Local midcentury masters association in a São Paulo unit of a complicated mall mogul
October 30, 2017 - table lamp
After spotting a singular instance of a ‘Picnic’ table, designed in a 1970s by Brazil’s Sérgio Rodrigues, Carlos Jereissati Filho didn’t need to consider twice. He bought a piece, done of caviúna wood, iron and glass, from a internal art and pattern gallery, Renome, to put in honour of place in his new unit in a Itaim Bibi community of São Paulo.
‘I couldn’t resist. It reminds me of Guarujá beach lunches with my family when we was a kid,’ says Jereissati Filho. ‘We were so happy.’ Today a square doubles as a dining list and a place to review books from his library, only another component of what a businessman believes is a ideal residence. ‘Everything here has a reason to exist,’ he says. ‘It’s like a concept review between designers from Brazil and around a world, from Joaquim Tenreiro to Gio Ponti.’ As an ensemble, a outcome is mouth-watering and luxurious.
At 46, Jereissati Filho is a CEO of Iguatemi, obliged for a company’s 17 selling malls sparse via Brazil, possibly built from blemish or acquired and refurbished for high-end consumers. He was innate in São Paulo into a Lebanese family that emigrated to Fortaleza, in a northeastern state of Ceará, in a early 20th century and done a happening with a Cearense flour mill. He lives alone, spasmodic goes to work by feet or bicycle (usually though fit and tie) and loves to horde friends during home. Just a few blocks from a 11th building unit is Iguatemi São Paulo, a city’s initial selling mall, bought by his father Carlos Francisco Ribeiro Jereissati, in 1979, 13 years after it was built.
Carlos Jereissati Filho in his unit with, from left, a Jacaranda buffet by Jorge Zalszupin; Acal [Sao Paulo], 2014, by Sarah Morris; an pattern by Eduardo Coimbra (on sideboard, right); and Pier Giacomo and Achille Castiglioni’s ‘Snoopy’ lamp. Photography: Alex Batista
While a family’s malls accumulate together a horde of tellurian brands, Jereissati Filho is focused on collecting of a opposite kind. The furniture in his new unit was acquired in partnership with engineer Samuel Lamas from Equipe Lamas in Brasilia. When he sat down to plead a plan with his client, a engineer was faced with a horizon of grey floors and white walls, though with one peerless feature: a extended perspective of a city supposing by a floor-to-ceiling windows. ‘It was prepared to accept colour and a lot of light,’ says Lamas.
Keen direct for Brazilian design, quite from a midcentury, has seen a value of locally done furnishings soar. The selected epoch is now rarely prized, while there’s also a sprightly trade in strictly authorised reissues. In Jereissati Filho’s apartment, strange pieces and re-editions come together. The ‘Millôr’ sofas were consecrated directly from Rodrigues, and are ideal partners for his yellow ‘Beto’ chair and ‘Mucki’ dais done of jacaranda. In a same space, there is a ‘Bowl’ chair by Lina Bo Bardi, a engineer behind brutalist gems such as a Museu de Arte de São Paulo and a city’s SESC Pompéia informative and sports centre.
Four immature ‘Adriana’ armchairs, by Jorge Zalszupin, form a review corner, with lighting by Frenchman Serge Mouille. ‘We discuss a lot here; we like a proximity, a scale,’ says Jereissati Filho. As a collector, he is generally penetrating on seeking out lighting. Above a ‘Picnic’ list hangs a sold favourite, a ‘Artichoke’, a copper origination by Danish engineer Poul Henningsen. A list flare by Paulo Mendes da Rocha, acquired by Mercado Livre (a Latin American opposition to eBay), lights adult a centre of a room, while a Castiglioni brothers’ ‘Snoopy’ lamp, found in LA, completes a illuminations.
In a library, Sérgio Rodrigues’s ‘Picnic’ table, Poul Henningsen’s ‘Artichoke’ light and a ‘Mezzadro’ stool, by a Castiglionis. Photography: Alex Batista
Jereissati Filho also surrounds himself with 20th-century and contemporary Brazilian artworks, including pieces by Lygia Clark, Dudi Maia Rosa, Sérgio Sister, Luiz Zerbini, Rodolpho Parigi and photographs by Mario Cravo Neto and Claudia Jaguaribe, among others. His merger process is emotional: if he likes it, he takes it home. Among a general works, he outlines his welfare for a recently acquired multicolored shade by a American artist Sarah Morris – ‘I’m a left-wing about geometry,’ he says.
From any mark in a sun-bathed vital space – even during a amiable paulistano winter – Jereissati Filho has a breathtaking perspective of a surroundings, including a JK Iguatemi selling mall (opened in 2012), and Parque do Povo. Nevertheless, for business-related entertaining, a design-loving businessman maintains Casa Jereissati, a dangling potion box of a residence in a city’s Jardim Europa district, also designed by Equipe Lamas. The unit is a some-more private affair.
Jereissati Filho’s rendezvous with São Paulo has done him an critical confidant for informative institutions such as a Pinacoteca art museum, and also a pivotal actor in one of a city’s good hurdles – a revitalisation of a Pinheiros river, that now cuts off partial of a city. ‘Clearing a stream and building a linear park in a vicinity is my good dream. This is a new frontier, we need to lift this out urgently,’ Jereissati Filho says. If he relates a same ability and friendship as he has to a curation of his home and business, success is guaranteed.
As creatively featured in a Nov 2017 emanate of Wallpaper* (W*224)