![]() Beto was composed of a chrome frame, hardwood arms and seat, and a foam backrest. For the waiting room, he designed the PO-3armchair, which was later named Beto. In 1958, Sergio received an invitation to conceptualize pieces of furniture for the, then under construction, national congress building in Brasilia. However, influences from the works of the Danish architect and designer Finn Juhl (1912-1989) can also be seen in the design. This chair has braided straw arms carved as unique pieces, with an anatomical design, and constructed through thoughtful consideration of Lucio Costa's work. The PL-7Jockey PL-7Jockey, or Oscar Niemeyer armchair, was also constructed with a wooden frame. The CD-7, or Lucio Costa chair, was made of solid wood with straw seat and named after the architect, a great promoter of Rodrigues' work. Many believe that Rodrigues was successful in his endeavour to symbolize the Brazilian identity. His work is said to have emphasized the relaxation, informality, and rejection of a new lifestyle of the 1960's youth. The armchair was associated with a Brazilian way of sitting, inspired by the relaxed and lethargic Brazillian lifestyle. Rodrigues intended to design a piece of furniture that expressed national identity. It was comfortable and robust and was considered a symbol of national design. The ISA produced the chair in Italy and exported to several countries under the name Sheriff. His design was chosen from a list of 400 designers, and this victory confirmed his international status as a world-class designer. He designed the Mole armchairs, and a variation of the Mole armchair was awarded first at the Concorso Internazionale Del Mobile in1961 in Italy. The decades of the 50s and 60s were particularly prolific for Rodrigues. Eager to commercialize the production of Brazilian design he opened Oca in 1955. In 1955, he resigned from Forma, and returned to Rio de Janeiro. He is the author of various works and always developed furniture consistent with the evolution of architecture during his life. Sergio's creations, intended to make modern, comfortable furniture suited to the Brazilian tropical climate, availing of wood and leather, soon led him to the new capital where his furniture was ordered on a large scale and taken to Brasília.Īlong with essential furniture designers in Brazil, such as Joaquim Tenreiro, and Zanine Caldas, Sergio Rodrigues has played a decisive role in the history of Brazilian furniture. Sergio sensed that modern Brazilian architecture lacked contemporary furniture. Brazil was investing in federal capital, and the Brazilian people were experiencing a cultural awakening in fine arts, music (Bossa Nova), and architecture (the construction of Brasília). Sergio's work came at a time of great change for Brazil. During this tenure, he came into contact with other renowned designers such as Gregori Warchavchik (1896-1972) and Lina Bo Bardi (1914-1992). In 1954, the Hauner brothers hired him to lead the interior architecture section of the new company, Forma S.A, in São Paulo. He moved to Curitiba, where he founded Móveis Artesanal Paranaense, in partnership with the Hauner brothers. Rodrigues graduated with an architecture degree in 1951. It was through these contacts that Rodrigues met Lucio Costa (1902-1998). The architects Olavo Redig de Campos (1906-1984) and Flávio Regis do Nascimento also collaborated on the project. In 1951, David Xavier de Azambuja invited Rodrigues to participate in elaborating the Civic Center of Curitiba. In 1949, he worked as an assistant professor for David Xavier de Azambuja. He joined the National School of Architecture of the University of Brazil (FNA) in 1947. In search of the Brazilian identity, Rodrigues broke away from design constraints and tried to harmoniously integrate the three areas in which we worked architecture, design, and drawing. Sergio Rodrigues (Rio de Janeiro, Rio de Janeiro, 1927 - Rio de Janeiro, Rio de Janeiro, 2014) was a furniture designer and architect.
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