Design pioneers in Brazil: professionals who made history

The rise of modernism in the world was marked by the incessant search of intellectuals of the time for a Brazilian identity in the arts and design – a movement that challenged the aesthetics and colonialist ideologies of the 19th century. Also marked by a context of immigration and international influences, Brazilian artists of the period did not ignore local culture and realities, but celebrated them, highlighting regional craftsmanship and materials in their unique creations. Discover the pioneers who marked the history of furniture design in Brazil. Celso Martinez Carrera Celso Martinez Carrera (1884-1955), a Spanish immigrant who settled in São Paulo, was a carpenter at the Companhia Estrada de Ferro de Araraquara, São Paulo. He left his job after a local doctor had difficulty importing iron beds due to the pre-World War I unrest. In Araraquara, Celso opened his own workshop and in 1915 produced the first series of furniture in Brazil: the Patente Bed . This landmark in Brazilian furniture design gained popularity among the middle and lower classes due to its simplicity and functionality . Inspired by English iron beds, its minimalist aesthetic and easy assembly challenged the extravagance of custom-made furniture. Although it has undergone modifications over time, its influence remains evident, especially in contemporary interpretations such as the Nova Cama Patente created by Fernando Jaeger in the 1980s and marketed by Tok & Stok. Flavio de Carvalho A multifaceted artist born in Rio de Janeiro, Flávio Resende de Carvalho (1899-1973) stands out for his innovative contributions in several areas. Moving to São Paulo in 1900, he studied in Europe and, in 1922, after the Modern Art Week, he began his career. Although he did not win public competitions, his architectural projects were important in the modernization of Brazil . Of note are the Capuava farmhouse, known for its unique decoration, and the group of houses on Alameda Lorena. He participated in controversial artistic movements , such as the "Experiência n. 2" event, challenging social norms. He founded the Clube dos Artistas Modernos and the Teatro da Experiência, which innovated the Brazilian theater scene. His solo exhibitions faced censorship, but he persisted, earning recognition from the justice system. His works, such as "Retrato de Oswald de Andrade", display a distinct expressionist style . Among the furniture he created, his chairs stand out, especially the FDC1 armchair , which was created in the mid-1950s, was reissued by Objekto and resold by the Futon Company. Gregory Warchavchik Gregori Ilych Warchavchik (1896-1972), a Russian architect, was primarily responsible for introducing modern architecture to Brazil , being directly influenced by the thoughts of modernist architects Walter Gropius, Mies Van Der Rohe and Le Corbusier. His manifesto, published in 1925, proposed modern architecture as a response to contemporary life . His house on Santa Cruz Street (1928) is considered a pioneer. The house on Itápolis Street (1933) marked the acceptance of the modern style. Invited by Le Corbusier to represent South America, Warchavchik taught at Enba, becoming influential in the teaching of modern architecture. His works in Rio de Janeiro, such as the Nordschild Residence (1931) and the Gamboa workers' housing complex (1933), were also innovative. Most of the furniture in these houses was designed by Warchavchik, with shapes and lines that followed the same modern precepts of functionalism and aesthetic non-ornamentation .

John Graz John Louis Graz (1891-1980), a Swiss artist, pioneer of art deco in Brazil and participant in the Semana de 22, stood out as a painter, draftsman, sculptor and designer. After studying in Europe, he moved to Brazil in 1920, where he joined the São Paulo modernist group. His tubular furniture , made of metal pipes and wood laminates, is considered innovative. In addition to painting, especially depicting elements of Brazilian daily life, such as indigenous people and popular festivities, Graz also stood out in interior architecture, seeking to integrate decoration and construction. His work reflects a romantic vision of Brazil, combining primitive and modern elements. Lasar Segall Lasar Segall (1889-1957), best known for his notable contributions to the visual arts, also stood out for his artistic versatility , including creations in furniture design. Of Jewish origin, he began his art studies in Lithuania in 1905, before moving to Germany, where he gained recognition at the School of Applied Arts and the Imperial Academy of Fine Arts. He returned to Brazil in 1923, actively integrating the Brazilian modern art scene and interacting with the young modernists. Living in a house in Vila Mariana, São Paulo, designed by his brother-in-law Gregori Warchavchik, Segall began his furniture design projects . Among his creations, armchairs, a coffee table and a versatile sofa stand out, available in two versions: a single piece or in three interchangeable modules. Made of wood painted in black paint , all the furniture features sober and functional lines , reflecting Segall's characteristic design. Lucio Costa Lúcio Costa (1902-1998) was a prominent Brazilian architect and an important figure in the country's modern movement. After graduating from the National School of Fine Arts in 1924, Costa initially adopted the neocolonial style, but soon converted to modernism after being inspired by Gregori Warchavchik's Casa Modernista. Winner of the competition for the master plan of Brasília in 1957, Costa conceived the city based on two perpendicular axes, reflecting his vision of harmony between different scales of spatial use. His legacy is marked by his ability to establish a dialogue between the past and the present in Brazilian architecture , becoming a central and influential figure in the national architectural scene. A lesser-known side of Costa is his role as a furniture designer, designing the furniture for some of his buildings, such as the Park Hotel in Nova Friburgo, Rio de Janeiro. He designed all the furniture for the common areas and bedrooms, all made in small carpentry and metalworking shops in the region. Unfortunately, most of his furniture was never reissued, with very few examples remaining today .