Escolar Documentos
Profissional Documentos
Cultura Documentos
Fred Kradolfer
design de comunicao e expositivo
communication and exhibition design
Coleo
Fred Kradolfer
Edio Publisher
Imprensa Nacional-Casa da Moeda, S. A.
Av. de Antnio Jos de Almeida
1000-042 Lisboa
www.incm.pt
www.facebook.com/INCM.Livros
editorial.apoiocliente@incm.pt
Conceito Concept
Jorge Silva
Design e coordenao
Graphic design and coordination
Catarina Raio / Silvadesigners
Assistente editorial Editorial assistant
Carlos Rocha
Capa Cover
Lus Alexandre / Silvadesigners
Textos Texts
Pginas Pages 4-11.
Jos Brtolo
Pginas Pages 54; 64; 74; 92.
Jorge Silva
Reviso Proofreading
INCM
Lusa Yokochi / Sean Linney
Kennis Translations, S. A.
Traduo Translation
Sean Linney
Kennis Translations, S. A.
Fotografias Photographs
Andr Paula
Pginas Pages 24-25.
Mrio Novais
Pginas Pages 15-17; 32; 38;
50-53; 56-63; 66-83; 128.
Fonte Typeface
Mrs. Eaves
Papel Paper
Chromocard 260 gr.
Condat Silk 150 gr.
Pr-impresso, impresso
e acabamento Pre-press,
printing and binding
Imprensa Nacional-Casa da Moeda, S. A.
Reservados todos os direitos
de acordo com a legislao em vigor
2012, Imprensa Nacional-Casa da Moeda, S. A.
dos textos e das fotografias:
os autores texts and
photographs: the authors
Tiragem Print run
2000
1. edio, dezembro 2012
1st edition, December 2012
ISBN
978-972-27-2088-5
Depsito legal Legal deposit
346 858/12
Edio n. Edition no.
1018902
A Coleo D observa as normas
do novo Acordo Ortogrfico
da Lngua Portuguesa.
Parceiros / Partners
Agradecimentos Acknowledgments
Ana Rita Henriques
Carlos Rocha
Editora Tinta da China
Emlio Rincon Peres
FCG - Biblioteca de Arte
Livraria Alquimia
Lus Manuel Gaspar
Manuel Paula
Teresa Guerreiro
Theresa Lobo
Fred Kradolfer
prefcio de Jos Brtolo
preface by Jos Brtolo
The Lisbon that Kradolfer encountered was neither the cosmopolitan city of the
Age of the Jazz Band (the title of a well-known book by Antnio Ferro with an eyecatching cover by Bernardo Marques), nor the city of stereotyped worldliness
seen in representations by Antnio Soares and Bernardo Marques. In Portugal,
where the lithographic tradition dominated and the main graphic artists were
mostly remarkable illustrators who were nonetheless far from being graphic designers, the roles of lithographer and typographer were more clearly separated
than they were in Switzerland. Good examples of the Portuguese tradition are
provided by Emmrico Nunes advertising drawings for Vacuum or Gillette,
which used the same formal structure as his humorous sketches: a title, the development of the story through the drawing, and the comment in the caption.
Kradolfer combined technical knowledge (which he doubtless extended during
his time in Portugal) with communicative intuition and a significant degree of
the cultivated graphic culture found in Plakatstil and in Swiss typographic modernism. If we look at the book covers that he created, we see how he established
himself as a cover designer [the cover of Oh Chico... No sejas Azelhudo (1933) is
a good example] without, however, managing to stand out among the various
excellent Portuguese cover designers working at the time, such as Bernardo
Marques or Roberto Nobre. But if we look at his work in advertising, in more
than one medium, and if we consider his use of letters (which were geometric
and rarely serifed, and could take on an added expressiveness that gave them an
image-like quality) in geometrizing design or creating a successful communicative arrangement (the way in which, with a minimum of elements, he constructed an elegant and functional graphical synthesis), then the extraordinary talent
of this remarkable communication designer becomes apparent.
A Lisboa que Kradolfer encontrou no era, certamente, a cidade cosmopolita da Idade do Jazz-Band (ttulo de conhecido livro de Antnio Ferro com
expressiva capa de Bernardo Marques), nem a cidade da mundaneidade
e tereotipada das representaes de Antnio Soares e Bernardo Marques.
Em Portugal, onde de forma mais clara do que na Sua, existia uma separao
entre o litgrafo e o tipgrafo, dominando a tradio litogrfica, os principais
artistas grficos eram, na sua maioria, notveis ilustradores mas estavam longe
de serem designers grficos, bom exemplo so os desenhos publicitrios de
Emmrico Nunes para a Vacuum ou a Gillette que, formalmente, recorrem mesma estrutura dos seus desenhos humorsticos: um ttulo, desenvolvimento da histria pelo desenho, e o comentrio da legenda.
Kradolfer associava conhecimento tcnico que, sem dvida, aprofunda durante a estada em Portugal, com uma intuio comunicativa e uma importante cultura grfica educada na Plakatstil e no modernismo tipogrfico suo.
Se olharmos para as capas de livros por si assinadas, percebemos como ele se
afirmou como capista [a capa de Oh Chico... No sejas Azelhudo (1933) um bom
exemplo] sem no entanto se destacar entre os vrios excelentes desenhadores
de capas portugueses (como Bernardo Marques ou Roberto Nobre), mas se,
por outro lado, olharmos para o seu trabalho no campo da publicidade, em
mais do que um suporte, se atentarmos na utilizao da letra (raramente serifadas, geomtricas, podendo assumir uma expressividade que lhes acrescenta
que lhes d um valor de imagem) na geometrizao do desenho, na eficcia
da encenao comunicativa (a forma como, com um mnimo de elementos,
se constri uma sntese grfica, elegante e funcional) salta vista o talento
extraordinrio de um notvel designer de comunicao.
10
the Higher Council for Fine Arts. Public institutional commissions, which
became more numerous in the early 1930s, encouraged the first design and
advertising studios to be set up, including Artur Soares and Jorge Barradas
Atelier Arta, Bernardo and Oflia Marques and Sarah Afonsos Atelier bis,
Jos Rochas agency ETP and Manuel Rodrigues Estdio MR. Kradolfer
moved between several of these studios and worked actively with Arta and later
with the ETP.
The creation of the SPN offered Kradolfer and a group of other noteworthy members of the studio SPN a significant number of projects with larger
budgets and creative freedom aligned with commitment to a particular style
situated somewhere between Portuguese rusticity and the modern spirit, with
particular emphasis being placed on the Popular Art Fortnight which travelled
to the missions representing Portugal in London (1936) and Geneva (1936),
the Portuguese representatives at the Berlin Olympic Games (1936), the International Exhibitions in Paris (1937), New York (1939), and San Francisco
(1939), and the Portuguese World Exhibition (1940).
Credit is due to Fred Kradolfer not only for introducing modern graphic
languages to Portugal but also for his ability to permanently update and adapt
them. His culture and vocation for advertising, the rigour of his planning,
and the technical skill with which he mastered the entire design process
from concept, composition, and graphic production to application and the
audacity with which he aimed to become a designer in Portugal, before anyone
else, make Fred Kradolfer a major figure in the history of Portuguese design.
11
do SPN e do Conselho Superior de Belas Artes. As encomendas institucionais pblicas, intensificadas desde o incio dos anos 1930, encorajam a criao dos primeiros ateliers de design e publicidade, casos do Atelier Arta de
Artur Soares e Jorge Barradas, do Atelier bis de Bernardo e Oflia Marques
e Sarah Afonso, da agncia ETP de Jos Rocha e do Estdio MR de Manuel
Rodrigues. Kradolfer circula por vrios destes ateliers e colabora ativamente
com o Arta e, mais tarde, com a ETP.
A criao do SPN oferece a Kradolfer e um conjunto de outros notveis
integrados no studio SPN um volume significativo de projetos de maior
oramento e liberdade de criao alinhada a um particular compromisso entre o bucolismo portugus e o esprito moderno com destaque para as misses,
da representao portuguesa na Quinzena de Arte Popular de Londres (1936)
e Genebra (1936), na representao portuguesa aos Jogos Olmpicos de Berlim (1936), Exposio Internacional de Paris (1937), Nova Iorque (1939),
So Francisco (1939) e a Exposio do Mundo Portugus (1940).
A introduo das linguagens grficas modernas em Portugal um dos mritos de Fred Kradolfer, outro ser a sua capacidade de, permanentemente,
as atualizar e aculturar. A cultura e vocao publicitria, o seu rigor projetual,
a competncia tcnica com que controlava todo o processo de design conceito, composio, produo grfica, aplicao e a audcia com que quis ser
designer em Portugal, antes de qualquer outro, tornam Fred Kradolfer num
protagonista incontornvel da histria do design portugus.
12
Cartaz Poster
Espinho,
Turismo / Anurio
Comercial de Portugal,
1932
13
14
15
pgina 14 page 14
Cartaz Poster
Leiria,
Comisso Municipal
de Turismo de Leiria,
1954
pgina 15 page 15
Cartaz Poster
Festa Sportiva
da Figueira da Foz,,
s. d. n. d.
Cartaz Poster
Spalding,
1930
pgina 18 page 18
Publicidade Advertising
2. Salo dos Independentes,
1931
pgina 19 page 19
Publicidad Advertising
Operrio Consciente,
Escola Industrial,
s. d. n. d.
pginas 20 e 21
pages 20 and 21
Folheto de publicidade
Advertising leaflet
Instituto Pasteur
de Lisboa
s. d. n. d.
19
20
21
24
pginas 22 e 23
pages 22 and 23
Folheto Booklet
Sardinhas Portuguesas
de Conserva,
Instituto Portugus
de Conservas de Peixe,
ETP, 1937
Embalagem Packaging
Sardinhas Portuguesas
de Conserva,
Instituto Portugus
de Conservas de Peixe,
ETP, 1937
pgina 26 page 26
Papel de embrulho
Wrapping paper
Sardinhas Portuguesas
de Conserva,
Instituto Portugus
de Conservas de Peixe,
ETP, 1937
pginas 27 30
pages 27 to 30
Maquete de ilustrao
Illustration mock-up
Sardinhas Portuguesas
de Conserva,
Instituto Portugus
de Conservas de Peixe,
ETP,
Guache sobre carto
Gouache on cardboard,
28 cm 19,5 cm
(pp. 27/30)
21 cm 14,5 cm
(pp. 28/29),
1937
25
27
28
29
30
31
32
33
pgina 31 page 31
Maqueta para cartaz
Poster mock-up
Pudins Globo,
ETP,
Guache sobre cartolina
Gouache on cardboard,
35,5 cm 24 cm,
c. 1940
pgina anterior previous page
Cartaz Poster
Favorita,
s. d. n. d.
Publicidade Advertising
Nestl,
1929
34
Publicidade Advertising
Exposio Canina
Internacional de Lisboa,
c. 1930
35
pgina 36 page 36
Cartaz Poster
Mquina de Costura Oliva,
1948
pgina 37 page 37
Cartaz Poster
Mascarade,
ETP,
Guache sobre carto
Gouache on cardboard,
18 cm 13,5 cm
c. 1940
pgina 38 page 38
Embalagem Packaging
Feno de Portugal,
c. 1930
pgina 39 page 39
Cartaz Poster
Bon Bernina,
c. 1940
36
39
41
42
43
44
45
46
47
48
pgina 40 page 40
Maqueta para
publicidade
Advertising mock-up
Studio Florysis,
Guache sobre cartolina
Gouache on cardboard,
19 cm 15,5 cm,
c. 1940
pgina 45 page 45
Publicidade Advertising
Hudson,
1926
pgina 41 page 41
Publicidade Advertising
MUM,
s. d. n. d.
pgina 46 page 46
Publicidade Advertising
Shell,
1929
pgina 42 page 42
Cartaz Poster
O Sabonete,
Fbrica Santa Clara,
c. 1930
pginas 47 49
pages 47 to 49
Publicidade Advertising
Bertand Irmos, L.da,
1927 / 1928
pgina 43 page 43
Publicidade Advertising
Renault,
1926
pgina 44 page 44
Publicidade Advertising
Fiat 508,
1932
49
51
Cartaz publicitrio
Advertising poster
Porttil,
His Master's Voice,
s. d. n. d.
Cartaz publicitrio
Advertising poster
His Master's Voice,
s. d. n. d.
pgina seguinte next page
Cartaz publicitrio
Advertising poster
Coleco Infantil de Discos,
His Master's Voice,
s. d. n. d.
pgina 52 page 52
Cartaz publicitrio
Advertising poster
Seguros,
La Preservatrice,
1938
pgina 52 page 52
Cartaz publicitrio
Advertising poster
Perfumes,
L. T. Piver,
1938
pgina 52 page 52
Cartaz publicitrio
Advertising poster
C. Santos Limitada,
1938
pgina 52 page 52
Cartaz publicitrio
Advertising poster
Conklin,
1938
pgina 53 page 53
Cartaz publicitrio
Advertising poster
Feira de Amostras da
Indstria Nacional,
Associao Industrial
Portuguesa,
1929
52
pginas 56-57
pages 56-57
Panos de cena
Stage curtains
s. d. n. d.
60
61
pginas 58 63
pages 58 to 63
Publicidade
Advertising
ETP,
s. d. n. d.
64
pginas 64 a 73
Publicidade
Montras do Instituto
Pasteur, Rua Nova
do Almada, Lisboa,
c. 1940-1950
pages 64 to 73
Advertising
Pasteur Institute
Window Displays,
Rua Nova
do Almada, Lisbon,
c. 1940-1950
65
69
70
71
72
73
Ao servio do SPN e da
Poltica do Esprito de Antnio
Ferro, Fred Kradolfer
constituiu equipa com outros
talentosos decoradores como
Bernardo Marques, Carlos
Botelho, Emmrico Nunes,
Jos Rocha, Paulo Ferreira
e Thomaz de Mello para a
Exposio Internacional de
Paris, em 1937 e, em 1939,
para as de Nova Iorque
e So Francisco. E, por
fim, para a Exposio do
Mundo Portugus, em 1940,
onde Fred colaborou nos
Pavilhes da Fundao de
Portugal, Descobrimentos,
Colonizao, Honra, Vida
Popular, e Portugal 1940.
Working for the SPN and
Antnio Ferros Poltica do
Esprito [Politics of the Spirit],
Fred Kradolfer belonged to
a team that included other
talented decorators such as
Bernardo Marques, Carlos
Botelho, Emmrico Nunes,
Jos Rocha, Paulo Ferreira
and Thomaz de Mello.
Together, they worked on
the International Paris
Exhibition in 1937, the New
York and San Francisco
exhibitions in 1939, and
lastly, the Portuguese World
Exhibition in 1940, where
Fred helped to create the
pavilions representing the
Founding of Portugal, the
Discoveries, Colonisation,
Honour, Popular Life, and
Portugal 1940.
76
81
pginas 74 77
Exposio
Internacional de Nova
Iorque, Pavilho
de Portugal,
Nova Iorque, 1939
pginas 78 81
Exposio
Internacional de Paris,
Pavilho de Portugal,
Paris, 1937
pages 74 to 77
New York World's Fair,
Portuguese pavilion,
New York, 1939
pages 78 to 81
Paris World's Fair,
Portuguese pavilion,
Paris, 1937
Exposio Exhibition
Exposio Suia,
Lisboa Lisbon, 1943
Ilustrao Illustration
Exposio do Mundo
Portugus,
1940
pgina 86 page 86
Capa de revista
Magazine cover
Actualidade Colonial,
n. 1, janeiro
January 1935,
Editorial Cosmos,
Lisboa Lisbon
pgina 87 page 87
Cartaz Poster
Exposio Colonial
Portuguesa em Paris,
1930
pgina 88 page 88
Capa de revista
Magazine cover
Fama, n. 1, novembro
November 1932,
Sociedade de
Publicidade Moderna,
Lisboa Lisbon
pgina 89 page 89
Capa de revista
Magazine cover
Revista Municipal, n. 66,
Cmara Municipal
de Lisboa, 1955
pgina 90 page 90
Capa de colecionvel
Collectable cover
Portugal na Grande Guerra,
General Ferreira
Martins,
Editora tica, 1935
86
87
91
92
pgina 91 page 91
Capa de livro
Book cover
Feira de Amostras,
Lus Teixeira,
Empreza Nacional
de Publicidade, 1930
93
94
Capa de livro
Book cover
O Herosmo da Frana,
Paul Reynaud, Editorial
Inqurito, 1939
Capa de livro
Book cover
Em Defesa da Frana,
douard Daladier,
Editorial Inqurito,
1939
95
96
Capa de livro
Book cover
Sebastopol,
L. Tolstoi,
Portuglia Editora,
1943
Capa de livro
Book cover
A Casa das Sete Empenas,
Nathaniel Hawthorne,
Portuglia Editora,
1943
Capa de livro
Book cover
O Assassino e a Vtima,
Hugh Walpole,
Portuglia Editora,
1943
97
98
Capa de livro
Book cover
O Monte dos Vendavais,
Emily Bront,
Editorial Inqurito,
1940
pgina seguinte next page
Capa de livro
Book cover
O Moinho Beira do Floss,
George Eliot,
Editorial Inqurito,
1943
100
Capa de livro
Book cover
O "Garden-Party",
Katherine Mansfield,
2. edio 2nd edition,
Portuglia Editora,
1959
101
Capa de livro
Book cover
Categoria Literria
das Cidades,
Liuz Teixeira,
Livraria Bertrand,
1932
102
Capa de livro
Book cover
O Caso do General Ople,
George Meredith,
Portuglia Editora,
1943
pgina seguinte next page
Capa de livro
Book cover
Romeu e Julieta na Aldeia,
Portuglia Editora,
1944
103
104
105
106
Capa de livro
Book cover
O Convento,
Pio Baroja,
Portuglia Editora,
1944
107
108
109
110
111
112
113
114
Capa de livro
Book cover
Olalla,
R. L. Stevenson,
Editorial Inqurito,
1942
115
Capa de livro
Book cover
O Drama de Joo Barros,
Roger Martin du Gard,
Editorial Inqurito,
1941
Capa de livro
Book cover
Os Fatos Fazem os Homens,
G. Keller,
Editorial Inqurito,
1942
Capa de livro
Book cover
Vida e Aventuras de Marco
Polo,
Antnio Aniante,
Editorial Inqurito,
1938
Capa de livro
Book cover
Educao Ateniense,
J. J. Barthlemy,
Editorial Inqurito,
1940
Capa de livro
Book cover
A Estepe,
Anton Tchekoff,
Editorial Inqurito,
1940
Capa de livro
Book cover
Da Natureza e Produo
da Obra de Arte,
H. Taine,
Editorial Inqurito,
1940
Capa de livro
Book cover
Carolina e a Partida
Para as Ilhas,
Flix de Chazournes,
Editorial Inqurito,
1939
116
Capa de livro
Book cover
Calafrio,
Henry James,
Portuglia Editora,
1943
pgina seguinte next page
Capa de livro
Book cover
O Retrato de Dorian Gray,
2. edio 2nd edition,
Oscar Wilde,
Portuglia Editora,
1945
117
118
Capa de livro
Book cover
As Pobres Suzanas,
Manuel de Campos
Pereira,
Lello, 1936
pgina seguinte next page
Capa de livro
Book cover
O Meu Amor Pequenino,
Antnio Botto,
Editora Aillaud
e Lellos, 1934
pgina 120 page 120
Capa de livro
Book cover
O Ingnuo,
Voltaire, Editorial
Inqurito, 1940
pgina 121 page 121
Capa de livro
Book cover
Joana Maluca,
Osvaldo Orico,
Editorial Inqurito,
1940
119
120
121
122
123
Born in Zrich on 12 June 1903, Kradolfers first name was Fritz. He studied Goldsmithing at
the Zrich Kunstgewerbeschule (Zrich School of Applied Arts) and then attended the Akademie
der Bildenden Knste Mnchen (Munich Academy of Fine Arts), after which he led an errant
life, living in several European cities, including Rotterdam, Brussels and Paris, where he worked
as a window dresser for commercial establishments. Attracted by the sunny climate, he eventually
moved to Portugal on 1 August 1924. It is said that Kradolfer coined the term Costa do Sol (the Sun
Coast). When he arrived in Portugal, not yet able to speak Portuguese, he saw the Cascais coastline
and exclaimed Voil! Cest la Cte du Soleil!. He worked with Artur Soares and Jorge Barradas
Atelier Arta and was hired as a decorator and graphic artist by the Pasteur Institute in Lisbon. He
began working on an extensive series of advertisements for the Bertrand Brothers' workshop which
appeared in the magazine Ilustrao. In 1928 he took part in the Medical-Surgical Industrial Exhibition organised by the Pasteur Institute with an eye-catching art-deco style stand. In late 1929, he
designed the cover of the first issue of Ilustrao to appear in January of the following year. In 1930
he took part in the First Independents' Salon and, on behalf of Phillips, he worked on the Light and Electricity Applied to the Home Exhibition at the SNBA. Together with Bernardo Marques, he created sets for
Chianca de Garcias silent film Ver e Amar! In 1931, he designed the poster and decor for the Portuguese
Colonial Exhibition in Paris, the tourism poster Portugal Espinho Beach, and the cover of the book Feira de
Amostras for the National Advertising Company. In 1932 he designed the Portuguese Industrial Exhibition, the cover of the first issue of Fama magazine, the cover of the book Pscoa Feliz by Jos Rodrigues
Miguis, which was published by Edies Alfa, and several covers for books by Antnio Botto, published by Edies Paulo Guedes. He exhibited his work at the SNBA in the same year and returned
there to stage further exhibitions in 1933, 1934, 1935 and 1960. In April 1933, at the Exhibition of
Childhood, Kradolfer created a stand for Nestl which was judged to be the best in the competition.
In 1935, he decorated the pavilions of the Lisbon Festivals and the cover of the first issue of the
magazine Actualidade Colonial for Editorial Cosmos. In 1936 he decorated the entrance hall of the Year
X of the National Revolution Exhibition and the Imperium Tea Salon, the interior of which was designed
by Ral Tojal. Also in 1936, Jos Rocha founded the ETP (Technical Advertising Studio), which
brought together a group of artists that included Maria Keil, Bernardo Marques, Oflia Marques,
Carlos Rocha, TOM, Botelho, Stuart and Kradolfer, many of whom had worked together at the
SPN. In 1937 he oversaw the interior decoration of the Historical Exhibition of Occupation in the Nineteenth
Century. In Paris, together with Bernardo Marques, he created the sets for a folk show prepared by
Antnio Ferro at the Thatre des Champs-lyses. Together with Bernardo Marques, Jos Rocha,
Carlos Botelho, Thomaz de Mello and Emmrico Nunes, he was a member of the team responsible
for the decoration and communication strategy at the International Paris Exhibition, at which the Portugal
Pavilion was awarded the Grand-Prix. In 1939, he worked on exhibitions in New York and San Francisco, began a long collaboration with Editorial Inqurito, producing covers for several collections,
and joined the collective of painters and decorators working at the Portuguese World Exhibition in 1940.
Nasce em Zurique no dia 12 de junho de 1903. O seu primeiro nome era Fritz. Estudou Ourivesaria na Zrich Kunstgewerbeschule (Escola de Artes Aplicadas de Zurique) e depois frequentou
a Akademie der Bildenden Knste Mnchen (Academia de Belas-Artes de Munique). Durante
o perodo que se seguiu, Kradolfer levou uma vida errante, habitando diversas cidades europeias,
tais como Roterdo, Bruxelas e Paris, onde trabalhou na decorao de montras de estabelecimentos comerciais. Por fim, acaba por se fixar em Portugal, no ano de 1924, no dia 1 de agosto, atrado
pelo clima soalheiro. Diz-se que foi Kradolfer que deu o nome Costa do Sol. Aquando da sua
chegada a Portugal, ainda sem falar a nossa lngua, quando v a paisagem da linha de Cascais,
exclama: Voil! Cest la Cte du Soleil!. Colabora com o Atelier Arta de Artur Soares e Jorge
Barradas, contratado como decorador e artista grfico pelo Instituto Pasteur, em Lisboa. Inicia
na revista Ilustrao uma srie extensa de anncios de publicidades para a oficina Irmos Bertrand.
No ano de 1928 participa na Exposio Industrial Mdico-Cirrgica, pelo Instituto Pasteur, com
um stand de estilo art dco notavelmente executado. No final de 1929, desenha a capa da Ilustrao para
o primeiro nmero de janeiro do ano seguinte. Em 1930 participa no I Salo de Independentes e,
ao servio da Philips, na Exposio da Luz e Electricidade Aplicada ao Lar, esta ltima no SNBA.
Com Bernardo Marques, executa cenrios para o filme mudo Ver e Amar!, de Chianca de Garcia.
Em 1931, desenha o cartaz e a decorao para a Exposio Colonial Portuguesa em Paris, o cartaz
turstico Portugal Praia de Espinho, e a capa do livro Feira de Amostras, para a Empresa Nacional de
Publicidade. Em 1932 desenha a Exposio Industrial Portuguesa, a capa para o n. 1 da revista
Fama, a capa para o livro Pscoa Feliz, de Jos Rodrigues Miguis, nas Edies Alfa, e vrias capas para
livros de Antnio Botto nas Edies Paulo Guedes. Nesse mesmo ano expe na SNBA e repetir
a presena em 1933, 1934, 1935 e 1960. Em abril de 1933, na Exposio da Criana, Kradolfer
desenvolve para a Nestl um stand, considerado o mais admirvel do certame. Em 1935, cria
a decorao dos pavilhes das Festas de Lisboa, e a capa do primeiro nmero da revista Actualidade
Colonial, da Editorial Cosmos. Em 1936 decora o trio da Exposio do Ano X da Revoluo Nacional e o Salo de Ch Imperium, que tinha o seu interior arquitetado por Ral Tojal. Tambm
em 1936, Jos Rocha funda o ETP Estdio Tcnico de Publicidade no qual junta um grupo
de artistas como Maria Keil, Bernardo Marques, Oflia Marques, Carlos Rocha, TOM, Botelho,
Stuart e Kradolfer, muitos dos quais j trabalhavam juntos no SPN. Em 1937 orienta a decorao
dos interiores da Exposio Histrica da Ocupao no Sculo XIX. Em Paris, pinta, com Bernardo
Marques, os cenrios para um espetculo de folclore preparado por Antnio Ferro, no Thatre
des Champs-lyses. Integra, com Bernardo Marques, Jos Rocha, Carlos Botelho, Thomaz de
Mello e Emmrico Nunes, uma equipa responsvel pela decorao e estratgia de comunicao na
Exposio Internacional de Paris, onde o Pavilho de Portugal foi condecorado com o Grand-Prix
da Exposio. Em 1939, colabora nas exposies de Nova Iorque e So Francisco, inicia uma longa colaborao com a Editorial Inqurito, com capas para vrias colees, e integra o coletivo de
pintores-decoradores da Exposio do Mundo Portugus de 1940. Em 1941, depois da exposio,
124
In 1941, in the wake of the exhibition, he received the Medal of the Military Order of Saint James
of the Sword together with the other artists who took part. In 1942, the ETP, led by Jos Rocha and
Fred Kradolfer, made use of the hoardings around building sites, covering them with painted, illuminated posters in relief. In 1943 he designed the exhibition and poster for the Swiss Exhibition at the
Higher Technical Institute. He also exhibited work at the First Exhibition of Modern Illustrators organised
by the SNI. In 1944, together with the ubiquitous Bernardo Marques, Carlos Botelho, Jos Rocha,
and also Jos Lus Brando, he decorated the stands for the National Wine Council, the Portuguese
Institute of Canned Fish and the National Cork Council, which were present at the Feira Popular.
He also created a large number of labels, advertising posters and window displays for these institutions and began working with the Portuglia publishing house, illustrating covers for the collection
Os romances sensacionais. In 1945, he produced the covers for issues four and ten of the magazine Ver
e Crer. In 1947 he staged his first solo exhibition, for which around eighteen works were shown
at Galeria Instanta on Rua Nova do Almada. In 1949, he designed the poster for the Portuguese
Industries Fair. In 1952, he worked on the decoration of the Cine-Teatro Monumental, which was
designed by Rodrigues de Lima and, on behalf of the ETP, he designed posters, advertising and
packaging for the campaign How to Cook Canned Portuguese Sardines, which was organized by the National Fish Institute. In 1955 he rediscovered his interest in tiles, particularly wainscoting with popular
motifs. Between 1955 and 1957 he created two panels for the Hotel Infante Santo and in the latter
year he also made several ceramic plates which bore the names of trawlers based in Boca do Inferno
in Cascais. He was responsible for all of the interior decoration of the Soponata headquarters on
Rua do Acar in Lisbon and for tiling the baptistery, triumphal arch and side walls of the chapel
of the Aquartelamento de Santa Margarida, for which he also decorated the stained-glass windows
and altar panels with representations of Saint Margaret. He created the covers for the programmes
of the Lisbon Festivals in 1955 and 1958 and in the latter year he worked on the Portugal Pavilion at
the Brussels International Exhibition. In 1962 he designed the Europa stamp collection, for which
he created an illustration of a honeycomb with nineteen holes, symbolizing the member countries
of the CEPT. Kradolfer also contributed to the development of tapestry, creating gouache boards
for Manufactura de Portalegre and participating in the First International Tapestry Biennale of
Lausanne. In the early 1960s, Lisbon Town Council commissioned him to design the tiled panels
for Lisbons look-out points, which were created by the Viva Lamego Factory. He completed the
panels for So Pedro de Alcntara (1962), Castelo de So Jorge, Nossa Senhora do Monte (1963)
and Monte Agudo (1965). In 1965, he created maquettes of tiles for the Cinema Europa and the
faade of the Vice-Chancellors building of the University of Lisbon. He also designed the covers
of issues 67 to 71 of the Revista Municipal for Lisbon Town Council. At the Casino Estoril in 1966, he
covered the bottom of the indoor water mirror in the Jardim de Inverno and created five ceramic
panels for the Hotel Estoril-Sol. He exhibited the tapestry work Pinheiros at the exhibition Fifty Years
of Portalegre Tapestry, organized by the Calouste Gulbenkian Foundation. In June 1968, he won the
Dirio de Notcias prize on what was the first occasion that it had been awarded to an artist working in
the graphic arts. In the same month he also staged two exhibitions: the first, entitled Coisas do Mar,
took place at the SNI salons in Palcio Foz while the second, organized by Artur Bual, was held at
the Galeria Archote. He died on 16 July 1968 at the age of sixty-five.
125
recebe a Comenda da Ordem Militar de SantIago de Espada juntamente com os outros artistas que
participaram. Em 1942, o ETP, pela mo de Jos Rocha e Fred Kradolfer, utiliza os tapumes das
obras, enchendo-os com cartazes pintados e em relevo, iluminados. Em 1943, desenha a exposio
e o cartaz da Exposio Sua no Instituto Superior Tcnico, e expe na I Exposio de Artistas
Ilustradores Modernos organizada pelo SNI. Em 1944, com os inevitveis Bernardo Marques,
Carlos Botelho e Jos Rocha, e tambm Jos Lus Brando, decora os stands da Junta Nacional do
Vinho, do Instituto Portugus de Conservas de Peixe e da Junta Nacional da Cortia, presentes na
Feira Popular, instituies para as quais tambm executa um grande nmero de rtulos, cartazes
publicitrios e montras. Inicia tambm a colaborao com a editora Portuglia, ilustrando capas
da coleo Os romances sensacionais. Em 1945, so suas as capas para os n.os 4 e 10 da revista
Ver e Crer. Em 1947 expe pela primeira vez, a nvel individual, cerca de 18 obras na Galeria Instanta, na Rua Nova do Almada. Em 1949, concebe o cartaz da Feira das Indstrias Portuguesas.
Em 1952 colabora na decorao do Cine-Teatro Monumental, projetado por Rodrigues de Lima,
e desenha, para a ETP, cartazes, publicidade e embalagens para Como Cozinhar Sardinhas Portuguesas de
Conserva, campanha do Instituto Nacional do Peixe. Em 1955 retoma o seu interesse pelo azulejo,
sobretudo pelas lambrilhas com motivos populares. Entre 1955 e 1957 elabora dois painis para
o Hotel Infante Santo, e, nesse ltimo ano, vrias placas cermicas com o nome dos pesqueiros
da Boca do Inferno, em Cascais. responsvel pela decorao total do interior do edifcio da sede
da Soponata, na Rua do Acar, em Lisboa, e pelo revestimento com azulejos do batistrio, do arco
do triunfo e das paredes laterais da capela do Aquartelamento de Santa Margarida, assim como
pela decorao dos vitrais e da tbua do altar com a representao de Santa Margarida. So de sua
autoria as capas do programa das Festas de Lisboa nos anos de 1955 e de 1958, e neste ano participa no Pavilho de Portugal na Exposio Internacional de Bruxelas. Em 1962, desenha a coleo
de selos Europa, cuja ilustrao, um favo de mel com 19 alvolos, simboliza os pases membros da
CEPT. Kradolfer contribui tambm para a evoluo da tapearia, executando cartes a guache para
a Manufactura de Portalegre, e participando na I Bienal Internacional de Tapearia de Lausana.
A Cmara Municipal de Lisboa encomenda-lhe, no incio dos anos 60, o projeto de painis de
azulejos para miradouros de Lisboa, a executar pela Fbrica Viva Lamego. So concludos os de
So Pedro de Alcntara (1962), Castelo de So Jorge, Nossa Senhora do Monte (1963) e Monte
Agudo (1965). Em 1965, faz as maquetas de azulejos para o Cinema Europa e para a fachada do
edifcio da Reitoria da Universidade de Lisboa, e as capas dos n.os 67 a 71 da Revista Municipal, para
a Cmara Municipal de Lisboa. No Casino Estoril, em 1966, reveste o fundo do espelho de gua
interior do Jardim de Inverno e no Hotel Estoril-Sol realiza cinco painis cermicos. Na exposio dos Cinquenta Anos da Tapearia da Manufactura de Portalegre, organizada pela Fundao
Calouste Gulbenkian, expe a tapearia Pinheiros. Em junho de 1968 recebe o prmio Dirio de Notcias, pela primeira vez entregue a um artista ligado s artes grficas, e realiza duas exposies,
a primeira nos sales do SNI, no Palcio Foz, com o ttulo Coisas do Mar, onde apresentou 25 guaches, e a segunda, organizada por Artur Bual, na Galeria Archote. Morreu em 16 de julho de 1968,
com 65 anos.
126
127
Bibliografia Bibliography
AA. VV., O Tempo do Design: Anurio 2000, Lisbon,
Centro Portugus de Design, 2000.
Da esquerda para a direita, em cima:Thomaz de Mello, Fred Kradolfer, Emmrico Nunes,Bernardo Marques. Em baixo: Carlos Botelho e Jos Rocha.
From left to right, back row: Thomaz de Mello, Fred Kradolfer, Emmrico Nunes and Bernardo Marques. Front row: Carlos Botelho and Jos Rocha.
uma co eo ded cada ao de gner por ugue e de r a gerae com e pec a a eno
ao cr adore con emporneo Apre en am- e
au ore de r a d c p na da comun cao
ao ob e o da moda ao grafi mo da pub c dade u rao So monografia e enc a men e ua que pre endem er um pr me ro
encon ro com a r ca ma a nda ma e udada
h r a do de gn por ugu ub nhando a
ua exce nc a e mpor nc a no pre en e e no
u uro do en no e da pr ca do de gn
R2
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
nidade.
Das suasbymos
saram
inmeras capas
prefcio de Raquel Pelta
/ preface
Raquel
Pelta
uma coleo dedicada aos designers portugueses de vrias geraes, com especial ateno
aos criadores contemporneos. Apresentam-se
autores de vrias disciplinas, da comunicao
aos objectos, da moda ao grafismo, da publicidade ilustrao. So monografias essencialmente visuais, que pretendem ser um primeiro
encontro com a rica mas ainda mal estudada
histria do design portugus, sublinhando a sua
excelncia e importncia no presente e no futuro do ensino e da prtica do design.
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
R2
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
suas mos
saramPelta
inmeras capas
prefcio de Raquelnidade.
Pelta /Das
preface
by Raquel
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
R2
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
suas mos
saramPelta
inmeras capas
prefcio de Raquelnidade.
Pelta /Das
preface
by Raquel
R2
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
Pedro Falco
design de comunicao
prefcio
/ communication
de Brbara Coutinho
design/ preface by Brbara Coutinho
Pedro Falco
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
nidade. by
DasRaquel
suas mos
saram inmeras capas
prefcio de Raquel Pelta / preface
Pelta
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
suas mos
saramPelta
inmeras capas
prefcio de Raquelnidade.
Pelta /Das
preface
by Raquel
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
Pedro Falco
design de comunicao /
communication design
3Com os contedos como ponto de partida, desenvolvemos o projecto num dilogo constante, num
jogo por vezes duro com diferentes doses de
intuio e racionalidade.
Taking the contents as a starting point, we develop
the project through constant dialogue, through a
game sometimes a hard game using different
doses of intuition and rationality.
Arquiteto, fotgrafo, pintor e designer, editor, galerista, Com os contedos como ponto de partida, desentradutor e ceramista, Victor Palla autor de uma obra volvemos o projecto num dilogo constante, num
multifacetada de grande modernidade. Das suas mos jogo por vezes duro com diferentes doses de
saram inmeras capas de livros e revistas onde evi- intuio e racionalidade.
dente a sua slida sensibilidade espacial, decorrente da Taking the contents as a starting point, we develop
formao em arquitetura, associada a um rigoroso sen- the project through constant dialogue, through a
tido plstico resultante da sua prtica pictrica e olhar game sometimes a hard game using different
fotogrfico. A excelncia e diversidade formal deste doses of intuition and rationality.
trabalho nascem de um experimentalismo que explora as
linguagens, tcnicas e materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor,
gallerist, translator and ceramicist, Victor Palla created
a multifaceted and very modern oeuvre. He produced
countless book and magazine covers which demonstrate
his solid spatial sensibility, a product of his architectural
background, combined with an exacting visual sense resulting from his artistic practice and his photographic eye.
The excellence and formal diversity of this work is the
product of an experimentalism which employs the languages, techniques and materials of various forms of
artistic expression.
v. palla
R2
design de comunicao /
communication design
design de comunicao
prefcio
/ communication
de Brbara Coutinho
design/ preface by Brbara Coutinho
R2
Desde a suaplstico
fundao,
em
1995,
este
pequeno
ateli
visual sense resulting
fromporhis artistic practice
resultante da sua
prtica
pictrica
e
and his photographic eye. The excellence and
olhar fotogrfico. A excelncia e diversidade
tugus comformal
sede
no Porto converteu-seformal
numa
autntica
diversity of this work is the product of an
deste trabalho nascem de um experimenexperimentalism
whichrecoemploys the languages,
talismodesign
que explora as
linguagens, tcnicas
referncia no
europeu.
Ase provas
do seu
techniques and materials of artistic expression.
materiais das diferentes expresses artsticas.
nhecimento internacional so muitas: o grande nmero
de prmios recebidos, a participao em exposies,
a participao em jris, artigos e referncias em publicaes e, a partir de 2007, a admisso como membro
da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos do ateli R2 conseguiram colocar o bom design
portugus no mapa do design do mundo globalizado.
Since its foundation
in 1995,Pedro
this small
R2
Falco Portuguese studesign de comunicao /
design de comunicao /
dio, based communication
in Porto,design
has become
a genuine
landmark of
communication
design
European design. Evidence of their international recognition is abundant: a large number of awards received,
participation in exhibitions and juries, articles and mentions in the press and, since 2007, membership of the
AGI.
Rigorous, daring, lovers of challenges and, above all,
keenly aware of the social function of design, the members of R2 have managed to place good Portuguese
design on the map of the globalized world of design.
p. falco
Pedro Falco
design de comunicao /
communication design
Pedro Falco
design de comunicao /
communication design
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
R2
R2
Pedro Falco
Cinetismo, serialidade e construo. So estes trs recursos que Pergunto ao grfico o que o grafismo. A vtima
permitem, numa obra to frtil explorao de cruzamentos diz grafismo ... e franze os olhos, primeiro para
msica, pintura, cinema, fotografia, design identificar longe, depois para o papel. Traa traos imaginum autor. E se evidente que na obra deste autor h uma lin- rios com um imaginrio lpis. Pe a lngua de fora,
guagem prpria, essa autoria no deriva tanto de um estilo, concentrado: nada mais eloquente, como definio.
mas antes de algo mais profundo e crtico, um sentido projetual I ask the graphic designer what graphic design is.
consciente, crtico e rigoroso. na compreenso desse sen- The victim says graphic design is... and frowns,
tido projetual que reside a chave da leitura da obra grfica looks into the distance, and then at the paper. He
de Pedro Falco, a chave de compreenso da sua contempo- draws imaginary lines with an imaginary pencil. He
raneidade e da sua universalidade.
sticks his tongue out in concentration: as a definition,
there's nothing more eloquent.
Kineticism, seriality and construction. In work that is so open to
the exploration of crossings between music, painting, cinin Falando do Ofcio, 1989
ema, photography, and design these three resources make
it possible to identify an author. And while it is clear that
this artists work possesses its own language, this authorship
does not derive from a style but from something deeper and
more critical: a conscious, critical and rigorous sense of project,
wherein lies the key to interpreting Pedro Falcos graphic
work, the key to understanding its contemporaneity and universality.
Arquiteto, fotgrafo,gueses
pintor
egeraes,
designer,
editor,
de vrias
com especial
ateno galerista,
ers from various different generations, with
aos Victor
criadores contemporneos.
Apresentam-se
particular
attention being paid to contempotradutor e ceramista,autores
Palla autor
de uma
obra
de vrias disciplinas, da comunicao
rary creators. Artists in several disciplines are
aos objectos,
da moda ao grafismo, da Das
publici-suas
presented,
from communication to objects,
multifacetada de grande
modernidade.
mos
dade ilustrao. So monografias essencialfashion to graphic arts, and from advertising to
saram inmeras capas
de livros
e revistas
onde
evimente visuais,
que pretendem
ser um primeiro
illustration.
In essence, they are visual monoencontro com a rica mas
ainda mal estudada
graphs thatda
aim to provide an initial encounter
dente a sua slida sensibilidade
espacial,
decorrente
histria do design portugus, sublinhando a
with the rich yet relatively unexamined history
formao em arquitetura,
associada
um rigoroso
sen-design, highlighting its excelsua excelncia
e importncia noapresente
e no of Portuguese
futuro do ensino e da prtica do design.
lence and significance for the present and futido plstico resultante
da sua prtica pictricature
eofolhar
design teaching and practice.
fotogrfico. A excelncia e diversidade formal deste
trabalho nascem de um experimentalismo que explora as
R2
R2
Victor Palla
Victor Palla
linguagens, tcnicas e materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor,
gallerist, translator and ceramicist, Victor Palla created
a multifaceted and very modern oeuvre. He produced
countless book and magazine covers which demonstrate
his solid spatial sensibility, a product of his architectural
background, combined
visual
sense reR2 with an exactingVictor
Palla
design de comunicao /
design de comunicao /
design
communication design eye.
sulting from his artisticcommunication
practice
and his photographic
The excellence and formal diversity of this work is the
product of an experimentalism which employs the languages, techniques and materials of various forms of
artistic expression.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
prefcio de Jos
Brtolo / preface by Jos Brtolo
design de comunicao / communication
design
design de comunicao /
communication design
design de comunicao /
communication design
Pedro Falco
Victor Palla
Victor Palla
3
Os livros so objetos que fazem parte da nossa moblia,
assim como as cadeiras ou as mesas. para mim impensvel digitaliz-los e viver numa casa com prateleiras vazias.
Books are objects that form part of our furniture, just like
chairs and tables. For me, it would be unthinkable to digitize them and live in a house with empty shelves.
pedro falco
v. palla
Desde a suaplstico
fundao,
em
1995,
pequeno
ateli
resultante da sua
prtica
pictricaeste
e
visual sense resulting
fromporhis artistic practice
olhar fotogrfico. A excelncia e diversidade
and his photographic eye. The excellence and
tugus comformal
sede
no Porto converteu-seformal
numa
autntica
deste trabalho nascem de um experimendiversity of this work is the product of an
talismo
que explora as
linguagens, tcnicas
experimentalism
which recoemploys the languages,
referncia materiais
no design
europeu.
Ase provas
do seu
das diferentes expresses artsticas.
techniques and materials of artistic expression.
nhecimento internacional so muitas: o grande nmero
de prmios recebidos, a participao em exposies,
a participao em jris, artigos e referncias em publicaes e, a partir de 2007, a admisso como membro
da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos do ateli R2 conseguiram colocar o bom design
portugus no mapa do design do mundo globalizado.
Since its foundation
in 1995,Pedro
this small
R2
Falco Portuguese studesign de comunicao /
design de comunicao /
dio, based communication
in Porto,design
has become
a genuine
landmark of
communication
design
European design. Evidence of their international recognition is abundant: a large number of awards received,
participation in exhibitions and juries, articles and mentions in the press and, since 2007, membership of the
AGI.
Rigorous, daring, lovers of challenges and, above all,
keenly aware of the social function of design, the members of R2 have managed to place good Portuguese
design on the map of the globalized world of design.
p. falco
Pedro Falco
design de comunicao /
communication design
Pedro Falco
design de comunicao /
communication design
R2
P u o Gu h m
uma coleo dedicada aos designers portugueses de vrias geraes, com especial ateno
aos criadores contemporneos. Apresentam-se
autores de vrias disciplinas, da comunicao
aos objetos, da moda ao grafismo, da publicidade ilustrao. So monografias essencialmente visuais, que pretendem ser um primeiro
encontro com a rica mas ainda mal estudada
histria do design portugus, sublinhando a
sua excelncia e importncia no presente e no
futuro do ensino e da prtica do design.
uma coleo dedicada aos designers portugueses de vrias geraes, com especial ateno
aos criadores contemporneos. Apresentam-se
autores de vrias disciplinas, da comunicao
aos objectos, da moda ao grafismo, da publicidade ilustrao. So monografias essencialmente visuais, que pretendem ser um primeiro
encontro com a rica mas ainda mal estudada
histria do design portugus, sublinhando a
sua excelncia e importncia no presente e no
futuro do ensino e da prtica do design.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
Pedro Falco
design de comunicao /
communication design
design de comunicao
prefcio
/ communication
de Brbara Coutinho
design/ preface by Brbara Coutinho
R2
Victor Palla
Com os contedos como ponto de partida, desenvolvemos o projecto num dilogo constante, num
jogo por vezes duro com diferentes doses de
intuio e racionalidade.
Taking the contents as a starting point, we develop
the project through constant dialogue, through a
game sometimes a hard game using different
doses of intuition and rationality.
R2
design de comunicao /
communication design
R2
Victor Palla
design de comunicao /
communication design
design de comunicao /
communication design
Com os contedos como ponto de partida, desenvolvemos o projecto num dilogo constante, num
jogo por vezes duro com diferentes doses de
intuio e racionalidade.
Taking the contents as a starting point, we develop
the project through constant dialogue, through a
game sometimes a hard game using different
doses of intuition and rationality.
Victor Palla
Arquiteto, fotgrafo, pintor e designer, editor, galerista, Com os contedos como ponto de partida, desentradutor e ceramista, Victor Palla autor de uma obra volvemos o projecto num dilogo constante, num
multifacetada de grande modernidade. Das suas mos jogo por vezes duro com diferentes doses de
saram inmeras capas de livros e revistas onde evi- intuio e racionalidade.
dente a sua slida sensibilidade espacial, decorrente da Taking the contents as a starting point, we develop
formao em arquitetura, associada a um rigoroso sen- the project through constant dialogue, through a
tido plstico resultante da sua prtica pictrica e olhar game sometimes a hard game using different
fotogrfico. A excelncia e diversidade formal deste doses of intuition and rationality.
trabalho nascem de um experimentalismo que explora as
linguagens, tcnicas e materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor,
gallerist, translator and ceramicist, Victor Palla created
a multifaceted and very modern oeuvre. He produced
countless book and magazine covers which demonstrate
his solid spatial sensibility, a product of his architectural
background, combined with an exacting visual sense resulting from his artistic practice and his photographic eye.
The excellence and formal diversity of this work is the
product of an experimentalism which employs the languages, techniques and materials of various forms of
artistic expression.
v. palla
Desde a sua fundao, em 1995, este pequeno ateli portugus com sede no Porto converteu-se numa autntica
referncia no design europeu. As provas do seu reconhecimento internacional so muitas: o grande nmero
de prmios recebidos, a participao em exposies,
a participao em jris, artigos e referncias em publicaes e, a partir de 2007, a admisso como membro
da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos do ateli R2 conseguiram colocar o bom design
portugus no mapa do design do mundo globalizado.
Since its foundation in 1995, this small Portuguese studio, based in Porto, has become a genuine landmark of
European design. Evidence of their international recognition is abundant: a large number of awards received,
participation in exhibitions and juries, articles and mentions in the press and, since 2007, membership of the
AGI.
Rigorous, daring, lovers of challenges and, above all,
keenly aware of the social function of design, the members of R2 have managed to place good Portuguese
design on the map of the globalized world of design.
R2
Pedro Falco
design de comunicao /
communication design
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
R2
design de comunicao /
communication design
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande moder-
nidade. by
DasRaquel
suas mos
saram inmeras capas
prefcio de Raquel Pelta / preface
Pelta
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
R2
design de comunicao /
communication design
2
Pergunto ao grfico o que o grafismo. A vtima
diz grafismo ... e franze os olhos, primeiro para
longe, depois para o papel. Traa traos imaginrios com um imaginrio lpis. Pe a lngua de fora,
concentrado: nada mais eloquente, como definio.
I ask the graphic designer what graphic design is.
The victim says graphic design is... and frowns,
looks into the distance, and then at the paper. He
draws imaginary lines with an imaginary pencil. He
sticks his tongue out in concentration: as a definition,
there's nothing more eloquent.
in Falando do Ofcio, 1989
o Sou S n o
Id like to be this, that and the other: physicist, mathematician, general, king, or president of something, or a musician. Id like to be all this and whatever else there is.
Pedro Falco
o ou
R2
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
Pedro Falco
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
Gostava de ser isto, aquilo e aqueloutro: fsico, matemtico, general, rei ou presidente de qualquer coisa, ou msico.
Gostava de ser tudo isto e o mais que fosse.
R2
Desde a sua fundao, em 1995, este pequeno ateli portugus com sede no Porto converteu-se numa autntica
referncia no design europeu. As provas do seu reconhecimento internacional so muitas: o grande nmero
de prmios recebidos, a participao em exposies,
a participao em jris, artigos e referncias em publicaes e, a partir de 2007, a admisso como membro
da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos do ateli R2 conseguiram colocar o bom design
portugus no mapa do design do mundo globalizado.
Since its foundation in 1995, this small Portuguese studio, based in Porto, has become a genuine landmark of
European design. Evidence of their international recognition is abundant: a large number of awards received,
participation in exhibitions and juries, articles and mentions in the press and, since 2007, membership of the
AGI.
Rigorous, daring, lovers of challenges and, above all,
keenly aware of the social function of design, the members of R2 have managed to place good Portuguese
design on the map of the globalized world of design.
R2
Pedro Falco
design de comunicao /
communication design
R2
R2
R2
design de comunicao /
communication design
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
Victor Palla
P u oMGu ohSoum S n o
p u o gu h m
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
no
Paulo-Guilherme
P d oF
Victor Palla
design de comunicao /
communication design
design de comunicao
prefcio
/ communication
de Brbara Coutinho
design/ preface by Brbara Coutinho
VictorP Palla
d oF
p do
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
R2
R2
design de comunicao /
communication design
Pedro Falco
design de comunicao /
communication design
Victor Palla
design de comunicao
prefcio
/ communication
de Brbara Coutinho
design / preface by Brbara Coutinho
R2
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
p. falco
Desde a suaplstico
fundao,
em
1995,
pequeno
ateli
resultante da sua
prtica
pictricaeste
e
visual sense resulting
fromporhis artistic practice
fotogrfico. A excelncia e diversidade
his photographic eye. The excellence and
tugus comolhar
sede
no Porto converteu-seand
numa
autntica
formal deste trabalho nascem de um experimenformal diversity of this work is the product of an
talismo
que explora as
linguagens, tcnicas
experimentalism
which recoemploys the languages,
referncia materiais
no design
europeu.
Ase provas
do seu
das diferentes expresses artsticas.
techniques and materials of artistic expression.
nhecimento internacional so muitas: o grande nmero
de prmios recebidos, a participao em exposies,
a participao em jris, artigos e referncias em publicaes e, a partir de 2007, a admisso como membro
da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos do ateli R2 conseguiram colocar o bom design
portugus no mapa do design do mundo globalizado.
Since its foundation
in 1995,Pedro
this small
R2
Falco Portuguese studesign de comunicao /
design de comunicao /
dio, based communication
in Porto,design
has become
a genuine
landmark of
communication
design
European design. Evidence of their international recognition is abundant: a large number of awards received,
participation in exhibitions and juries, articles and mentions in the press and, since 2007, membership of the
AGI.
Rigorous, daring, lovers of challenges and, above all,
keenly aware of the social function of design, the members of R2 have managed to place good Portuguese
design on the map of the globalized world of design.
R2
v. palla
Desde a sua fundao, em 1995, este pequeno ateli portugus com sede no Porto converteu-se numa autntica referncia no design europeu. As provas do seu reconhecimento
internacional so muitas: o grande nmero de prmios recebidos, a participao em exposies, a participao em jR2 Pedro Falco
Pedro Falco
ris, artigos e referncias em publicaes e, a partir de 2007,
a admisso como membro da AGI.
Rigorosos, corajosos, amantes de desafios e, sobretudo,
muito conscientes da funo social do design, os elementos
do ateli R2 conseguiram colocar o bom design portugus
no mapa do design do mundo globalizado.
Since its foundation in 1995, this small Portuguese studio, based inR2Porto, has become
a genuine
Pedro
Falco landmark of
design de comunicao
/
design de
comunicao /
European design.
Evidence
of their
international
recognicommunication design
communication design
tion is abundant: a large number of awards received, participation in exhibitions and juries, articles and mentions
in the press and, since 2007, membership of the AGI.
Rigorous, daring, lovers of challenges and, above all, keenly
aware of the social function of design, the members of R2
have managed to place good Portuguese design on the map
of the globalized world of design.
R2
R2
design de comunicao /
communication design
Arquiteto, fotgrafo, pintor e designer, editor, galerista, tradutor e ceramista, Victor Palla autor
de uma obra multifacetada de grande modernidade. Das suas mos saram inmeras capas
de livros e revistas onde evidente a sua slida
sensibilidade espacial, decorrente da formao
em arquitetura, associada a um rigoroso sentido
plstico resultante da sua prtica pictrica e
olhar fotogrfico. A excelncia e diversidade
formal deste trabalho nascem de um experimentalismo que explora as linguagens, tcnicas e
materiais das diferentes expresses artsticas.
An architect, photographer, painter and designer, editor, gallerist, translator and ceramicist,
Victor Palla created a multifaceted and very
modern oeuvre. He produced countless book
and magazine covers which demonstrate his
solid spatial sensibility, a product of his architectural background, combined with an exacting
visual sense resulting from his artistic practice
and his photographic eye. The excellence and
formal diversity of this work is the product of an
experimentalism which employs the languages,
techniques and materials of artistic expression.
Pedro Falco
Fred Kradolfer