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The project consists of a large gallery to house the items of a collector of objects, cars, and art, where the space itself represents an object in his collection. The program includes a garage for the cars, exhibition galleries for the various collections, a family office, a studio/workshop, a gym, and a kennel. Developed by Superlimão in partnership with architect Gabriela Coelho, it is based on industrial architecture, conceived with modules of shipping containers and metal structures. A key feature that differentiates the project from what we are accustomed to seeing in containers is that it is fully adapted to our climate, utilizing passive techniques to maximize energy efficiency and taking advantage of the reuse of materials, such as the containers themselves. All rooms have windows at three different heights, which not only allow for cross-ventilation but also optimize convection on windless days. The exterior walls are painted with ceramic, which, together with the green roof, creates a high thermal inertia that keeps the interior environment pleasant even without the use of air conditioning equipment. They exist but are only turned on during the height of summer. All areas have natural light, either through windows or skylights. The layout, and the design principle, accommodates connections and views at various levels, as intermediate gardens connect the three main floors: street level, ground floor, and rooftop garden. The ground floor layout consists of ten interlocking containers forming a central axis. The roofs were reinforced to accommodate gardens, so that, viewed in plan, the project mimics the surroundings and appears as a large plaza. However, in reality, the containers, as well as adjacent rooftops, were arranged at different levels, and windows allow views between these areas. What is now the floor becomes the roof and vice versa, creating a spatial experience worthy of Escher's engravings. The main connection between the containers creates a large central circulation axis that was treated as a gallery. A metal grid was developed on the interior walls, which can accommodate wood or expanded metal panels, creating great flexibility in how the collections are displayed. The Corten steel walls, as well as the original flooring of the containers, were restored and left exposed. The studio was clad with OSB panels, allowing for the mounting of tools and machinery. The office consists of four containers, and between them, there is a free area directly connected to the garage, where a car elevator allows for displaying one of the models, bringing the collection into everyday life. The garage is a large space, supported by just two pillars, optimizing the display of the cars. In the center, a turntable facilitates daily maneuvers, allowing easy access to the cars, facilitating use and maintenance. The concrete curtains were left exposed, as were the reinforcing metal structure and infrastructure of the facilities. The entrance is enclosed by a sliding gate with a perforated screen and an open back, and features a slope completely covered with plants, allowing for good natural light and ventilation, despite being partially buried. The exterior floor is fully permeable and was constructed with a monolithic drainage material that does not use expansion joints. The house reuses rainwater and has a large-capacity cistern. The water tank is a vertically positioned tank container. The landscaping was designed with different biomes in mind. The lower levels feature denser, tropical vegetation, while the rooftop, which receives a lot of sunlight, has more arid vegetation suited to the microclimate. The lighting design prioritized exhibition design options to enhance the exhibits while also creating greater flexibility.