Palácio Tangará: Patricia Anastassiadis’s Interior Reading of Brazilian Landscape
Palácio Tangará places a substantial hospitality programme beside São Paulo’s Burle Marx Park. Within that setting, Patricia Anastassiadis developed public interiors that draw on Brazilian landscape and art. The work offers a way to understand how local references can shape an interior through colour, furniture and atmosphere.
For the hotel’s 2017 opening, Anastassiadis designed social spaces including the lobby, bar, restaurant and spa. Bick Simonato designed guestrooms and corridors. The public rooms form a varied sequence, connecting the moment of arrival with places for conversation, dining and retreat. [1] [4]
From watercolour to material palette
The studio identifies Jean-Baptiste Debret’s representations of Brazilian landscape as a starting point. Greens and earth colours informed the design, while the Burle Bar incorporated blue accents associated with the bird that gives the hotel its name. The spa took a different direction, referring to the curving forms of Brazilian modernism.
The references give the rooms different characters within a shared palette. Greens and earth colours establish a connection with landscape; blue accents distinguish the bar, and curves give the spa a softer register. Their effect depends on the relationships between surfaces, furniture and light, translating the references into spaces people can occupy. [1]
The dining room and the park
In Tangará Jean-Georges, the studio brought the surrounding landscape into the composition through tall mirrored elements. Their reflections extend the park’s visual presence within the restaurant. The project description also records furniture developed for the setting, including sofas and dining tables with handmade ceramic tops.
The restaurant includes spaces for different forms of dining, among them a private room and a chef’s table. This variety matters because a restaurant interior must accommodate several kinds of attention: toward companions, toward food and toward the larger setting. Reflections and bespoke furniture become part of that choreography, helping connect a substantial dining space to more focused encounters. [2]
Furniture carries the local detail
Empório Beraldin’s supplier account gives the scheme a concrete material dimension. It identifies the Curve and Gaudí sofas in the public interiors, a Belluno Filetto desk at the concierge area, and a Deco cabinet in the restaurant. The documented pieces introduce combinations of timber, leather, brass and upholstered curves.
These details matter because a large hotel can otherwise be understood primarily through its scale. Furniture brings the experience closer to the body: the place to sit, the surface encountered at arrival, the cabinet seen beside a dining table. Here, different pieces contribute individual profiles within a shared scheme, providing variation without demanding a different architectural language in every room. [3]
Public rooms with different characters
The dining and lounge spaces extend towards terraces and the park, maintaining a connection with the landscape beyond the interiors. The lighting consultant’s project record follows that relationship across these shared spaces, where interior atmosphere and exterior outlook have to work together.
The arrival area, bar, restaurant and spa each have a different pace. Anastassiadis gives them continuity through recurring references to Brazilian art, materials and landscape, while their furniture and spatial arrangements respond to distinct uses. At the dining table or concierge desk, those broad references become specific encounters with timber, ceramics, upholstery and metal. [4] [5]
Comments