Leo Lague presents a new body of work developed over two years of research in collaboration with Brazilian researchers, communities, and artisans. Materials such as primitive silk, natural latex, gold leaf, and aluminum are removed from their conventional contexts and activated as sensitive surfaces, responsive to light, temperature, and proximity. Together, they form a kind of material cosmology, in which each element operates within a larger system, alluding to the cosmos. suggesting something almost stellar.

​

The installation in Milan marks the beginning of a new cycle of projects for VERSA, structured around the creation of spaces for presence, connection, and the expansion of consciousness. Throughout 2026, this investigation unfolds through a calendar of activations that consolidates a practice centered on creative healing. In this context, VERSA presents VERSA Vision internationally for the first time — a platform for original collaborations that brings together different creative languages and sensibilities. Conceived with a 360-degree approach, experiences become devices — physical, editorial, and sensory. One of them is Almanac, VERSA’s first publication, launched as part of the installation. Conceived as a collectible object, the project brings together creatives from the global avant-garde and explores reflections about creativity and the expansion of consciousness.

Within the interval – between form and instability, between matter and perception – emerges an approach with that which we understand to be the sacred. Not only seen as a representation or symbol, but a direct, felt experience: a state of heightened presence forged through a sensitive engagement with space, material, and the body itself.

​

The setting itself extends this line of thought. The intentional choice of a church as the site for the exhibition brings forth ideas about reflection, contemplation, and gathering. . The design guides the visitor's focus inward — toward the heart of the space and toward the self — fostering both introspection and an encounter with the whole. Central to the space, an LED plane pulses with light, establishing rhythm and modulation anchored in the logic of breath. This screen introduces a temporal structure that invites the body to integrate itself with the surrounding environment. The continuous soundtrack provides the base frequency that orders the entire experience.

VERSA is a Brazilian hybrid organization of architects, curators, and designers guided by an interconnected vision. At its core, it explores the concept of places for creative healing, seeking connections that expand consciousness and creativity through experiences, consulting, publications, and special projects.

​

VERSA emerged in 2019 as an experimental laboratory within São Paulo’s creative underground. In 2022, it expanded into brand projects across Brazil and, in 2024, onto the global stage. Today, it presents proprietary annual projects in São Paulo and during Milan Design Week, alongside collaborations around the world. Its headquarters welcomes collaborators and clients throughout the year and is situated where the Atlantic Forest meets the ocean, on São Paulo’s northern coast.

​

The living expression of VERSA’s work is its 360 platform, which brings together design, music, art, and knowledge in a multisensory editorial experience that convenes the forefront of Brazilian creativity for reflection, celebration, and transformation. In 2025, it took place at the São Paulo Biennial Pavilion, bringing together 118 creatives and 11 sponsoring brands, including some of the most influential names in the industry.

​

Collaboration is one of the organization’s fundamental principles. VERSA believes that the meeting of creative minds is key to authentic and expansive creation, and often develops projects that unfold from this premise. This is the case with its proposal for Milan in 2026, for which VERSA also leads the curation of expanded collaborations.

Constructed with a geometric, box-shaped base made of matte-finish aluminum. The continuous seat and backrest are upholstered in a long-pile shaggy texture made from Brazilian primitive silk in a natural beige tone.

​

This silk is obtained through a non-industrialized process in which cocoons are collected without interrupting the insect’s life cycle, resulting in irregular and discontinuous threads. This method produces a material that resists industrial standardization, varying in density, resistance, and appearance. In the project, the silk is applied without rigid tension, allowing its physical properties — weight, flexibility, and responsiveness to gravity — to remain active within both the design and the conceptual framework.

Rounded, continuous volumes emerge from a solid core, later coated with layers of foam and fiberglass and entirely covered in hand-applied gold leaf. Between density and suspension, the pieces exist in a state of constant ambiguity: they appear light, yet assert their weight; they seem precious, yet resist absolute polish. Perfect in their imperfection, they evoke relics forged by hand in a distant era — silent amulets suspended in time, inhabiting the space between the primal mineral and the sacred.

​

The gold is applied by specialists in the restoration of religious iconography. The design reflects the tension between value and materiality, subverting the traditional perception of gold by altering its surface — wearing it down, destabilizing its perfection, and transforming it into something rawer and less familiar.

Defined by extrusions arranged in a continuous, silent rhythm, the piece articulates a geometry that feels like the materialization of an ancestral echo. Rather than emerging from sterile surfaces, it is born of accumulation: successive layers of acrylic paste and dark paint washes rest upon wood like dust settling over a myth.

​

The finish is not a final veil, but the very memory of the gesture — a tactile record of time and repetition. The darkened surface, rich in depth and organic variation, transforms the precise calculation of form into an apparition. The piece presents itself as a dormant trace, where logical structure and the melancholy of an ancient fable converge.

Vertical floor lamp with an elongated elliptical cupola constructed from a steel grid framework, enveloped in a translucent, pale-yellow latex tapestry.

​

The latex utilized in this piece derives from the rubber tree (Hevea brasiliensis) and is manually extracted by communities in the Amazon through practices that preserve both the tree and the surrounding ecosystem. Leo’s approach engages with the material through collaboration with local communities, shifting the narrative from extraction to reciprocity. The combination of organic latex and the geometric precision of metal structures creates a dialogue between past and present, nature and intervention.

Leo Lague presents a new body of work developed over two years of research in collaboration with Brazilian researchers, communities, and artisans. Materials such as primitive silk, natural latex, gold leaf, and aluminum are removed from their conventional contexts and activated as sensitive surfaces, responsive to light, temperature, and proximity. Together, they form a kind of material cosmology, in which each element operates within a larger system, alluding to the cosmos. suggesting something almost stellar.

​

The installation in Milan marks the beginning of a new cycle of projects for VERSA, structured around the creation of spaces for presence, connection, and the expansion of consciousness. Throughout 2026, this investigation unfolds through a calendar of activations that consolidates a practice centered on creative healing. In this context, VERSA presents VERSA Vision internationally for the first time — a platform for original collaborations that brings together different creative languages and sensibilities. Conceived with a 360-degree approach, experiences become devices — physical, editorial, and sensory. One of them is Almanac, VERSA’s first publication, launched as part of the installation. Conceived as a collectible object, the project brings together creatives from the global avant-garde and explores reflections about creativity and the expansion of consciousness.

Within the interval – between form and instability, between matter and perception – emerges an approach with that which we understand to be the sacred. Not only seen as a representation or symbol, but a direct, felt experience: a state of heightened presence forged through a sensitive engagement with space, material, and the body itself.

​

The setting itself extends this line of thought. The intentional choice of a church as the site for the exhibition brings forth ideas about reflection, contemplation, and gathering. . The design guides the visitor's focus inward — toward the heart of the space and toward the self — fostering both introspection and an encounter with the whole. Central to the space, an LED plane pulses with light, establishing rhythm and modulation anchored in the logic of breath. This screen introduces a temporal structure that invites the body to integrate itself with the surrounding environment. The continuous soundtrack provides the base frequency that orders the entire experience.

VERSA is a Brazilian hybrid organization of architects, curators, and designers guided by an interconnected vision. At its core, it explores the concept of places for creative healing, seeking connections that expand consciousness and creativity through experiences, consulting, publications, and special projects.

​

VERSA emerged in 2019 as an experimental laboratory within São Paulo’s creative underground. In 2022, it expanded into brand projects across Brazil and, in 2024, onto the global stage. Today, it presents proprietary annual projects in São Paulo and during Milan Design Week, alongside collaborations around the world. Its headquarters welcomes collaborators and clients throughout the year and is situated where the Atlantic Forest meets the ocean, on São Paulo’s northern coast.

​

The living expression of VERSA’s work is its 360 platform, which brings together design, music, art, and knowledge in a multisensory editorial experience that convenes the forefront of Brazilian creativity for reflection, celebration, and transformation. In 2025, it took place at the São Paulo Biennial Pavilion, bringing together 118 creatives and 11 sponsoring brands, including some of the most influential names in the industry.

​

Collaboration is one of the organization’s fundamental principles. VERSA believes that the meeting of creative minds is key to authentic and expansive creation, and often develops projects that unfold from this premise. This is the case with its proposal for Milan in 2026, for which VERSA also leads the curation of expanded collaborations.

Constructed with a geometric, box-shaped base made of matte-finish aluminum. The continuous seat and backrest are upholstered in a long-pile shaggy texture made from Brazilian primitive silk in a natural beige tone.

​

This silk is obtained through a non-industrialized process in which cocoons are collected without interrupting the insect’s life cycle, resulting in irregular and discontinuous threads. This method produces a material that resists industrial standardization, varying in density, resistance, and appearance. In the project, the silk is applied without rigid tension, allowing its physical properties — weight, flexibility, and responsiveness to gravity — to remain active within both the design and the conceptual framework.

Rounded, continuous volumes emerge from a solid core, later coated with layers of foam and fiberglass and entirely covered in hand-applied gold leaf. Between density and suspension, the pieces exist in a state of constant ambiguity: they appear light, yet assert their weight; they seem precious, yet resist absolute polish. Perfect in their imperfection, they evoke relics forged by hand in a distant era — silent amulets suspended in time, inhabiting the space between the primal mineral and the sacred.

​

The gold is applied by specialists in the restoration of religious iconography. The design reflects the tension between value and materiality, subverting the traditional perception of gold by altering its surface — wearing it down, destabilizing its perfection, and transforming it into something rawer and less familiar.

Defined by extrusions arranged in a continuous, silent rhythm, the piece articulates a geometry that feels like the materialization of an ancestral echo. Rather than emerging from sterile surfaces, it is born of accumulation: successive layers of acrylic paste and dark paint washes rest upon wood like dust settling over a myth.

​

The finish is not a final veil, but the very memory of the gesture — a tactile record of time and repetition. The darkened surface, rich in depth and organic variation, transforms the precise calculation of form into an apparition. The piece presents itself as a dormant trace, where logical structure and the melancholy of an ancient fable converge.

Vertical floor lamp with an elongated elliptical cupola constructed from a steel grid framework, enveloped in a translucent, pale-yellow latex tapestry.

​

The latex utilized in this piece derives from the rubber tree (Hevea brasiliensis) and is manually extracted by communities in the Amazon through practices that preserve both the tree and the surrounding ecosystem. Leo’s approach engages with the material through collaboration with local communities, shifting the narrative from extraction to reciprocity. The combination of organic latex and the geometric precision of metal structures creates a dialogue between past and present, nature and intervention.