolithic strength and architectural clarity, becoming a defining element within sophisticated living environments.

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Pampa Lamp Series

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Pampa Lamp Series

Rio Grande do Sul, Brasil  ·  2025
Ano2025
LinhaELZ Design
TipoPendente
MateriaisAlumínio e aço inox

The Pampa line evokes the breadth of the prairies, the distant horizon, the frost over the fields of Rio Grande do Sul. It speaks of my roots and of the things I love; it speaks of poetry, of home.

Each piece translates the vastness of the gaúcho pampa into essential geometry: long horizontal lines that evoke the horizon, materials that recall the cold, silvery light of frosty mornings. Aluminium and stainless steel lend lightness and a restrained glow, like the reflection of the low sun over the open field. The seriality of production dialogues with the repetition of the posts and fences that punctuate the plain, turning an industrial gesture into an image of belonging.

Designed to converse with contemporary spaces, the piece finds a balance between industrial rigour and the delicacy of affective reference, working both as a light source and as a sculptural element in space. More than lighting, Pampa is an exercise in affective memory — an object that carries its landscape of origin and turns it into everyday presence.

Encantaria Sofa — Pampa Pendant Series-01 — aluminium and stainless steel
Pampa Pendant Series-01 — aluminium and stainless steel
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 2
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 3
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 4
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 5
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 6
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 7
Encantaria Sofa, design de produto em Brasil 2026, 2026 — vista 8

Pop-Up Invicta

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Pop-Up Invicta

São Paulo, Brasil  ·  2025
Ano2025
ClienteInvicta
ArquiteturaEstúdio Leonardo Zanatta + Jeferson Branco
EquipeMarina Lesseux, Lucas Carilli
BrandingValkiria IC
Produção e imagemBia Moraes
FotografiaVitor Martins

The Invicta Pop-up was created to present the brand's new visual identity during ABUP Show 2025, held at Distrito Anhembi in São Paulo. Designed by Leonardo Zanatta and Jeferson Branco, the stand worked as a concept store and launch space for the new product lines.

The layout was organised to allow viewing and access from all four sides, without establishing a main façade. Display units, graphic surfaces and circulation areas were distributed within an open composition, allowing visitors to observe the products from different points of the fair.

The project carried into physical space the rebranding developed by studio Valkiria. The palette of sage green, peach, sand, red and blue was applied to planes, niches and display elements, creating sectors for the different product families.

Pop-Up Invicta, instalação em São Paulo, 2025 — vista 1
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 2
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 3
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 4
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 5
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 6
Pop-Up Invicta, instalação em São Paulo, 2025 — vista 7

Encantaria Sofa

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Encantaria Sofa

Brasil 2026

The Encantaria Sofa was developed to make fuller use of Brazilian hardwood pieces that fall outside standard commercial dimensions. Instead of treating these fragments as waste, the design incorporates them into the structure of the piece, where their different colours, grains and densities remain visible. The timber comes from forest concession areas in the Amazon managed through controlled and selective extraction. It includes witness wood and material from trees already approaching the end of their natural cycle. By working with small sections, the sofa increases the usable yield of each tree and reduces the demand for large, standardised cuts. Muirapiranga, muiracatiara and coração-de-negro are arranged across the sides and back in hundreds of individual modules. Together, they form a record of the region’s material diversity without concealing the distinctions between species. The Encantaria Sofa brings environmental responsibility into the design process through material selection, scale and construction. Its character comes directly from the available wood, allowing pieces with limited commercial value to become a defining part of a contemporary object.

Encantaria Sofa — Photography: Henrique Azevedo
Photography: Henrique Azevedo
Encantaria Sofa — Photography: Henrique Azevedo (2)
Photography: Henrique Azevedo
Encantaria Sofa — Front View
Front View
Encantaria Sofa — Perspective
Perspective
Encantaria Sofa — Perspective (5)
Perspective
Encantaria Sofa — Side view
Side view
Encantaria Sofa — Side view (7)
Side view
Encantaria Sofa — Top View
Top View
Encantaria Sofa — Back view
Back view

Prêmios

2018 – 2026

Recognition arrived first for the research, and only later for the buildings. The list below is chronological, from the first Saint-Gobain trophies to the AD100.

Imprensa

Selected

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Estúdio Leonardo Zanatta na imprensa — AD100, AD México y Latinoamérica
AD100, AD México y Latinoamérica
Estúdio Leonardo Zanatta na imprensa — Casa Vogue and Forbes Brasil
Casa Vogue and Forbes Brasil