Our innovative history

Mosaic :: BR Conspiration :: Fábio Galeazzo :: 2012

 

 

 

 

 

 

 

 

 

 

According to some historians, the first record of tiles in Brazil dates back to around 1620, when pieces of glazed ceramics from Portugal came to adorn the convent of Santo Amaro de Água Fria, in Olinda. Since then – whether for its strong representation of the metropolis’s culture, for its plastic beauty or for its thermal comfort characteristics (well suited to our climate) – the tile gained more and more space in Brazilian buildings. Initially present in panels of religious or government-owned buildings, in a few decades the beautiful pieces began to be imported not only from Portugal but also from France and the Netherlands (countries that produced their tiles with an important forma of artistic expression) and also began to serve as frontages of urban buildings.

 

Also in the late nineteenth century, Brazil started manufacturing the tile – but it was not before the beginning of the twentieth century that our production became regular. And although during that time some architects abandoned the use of this material (as a rejection of elements that represented the colonial period), the modern Brazilian movement, seeking to “combine tradition and modernity, and turn domestic and traditional materials into a bridge between the colonial and the modern”* (re)incorporated the tile to its architecture. Since then, the domestic tile has become a powerful artistic expression of our own culture, and depicted, along with geometric shapes, elements of our landscape, our wildlife and our flora.

 

Under this historical perspective, the tiles created by designer Fabio Galeazzo and now released by Azulejaria Brasil (Cerâmica Antigua) have gained even greater momentum. In a collection named Conspiração BR (BR Conspiracy, in a free translation), which consisted of 20 prints divided into four themes, Galeazzo rescues and revisits, with mastery, one of the most important elements of our architecture.

 

Galeazzo reveals deep knowledge, extreme sensitivity and an enormous capacity for innovation through his choice of format (15cm X 15cm, the most traditional in our production), his choice of themes (which range from Festa do Divino images to prints traditionally found in the Brazilian cheetah), and his assembly of the color palette, thus obtaining results of undeniable plastic beauty.

 

By combining technical and theoretical expertise, sensitivity and talent, Galeazzo proves that interior design can indeed be innovative and storytelling, playful and cultural – all at once, while providing beauty to the environment, pleasure to the eye and comfort to the soul.

 

leia mais

Multiple choices

Pantone®Guide

 

 

 

 

 

 

 

Sample books have been used since the sixteenth century as working tools for all areas of the decorative arts. With the purpose of experimentation, documentation, marketing or distribution, they are endowed with refined beauty since it offers countless possibilities of colors, shapes, forms or textures, and provide the perception of variety – and by doing so in an orderly fashion, they allow understanding and pleasure. (Quoting Montesquieu: “It does not suffice it to show many things to the soul: we must do it in order, to be able to remember what we saw and begin to imagine what we will see; the soul thus rejoices for its extent and its ability to penetrate”.)

 

On this theme, in 2008 the Cooper-Hewitt Museum held a wonderful exhibition called “Multiple Choices – From Sample to Product”. The samples ranged from sales catalogs with replica buttons of the French industry of the eighteenth century to tiles resembling the porcelain colors of Sèvres, to the latest Pantone® Guides notebooks, books and objects of unparalleled beauty, capable of filling our eyes and taking our breath away.

 

The contact with such universe of colors, shapes and their infinite associations results in a sensory experience able to provide our soul with different and infinite pleasures. A beautiful example is the PantoneHotel, inaugurated almost a year ago in Brussels. By inviting people to “experience Brussels through the lens of colors”, the hotel assigned to each of its seven floors different color palettes, thus aiming to provide its guests with different sensations – and therefore, different pleasures.

David Trubridge

Coral lamp :: David Trubridge

 

 

 

 

 

 

 

 

 

 

I first saw David Trubridge’s Coral Lamp at Soho’s DWR in NYC, about two years ago. From classics of the 20th century to contemporary pieces created by talented yet little known artists, the furniture and objects found in these U.S. chain stores are always very well selected, grabbing everyone’s attention for their beauty and elegance, and sometimes – like in this case – also for their innovation.

 

The lamp was placed in a more intimate atmosphere at the back of the store, and the effect of light and shadows created by its full and empty traits was overwhelming. I was also touched by the counterpoint there seemed to be in the essence of that object: how is it possible to obtain a result as delicate and organic from the assembly of a jigsaw puzzle whose pieces are all identical, rationally designed and industrially (re)produced?

 

A quick search on the designer has shed some light on this question: majored in naval architecture in England, lived on a boat for 5 years and then began designing furniture; his wirk uses wood from sustainable plantations and his projects seek to obtain maximum effect from minimum material; in addition, David believes in durability as a key attribute of good design and in art as a driving force of human development.

 

Upon learning this story, I could understand that the pleasure I felt by observing this lamp had not only elapsed from the appreciation of its beautiful shapes or visual effects, but also from the perception of its soul. I believe that the soul, when present in things, talks directly with ours – and this conversation encompasses the reasons for tastes and pleasures we are capable of feeling.

 

To learn more:
 www.dwr.com
www.davidtrubridge.com