An evening of culinary exploration at the official residence of the Ambassador of Brazil to Indonesia sparked a thoughtful conversation about the many similarities between the two nations. Despite being 18,258 kilometres apart, Brazil and Indonesia share much in common. Both are large tropical countries with vast rainforests and abundant natural resources.
These parallels were evident on the dinner table, where the bold flavours of Brazilian dishes felt familiar, and the welcome drink carried a refreshing tropical note. As the evening unfolded, dinner turned into a celebration of design. The Ambassador of Brazil to Indonesia, H.E. George Monteiro Prata recalled seeing a Brazilian chair on display at the Museum of Modern Art (MoMA) in New York. “I remember seeing the Vermelha Chair (1993) and the Corallo Armchair (2004) when I last visited MoMA. I believe the Favela Chair (1991) is also part of the museum’s collection. I particularly love it because it was inspired by the materials and design solutions used by the inhabitants of the Brazilian kampung,” George said.
The Vermelha, Corallo, and Favela chairs were designed by the Campana Brothers, Humberto (b. 1953) and Fernando (1961–2022), who rose to prominence in the late 1990s. The brothers became known for their evocative furniture that blends industrial materials and techniques with the traditional craftsmanship of Brazil. In 1984, Fernando and Humberto co-founded Estúdio
Campana as a laboratory for materials and experimentation. Beyond producing objects, the studio sought to develop a design language that proudly showcased Brazil’s identity and roots. By 1998, Estúdio Campana had secured its first U.S. museum exhibition: Projects 66: Campana/Ingo Maurer at MoMA in New York. The exhibition featured chairs, tables, and screens, including the Azul Armchair (1993), crafted from blue cotton rope woven through a tubular steel frame to form an intricate cushioned web. Azul belonged to a three-chair series alongside Vermelha and Verde. In his statement to MoMA, Humberto described the chair as a representation of Brazil’s “beautiful chaos.”
The series, characterized by its use of ropes, embodied a methodology that prioritized material exploration over conventional distinctions between high and low culture. Ambassador Prata noted that the Campana Brothers, along with modernist giants Oscar Niemeyer and Lina Bo Bardi, who greatly influenced them, are among the artistic figures whose legacies Brazil deeply cherishes. “But there are many more,” he added. “Let’s not forget Roberto Burle Marx, Paulo Mendes da Rocha, and Affonso Reidy. I believe the Brazilian people are artistic and creative by nature. Our culture, art, and folklore all bear witness to that.” The ambassador’s reflections revealed his passion for Brazilian design, a passion he shares with his spouse, Madame Miriam Prata. For his official residence in Jakarta, he brought a selection of pieces from his home in São Paulo.
“I brought with me a few pieces I enjoy, like the Eclipse Lamp and some prints by Burle Marx, the Brazilian landscape architect and painter I greatly admire. I do miss not having the Cadeira Mole (1961) by Sergio Rodrigues with me. It’s a soft chair famous for its inviting comfort,” George said. The Eclipse Lamp, in particular, holds special significance. Created by designer, photographer, and engineer Mauricio Klabin, it is iconic for its ingenuity, beauty, and affordability. The tiltable, shape-changing lamp adapts to the user’s desired lighting, making it both functional and original. George also highlighted several destinations in Brazil where architects, designers, and industry professionals can draw inspiration. He recommended the Campana Brothers’ Parque Campana in Brotas, the Museu Oscar Niemeyer in Curitiba, and Lina Bo Bardi’s Casa de Vidro in São Paulo.
He also mentioned Brasília, with Niemeyer’s sweeping modernist landmarks such as Palácio da Alvorada, Palácio do Planalto, the National Congress, and the Cathedral of Brasília. “Brasília is a good example of how a new city can embody progress and optimism. Architecture can be a tool for narrating a national story. I hope Brasília can inspire Nusantara,” he said. Other destinations on his list included Aterro do Flamengo in Rio de Janeiro; Pelourinho in Salvador’s historic centre where colonial architecture coexists with Afro-Brazilian cultural hubs; Curitiba, which is known for its urban innovation; and the Instituto Inhotim in Minas Gerais, a vast open-air museum blending contemporary art, architecture, and botanical gardens. The ambassador also suggested the idea of exchange visits between Brazilian and Indonesian architects and designers, believing both countries could learn from each other. He emphasised their shared values, namely open spaces, natural ventilation, and the use of regional materials as cultural statements.
“We need to know each other better and establish dialogue to exchange experiences. In São Paulo and Rio, annual exhibitions celebrate architecture, interior design, and landscaping. It would be inspiring to visit Brazil during those times,” he concluded, expressing his hope that Indonesia Design’s exposure to Brazil’s design landscape would be just the beginning.