yinjispace

INTERIOR
Studio Marina Salles
PHOTOGRAPHY
Fran Parente
EDITOR
Gina
Collection

Occupying 31 m² of the historic building, the space is designed as the creative sanctuary of a designer-woodworker — a research laboratory where experimentation with wood drives the narrative. Interpreting the exhibition’s annual theme, “Mente e Coração” (Mind and Heart), architect Marina Salles proposes a deep dive into material honesty: the “heart” beats in the human gesture that transforms the tree into an artifact, while the “mind” reveals itself in the rigor of technical joinery and respect for nature’s timing. It is from this balance that the name Entre Veios (Between Wood Grains) is born, a key to understanding the experience: if the grains graphically record the maturation of plant life, the “entre” (between) celebrates the necessary dialogue between the artisan’s sensibility and the precision of design.

The layout is essentially configured as an investigation atelier, where the architecture of the historic building is respected as a narrative foundation. The original peroba wood block flooring was restored, serving as a testament to time and the very materiality that the environment celebrates. To orchestrate the visual flow, a drywall portal was executed around the main wall, creating a depth axis that frames a bookshelf as the epicenter of the home office. The structure recalibrates the scale: in a room with generous ceiling height, this element establishes a more palatable height for the visitor, providing an immediate sense of coziness.

The modular cabinetry unfolds along the main plane, acting as the project's backbone. Developed in 35-centimeter square panels, the piece utilizes a chromatic and finishing alternation between natural pine and brushed charred wood to subvert the conventional perception of the material. The panel exalts the singularities of the wood — its knots and fibers — transforming the wall into a living surface. The modular logic ensures a commitment to sustainability, allowing for the complete disassembly and reuse of all components after the exhibition closes. In a central position, the workspace revolves around the Demoiselle desk, designed by Lia Siqueira for Etel in solid wood, complemented by the Gir chair, created by designer Juliana Llussá.

Anchored to this axis, a set of shelves and a lower bench — both in stained goiabão — provide horizontality to the ensemble. To seal the atmosphere, the lighting design by Estúdio Carlos Fortes, featuring technical fixtures from Interlight, uses a warm color temperature that bathes the space and the main panel. This interplay of light highlights the textures of the selected woods, while lampshades create an intimate setting.

The curation on the shelves deepens the pedagogical and emotional immersion of the environment. Samples of native species — such as cumaru, catuaba, and roxinho — invite visitors to explore the tactile and chromatic uniqueness of biodiversity. Alongside them, a bibliographic selection traces a timeline of woodworking, uniting the millenary rigor of Japanese wooden architecture with the legacy of Brazilian masters such as Sergio Rodrigues and Carlos Motta. Complementing this, everyday artisanal objects, such as pencils and carpenter squares, humanize the bookshelf.

A lounge area invites a pause for reading, organized as a compendium of national design. It is anchored by the Ginza sofa, by Isabelle de Mari, whose exposed structure in solid sucupira allows the furniture's "skeleton" to narrate its own construction. Alongside it, the Vaivém armchair, a creation by Leon Ades, is a piece inspired by traditional rocking chairs and produced entirely in his woodworking studio in São Paulo.

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