Betting once again on the audacity of a manifesto space, Jeferson Branco arrives at his third CASACOR at the age of 29. The composition of the environment of the socializing bar of the show, signed by him, houses a hanging garden, organic pieces, and a question about where we come from and where we are going.

Nothing is square in the space that architect Jeferson Branco signs for CASACOR Balneário Camboriú (SC) 2023. Neither in form nor in personality. The [t3chno.DELTA], the project of the bar in the convivial space of the show, taking place on the coast of Santa Catarina and bringing the theme of Body and Dwelling, is a place to be contemplated and questioned, as asking is part of Jeferson’s architecture decoration. The manifesto environment, inspired by a swamp, brings green, literally, from the ground to the ceiling, housing the most primitive forms of nature, the organic. All this is to alert us about the excessive use of technology, bringing to the fore whether we are more in the cloud than connected to our roots.

In this project, Jeferson brings the rise of artificial intelligence as inspiration for the central theme of the space that asks: Where are we going? According to the architect, “The project is a reminder that a swamp is also a place of innovation and discovery, and brings a good-humored blend between biophilia and high-tech, the duality between ancestry and futurism, raising questions about where we come from and where we are going”. To do so, the almost 100m² that he transformed into a vast architectural delta has wood, stone, iron, and unique pieces that compose the, at least, provocative environment.

Among the elements that make up the [t3chno.DELTA] project is a cable automation system developed by students from PUC of Rio Grande do Sul, an Italian lamp designed in 1964 by Bruno Munari, contemporary stools by Leonardo Zanatta, a Forbes Under 30 designer, a sofa by Victor Vasconcelos, Pangea support tables in purplewood signed by Jeferson himself, who also signs the rug from the Protozoa collection. All this, while the use of Speranza, an exotic quartz extracted in Brazil, refers to the natural, and the brushed steel applied in some areas of the project brings the relationship with futurism and technology. With this visual composition halfway between the Jetsons and the Flintstones, it is clear that the swamp is a fertile scenario where life is born, evolves, and adapts. Not necessarily in this order.

Continuing the tour through the details of [t3chno.DELTA], the curation of the pieces always makes the counterpoint of already established designers and the avant-garde in Brazil, always emphasizing this duality between the past and the future. On the walls, the botanical images of Walmor Corrêa share space with an organic mirror by Rodrigo Ohtake, while natural plants from Laura Rotter’s landscaping fall from the ceiling. According to Jeferson Branco’s partner and sister, Letícia Branco, “The environment should promote a moment of reflection for those who visit CASACOR, and we hope that, more than just appreciating, the visitor seeks to understand the message we are trying to convey by aligning forms, concepts, materials, and professionals from the past, present, and future.”