Art and Architecture in the Chamber of Deputies

Explore the details inside the Palace.

By Chamber of Deputies, Brazil

Untitled (1974) by Athos BulcãoChamber of Deputies, Brazil

The National Congress’
façade impresses because of its plasticity and beauty, and is considered one of
the great moments of the world's modern architecture. However, it is the
inside of the building, with its large open spaces furnished with great
attention to detail that translates the ideal modern aesthetics of a governmental
building.

Ventania (1971) by Athos BulcãoChamber of Deputies, Brazil

Inside a Palace

The short time available for the construction of the building did not compromise the achievement of a remarkable integration between Art and Architecture, through a carefully planned policy of acquisition and design of furniture and works of art tailored to enhance the dignified beauty of the headquarters of the Brazilian parliament in Brasília – icon city of modern architecture. 

Detail of Ventania panel (1971) by Athos BulcãoChamber of Deputies, Brazil

Untitled [Angel] (1977) by Alfredo CesquiattiChamber of Deputies, Brazil

Collaboration

With an attentive eye to the details of the building, which he considered his most beloved work, Oscar Niemeyer invited several prominent Brazilian artists to contribute to the advancement of his project. Great names of the artistic scene of the time, such as Di Cavalcanti, Alfredo Cheschiatti and Marianne Peretti, created masterpieces especially for the National Congress

Space rearrangement study for the Chamber of Deputies: creation of a President’s Drawing Room. Copy. (1970) by Oscar NiemeyerChamber of Deputies, Brazil

Araguaia River (1977) by Marianne PerettiChamber of Deputies, Brazil

Pasiphae (1977) by Marianne PerettiChamber of Deputies, Brazil

Stained glass panel project for the Noble Hall of the Chamber of Deputies. Original drawing. (1977) by Marianne PerettiChamber of Deputies, Brazil

Candangos (1960) by Di CavalcantiChamber of Deputies, Brazil

Bird (1983) by Marianne PerettiChamber of Deputies, Brazil

Chapel from the 10th floor of Annex IV, Oscar Niemeyer, 1993, From the collection of: Chamber of Deputies, Brazil
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Proposal conducted to build the Chapel from the 10th floor of Annex IV (1993) by Oscar NiemeyerChamber of Deputies, Brazil

Proposal conducted to build the Chapel from the 10th floor of Annex IV, Oscar Niemeyer, 1993, From the collection of: Chamber of Deputies, Brazil
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Untitled (2002) by Athos BulcãoChamber of Deputies, Brazil

Athos Bulcão

Athos Bulcão, the artist most closely identified with the aesthetics of the new capital, designed several panels made of marble, ceramic tile or painted wood which, installed throughout the building, bear witness to the masterful artistic elements at work enhancing the architectural elements.

Untitled (1978) by Athos BulcãoChamber of Deputies, Brazil

Untitled (1960) by Athos BulcãoChamber of Deputies, Brazil

Untitled, Athos Bulcão, 1989, From the collection of: Chamber of Deputies, Brazil
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Untitled, Athos Bulcão, 1987, From the collection of: Chamber of Deputies, Brazil
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Untitled (1976) by Athos BulcãoChamber of Deputies, Brazil

Wall sculpture project with modules, in lacquered wood, for the Green Hall of the Chamber of Deputies’Main Building. Original drawing. (1970) by Athos BulcãoChamber of Deputies, Brazil

Untitled, Athos Bulcão, 1983, From the collection of: Chamber of Deputies, Brazil
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Untitled (1974) by Athos BulcãoChamber of Deputies, Brazil

High Armchair (1971) by Oscar NiemeyerChamber of Deputies, Brazil

Furniture

For a building that would represent a modern Brazil, it was necessary to search for – and in some cases design – furniture with the same high standards and modernity.

The furnishings of the National Congress Building represent a very particular sample of the twentieth century decorative arts and its aesthetics, both in Brazil and internationally. The collection reflects the harmonious dialogue between the international exponents that served as a reference in the consolidation of modern design in the world, and the Brazilian designers which brought a genuine national look to what was being produced.

Furniture designed for the Chamber of Deputies. Original drawing. (1970) by Oscar NiemeyerChamber of Deputies, Brazil

Paris Chair by Oscar and Anna Maria NiemeyerChamber of Deputies, Brazil

Barcelona chair and stool (1929) by Mies van der RoheChamber of Deputies, Brazil

Space rearrangement study for the Chamber of Deputies: creation of a President’s Drawing Room. Copy. (1970) by Oscar NiemeyerChamber of Deputies, Brazil

LC3 sofa (1928) by Le Corbusier, Pierre Jeanneret, Charlotte PerriandChamber of Deputies, Brazil

Grand confort petit Modèle (LC3) (1929) by Le Corbusier, Pierre Jeanneret, Charlotte PerriandChamber of Deputies, Brazil

Brno Chair, Mies van der Rohe, 1930, From the collection of: Chamber of Deputies, Brazil
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Oscar light armchair (1956) by Sergio RodriguesChamber of Deputies, Brazil

Brazilian Modern

With pure lines free from the ornaments that characterized previous styles, mid-century furnishing favours, as a rule, the use of straightforward industrial materials such as steel and aluminium, suitable for mass production. In Brazil, however, the production relies heavily in the use of wood, a raw material that is abundant in our country. Cane weave, a technique well adapted to the intense heat in our country, which is directly linked to our colonial past, is also frequently used.

Beto light armchair (1958) by Sergio RodriguesChamber of Deputies, Brazil

Tião Chair, Sergio Rodrigues, 1959, From the collection of: Chamber of Deputies, Brazil
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Coffee table, Sergio Rodrigues, 1958, From the collection of: Chamber of Deputies, Brazil
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Beto sofa (1958) by Sergio RodriguesChamber of Deputies, Brazil

Rangel table (1965) by Sergio RodriguesChamber of Deputies, Brazil

Shelf, Sergio Rodrigues, 1960, From the collection of: Chamber of Deputies, Brazil
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Senior Chair, Jorge Zalszupin, From the collection of: Chamber of Deputies, Brazil
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Table by Sergio RodriguesChamber of Deputies, Brazil

Office desk (1959) by Jorge ZalszupinChamber of Deputies, Brazil

Chair by Jean GillonChamber of Deputies, Brazil

Sling Lounge Chair (1960) by Charles PollockChamber of Deputies, Brazil

From this dialogue arose the rich diversity that can be observed in the main salons of the National Congress Building, fitted according to the orientations of the original projects of Oscar Niemeyer, with works by Sergio Rodrigues, Jean Gillon, George Nelson, Florence Knoll, Charles Pollock, Mies van der Rohe, Eero Saarinen, Le Corbusier, Oscar and Anna Maria Niemeyer, Charles and Ray Eames and George Zalszupin.

Chaise-Longue Charlotte (LC4) (1928) by Le Corbusier, Pierre Jeanneret, Charlotte PerriandChamber of Deputies, Brazil

Tulip Chair - Pedestal Collection (1956) by Eero SaarinenChamber of Deputies, Brazil

Saarinen table - Pedestal Collection, Eero Saarinen, 1956, From the collection of: Chamber of Deputies, Brazil
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Aluminum Group Chair series, Charles e Ray Eames, 1958, From the collection of: Chamber of Deputies, Brazil
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Aluminum Group Chair series, Charles and Ray Eames, 1958, From the collection of: Chamber of Deputies, Brazil
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Parallel Bar System Lounge Chair (1955) by Florence Schust KnollChamber of Deputies, Brazil

Sling Love Seat (1963) by George NelsonChamber of Deputies, Brazil

Basculant Armchair (LC1) (1928) by Le Corbusier, Pierre Jeanneret, Charlotte PerriandChamber of Deputies, Brazil

Aluminum Group Chair series (1958) by Charles and Ray EamesChamber of Deputies, Brazil

Coffee table, Florence Schust Knoll, 1958, From the collection of: Chamber of Deputies, Brazil
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End table (1958) by Florence Schust KnollChamber of Deputies, Brazil

Credits: Story

CHAMBER OF DEPUTIES
SECRETARY OF SOCIAL COMMUNICATION

COLLECTION AND CURATORSHIP
Cultural Center of the Chamber of Deputies: Museum Section


PHOTOS
Institutional Photography Section
Rui Faquini

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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