Monthly Archives: May 2012

Outdoor Paulistano Chair

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Outdoor Paulistano by Paulo Mendes da Rocha

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Outdoor Paulistano by Paulo Mendes da Rocha

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Outdoor Paulistano armchair by Paulo Mendes da Rocha

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Paulistano original armchair original sketch by Paulo Mendes da Rocha

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Paulo Mendes da Rocha seated at the Paulistano armchair

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Detail of the Paulistano Athletic Club by Paulo Mendes da Rocha

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Paulistano Athletic Club Gymnasium, São Paulo, Brazil, Perspective Sketch, Paulo Mendes da Rocha 1957. © 2012 Paulo Mendes da Rocha

Photos: 1 / 2 / 3 / 4 / 5 / 6 / 7

The timeless classic Paulistano chair, designed in 1957 by Paulo Mendes da Rocha (2000 Mies van der Rohe Prize and 2006 Pritzker Prize honoree) gains a much anticipated outdoor version.

Originally part of the Athletic Club of São Paulo, one of Rocha’s seminal brutalist projects, and comprised of a single bent piece of steel, the Paulistano’s special outdoor frame is made of carbon steel with a high durability black and, for the very first time, white paint.

Complete with a slipcover made of 100% cotton canvas weaved in Paris (toile de Vosges) with special waterproof, rot-proof and stain-proof treatment, the outdoor Paulistano is bound to complement any outdoor setting, from pool side to terrace to mountain estate, with its classic and extremely comfortable design.

Along with its original indoor version, part of the MoMA NY collection, the Paulistano chair is readily available at ESPASSO.

Philips de Pury & Company LATIN AMERICA Auction

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Hélio Oiticica, Metaesquema 169, 1958 gouache on cardboard 11 3/4 x 12 7/8 in.

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Tunga, Sibilar, n.d. acrylic on paper 39 3/8 x 27 1/2 in.

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Mira Schendel, Untitled, 1955 tempera on burlap 15 x 23 7/8 in. (38.1 x 60.6 cm)

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Os Gêmeos, Electronic Eyes, 2011 spray paint and acrylic on panel 74 3/4 x 48 in.

Photos: 1 / 2 / 3 / 4

On May 21st and 22nd, Phillips de Pury & Company held a large auction of Latin American art uniting an impressive collection spanning over 5 decades of fine art produced by some of Latin America’s most influential artists. Highlights included a range of Brazilian work such as  Electronic Eyes, 2011, by esteemed street artist duo Os Gemeos, estimated at $80,000 – $120,000 and sold for $122,000, three of Helio Oiticica’s decisive Metaesquema drawings from 1958 each estimated at $180,000 – $200,000; two sold for $233,500 and the third for $266,500 and Tunga’s Sibilar, estimated at $6,000 – $8,000 and sold for $10,000.

Barrão at Aldrich Contemporary Art Museum

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Multi Elephas, 2009, Porcelain e durepox, 43 x 77,5 x 48 cm. Courtesy of Galeria Fortes Vilaça.

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7 Figas, 2009, Porcelain e durepox, 53 x 32 x 32 cm. Courtesy of Galeria Fortes Vilaça.

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Ninfas Derramadas, 2009, Porcelain e durepox, 101 x 66.50 x 80 cm. Courtesy of Galeria Fortes Vilaça.

Photos: 1 / 2 / 3

On view through June 10th, at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, Barrão’s exhibition Mash Up marks the Brazilian artist’s first US solo show. In organic configurations, Barrão’s work assembles  different second-hand ceramic nick-knacks in hybrid sculptures that point not only to the Brazilian tradition of ceramic decoration – a legacy originally stemming from Portugal’s famous porcelain/ceramic tiles and  artifacts production – but also to the appropriation strategy of the ready-made. Cleverly titled Mash Up the exhibition  exemplifies Barrão’s maneuvers of making new assemblage compositions from diverse  populist objects while raising contemporary notions of sampling and remixing to contemporary art.

Making Room: Cultivating the Domestic Landscape. Presentation by co-host Matthew Bremer

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Photo by Eliseu Cavalcante.

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Photo by Eliseu Cavalcante.

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On May 10th at, ESPASSO NY, Matthew Bremer AIA, Architecture in Formation,  presented 4 residential design projects, that his firm has completed, spanning various locals, styles, tastes, and budgets, to create a richly tailored and highly personalized sense of “home”. Each project is a unique exercise in creative problem solving, resulting in homes that are deeply rooted in a particular sense of place, and celebrate the rituals of daily life in unexpected ways. Matthew articulated how our lives are ostensibly “design projects”, and reciprocally how our homes shape and define our experiences, identities, and values.

Hosted by: Elaine Clayman (Brown Harris Stevens), Justine Bray (Brown Harris Stevens), Frank Iryami (Raymond James), Matthew Bremer (Architecture In Formation), Eric Appelbaum (Apple Mortgage Coorporation)

 

Metropolis – May 2012

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ESPASSO NY featured as  a must see spot for design in NYC in the May issue of architecture and design magazine Metropolis.

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Sketch by Sergio Rodrigues(1)Chifruda

Original Sketch of Chifruda armchair by Sergio Rodrigues

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Sergio Rodirgues seated at his Chifruda armchair

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Kim Novak seated at Rodrifues' Mole armchair in 1966

Photos: 1 / 2 / 3

Houzz’s Cathy Lara’s Sergio Rodrigues feature, looks at the resurgence of his design, the recent openings of his shop in shop at both ESPASSO NY and LA and the design of his Chifruda armchair. Check out the article here.

 

Carlos Motta and the use of reclaimed wood

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Reclaimed wood warehouse in São Paulo, Brazil.

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Reclaimed wood warehouse in São Paulo, Brazil.

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Reclaimed wood warehouse in São Paulo, Brazil.

Rio Manso - Carlos Motta

Rio Manso line by Carlos Motta

Asturias Armchair - Carlos Motta - Ambience Angra

Asturias armchair by Carlos Motta

Asturias Chaise Outdoors - Carlos Motta

Asturias chaise by Carlos Motta

Parati Table - Carlos Motta - Ambience (2)

Parati dining table by Carlos Motta

Photos: 1 / 2 / 3 / 4 / 5 / 6 / 7

Sustainability, ecological responsibility and conservation are crucial concerns in contemporary design, especially in wood production.

Brazilian art and design have traditionally engaged with the re-appropriation of materials and ideas as resource for its cultural production.  In this canon, an innovative dissemination of Brazil’s rich ancestry is exemplified in the utilization of reclaimed Brazilian woods in the practice of some of Brazil’s leading architects and designers.

The work of Carlos Motta, such as his Asturias, Rio Manso and Parati lines, utilizes stocks of reclaimed native Brazilian wood that sometimes date back as far as to the 1800’s; carrying traces of colonial farms and industrial constructions into the clean lines, relaxed and comfortable high-end attitude of Motta’s designs.  In addition to their distinct appearance, the pieces made from reclaimed wood transcend the function of their designs to include a little of Brazil’s history and regional diversity.