巴西设计领域的领先专家之一Lissa Carmona（Etel Editions的心灵和灵魂）是该学科的国际大使。在标志着1922年在圣保罗举行的传奇Semana de Arte Moderna一百周年的那一年，她引发了现代主义运动，她向我们介绍了巴西设计的前景以及她对可持续性的热情。
Lissa Carmona充满了阳光充沛的气氛，这是您对巴西经典女士的期望。但是，她的个人魅力与她伟大国家的设计文化无关紧要，技巧和无与伦比的敏感性息息相关。她的母亲埃尔·卡莫纳（Etel Carmona）是一个自学成才的设计师埃尔·卡莫纳（Etel Carmona），迈出了第一步，她用木头摔倒了高跟鞋，并开始生产自己的家具。多年来，这个小型研讨会从其谦虚的开端开始，成为埃特尔（Etel），这是巴西所有最伟大的设计师，无论是过去和现在的最伟大的设计师。如此之多，以至于今天，埃特尔画廊（Etel Gallery） - 在圣保罗，米兰和休斯敦的地点，拥有朱塞佩·斯卡皮内利（Giuseppe Scapinelli）的独家版本，格雷戈里·沃奇维克（Gregori Warchavchik），华奎姆·坦雷罗（Joaquim tenreiro），豪尔赫·扎尔萨尔（Jorge Zalszupin），豪尔赫·扎尔苏（Jorge Zalszupin）， 这仅仅是列举的一小部分。
At the time of our interview, Lissa is in São Paulo, five hours behind Italy: the warm morning light of a late summer’s day shines through the screen, whilst the large window behind her offers glimpses of handsome, lush plant life.“It all happened in just a single week, 13 to 17 February 1922,” says Lissa, who has organised exhibitions and held conferences for the centenary of the Semana de Arte Moderna - “that was the official start of the Modernist movement that came to characterise all of Brazil’s creative expression from that moment on. In 1922, the country - a hundred years after gaining its independence - wanted to make its own way in the world and break free of its historical ties to Europe, all whilst maintaining relations with the international avant-garde movements of the time. Every discipline imaginable was involved, including architecture and design: this exceptional week provided designers of all kinds with boundless inspiration in seeking out an identity of their own. Waves of foreigners flocked to the country too, finding a freedom that was not available elsewhere, including Jorge Zalszupin from Poland, Lasar Segall, a Lithuanian Jew, and Gregori Warchavchik, a Jew born in the Ukrainian city of Odessa”.
对于Carmona来说，纪念这种有意义的事件的意义在于它对未来提供的洞察力，就像这些有远见的艺术家在那些年前那样努力寻找一种反映融化的培养物的表达方式时1920年代巴西（他们当时遇到了嘲笑和拒绝，尽管我们都知道前卫很少寻求 - 或获得 - 群众的共识）。考虑到这一点，我问Lissa今天在巴西采取了哪些方向设计：“巴西设计师的目标与世界其他地区相同，即保持我们的环境，首先保持我们的环境。也就是说，我觉得需要指出一个特别独特的功能：虽然工业生产确实存在，但巴西设计有 - 与意大利设计不同 - 设法保留了散步艺术和工艺之间的强大授权内涵。这些往往是小限制的集合，独家制作。它遵循研究的路径，使其成为一个功能性的纪律，但它仍然拥有所有的灵魂和艺术范围“。
In light of Brazilian design’s close affinity for wood, one must inevitably wonder how it can maintain a healthy relationship with the Amazon rainforest, the world’s single largest green lung.“That’s a responsibility that weighs heavy on our shoulders, but the important thing is to use a proper methodology to interact with it: you must consider the rainforest not only as a natural park, but also as a place that is home to hundreds of thousands of people, all of whom must rely on it for their livelihood. Of course, it is very much possible to achieve this without destroying it, by working in harmony with the rainforest, using only certified wood, for example, and always collaborating with the local communities, as Etel has done for years (Etel was the first company in Brazil to obtain FSC certification - A/N)”. Lissa firmly believes that what we need is not yet another incredibly beautiful table, but rather a new kind of table, built in a sustainable way. This is a path that Carmona is experimenting with at Etel in partnership with Patricia Urquiola: the team has identified a resin derived from sugar cane waste and wood shavings which the designer has used in her Cascas side tables.
（Antonella Galli）
字幕和学分
对于所有图像：由Lissa Carmona/Etel提供
02、04、07、08、14：展览每隔一周。一个世纪之间的景观，身体和日常生活，在圣保罗的Zalszupin House，于2022年3月举行，纪念1922年Semana de Arte Moderna百年纪念之际。
03奥斯卡·尼默雷，里约热内尔豪华，Etel
05，Alva，Vasos Brota
06,10,11帕特里西亚乌尔基奥拉，级联侧表，Etel，照片作者Fernando Laszlo
12 Zanine Caldas，Z线，Etel
13 Milano Gallery，Etel，Andres Otero摄影
