Brazilian design: between classicism and inventiveness

Since the beginning of the 20th century, Brazil has produced design rooted in exotic wood, one of its greatest natural resources. Its pioneers applied a modernist conception of design, inherited in particular from European design and the Bauhaus School. However, Brazilian design is not limited to the production of exotic wood pieces with the modernist shapes of the 50s and 60s.

Behind the generation of the Campana brothers, who were the first to break with traditional codes, a new generation is designing creative, colorful furniture that reflects the country's ethnic mix. Of course, we can't talk about Brazilian design without mentioning the emblematic figure of architect and designer Oscar Niemeyer (1905–2012). He was the "father" of the architectural project for the country's new capital, Brasília, built in the late 50s and 60s. A disciple of Le Corbusier, Niemeyer built some of the most incredible buildings in Brasília, including the Palácio da Alvorada ("Palace of Dawn"), built between 1957 and 1958. This structure houses the residence of the President of the Federative Republic of Brazil.

Inside the Palácio da Alvorada, Niemeyer used contemporary materials such as concrete, metal, and glass to create an interior marked by transparency and fluidity of space. This design spirit is reminiscent of the Barcelona Pavilion designed by Ludwig Mies van der Rohe in 1929. Mies van der Rohe, who headed the Bauhaus from 1930 to 1933, was an evident influence on Niemeyer's work.

Among the pioneers of design in Brazil, three European figures stand out. Joaquim Tenreiro (1906–1992), a Portuguese immigrant, founded his furniture company in the late 1920s. Trained as a carpenter, Tenreiro's work incorporated the Bauhaus style and Brazilian Jacaranda wood, alongside traditional caning. His elegant furniture designs have been showcased in exhibitions, such as the Joaquim Tenreiro Live exhibition at the R 20th Century gallery in New York (2018).

Another precursor, Gregori Warchavchic (1896–1972), an architect of Ukrainian origin, arrived in Brazil in 1923. His iconic designs, such as the Leque Leque magazine rack, are distributed by the historical Brazilian furniture publisher Etel. Finally, Lina Bo Bardi (1914–1982), a Roman architect, left her mark on São Paulo with projects such as the Casa de Vidro ("Glass House"), the Museum of Art (MASP), and the SESC Pompeia Social Centre. Her designs fused Brazilian tradition with modernist architectural elements.

During Brazil’s industrial boom in the 50s and 60s, modernist and rationalist styles dominated design. Sergio Rodrigues (1927–2014), one of the fathers of modern Brazilian furniture, gained international fame with his Mole armchair, crafted from Jacaranda wood and adjustable leather straps. His later works, like the Diz armchair, further cemented his legacy.

Paulo Mendes da Rocha (1928–2021), another architect and designer, created iconic pieces such as the Paulistano armchair. Meanwhile, Michel Arnoult (1922–2005), a Parisian immigrant, became known for his affordable, mass-producible furniture, such as the Peglev rocking chair and the Pelicano armchair.

The Campana brothers, Humberto (1953) and Fernando (1961), redefined Brazilian design with their inventive and joyful creations. Their works, like the Fauteuil Vermelha (1998) and the Sushi Chair (2002), often employ recycled materials, reflecting the art of making do in Brazil’s favelas. Their Banquete Chair (2002), made from multicolored plush toys, exemplifies their daring and playful approach.

In the wake of the Campana brothers, other Brazilian designers have emerged. Rafik Farah (1958), known for his Kaeko coffee table, and Lia Siqueira (1958), recognized for her Volpi bookcase, blend Brazilian traditions with contemporary aesthetics. Rodrigo Almeida (1975) and Brunno Jahara (1979) explore Brazil’s cultural mix and natural resources in their designs. Jahara’s Neorustica furniture collection and Batucada tableware exemplify his commitment to sustainable and culturally resonant design.

The next generation of Brazilian designers continues to innovate, ensuring the country’s rich design culture thrives. Brazilian design has gradually emancipated itself from its modernist past to acquire a singular identity that reflects the country’s ethnic diversity and vibrant lifestyle.

François Boutard