In the eyes of caroliny pereira and vladimir igrosanac
In the eyes of Caroliny Pereira and Vladimir Igrosanac
Newly installed at Paul Bert Serpette, Caroliny Pereira and Vladimir Igrosanac are both driven by the same passion, Brazilian modernist design. Refined but no less sensual lines, this up-to-date furniture with rare wood species will undoubtedly arouse your curiosity...
Brazilian modernism was born in the 1940s, in particular thanks to the architect Oscar Niemeyer, who was commissioned by the mayor of Belo Horizonte Jocelino Kubitschek before becoming president of the Republic of Brazil to pilot the Pampulha project, a vast modernist complex around of a lake. In order to furnish these new spaces, he calls on a whole new generation of architects, artists and carpenters with very specialized know-how. At the time, only colonial-inspired furniture existed, the style of which was not at all in keeping with this new architecture. Around Niemeyer crystallizes a whole social utopia. Aware that this utopia is coming to an end in a Europe mired in the Second World War and totalitarianism, they feel that they are heirs to it. It is up to them to carry the torch of these ideals. They will find in Brazil a blank page, which one can write from scratch without denying one's origins and inspirations, but carrying a spark, with total availability.
These new creators no longer wish to copy Europe with a century of delay, but truly participate in a new international movement and interpret it with the very essence of Brazil. For this, they will be inspired by great architects such as Le Corbusier, Oscar Niemeyer's desire being to "tropicalize the style of Le Corbusier". While taking up the light and clean lines, they take advantagelocal precious essences and add curves and sensuality. Particular attention is given to the body and the environment. The work of Joaquim Tenreiro is a perfect example. Its furniture, always in line with the hot and humid Brazilian climate, is equipped with breathable materials. Precious wood, caning, light fabrics, give an airy look to the furniture, inspired by native net hammocks. To live with heat and humidity, it is essential that the furniture can breathe.
Caroliny and Vladimir's favourite, a sideboard by Giuseppe Scapinelli from the 1950s
Giuseppe Scapinelli trained in architecture in Italy, before emigrating to Brazil. Socialite and bon vivant, he meets the high society of São Paulo who quickly become his clients. A lover of Brazilian design, he naturally rubs shoulders with designers and opens a gallery to sell them. Out of passion, he himself produces a few pieces for his clients and friends.
Coming from a very small, very artisanal workshop, this very rare piece is not numbered. Scapinelli uses typical Brazilian woods, including caviuna for most of the body. The drawers and the fluted door are in pau marfim, the handles and the heads of the locks in brass. This sideboard still retains its original label, which is very valuable.
With an extraordinary size, it is perfectly well preserved. The shape of this piece of furniture is totally free, navigating between cubist and futurist influences. The base also openly evokes its aesthetics. Although inspired by these European movements, Scapinelli brings a little more sensuality to this piece of furniture. The curved legs bring flexibility and elegance, the finesse of the wood gives the impression of marquetry.
Expressing strength and movement, it is the very essence of Brazilian modernist design that is concentrated in this piece.