Casa Morena | © Fernando Guerra / FG+SG In the coastal enclave of Lagos, Portugal, Mário Martins Atelier has crafted Casa Morena. This residence quietly asserts itself as an ode to the dialogue between architecture and its natural setting. Completed in 2024, this project demonstrates a considered response to its environment, where the interplay of light, material, and landscape defines a sense of place rather than architectural imposition. Casa Morena Technical Information Architects1-5: Mário Martins Atelier Location: Lagos, Portugal Project Years: 2024 Photographs: © Fernando Guerra / FG+SG A simple house, one that wishes to be discreet and to be influenced by its location, to become a house that is pleasant with thoughtful landscaping. – Mário Martins Atelier Casa Morena Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG A Contextual Response to Landscape and Light The design of Casa Morena finds its genesis in the site itself, a pine-scented plot overlooking the expanse of a bay. The pine trees, longstanding witnesses to the landscape’s evolution, provide the project’s visual anchor and spatial logic. In a move that both respects and celebrates these natural elements, Mário Martins Atelier structured the house’s reticulated plan to echo the presence of the trees, creating a composition that unfolds as a series of volumes harmonizing with the vertical rhythm of the trunks. The solid base of the house, built from locally sourced schist, emerges directly from the terrain. These robust walls establish a tactile continuity with the ground, their rough textures anchoring the architecture within the landscape. In contrast, the upper volumes of the house adopt a distinctly lighter expression: horizontal planes rendered in white plaster, their smooth surfaces catching and refracting the region’s luminous sun. This duality, earthbound solidity, and aerial lightness establish an architectural narrative rooted in the elemental. Casa Morena Experiential Flow Casa Morena’s spatial arrangement articulates a clear hierarchy of public and private domains. On the ground floor, the house embraces openness and transparency. An expansive entrance hall blurs the threshold inside and out, guiding inhabitants and visitors into a luminous social heart. The lounge, kitchen, and office flow seamlessly into the garden, unified by a continuous glazed façade that invites the outside in. This deliberate porosity extends to a covered terrace, an intermediary space that dissolves the boundary between shelter and exposure. The terrace, framed by the garden’s green canopy and the swimming pool’s long line, becomes a place of repose and contemplation. The pool itself demarcates the transition from a cultivated garden to the looser, more rugged landscape beyond, its linear form echoing the horizon’s expanse. Ascending to the upper floor, the architectural language shifts towards intimacy. The bedrooms, each with direct access to terraces and patios, create secluded zones that still maintain a fluid relationship with the outdoors. A discreet rooftop terrace, accessible from these private quarters, offers a hidden sanctuary where the interplay of views and light remains uninterrupted. Material Tectonics and Environmental Strategy Casa Morena’s material palette is rooted in regional specificity and tactile sensibility. Schist, extracted from the site, is not merely a structural element but a narrative thread linking the building to its geological past. Its earthy warmth and rugged surface provide a counterpoint to the luminous white of the upper volumes, an articulation of contrast that enlivens the building’s silhouette. White, the chromatic signature of the Algarve region, is employed with restraint and nuance. Its reflective qualities intensify the play of shadow and light, a dynamic that shifts with the passing of the day. In this interplay, architecture becomes an instrument for registering the ephemeral, and the environment itself becomes a participant in the spatial drama. Environmental stewardship is also woven into the project’s DNA. Discreetly integrated systems on the roof harness solar energy and manage water resources, extending the house’s commitment to a sustainable coexistence with its setting. Casa Morena Plans Basement | © Mario Martins Atelier Ground Level | © Mario Martins Atelier Upper Level | © Mario Martins Atelier Roof Plan | © Mario Martins Atelier Elevations | © Mario Martins Atelier Casa Morena Image Gallery About Mário Martins Atelier Mário Martins Atelier is an architectural studio based in Lagos and Lisbon, Portugal, led by Mário Martins. The practice is known for its context-sensitive approach, crafting contemporary projects seamlessly integrating with their surroundings while prioritizing regional materials and environmental considerations. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Nuno Colaço, Sónia Fialho, Susana Jóia, Mariana Franco, Ana Graça Engineering: Nuno Grave Engenharia Landscape: HB-Hipolito Bettencourt – Arquitectura Paisagista, Lda. Building Contractor: Marques Antunes Engenharia Lda.

ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

Every item on this page was chosen by an ELLE Decor editor. We may earn commission on some of the items you choose to buy.When Corey Moriarty moved into a new home in Palm Beach, Florida with his four dogs—Maverick and Bauer (Golden Retrievers) and Blue and Titan (Siberian Huskies)—he found himself wondering what to do with his spare bedroom: “We had an extra room just sitting there, and instead of turning it into an office or a guest room no one ever uses, we thought, ‘Why not make it a space entirely for them?’”What started as a lark quickly turned delightfully over-the-top. Moriarty outfitted the room with custom bunk beds, a Murphy bed, and a wall lined with glass jars filled with the dogs' favorite snacks. There’s a ball pit, a full TV setup for nightly Bluey viewings, and a closet containing all of their outfits. Moriarty has been documenting the room’s evolution on TikTok, where his latest post racked up more than 24 million views.Corey MoriartyCorey Moriarty’s dogs have their own bonafide bedroom, complete with bunk beds, a TV area, and a treat wall. Pet ownership is booming in the U.S. In 2024, 59.8 million households had dogs, and 42.2 million had cats, according to the American Veterinary Medical Association. And people aren’t just adding pets to their families—they’re investing in them. In 2023, Americans spent more than $147 billion on their pets, per the American Pet Products Association, with an increasing chunk of that going toward pet-focused home upgrades. These aren’t mere afterthoughts—they’re carefully crafted extensions of the home that call for thoughtful planning and, often, the expertise of an interior designer. In fact, the dog room has truly become the newest status symbol.View full post on TiktokA dog room's scale can range from a small nook under the stairs to a full-on suite complete with built-in feeding stations, toy storage, grooming areas, and plush four-poster beds. Some include tiled dog showers, temperature-controlled flooring, and built-in cabinetry. Others have more indulgent luxuries—like a TV with DOGTV, a streaming channel with programming designed specifically for canine attention spans. Think: dogs playing in fields, soothing nature sounds, and friendly humans doing relaxing things with pets. It’s ambient TV, but for your hyper-active schnauzer.For Moriarty, the trend taps into a bigger cultural shift. “There’s a continuing movement toward including pets more fully in people’s lives—as real family members,” he says. “Social media has poured gas on the fire. Everyone’s showing off these amazing pet spaces, and it’s inspiring others to level up.” The result is a growing “barkitecture” trend, where design for pets isn’t an afterthought—it’s part of the floor plan from day one. “We’re in the process of finding or building a more permanent home,” he adds, “and a huge part of that decision is based on what the dogs need—a pool, a yard, a room of their own, space to add a dog wash station.”Ken FulkKen Fulk’s three cream golden retrievers found a home in the curry colored library of his Provincetown home, overlooking the harbor in an antique captain’s daybed. Interior designers are seeing a rise in the trend, too. And some are even participating themselves. Ken Fulk, who shares his Provincetown home with four dogs—three English cream golden retrievers (above) and a wirehaired Dachshund named Wiggy—says one room evolved into their dedicated canine space, though it wasn’t premeditated. “Our often-photographed curry colored library became a de facto nursery,” he says. “Soon, no one would come upstairs with us to bed. They preferred their perch overlooking the harbor in an antique captain’s daybed.”Matt McWaltersKen Fulk’s L.A. shop sells wicker dog beds. And for those not ready to sacrifice a spare room? You don’t have to ditch your home office to make your pets feel like part of the design. Fulk says more clients are requesting pet-focused features, like custom dog beds, built-in food stations, and dog-wash areas in stylish mudrooms. At his new shop in Los Angeles, Fulk even offers wicker dog beds upholstered in outdoor fabric, including his own Designer Dogs print for Pierre Frey, as well as an Air Blue and Indigo Stripe. In a world where dogs are living better than their owners, what's next? "I got some very positive feedback on my idea of our doggy hotel called DEN," Fulk laughs. "It was dreamed up as an April Fool’s joke, but there just might be something there."Rachel SilvaAssociate Digital EditorRachel Silva is the associate digital editor at ELLE DECOR, where she covers all things design, architecture, and lifestyle. She also oversees the publication’s feature article coverage, and is, at any moment, knee-deep in an investigation on everything from the best spa gifts to the best faux florals on the internet right now. She has more than 16 years of experience in editorial, working as a photo assignment editor at Time and acting as the president of Women in Media in NYC. She went to Columbia Journalism School, and her work has been nominated for awards from ASME, the Society of Publication Designers, and World Press Photo.