There are houses by the sea. And there are houses that let the sea in.”
It is from this idea that the Brisa Penthouse Apartment project is born, in Praia da Barra. For Priscila Kunenn, more than designing a space with an ocean view, the goal was to create a continuous relationship between interior and exterior — a home where light, materiality, and fluidity allow the sea to be felt before it is even seen.
“An interior that does not compete with the landscape, but rather embraces it.”
Spanning approximately 250m², the project was overseen from the construction phase itself, which brought a particular challenge: many decisions had to be made simultaneously with the ongoing works.
This process demanded rigor and anticipation, but also opened room for more precise control over every detail. The architecture and interiors were conceived together, ensuring total coherence in the final result — a space that does not fragment, but flows.
“Being close to the construction site allows us to better control the detail and quality of the final result.”
The collaboration with Aleluia Ceramics on this project stems from a relationship that had already been established. The first contact took place in 2020, on a very different project — a bathroom built around the concept of a “young surfer” — where the Scales collection, a scale-shaped tile in a blue-green tone, brought identity and energy to the space. Since then, the collaboration has continued, grounded in one clear idea: trust.
“There is a consistency between what the catalogue promises and what the product delivers on site.”
To this is added a very distinctive identity: Portuguese, rigorous, and with the capacity to innovate without losing its connection to its roots.
“Working with Aleluia Ceramics is, above all, working with confidence.”
In the Praia da Barra project, the ceramic does not appear as a punctual element, but as a continuous presence. The Oslo collection runs throughout the entire apartment and helps build that sense of unity. The choice was not purely aesthetic — it began as a technical one. With underfloor heating throughout the home, a material with high thermal conductivity, dimensional stability, and resistance to wear was required.
“The ceramic was both a technical and an aesthetic decision, and it is precisely that duality that makes it so relevant.”
But it was in the way that technical response intersected with the project’s intention that the decision gained strength. The wood-like effect of the collection brought the visual warmth the space called for, without compromising durability or ease of maintenance — both especially important in a coastal setting.
The continuity of the material across rooms eliminated transitions and reinforced the idea of fluidity, creating a home designed to be lived in naturally, almost instinctively.
“A home designed to be lived in barefoot.”
For Priscila, this duality is precisely what makes ceramic so relevant in contemporary architecture. It is no longer simply a functional covering, but an element that actively participates in shaping the experience of a space. Materials have ceased to be a backdrop and have become a language.
“Before we design the space, we are already defining how it will be felt.”
The way they reflect light, their texture, the temperature to the touch, or the sound they produce when walked upon directly influence the way we inhabit a space.
That is why, when choosing ceramic, what she values above all is the honesty of the material — it is expected to behave as it promises, to age with dignity, and to withstand the real conditions of use without losing character.
“What interests me is a material that can hold up to real life, not just the moment of the photograph.”
Versatility is another determining factor, making it possible to work from fine detail through to large surfaces with coherence. And, increasingly, technical performance takes on a central role — particularly in integration with climate systems and in the day-to-day maintenance requirements.
In the case of this project, the ceramic also had the capacity to transform the perception of space. The continuous flooring, with its wood-like effect, dissolves boundaries and invites a fluid journey through the home, almost as if the interior were a natural extension of the exterior.
“When the material stops marking boundaries, the space begins to breathe differently.”
This attention to the way spaces are lived in also reflects a broader shift in architecture and interior design. According to Priscila, there is a clear return to authentic materiality — fewer artificial surfaces and more materials that embrace their own nature.
“There is a felt need to return to what is genuine, to what does not need to disguise itself.”
At the same time, there is a growing appreciation for sensory comfort: natural light, acoustics, temperature, tactility. The domestic space has gained a new centrality and, with it, a new level of demand.
Clients follow this transformation. They are better informed, more attentive, and with greater access to quality references. The challenge often lies in helping to translate those references into solutions that are coherent with real life, not just with an image.
“Not everything that works in an image works in a home and that is where our work begins.”
Looking ahead, the evolution of materials will inevitably be shaped by sustainability. More than a trend, it will be a requirement, evaluated across the entire life cycle: origin, durability, and the possibility of reuse.
“We will stop asking whether it is sustainable — it will simply have to be.”
In this context, ceramic presents clear advantages. It is long-lasting, of natural origin, and has been evolving significantly in its production processes.
Its role in architecture will therefore tend to become even more relevant. Beyond traditional applications, it is expected to occupy new surfaces and functions, with increasingly versatile formats and finishes.
“Ceramic has not yet shown everything it is capable of within architecture.”
Despite the growing influence of technology in the design process — from representation tools to performance simulation — Priscila believes the future of architecture will not be purely technical. It will also be emotional.
“The more we advance in technology, the more important becomes what we feel in a space.”
Technology allows us to optimise, test and anticipate, but above all it frees up space to think about what truly matters: the way we want to feel the spaces we inhabit.
This perspective has accompanied her throughout her entire journey. Having studied Architecture and Urban Planning in Brazil, she would later validate her degree at the Faculty of Architecture of the University of Porto and go on to found her studio in Aveiro.
Along the way, two moments were particularly significant: the first project, in Rio de Janeiro, developed in close relationship with the client, and the fresh start in Portugal, a demanding process that reinforced the importance of resilience, but also of listening and trust.
“Architecture is built as much from technique as from humanity.”
Today, it is above all in the design of residential spaces that she finds her greatest challenge and motivation. Projects where each client brings a unique way of living, and where the work lies in interpreting, translating, and giving form to those lived experiences.
Inspired by a contemporary language of minimalist influence, with references to the Scandinavian and Japanese worlds, she seeks an architecture where the essential takes centre stage. Clean lines, honest materials, and a particular attention to light as a constructive element.
“True sophistication lies in what is felt before it is seen.”
At the heart of everything, one simple but constant idea remains:
“Architecture is, above all, about people.”
Capturing essences, interpreting stories, and transforming them into spaces that welcome and improve the lives of those who inhabit them. That is where a project finds its true meaning.
