Yes. Tropicalia. What’s behind the floral prints, palm trees and exotic fruits?

We are going back to the 60s. Location: Brazil; European culture broth in an isolated climate from the traditional cultural trends and avant-garde concepts, manifested as an existential anguish that cannot decide between loving or denying the past. In Latin America, this new industrial stream is received as a synonym of an enriching promise and not as a disturbing reality that heralded a century of environmental destruction, ethnic cleansing and imposition of culture.

So, contemporarily, it is developed the modern rationalist movement, prolific son of the Bauhaus School, in both latitudes. However, not in the same way. While in Europe, vanguard is led by the hand of ‘rupture’ and the rejection of the values established so far; in Brazil we are not talking about a break with the existing. What is new is the existing, the libertarian spirit, the innovation without limits. Dreams already existed in Brazilian culture before the arrival of the ‘Europeanisation’. I venture as well, to quote the Spanish philosopher, Eduardo Subirats, saying: “What was new was the old, only had to undress him!”
An agitated political climate defines the European scene of the moment; the exile, a new trend; South America, the paradise. In this way, the meeting of an intellectual ‘aristocracy’ took place through the ocean: Lina Bo Bardi, Burle Max, Lucio Costa, Oscar Niemeyer, Portimani, Oswald de Andrade and Vinicius de Morais among others, the ones responsible of putting in global circulation the Brazilian culture, who is conceived by Lina Bo Bardi as “a relaxed village not yet untainted by pride and money” movement.

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Thereby I emphasize the figure of Lina, Brazilian by adoption, as a propellant of the modern movement without relegating of the roots and allowing the creation of a local Brazilian identity. Her reflective, curious and experimental character, as well as her vision and modern conception, opened to her an opportunity and a creation of the design immersed in an atmosphere where she changes reminiscences of the war by the sounds of birds. She is focused on publicizing and paying attention to the work of he tlocals with the same dignity as if we were talking of the great artistic elite, while getting to know with greater closeness the native raw materials.
Without any further delay, these raw materials: rattan, bamboo, hemp, integration of vegetation, color intensity, clay, tins, pottery, lace, natural woods, recall today this whole culture. Using them in a project is not intended solely to provide peace and tranquility that reminisces our vacations in tropical resorts, but to make time last and above all, the space, which is what architecture deals with, all these concepts that one day in the past involved a struggle.

But it is not only in architecture and interior design where we can find the reminiscences of this movement, also in fashion and art.
As a curiosity, we have to highlight the Transtropicalia; a festival where several artistic and new realities of creation disciplines converge, held in a somewhere- secret-place in Alicante, Spain, where faithfully it is payed tribute to this alternative culture that gives voice to local artists and seeks to place them in the same stadium as established artists.

 photo lina bo bardi casa di vetro 2.jpg  photo tropicalia.jpg  photo lina bo bardi sketch.jpg
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