Long-term exposure Reflecting on the transformation of the Brazilian forest, passing through the exuberance of large trees, until the disappearance of species is the goal of the exhibition Remnants of the Atlantic Forest & MCB Collection, curated by Ricardo Cardim, botanist. In addition to presenting to the public an insight into the process of advancement of urban areas over the original Atlantic forest, the exhibition will bring, in parallel, pieces from the collection of the museum made with these woods – now practically extinct.

“More than talking about the process that led to the almost extinction of some species, we want to recover this ‘historical DNA’ from each tree represented in our collection,” explains Giancarlo Latorraca, technical director of MCB.

The exhibition Remains of the Atlantic Forest & MCB Collection consists of photographic and textual panels that correlate the various wood typologies of the MCB collection with the several native species that have existed in the Atlantic forest, some of which have been used for centuries, and which, throughout history, have been used in the confection of national and even foreign furniture.

With many of them missing or in the process of extinction, the museum’s collection becomes an accessible testimony. In the exhibition, visitors will be given the opportunity to get to know some of the primitive exuberance of Brazilian vegetation, with large trees, many more than 30 meters high, which gradually disappeared and gave way to livestock, agriculture and also for the exploitation of wood for industry and commerce. Among the woods that make up the furniture of the collection of the MCB, it is possible to find Mahogany, Cedar and Jacaranda of Bahia.

“The collection of the Museu da Casa Brasileira represents part of an ancestral forest that disappeared about a century ago. Their woods are testimonies of secular trees of jequitibás, canelas and jacarandás that have here the last existence in the form of the furniture of the collection “, affirms Ricardo Cardim, botanist and curator of the show.

The location of the museum, on the banks of the old Pinheiros River floodplain, was originally of great biodiversity, sheltering forest formations of riparian forests in moist and dry dams, which, during the urbanization, were completely suppressed and terrified.

“Because it is an institution that preserves the material culture of the Brazilian house, largely made up of furniture built with native Brazilian woods, the garden and its tree species represented in the collection are a very important asset in educational actions, as they provide reflection on the wide use of this raw material and the consequences that have led to the end of many species, which today can only be found in the form of product, that is, the furniture, “says MCB general director Miriam Lerner.

In 2018, MCB launched the book ‘Remnants of the Atlantic Forest: the great trees of the original forest and its remains’ by the biologist and landscape artist Ricardo Cardim, in partnership with Editora Olhares.

About Ricardo Cardim
Ricardo Cardim since childhood has made Brazilian vegetation his main interest. Master in Botany at USP, he is also Professor in charge of the Green Building Council Brazil (GBC) Sustainable Landscaping course and Member of SkyGarden Telhados and Paredes Verdes. In 2010, he was appointed Entrepreneur of the Future by the Schwab Foundation (Davos, Switzerland) and Folha de São Paulo for his work with the urban environment and Blog Trees of São Paulo. In 2011, it received the Anchieta Medal and the Gratitude Diploma of the City of São Paulo for the discovery of three remnants of Cerrado in the metropolis of São Paulo, which resulted in the first public parks with threatened vegetation, in 33,000 m². Since 2011, Ricardo has been an urban environmental columnist for Rádio Estadão and “Dr. Tree “at Rede Globo São Paulo since 2013. He contributed to the exhibition” The House and the City – Crespi-Prado Collection “at the Museu da Casa Brasileira, which brings a portrait of the city of São Paulo between the end of the century 19 until the middle of the 20th century, through the pieces of the collection of the Crespi-Prado Foundation.

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