Jorge Zalszupin
Hailing from Poland, Jorge Zalszupin (1922-) exchanged war-torn Europe for Brazil in 1949. After having studied at Bucharest’s Higher School of Arts, and shortly having lived in Paris, Zalszupin arrived in Rio de Janeiro in early February in 1949, in the midst of the tumultuous Rio Carnival.
Zalszupin brought a wardrobe cabinet with him, which had a double back, filled with smuggled French perfume, hoping it would help him raise some well needed ‘starting’ money. The Brazilians didn't really appreciate the smell, and Zalszupin got stuck with most of the bottles. Hardly speaking the language and without almost a single dime in his pocket, Zalszupin then decided to write to Luciano Korngold, a renowned architect in São Paulo who was also originally from Poland. Luckily for Zalszupin, a couple of weeks later Korngold visited Rio de Janeiro for a conference, and was impressed by his drawings. Korngold hired Zalszupin on the spot. During the following two years Zalszupin didn’t disappoint Korngold’s generous gesture and worked passionately at his company as an assistant.
Filled with ambition, he opened up his own business in 1951, proceeding his work as an architect. Zalszupin also started working in decoration and design in the years that followed, although mostly because of his clients’ wishes. Upon finishing the blueprints of projects, clients often asked Zalszupin to also plan the internal layout of their properties, therefore the architect began to produce furniture in wood and a few upholstered pieces, under the name “L’Atelier”.
The first model Zalszupin designed was the now famous ‘Poltrona Dinamarquesa’ (the Danish chair). The delightful Dinamarquesa took inspiration from Danish furniture making, and had all the signatures that would later characterise Zalszupin’s work; sensual and clear lines with an emphasis on high quality craftsmanship. To this day it is the designer’s own favourite work. Zalszupin designed many more signature pieces during his first year, among them the Poltrona Paulistana. In 1960, he had enough pieces to fill a showroom and opened his first shop in São Paulo.
His architect colleagues didn't want to participate however, because they thought the store would be too expensive. Zalszupin pushed through anyway, and keeping the warnings of his friends in mind, he decided to sublet part of the store to share the high costs. This happened to be a great move because a lot more visitors walked through his shop and had the chance to get to know his designs: L’Atelier became an almost instant success. In the years that followed L’Atelier opened more shops and had different representatives in different places in Brazil and even sublicensed some of Zalszupin’s designs in the USA. His designs ranged from chairs, cabinets and tables to plastic ice buckets and cutlery holders.
Working through the tough years of the military coup, in the early 1980s Zalszupin decided to leave L’Atelier. For a short period, he relocated to Paris, where he mostly focused on painting. Currently, Zalszupin lives a peaceful retired life in São Paulo. He is the last one standing of the great Brazilians. ~H.
Available literature:
Jorge Zalszupin: Design Moderno no Brasil, Maria Cecília Loschiavo dos Santos, Olhares, Brazil, 2014
REQUEST PRICE HERE
Price category: 50,000+ usd / eur
"I can't live well with too much rigidity. The 90-degree angle, for example, is something I love, but I can't do it. The things I do end up being a little lyrical, a little sensual, in short, there is always an element that does not come from purity or cleanliness."
This beautiful pedestal table visualizes the above quote from Jorge Zalszupin. It was designed in 1959 and produced by his own company, L'atelier. Essentially, the sizeable top rests on one concrete base finished with soft leather. The solid wood patchwork on the tabletop is mesmerizing, showcasing the many shades of Brazilian hardwood. This was not a purely aesthetic choice, but also an initiative for the rationalization and use of leftover scraps of wood available at the factory, allowing at the same time a combination of their different colourings. The way the large top is supported by the thick metal structure shows architectural precision and the use of materials of the highest quality. At the time of its creation, this table was presented as a dynamic piece that could be used in both the corporate and the domestic places thanks to its casual elegance. Today, its versatility is still recognized, a mark of good design. Zalszupin’s L’Atelier was a design collective comprised of architects, engineers, craftsmen and a full-scale team of professionals who did everything from researching materials to finalizing the product. Therefore, the quality of L’Atelier furniture has transcended time and his pieces have become timeless.
The name is said to be a reference to the famous Baia de Guanabara, a traditional postcard image of Rio de Janeiro. Zalszupin's production established a dialogue very close to the artisanal traditions of working with wood, ensuring quality in the aesthetics and manufacturing of his work.
Condition:
In good vintage condition. Wear consistent with age and use. Some minor scratches on the wooden tabletop. The leather covering on the base is a later replacement.
Dimensions:
98.82 in W x 49.21 in D x 29.13 in H
251 cm W x 125 cm D x 74 cm H
Literature :
Jorge Zalszupin, Design Moderno no Brasil – Maria Cecilia Loschiavo dos Santos, Olhares Edition, São Paulo, 2014, p. 142
About the designer:
Jorge Zalszupin was born in Warsaw, Poland, in 1922. He graduated as an architect in Romania in 1945. His importance for Brazilian design has been articulated in several publications so far. In addition to being the owner of the l'Atelier furniture factory of modern furniture, Zalszupin led a unique initiative: he coordinated a team of designers working for four different factories in the same business group, the Forsa Group.
Zalszupin immigrated to Brazil in 1949 and after a brief stay in the capital, he settled in São Paulo, a city that was then entering a cycle of great industrial growth and great cultural transformations. In the first half of the 1950s, he opened an architecture office, having José Gugliota as a partner. When he got tired of designing exclusive furniture manufactured for his clients' homes, he decided to join a group of woodworkers and started to produce smaller series. This was how l'Atelier came into being, which eventually began to manufacture office furniture and went from a carpentry shop with handcrafted products to an industry with serial production. The first piece in this series was an armchair nicknamed 'Danish' by employees. It was first created in 1959.
After the crisis of the 1980s, Jorge Zalszupin dedicated himself exclusively to architecture, an activity he had never abandoned. From 2005, the company Etel Marcenaria started to produce several of the items designed by Zalszupin for l'Atelier - among them the 'Danish' armchair -, privileging the objects of the company's artisanal phase. ~H.