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,
Sushi Buffet, 2012, Carpet, rubber, EVA, fabric and estela handcrafted into sushi rolls partially covering brass structure 28.25 x 78.75 x 17.75 inches (72 x 200 x 45 cm)
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The Story Behind the Campana Brothers’ Iconic Stuffed-Animal Chair Design.
Frustration is often the mother of invention. That was the case with São Paulo design duo Humberto and Fernando Campana, who found themselves tired of traditional upholstery back in 2002. Then a chance encounter sparked an idea: “Someone on the street was selling stuffed animals, carrying them all in his hands—teddy bears, lions, crocodiles,” says Humberto. “Fernando and I looked at each other and said, ‘This is the chair.’
”They headed to a nearby market and bought a zoo’s worth of plush toys. At the studio, they stitched the critters together into a cuddly mound and fastened it to a metal framework with skinny stainless-steel legs. The result was “a chair that connects with childhood memories,” Humberto says of a seat—and its endless variations—that has come to epitomize their oeuvre. “It brings a smile to the face.”
https://www.architecturaldigest.com/.../the-story-behind...
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1867-Emperor Maximilian I
Maximilian I (German: Ferdinand Maximilian Josef Maria von Habsburg-Lothringen, Spanish: Fernando Maximiliano José María de Habsburgo-Lorena; 6 July 1832 – 19 June 1867) was an Austrian archduke who became emperor of the Second Mexican Empire from 10 April 1864 until his execution by the Mexican Republic on 19 June 1867.
Maximilian's trial began on 13 June, in the Teatro Iturbide of Querétaro, and he was charged with conspiring to overthrow the Mexican government and with carrying out the Black Decree. Maximilian's lawyers, which included the conservative statesman Rafael Martínez de la Torre attempted to defend the legitimacy of the Empire and Maximilian's benevolent rule. After only one day the court returned a verdict of guilty and sentenced Maximilian to death.
A number of the crowned heads of Europe and other prominent figures (including the eminent liberals Victor Hugo and Giuseppe Garibaldi) sent telegrams and letters to Mexico requesting that the Emperor's life be spared. Although he respected Maximilian on a personal level, Juárez refused to commute the sentence because he believed it was necessary to send a message that Mexico would not tolerate any more foreign interventions.
Felix Salm-Salm and his wife devised a plan to allow Maximilian to escape execution by bribing his jailors. However, Maximilian would not go through with the plan unless Generals Miramón and Mejía could accompany him and because he felt that shaving his beard to avoid recognition would undermine his dignity if he were to be recaptured.
The sentence was carried out in the Cerro de las Campanas at 6:40 a.m. on the morning of 19 June 1867, when Maximilian, along with Generals Miramón and Mejía, was executed by a Republican firing squad. He spoke only in Spanish and gave each of his executioners a gold coin in traditional European aristocratic fashion. His last words were, "I forgive everyone, and I ask everyone to forgive me. May my blood which is about to be spilled end the bloodshed which has been experienced in my new motherland. Long live Mexico! Long live its independence!" A photo of Maximilian's firing squad is owned by the Metropolitan Museum of Art, Gilman Collection.
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Inter Miami tanpa Lionel Messi takluk 2-3 dari Montreal Impact (Getty Images/Rich Storry) Inter Miami tak diperkuat Lionel Messi saat menghadapi Montreal Impact . Alhasil, Vice City takluk dengan skor 2-3.
Inter Miami menjamu Montreal di Chase Stadium, Senin (11/3/2024) pagi WIB dalam lanjutan MLS 2024 pekan keempat. Luis Suarez dan Sergio Busquets cuma jadi cadangan karena kondisinya tidak fit.
Messi harus absen di laga ini karena mengalami cedera tulang kering usai ditekel pemain Nasshvile FC beberapa hari sebelumnya. Memainkan Federico Redondo di lini tengah, Inter Miami tampil dominan dengan 60 persen ball possesion.
Tapi, mereka kesulitan menembus pertahanan Montreal dan kebobolan duluan pada menit ke-13 lewat tandukan Fernando Alvarez meneruskan umpan sepak pojok Ariel Lessiter.
Inter Miami setelah itu berupaya menyamakan skor tapi upaya mereka selalu sia-sia. Banyak peluang terbuang karena buruknya penyelesaian akhir.
Pada babak kedua, Inter Miami baru memainkan Busquets untuk mengubah alur permainan. Mereka baru bisa menyamakan skor pada menit ke-71 lewat Leonardo Campana.
Campana menanduk umpan silang Lawson Sunderland yang menusuk dari sisi kanan penyerangan Inter Miami.
Skor imbang cuma bertahan tiga menit karena Montreal unggul lagi 2-1. Dari situasi sepakan bebas, Mathieu Choniere memberikan umpan yang ditanduk Matias Coccaro di depan gawang Montreal memperbesar keunggulan jadi 3-1 pada menit ke-78 lewat Sunusi Ibrahim. Diawali akselerasi Josef Martinez yang melewati beberapa mantan rekan setimnya hingga kotak penalti, bola kemudian disodorkan kepada Ibrahim yang datang dari belakang dan menyepak ke pojok gawang.
Inter Miami belum menyerah dan memperkecil skor jadi 2-3 dua menit berselang. Busquets menyodorkan bola kepada Jordi Alba yang langsung menembak dari luar kotak penalti dan bola mengarah ke pojok kanan atas.
Hingga akhir laga, Inter Miami tidak bisa mengejar dan gagal mendapatkan poin. Anak asuh Tata Martino masih memuncaki Klasemen Wilayah Timur dengan tujuh poin dari empat laga. Montreal di posisi kedua dengan poin sama tapi kalah selisih gol.
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