Jerzy Zalszupin – między modernizmem brazylijskim a jego alternatywnymi interpretacjami

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Ewa Angoneze-Grela*, Diogo Tadeu Vargas Horvath**

Jorge Zalszupin:

between Brazilian Modernism and its alternative interpretations

DOI: 10.37190/arc260204

Published in open access. CC BY-NC license.

Abstract

This article examines the work of Jorge Zalszupin, a Polish-Brazilian architect, in the context of architectural movements prevalent in Europe and

Brazil during the Modernist period.

The aim of this study is to examine the connection between Zalszupin’s architecture – with particular emphasis on the architect’s residence in Gua-

rujá (São Paulo) – and his biography, as well as the architectural realities that characterized the various stages of his professional career. The research

is based on a case study, supported by contextual and biographical analysis that includes previously unpublished materials, such as an original sheet of

architectural drawings and trade journals from the period.

The analysis demonstrated the hybrid nature of his work, which combines Brazilian modernism (the carioca and paulista schools) with references





Key words: Jorge Zalszupin, Brazilian modernism, sculptural architecture, Mediterranean architecture

Introduction



-

ure whose body of work is typically situated within the con-

text of Brazilian Modernism. Although he was amongst the





works, furniture designs, and industrial designs are recog-

  

Zalszupin designed furniture for government buildings in



Oscar Niemeyer. In this context, it can be argued that his

body of work deserves greater attention and international

recognition.

There are still few scholarly studies devoted to his work,





industrial design. In Poland, interest in him has recently

grown thanks to the exhibition “Jerzy Zalszupin’s Brazil

ian Modernism: Warsaw – São Paulo – Warsaw”, organized

by the Visteria Foundation and ETEL, a Brazilian publisher

specializing in design. The event took place in the fall of



that would present his architectural body of work, which

constituted the main focus of his professional career.

This research gap served as the starting point for this ar-

-

idence in Guarujá (São Paulo), analyzed within the context

of Brazilian Modernism. This article also examines selected



structure clearly diverges from Zalszupin’s earlier works,

       

and intriguing use of materials. It is reasonable to ask what





creative direction, and in what context this change took place.

As noted, Jerzy Zalszupin’s work is most often inter-

preted through the lens of modernism, which gained wide -

      -

ewa.grela@put.poznan.pl

  

ment, Casa Zal szu pin, Brasil.

 

spread popularity during his professional career both in

Europe and in Brazil. While skillfully employing its lan-

guage, Zalszupin was also an attentive observer of changes

and current design trends in Europe, with which he main-

tained a constant intellectual dialogue. In the authors’ view,

it is precisely the design of the house in Guarujá that holds

the key to interpreting his architectural work, serving as

a testament to Zal szupin’s openness to concepts that co-

existed with Modernism, while also demonstrating his dis-

tinctiveness and his consistent search for his own architec-

tural language.

Methods

The starting point for the research was the acquisition of

original source materials related to the architect’s house de-

sign, courtesy of Casa Zalszupin



. They include architectural

drawings – a set of plans, elevations, sections, and building

descriptions – as well as photographic documentation from



This study uses a qualitative analysis method focused on

interpreting the building under study, as well as a contextu-

al – historical and architectural – analysis that addresses the

broader idea and cultural background. A biographical-con-

textual approach was also employed, linking the architect’s

work to the course of his life and the contexts in which he op-

erated. The research was based on a bibliographic review that

included both academic studies and press materials, includ-

ing publications in the Brazilian journal Manchete and the

French architectural periodical L’Architecture d’Aujourd’hui.

Direct contact with the architect’s daughter, Verônica

Zalszupin, as well as an on-site observation of his home

in São Paulo – which currently serves as Casa Zalszupin

– proved to be an important addition to the research.

Results

The results are presented in three sections focusing on

the architect’s biography and the architectural trends with-

in which he worked during various periods of his life. This

structure allows us to trace the evolution of his work. These

sections cover, in turn, his European experiences, followed by



, includ-

ing sculptural works that draw on the “Mediterranean style”.

Within the context of European architectural ideas

-



on the streets of prewar Warsaw, particularly in the area



The space, designed by Lissa Carmona Tozzi and managed by

ETEL, is dedicated to research, conservation, and the promotion of



his home in São Paulo.

In this article, the term “tropical Modernism” refers to an inter-

pretation of Brazilian Modernist architecture as a response to climatic

conditions, the landscape, and the local way of life. Architecture under-

stood in this way is present in the writings of Lúcia Costa and was pop-

-





home was located. As a teenager, he came across a book of

Le Corbusier’s sketches and – as he recalls in his autobiog-

raphy – decided at that moment to devote his life to archi-













-



-

slovakia to France, where he found work helping to rebuild

Dunkirk which had been damaged by the war. During that

time, he settled in the nearby town of Saint-Pol-sur-Mer

and gained professional experience for a year. Then, driven

by ambition and the need to seek out more ambitious de-



about this decision in his autobiography



I’ll go far away from the anticipated wars – preferably to

Brazil – because my monthly architecture journal (“L’Ar-

chitecture d’Aujourd’hui”) featured names and projects

that made me dream and fantasize about these new worlds









At that time, France, devastated by the war, was entering

a phase of intensive reconstruction, in which Modernism

was used as a key design tool. Le Corbusier was develop-

ing the concept of the machine à habiter and working on

 

same time, the idea of the synthesis of the arts became wide-

    

the founder of the magazine L’Architecture d’Aujourd’hui.





and the Architecture-Sculpture Debate” emphasizes that,



arts was intensively developed in the pages of his maga-





South America. The magazine L’Architecture d’Aujourd’hui

was distributed across several continents, including Brazil,

which made it possible to stay in touch with the European



In Europe, in response to orthodox Modernism, alterna-

tive approaches to architecture gradually emerged. The idea

pioneered by the founder of L’Architecture d’Aujourd’hui

was taken up in subsequent decades by other designers, in-

cluding Jacques Couëlle, a sculptor and self-taught archi-

tect who is sometimes regarded as one of the initiators of

    

as the housing complex in Castellaras-Le-Neuf and the

Cala di Volpe hotel, served as a sort of laboratory for sculp-



Zalszupin’s autobiography was also published in Polish, trans-

lated by Joanna Kuhn (J. Zalszupin, Z d*** na księżyc, Wydawnictwo



Zalszupin and Brazilian Modernism 

tural forms scaled up to the level of architecture. The design

process often relied on working with scale models, and the

architect himself actively participated in the construction,



Couëlle’s design practice spanned both the French Riviera



the context of postwar development in elite tourist archi-



stark contrast to the geometric orthogonality of Modern-

ism. The buildings he created helped shape the identity of

these spaces, consciously referencing notions of the Medi-

terranean lifestyle.

Couëlle’s bold, sculptural forms may have provided

-

onal geometry and the rigidity of the right angle had be-

come too restrictive. In one interview, Zalszupin admitted:

The right angle […] is something I admire, but that I am

unable to apply. What I create takes on a certain lyricism,

a certain ornamental character – in short, there is always

an element in it that does not stem from purity or formal

clarity

-

azine Aujourd’hui Art et Architecture published a special

     Aujourd’hui

Art et Architecture

the houses in Castellaras-Le-Neuf, it may also have found

its way into Zalszupin’s hands. The context of Mediterra-

nean resort architecture, designed with European elites in



architecture may have inspired him to seek an alternative

architectural language that went beyond the dominant prin-

ciples of the paulista and carioca schools, within which he

developed his creative work.

Tropical Modernism

– between the paulista school and the carioca school

While living in France, Zalszupin viewed Brazil as

a place open to experimentation with enormous architectur-



At that point, I decided to leave France and look for

a young country where I could develop my career. And

don’t ask me why Brazil. Perhaps because I had come

across some information about the country in the magazine

“L’Architecture d’Aujourd’hui”, which featured articles on

the Fábrica Nacional de Motores, the Ministry of Educa-

tion, and Pampulha. I believed that Brazil was a country

particularly well-suited to the creative pursuit of architec-

ture



de Janeiro, but soon found employment at the practice of

Lucjan Korngold, a Polish architect who had already fol-





        

professional position and invited him to join his practice in





the magazine L’Architecture d’Aujourd’hui and met his

future wife, the Frenchwoman Annette Kahn (Zalszupin



channel of communication for Zalszupin with French cul-

ture and language.

         

emerged in Brazil. It found fertile ground, becoming a ve-

hicle for a new national identity that clearly distanced itself

from the country’s colonial past. A generation of architects,

including Lúcio Costa, Oscar Niemeyer, and Roberto Burle

Marx, emerged from Le Corbusier’s vision.

-

er noted the exceptional qualities of the natural landscape,

stating that it was “one of the most beautiful landscapes the

-

phasized the close relationship between nature and urban-

ization: “the landscape penetrates the city from all sides”.

This foreshadowed one of the aspects that would become

characteristic of modern Brazilian architecture. Le Corbus-



collaborate on the design of the Ministry of Education and

        

and Oscar Niemeyer, proved decisive for the development



         -

location of the federal capital from Rio de Janeiro to the

new city built in the country’s interior, a debate over the

directions of architectural Modernism in Brazil quickly

carioca school, asso-

ciated with Rio de Janeiro – characterized by monumental

and formal Modernism – the paulista school developed in

São Paulo and was associated with João Batista Vilanova

Artigas, distinguished by its austere, structural, and socially



This was the context in which Zalszupin worked. After

several years of working for Korngold, he decided to open



-





the new architecture, which led him to develop his own de-

signs as an extension of his architectural practice. Although

architecture occupied a central place in his work, it was fur-

niture design that brought him recognition, leading to the

inclusion of his designs in government buildings in Brazil’s



projects, such as the Conjunto Nacional in São Paulo.

From that point on, his architectural projects expand-



complexes, and began to appear not only in São Paulo’s

most important districts but also in cities in the interior and

along the coast. At the same time, his furniture designs be-

gan to be used in public buildings and major commercial

spaces, such as bank branches and airports.

-

dim Europa neighborhood of São Paulo (Fig. 2). Although

the building displays characteristics of Modernism – such

          

façade – it already revealed the architect’s interest in ex-

ploring ornamentation, as well as in integrating architecture

with nature. In the façade design, he employed geometric

ornamentation made of jacarandá wood, while the interiors

 



come to the conclusion that morphological forms are the

most authentic and closest to my heart, rather than those

      



– a distinctive feature of his work – had already been ev-



featured textured plaster with an irregular, sculptural form,

         

a rounded, soft line that rises smoothly toward the mezza-



-

place. The dialogue between architecture and nature was



carioca and paulista











a b

Fig. 2. The interior of Zalszupin’s

residence in São Paulo (source: © Ruy Teixeira)



Zalszupin and Brazilian Modernism 



b) geometric panels made of jacarandá wood and vegetation on the garden-facing façade (source: © Ruy Teixeira)





a b





(source: © Fernando Laszlo)





 

Danish armchair





– but in architecture, its development has faced greater

limitations. This is because Zalszupin operated within the

       

the two major schools.

Zalszupin’s independence from current trends and his

tendency to experiment with form – perhaps inspired by

the idea of a synthesis of architecture and sculpture – be-



incorporate the language of sculpture into architecture can

be seen in the interior design of the L’Atelier store in Rio

-



designer of the project, whose authorship is attributed to

Roberto Bastos Cruz, an architect and employee of L’Ate-



magazine of the time, Revista Casa & Jardim, Bastos Cruz



Zalszupin drew much of his inspiration from Scandinavian archi-

tecture and design, as he mentioned, among other things, in an interview

for Murator-

arate study to this topic.

himself stated that the concept of the space was developed

entirely by Zalszupin, who provided him with guidelines

    

    

was shaped using a variety of materials, such as “canvas,

eternit, concrete, Vimatex, gypsum, lime, paint, and even



to model the walls into organic, sculptural forms. These







An architectural experiment in a Mediterranean spirit

This house marked a complete shift in architectural style,

one that would determine all subsequent designs. I could

only attempt this experiment for myself, because no one

could have predicted the outcome. But it turned out to be

immensely satisfying both for me and for my future clients,

who immediately began to appear, seeking something in the

same architectural language. And so it was these circum-

stances that helped bring about the miracle of discovering

a true desire to create a kind of architecture that lay hidden

within me, waiting to be unleashed

This is how Zalszupin described the design of his own



southeast of São Paulo. It is worth noting that the city,



century as a vacation resort for the



ambitious tourism project.

At the time, the famous hotel with a casino, the beaches,

and other attractions drew wealthy tourists, making Gua-

rujá a popular seaside resort and a meeting place for the





at the time for his successful projects in Brasília – prepared

a study on the tourist development of Guarujá (Fundação

Oscar Niemeyer n.d.). This project was never carried out.

It survives only in the form of hand-drawn sketches with

       

extensive plan included, among other things, a small set-

tlement consisting of “alternating houses”. Noteworthy is

the brief description Niemeyer added to one of the draw-

ings: “white and picturesque like Mediterranean houses”.

The term “Mediterranean” in the context of Guarujá

         

Brazilian magazine Manchete published an article titled

“The Mediterranean Style – The Old Art of Good Living”,

which explained the emergence of a new style that had

quickly gained popularity in this resort town. The author

traces its origins, explaining that:

A group of architects led by Le Corbusier – one of the main

leaders of the modern architectural revolution – turned to the

study and analysis of the forms and ways of life of past so-

cieties, primarily those that inhabited the Mediterranean

coast […]. The result of this research was the incorpora-

tion, in numerous contemporary projects, of vernacular

Mediterranean-style architecture

In reality, interest in the vernacular architecture of the

Mediterranean region accompanied Modernism from its



“Vanguarda: cenário do futuro”, article from the magazine

Jóia: Revista Feminina Quinzenal





Jóia: Revista Feminina Quinzenal

Zalszupin and Brazilian Modernism 

formed in formwork – whose imprint creates the distinctive

pattern known as forro paulista – and a ribbed ceiling with

tijolos baianos). The walls were built of sol-

id brick and then sculpted into artistic shapes using mortar



aggregate. Furthermore, the architect incorporated authentic

sails into the design, mounted on the garden side in the form

of an awning. The use of these elements may indicate a de-

liberate connection between the architecture and the coastal

character of Guarujá, as well as references to Zalszupin’s

European career, particularly from the period of his stay and







connected by a meandering circulation route. The cen-

tral part consists of a tall, open living space connected to

-

tural winding stairs leading to the upper level, and a dining

area. This zone opens onto the garden, bringing light and

 

kitchen along with an outdoor utility area, while the oppo-

site section features a private zone comprising three bed-

rooms with en-suite bathrooms and a garage. Despite its

     

functional organization. The upper level features additional

bedrooms with en-suite bathrooms and two terraces.



         

ceilings. Against this backdrop, bold color accents emerge,

particularly in the bathrooms, which are decorated in in-

tense shades of orange and yellow. Their form brings to

mind molded plastic elements and references Zalszupin’s

work in industrial design. This was a period during which

Zalszupin developed the production of plastic furniture and

furnishings, introducing this material to the Brazilian mar-







space exploration and the space-age aesthetic, may have

early stages. Experiences related to the development of

 

 

here. It was in this context that Ibiza was “rediscovered”,

and its rural architecture – resembling white, geometric

forms – was interpreted as a model example of modernity





García Vergara and Antonio Pizza, who point out that the

term “Mediterranean style” does not refer to a coherent ar-

chitectural language, but rather to a mythical image of a life-

style created and disseminated by the architectural media



a way that aimed to create an almost scenographic vision

of a lifestyle:

The fusion of modern decorative elements and timeless

furniture and artisanal objects in the interiors formed an

evocative image of the Mediterranean environment, adopt-

ed to the metropolitan inhabitant’s need for summer con-

sumption

As a result, the concept of “Mediterranean style” under-

went a transformation and was transmitted in this form to

South America, among other places.

The author of an article published in Manchete outlined

the path by which this style is said to have reached Guarujá:

Initially, its inuence was concentrated in the Mediter-

ranean region, where it had previously ourished. It then

spread to other parts of Europe, establishing itself as a new

style and a new concept of modern life. Later, crossing the

ocean, it took root on the American continent. A few years

ago, it arrived triumphantly in Brazil – specically in São

Paulo, where it was introduced by architects such as Jorge

Zalzupin [sic!], Eduardo Longo, Elsa de Wit, and William

Ferreira, who applied it to residential architecture (Ferreira



The rest of the text also highlights the characteristics of

this architectural style, which include: massive, white-paint-



     







-

rujá’s real estate market. Jorge da Silva Prado, the owner of

extensive properties near Praia de Pernambuco, commis-

sioned Gregori Warchavchik – a renowned architect and



a small pavilion. This marked the beginning of ambitious

projects and the presence of renowned architects in the

area, who in the years that followed left a distinct mark on



Zalszupin’s experiment was carried out at the intersection

of Rua dos Flamboyants and Rua dos Jambolões, in Praia

          



, and the residence is accompanied by a separate

      

. The building’s form

brings to mind a white, sculptural structure gently rising from

the ground, resembling a hill, a cluster of boulders, or a tent.

The building’s mass is polygonal and faceted, with a dis-

tinctive chimney that tapers toward the top. The structural

system combines masonry with a monolithic concrete slab







 















a b

PLANTA BAIXA



 CORTE BB











Zalszupin and Brazilian Modernism 

inspired the design of futuristic interior spaces. In turn, ref-

erences to the Mediterranean style are evident in elements

such as the white façades, massive walls, small rounded

-

ing staircases. At the same time, the overall design brings

to mind a vision of a house of the future or a space station

rather than the vernacular architecture of the Mediterra-

nean region. This project demonstrates Zalszupin’s clear

exploration of sculptural architecture, inspired by Couëlle’s

works, though in his interpretation these forms remain less

soft – balancing between polygonal geometry and curved

lines with rounded edges. Like Couëlle, Zalszupin used

scale models as a design tool, treating them as experimental

studies of form. According to family members, he also per-

sonally participated in the construction process, collaborat-

-

pervised its progress on site, which allowed him to achieve

a result consistent with his own vision.

This project contributed to the evolution of his architec-

tural language. As demonstrated in this article, however, this

was not an abrupt change, but rather a process that had al-

ready been foreshadowed in his earlier designs. It led to a se-





a b













 

ries of subsequent projects in a similar style, which were cre-

ated in the years that followed during his professional career.

Discussion and conclusions

In light of the aforementioned remarks, it is possible to

identify the factors that shaped Zalszupin’s unique archi-

tectural language, as well as the context of the transforma-

tion he mentioned in his autobiography.

Zalszupin’s work falls within a period of intense devel-

opment of Modernism, both in Europe and in Brazil, and is

often unequivocally associated with this movement. From

       

which of the two schools – carioca or paulista – he was



but rather constitutes a reinterpretation of both, a sort of hy-

brid. On the one hand, there is a sculptural quality and visual

expression

of form, as well as a strong connection between

architecture and nature – characteristic of the ca rio ca school.

On the other hand, it is distinguished by the rationality of its

solutions and the emphasis on the raw quality of the material,

forro paulista.

Zalszupin did not apply the principles of Modernism



       

Corbusier’s thinking. As he himself admitted, he valued

“the purity of line and the rationality of this architecture”

-

der and a desire to transcend rigid rules through the free

shaping of form. In this context, it is also worth noting his

references to the home as a form of shelter, as well as com-



stem from his personal experiences, including those during

the war and his time in exile.



mainstream Modernism. These can be linked to the concept

of a synthesis of architecture and sculpture, popularized by

L’Architecture d’Aujourd’hui,

as well as to the works of Jacques Couëlle. In this sense,

Zalszupin’s architecture is part of a broader search for al-

ternative directions in Modernism. Despite his strong ties

to the European context, maintained through intellectual

dialogue, Zalszupin adapted well to the Brazilian reality,

which was conducive to experimentation, and thus became

part of the local architectural language.

References to the so-called Mediterranean style also play

       

copied but rather reinterpreted and combined with other in-

spirations, including the space age aesthetic, as well as his

own design work involving the use of plastic, a material that

was new at the time. In this way, an architectural language

-

dernity.

This article discusses only a selected portion of Zal szu -

pin’s work and does not fully capture the complexity of his

architectural legacy. Previous research has focused prima-

rily on industrial design, while Zalszupin’s architecture – de-

spite its originality and exceptional formal sophistication

– remains largely underrecognized and unexplored. It seems

essential to conduct further analyses covering both his archi-

tectural projects and his work in industrial design, as well as

the interrelationships between them. The authors intend to

continue their research in this direction, treating this study

as a starting point for further analyses of the work of this

Polish-Brazilian architect.

Translated by

Krzysztof Barnaś

Acknowledgements

The authors would like to express their special thanks to Acervo Casa

Zalszupin, ETEL, and Verônica Zalszupin for providing source materials.

They would also like to thank the photographers for granting permission

to use their illustrative materials: Fernando Laszlo, Nelson Kon, Rogério

Angoneze Jr., and Ruy Teixeira.

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Brasil



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

Zalszupin, Jorge. De * para a lua

Jorge Zalszupin: brazylijski design ze słowiańską duszą.

Rozmowa z Jerzym Zalszupinem    -

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Jerzy Zalszupin – między modernizmem brazylijskim a jego alternatywnymi interpretacjami

-

nych w Europie i Brazylii w okresie modernizmu.







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carioca i pau-

lista

-

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Słowa kluczowe: 

Jerzy Zalszupin – między modernizmem brazylijskim a jego alternatywnymi interpretacjami

Ewa Angoneze-Grela, Diogo Tadeu Vargas Horvath

doi:10.37190/arc260204

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