Vintage Sergio Rodrigues Stendig Mole Seating Settee
Sergio Rodrigues is the figure of illuminated characters, which has transformed its concerns in a consistent and eloquent work of Brazilian culture. Sergio is undoubtedly one of the most admirable expressions of design in our country. The single trait consistent and put your name in the history of 20th century design, especially the creation of a wide variety of products, the most famous is the Armchair Mole.
Next to masters like Jose Joaquim Tenreiro and Zanine Caldas, Sergio is making the Brazilian designer known internationally. While Tenreiro, with its mobile sober, was the forerunner in the search for a new style, Zanine wood pulled all of its expressive potential and Sergio Rodrigues has a wide experience in production, trying to think Brazil by design. He completely transformed the language of the mobile, was generous in the dash and the employment of native woods and, as well Lucio Costa said, “with the creation of the OCA has the ambiance of the interior movement of renewal of our architecture.”
The Brazilian production in this sector (furniture) in the mid-50s, was still prey to the very styles, and its renewal require two battles. Sergio knew that the only weapon that it was the design and that there was gone.
Initially, as architect, worked alongside David Dobson, Flavio Regis do Nascimento and Olaf Redig Field project in the Civic Center in Curitiba, significant work in the context of modern Brazilian architecture. But, knowing their interests vigorously and trails for a path for other great architects like John Vilanova Artigas, Oscar Niemeyer, Oswaldo Bratke and Paulo Mendes da Rocha, Sergio jumped from architecture to the design of the mobile.
Moreover, he was absolutely convinced that the “architecture in the planning of internal space was not adequately studied architecture was not, it was sculpture.”
For Lucio Costa, in some parts Sergio Rodrigues succeeded redeem the spirit of traditional furniture and also aspects of indigenous Australia. “In fact, at that time he did the Brazil-Brazilian co-exist with Brazil-de-Ipanema, sung later (1962) by Tom Jobim and Vinicius de Morais in the famous” Girl from Ipanema, “and with Brazil`s Sao Paulo industrialization, Oca was actually the representative of selected models of the main factories of Sao Paulo. ” That is why the name Oca: a return to indigenous sources, the taste for traditional materials. Sergio immediately launched a search for permanent projects, methods and materials to meet adequately the needs of the user, unrelated to fashions and styles. According to Oscar Niemeyer: “At that time (beginning of Brasilia) have not had time to think about designing mobile no. We use current mobile market, selecting the Palace as required. The main furniture designer who was asked Sergio Rodriguez.” At activities in the sector of furniture is fundamental to highlight the work of Sergio in the planning of interiors, the ambience, the scenery and decoration. Within the interior, cooperating with the most important architects Brazilians, and in his own store – The Oca – provided various consultancy in the country and abroad legitimizing the “interior design” in Brazil.
“The accuracy of the mobile modern design with certain objects of Brazilian culture, and not concerned about fashions, accentuating the spirit of Brazilian Sergio Rodrigues that both search. These two facts were clear from the jury`s decision of the Fourth Biennial of Mobile, Cantu, Italy 1961, winning with the Sheriff Armchair between 400 candidates from 35 countries. ”
Philosopher, researcher and a professor of Brazilian furniture in FAUSP
Age appropriate wear
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