#edra

Carola Vannini Architecture

Mediterranean Villa, Italy, 2023

Fernando Campana (1961 – 2022)

Born in the rural town of Brotas, the São Paolo-based designer earned a degree in architecture from the Faculdade de Belas Artes de São Paolo in 1984, before creating Estudio Campana that same year with his older brother Humberto, an attorney.

During the 1980s the studio produced a series of sculptural metal chairs welded from iron called Desconfortáveis (Uncomfortables), eventually moving toward a practice using everyday materials like cardboard, rope, wicker, bamboo, and wood.  Their iconic Favela Chair, from 1991 was fabricated with scraps of wood from discarded fruit crates, nailed and glued by hand. “The people who live in favelas construct their own homes, so I thought, why not construct a chair myself,” said Fernando in a discussion about the seat with curator Darrin Alfred from a 2010 interview. It was, he explained at the time, meant to symbolize a Brazilian shantytown.

It was in the 1990s—a time when the design world was primarily focused on the post-World War II movement of the Italians—that the Campanas came on the scene, with work that underscored Brazilian culture and its craft, sculpting furnishings from a range of raw and found materials. Their 1993 Vermelha Chair was a lesson in resourcefulness, hand-woven from cotton rope that enveloped a metal frame. 

Design journalist Arlene Hirst was “gobsmacked” when she first encountered the chair, manufactured by Italian manufacturer Edra, at the Salone del Mobile in Milan. A year later the chair was included in Project 66: Campana Brothers/Ingo Maurer, a 1998 exhibition at The Museum of Modern Art (MoMA), curated by Paola Antonelli, the museum’s senior curator of architecture and design, an associate at the time. For this show, Antonelli paired the Brazilian brothers’ furniture with German lighting designer Ingo Maurer’s luminaires in vignettes that highlighted a shared passion for materiality and invention.

Both Fernando and Humberto were active in the production process as well, but as is often the case with partners, they remained elusive about specific roles. “Fernando had the training, so he was the more pragmatic one,” noted Antonelli in a recent interview, referring to his architectural roots. “He never discussed it. And I never questioned it. It was implied,” she said. The younger Campana also drew inspiration from his daily routines, local markets and wandering São Paolo’s streets. Antonelli recalled asking him about his use of found objects, asking if they weren’t too cute? His response, “They are not too cute. They are part of my life.”

Many of those found objects—including stuffed animals—made their way onto upholstered seating like the 2002 Banquete series, which became the equivalent of a sold-out Broadway show. It is still produced out of the Campana São Paolo studio, and handsewn by local craftspeople who are considered part of the extended Campana family.

In 2010 the New York- and L.A.-based gallery Friedman Benda began global representation of the brother’s work. “Campana Studio brought a completely fresh perspective, creating a dialogue with local crafts and the use of the readymade,” says co-founder Marc Benda, adding, “They were trailblazers.” The gallery assisted with support of the studio and helped them to balance the commercial success of their practice with its roots in the hand made.  

One of the brothers’ last collaborations—presented in June at the 2022 Salone in Milan—is a collection called Metamorfosi, comprising five large-scale, pouf seats and a tapestry, created in collaboration with Italian textile designer Paola Lenti. Woven from remnants Lenti sorted and saved with CouLture Migrante, a social tailoring atelier (involving men and women asylum seekers residing in Como, Italy) the limited-edition pieces make their North American debut at Design Miami in December.

The work of Estudio Campana can be found at the Vitra Design Museum, Centre Pompidou, Musée Des Arts Décoratifs, MoMA, among other design-focused institutions. In 2020, they were the subject of 35 Revolutions, a retrospective at Museum of Modern Art, Rio de Janeiro on the occasion of their 35th anniversary.

Words by Melissa Feldman

Favela Chair for Edra, 2000, Pine, Height: 29.14 in (74 cm)Width: 26.38 in (67 cm)Depth: 24.41 in (62 cm)Seat Height: 15.75 in (40 cm),

Vermelha Armchair for Edra, 2019, Aluminium, Cord, natural cotton, Steel, 86 x 58 x h.77 cm,

Tornado Vase, Ghidini 1961, Bronze, W 11.81 x D 9.45 x H 14.57,

Jackfruit Table Lamp, Ghidini 1961, Polished Brass, Height: 19.69 in (50 cm), Diameter: 12.21 in (31 cm),

Bomboca Sofa GM, Objets Nomades, Louis Vuitton, 46.9 x 34.5 x 94.9 cm (18.5 x 13.6 x 37.4 in),

Bolotas Sofa (Cherry), 2019, Sheep’s wool, ipÊ, H: 95 W: 125 L: 215, Carpenters Workshop Gallery,

Edward Scissorhands side table, Giustini/Stagetti, 2014, Portorotype black marble and gilded bronze, 12 dia. x 22½ h in. (Casati Gallery),

Corallo Armchair for Edra S.p.A., Italy, 2004, Steel wire and epoxy paint, 38 x 60 x 39" (96.5 x 152.4 x 99.1 cm), Courtesy MoMa,

Fernando Campana (1961 – 2022)

FAVELA Double Bed by Fernardo & Humberto Campana for Edra, 2013,

Structurally realized with pine strips of various sizes, manually joined and nailed on one another in a deliberately random fashion. The realization makes each bed a single piece.

EDRA - Origen

¿COMO ERAN LOS ESCUDOS DE LOS ANTIGUOS CANARIOS?

Las fuentes etnohistóricas mencionan la utilización de 𝐭𝐚𝐫𝐡𝐚𝐬, broqueles, escudos o rodelas fabricadas con madera de dragos:

«[…] de este arbol [drago] hacian rodelas pa. su defenza i eran 𝐠𝐫𝐚𝐧𝐝𝐞𝐬 𝐢 𝐩𝐢𝐧𝐭𝐚𝐝𝐚𝐬 𝐝𝐞 𝐝𝐢𝐮𝐢𝐬𝐚𝐬».

[Pedro Gómez Escudero ca. 1484]

«[…] tenían espadas de palo a modo de montantes y unas adargas 𝐜𝐮𝐚𝐝𝐫𝐚𝐝𝐚𝐬 𝐲 𝐨𝐭𝐫𝐚𝐬 𝐫𝐞𝐝𝐨𝐧𝐝𝐚𝐬 𝐢 𝐩𝐢𝐧𝐭𝐚𝐝𝐚𝐬 𝐝𝐞 𝐚𝐥𝐦𝐚𝐠𝐫𝐚 𝐲 𝐜𝐚𝐫𝐛𝐨‌𝐧 𝐜𝐮𝐚𝐫𝐭𝐞𝐚𝐝𝐨𝐬 𝐲 𝐚𝐥𝐱𝐞𝐝𝐫𝐞𝐬𝐞𝐬 […]».

[Pedro Gómez Escudero ca. 1484]

«...armas...traían rodelas 𝐦𝐮𝐢 𝐠𝐫𝐚𝐧𝐝𝐞𝐬 𝐝𝐞 𝐚𝐥𝐭𝐮𝐫𝐚 𝐝𝐞 𝐮𝐧 𝐡𝐨𝐦𝐛𝐫𝐞, eran de una madera ligera estoposa de un árbol llamado Drago. La spada llamaban majido i el broquel tarja; ...traían en las rodelas sus diuisas pintadas a su modo de blanco i colorado de almagra [...]».

[Cedeño (ca. 1490) 1934: 12r].

«[…] que sería conocído por la diuisa dela tarja 𝐛𝐥𝐚𝐧𝐜𝐚 𝐢 𝐜𝐨𝐥𝐨𝐫𝐚𝐝𝐚 𝐝𝐞 𝐪𝐮𝐚𝐫𝐭𝐞𝐚𝐝𝐨».

[Antonio Cedeño (ca. 1490) 1934: 12v].

«[…] tenian hechas rodelas de un arbol estoposo qe. llamaban drago i a estas rodelas llaman tarjas trai[a]nlas pintadas de 𝐛𝐥𝐜𝐨‧ 𝐢 𝐜𝐨𝐥𝐨𝐫𝐚𝐝𝐨 𝐜𝐨𝐧 𝐬𝐮𝐬 𝐝𝐞𝐛𝐢𝐬𝐚𝐬 𝐜𝐚𝐝𝐚 𝐯𝐧𝐨 𝐚 𝐬𝐮 𝐦𝐨𝐝𝐨 jugauan dellas diestramte […]».

[Antonio Cedeño ca. 1490]

+ INFO

Proyecto Tarha

https://proyectotarha.org/.../01/de-tarjas-y-pintaderas-22/

Diccionario Ínsuloamaziq

https://imeslan.com/2017/10/15/tarha/

📷 1 y 2. Pepe Tejero. Recreación realizada por Isidro Cedrés (Tenerife).

https://www.facebook.com/pepe.tejero.1

📷 3. Guerreros Tuareg.

Day 7 - Free Day

I say this with utmost sincerity, I think I spent more time and effort on my dumb fanspecies lore powerpoint than I ever did for any college presentations up until this point. Hopefully this is readable and comprehensible to y’all! This has seen so many edits, entire pages deleted and paragraphs moved from one place to another, so if you see any mistakes, my bad.