P539 Showcases Brazilian Modernism in São Paulo Apartment

Armentano coordinated a combination of the two legendary designers, Rodrigues and Zalszupin, that—although contrasting—definitely complement each other, creating a surprising, familiar yet sophisticated and relaxed composition.

The Rodrigues armchairs, Tete and Oscar were restored by the Armentano team to give them a prominent place in the rooms. While inviting the user to relax and enjoy their take on informality and comfort. Zalszupin’s precise geometric furniture adds a touch of technical excellence to the design, elevating the apartment’s main living area with his Cubo sofa and Poltronas Dinamarquesas.

During the survey process preceding P539’s creation, the designers encountered paintings by Alfredo Volpi and the modern furniture collection. Recognizing these objects as integral to the ensemble’s visual and spatial layout, Armentano made them central to the penthouse’s realisation.

The brief from the couple occupying the P539 Santiago penthouse was simple enough: to design the common areas on the upper floor, including the living, dining and balcony, complete with a pool.

The project also included custom cabinetry for the master suite, located on another floor that houses the property’s private quarters. A comfortable, elegant style was the primary concern according to Armentano, something the natural light definitely contributes to, as it helps to illuminate and warm the penthouse.

In the central living area, Volpi’s artworks form a backdrop to the modern furniture collection. The dining area features other works of Brazilian modern aesthetics such as a fallen tree rescued from the Itaim Bibi tidal basin that stands as an artwork of its own.

Yet another example of modern architecture contributing to the overall interior design is the visible Ibirapuera Park, and its iconic Oscar Niemeyer-designed buildings. The park also provides a vivid, lush backdrop to the otherwise modern style, which tends to lean towards the industrial design side.

Architecture generally plays a deferred role in the interior design of P539 according to Armentano. Instead, design interventions specified in P539 are guided by the furniture — from the colours of each room’s rugs to the choice of wood and fabrics used, or even the simple streamlined simplicity of the materials used.

However, significant additions prove architecture has a contributive role in the whole discussion. Elements of craftsmanship in the design such as the straw coverings from Cacharel, the metallic tones, the striking marbles (notably those of the kitchen and Balcony), the thin aluminium grooves framing the canvas-covered panels, and the delicate balance of light and shade — all stand out.

These subtle, mostly relative additions were selected to contrast with the industrial yet distinct volumes of furniture and nature surrounding Armentano’s process and the ultimate decisions when it came to the design.