Brazilian architect Oscar Niemeyer inspires New H.Stern jewelry collection

Oscar Niemeyer, 103, is Brazil’s most famous architect. Considered one of the most influential names in international modern architecture, he is responsible for the project of Brasilia, the country’s capital constructed in the late 50’s, and many other iconic buildings including UN’s headquarters in New York, a collaboration with French master Le Corbusier.

Curves have been his passion over the course of a lifetime. They define the architect’s own style: the lightness of the curved forms that create spaces full of harmony, grace and elegance.

The H.Stern by Oscar Niemeyer Collection is the initiative of Roberto Stern, president and creative director of H.Stern, who has always given special emphasis to organic and sinuous forms in jewelry.

“We do not find straight lines in nature, therefore I like asymmetry and irregular contours, which are more human and natural,” said Stern. It was this shared passion with the architect that led Stern to launch   the collection.

For the first time, Niemeyer personally approved a collection of jewelry created in his honor, and based on his own sketches, his curved lines. Several of the designs include pieces inspired by the female form.

“The jewels are extremely pretty and very light. It’s incredible how they have managed to exactly replicate my designs,” the architect said. “The people who made these jewels are very talented!”

The jewelry designers sought inspiration not in the final form of Niemeyer’s revered creations, already widespread, but in their primary element: the apparently unpretentious outlines and contours which are transformed into architectural works like those in Brasília; Pampulha, an architectural project in Minas Gerais state; the Copan building, in São Paulo; and the surprising Museum of Contemporary Art in Niterói, considered one of his finest works.

Niemeyer appears to bend straight lines in his concrete structures, transforming curves into a natural solution for his creations. H.Stern does the same with gold and diamonds. Besides the curving contours, empty spaces—so prized by the architect in his concrete sculptures—are also reflected in the jewelry. Rings, bracelets and earrings emphasize simple lines, interspersed with empty spaces.

The H.Stern Collection by Oscar Niemeyer includes jewelry in gold and diamonds, composed of six different lines and named for some of his works and famous projects. They convey the simplicity of the outlines, which are captured in a few, essential lines: loose, free and flowing.

Below are the six lines that make up the collection:

Copan bracelet, in yellow gold

Copan building, in downtown Sao Paulo, Brazil

Copan—One of the icons of the famous concrete poetry of the capital São Paulo, the Copan building has hovered like a wave on the horizon of the metropolis since the 1950s, contrasting with the straight angles that predominate in the local architecture. It was the wavy, striking design that was the inspiration behind the Copan jewelry collection, with rings in wavy forms and a voluminous yellow gold bracelet.

Brasília—The architecture of the city of Brasilia, glimpsed in the sketches submitted by Lucio Costa for the international design contest for the new capital of Brazil, was the result of Oscar Niemeyer’s definitive influence. The concave and convex domes of the National Congress and the columns of the Alvorada and Planalto Palaces and the Supreme Court are highly original features. Combining these with the spectacular forms of the columns of the Cathedral and the palaces of Itamaraty and Justica, Niemeyer succeeded in closing the rectangular and symmetrical perspective formed by the repetition of the Esplanada and Ministry buildings.

The concave and convex domes that epitomize the building of the National Congress gave form to an yellow gold bracelet, in which continuous lines and empty spaces encircle the female wrist in a light, sensual way. The jewel reconstructs Niemeyer’s proposal when he planned, in 1958, what was to become one of the most beautiful scenes of the federal capital and one of his 35 works to be listed by the Historical Heritage of the country. Besides the bracelet, there are also earrings in which opposite curves join at the tips, with singular lightness.

Pampulha—The inspiration for this line comes from the sinuous design of the roof of the São Francisco de Assis church in Pampulha, state of Minas Gerais, Brazil. The project was created by Niemeyer in the 1940s, at the request of Juscelino Kubitschek, then mayor of the city who would later become President of Brazil. The structure was highly controversial due to its bold forms. Niemeyer said, “I covered it with curves, all kinds of curves, as a statement against the architecture characterized by straight lines that predominated up until then.”

The wavy design of this emblematic work was reproduced by H.Stern in rings, earrings and bracelets in white gold and diamonds.

PAMPULHA bracelet in white and diamonds

Pampulha Church, in Belo Horizonte, Brazil

Sketch—Amid the iconic designs of the Pampulha and the National Congress of Brasília, the wall of Niemeyer’s office displays an intriguing design. Two curved, perpendicular lines appear to form the sketch for one of the consistently bold columns of his buildings. Who has seen the arched columns of the Cathedral of Brasília or the Palácio do Planalto? Or, perhaps, the profile of one of the dish-like domes which he transforms into functional buildings. Or it may be an unpretentious drawing that has not been transformed into works of concrete.

Sketch earrings in yellow gold

 National Congress buildings, in Brasília, the capital city of Brazil

This sketch of extreme simplicity was interpreted by H.Stern in a pair of earrings—in white gold and diamonds—in which the metal line folds between the frontal part and behind the earlobe.

Curves—“If the straight line is the shortest route between two points, the curve is what makes concrete search for the infinite,” said Niemeyer, explaining his preference for fluid, sinuous lines. Curves baptize this line of jewelry with rings and earrings. In the earrings, the strands form wavy layers, one on top of the other. The design explores one of the principle elements of architecture: perspective. The visual impression given differs depending from which the jewelry is viewed.

CURVES Ring in white gold and diamonds

Flower—Niemeyer’s work also includes sketches of singular beauty, like one of a hand holding a flower with four leaves. A single line of form and image, reminiscent of a child’s drawings in its simplicity. This drawing provided the inspiration for pendants and bracelet in yellow gold which represent the flower, closely following the spontaneous vision of the architect and designer.

The gold flowers are hollow, in reference to Niemeyer’s appreciation for unfilled areas. “Architecture is about overcoming spaces… I cannot understand those who are afraid of open spaces. Space is part of architecture.” It is also part of the jewelry.

Brazilian musicians Carlinhos Brown and George Israel have also composed a song to honor the launch of the H.Stern by Oscar Niemeyer Collection. “Linhameyer” (a blending of Niemeyer’s name with the word Linha—“line” in Portuguese)  speaks of the sinuous lines in the architect’s drawings.

H. STERN
645 Fifth Avenue at 52nd Street
New York, New York 10022
212-688-0300
800-747-8376
www.hstern.net

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Spin that magazine, Mr. DJ!

Nice work by the Sao Paulo based ad agency F/Nazca Saatchi & Saatchi. Talking about the world’s most innovative magazine ads, here’s another interesting one—an audio print ad for Brazil’s Skol Sensation music festival, wrapped around the spine ofPlayboy magazine. A mini-chip was inserted in the ad, allowing users to listen to an audio message whispered by a young woman, says Adverblog.

What is Brazil?

Points of culture : what Brazil can teach Britain about art

A series of debates at the Southbank Centre shows how Brazil understands things that supposedly ‘developed’ countries don’t – not least about the transformative social power of art

Twenty years ago, it seemed as if Brazil couldn’t stop dreaming about its future. Now the future has arrived; Brazil is an economic and political world leader with a seat at the globe’s most influential table. Yet the country still faces the fundamental renegotiations of power – between rich and poor, women and men, black and white, indigenous and immigrant, city and rural communities. Recognising that without a new and radical approach Brazil will never achieve its promise for a just society, engaged artists in the favelas of Rio de Janeiro, Sao Paulo, Salvador and in rural areas across the country are pioneering new approaches to giving communities a real voice. But their work doesn’t spring randomly from unconnected initiatives – it’s part of a strategic plan to create an entire network of socially committed cultural projects.

In 2003, the Brazilian government created an initiative called Points of Culture: thousands of community and arts projects of all sizes and types that would work to strengthen people’s involvement in the life of their neighbourhoods and the larger society. The idea came from the legendary musician Gilberto Gil who had agreed to become culture minister for a five-year period under President Lula. The very act of having artists in the centre of government sent a signal of serious intent. Throughout his ministry poets, playwrights and philosophers worked in the executive, bringing a new language of aspiration and inventiveness to that of government.

But what does it mean when politicians pledge to put “imagination at the service of the people”, as the Brazilian government has done? First, it’s a recognition that culture and positive cultural expression is the foundation of identity and pride for all of us. But culture isn’t simple, and one size doesn’t fit all – it’s very personal, particular to individuals, groups, tribes, neighbourhoods and regions. It has to spring from the circumstances of place, economics and tradition, and be captured in vivid and powerful ways. Second, politicians in Brazil believe that professional artists can play a key role in developing people’s confidence, happiness and sense of self. Third, it’s a declaration of their respect and love for the people of Brazil – regardless of their economic or educational privilege – and a desire to improve the lives and opportunities of all those millions of citizens who remain marginalized and unable to fulfil their potential. It was a bold, demanding mission to launch and to sustain, but one that has proved so successful it is now spreading to other parts of Latin America.

When I was creating Southbank Centre’s summer-long Festival Brazil, I wanted to reveal what Brazil was thinking about; how its artistic vitality is bound up in its democratic urge to transform and reinvent the world, and how much the artists of Brazil believe in the creative capacity of everyone. Tonight, in a debate entitled The Edge of the Future: Renegotiating Power, Jose Junior – who founded the powerful AfroReggae movement – discusses the choice of young people to turn away from drug and gun culture and towards music, dance and poetry as a way of finding status and “family”. Tomorrow, Luiz Eduardo Soares, formerly Brazil’s National Secretary of Public Security, a man who dealt with some of Rio’s most alarming clashes between police and gangs, will talk about how hip-hop artists and photographers helped him forge communication between lawmakers and young people.

For both these debates, there will be weighty contributions from some of the UK’s important cultural projects, too. We will hear from the Koestler Trust, who work with prisoners and young offenders, about why the arts serves as a unique tool of rehabilitation. And Camila Batmanghelidjh brings her experience and vision of Kids Company and the central role that the arts can play in supporting young people to manage their circumstances differently.

The UK currently has the finest arts ecology in the world, including many outstanding cultural initiatives that work at grassroots level. But it doesn’t have a comprehensive programme that offers communities – and particularly young people – the right to work with artists in ways that would substantially change their sense of what is possible. Britain is a society in flux, and we need bold ideas that strengthen our communities. Brazil’s belief in the importance of culture to the lives of its people is far-sighted, and can provide inspiration to us all.

More details, click here