Sebrae's CASACOR house turns Brazilian craft into a carnival-maximalist home

Rick Hudson's third CASACOR Brasília; the brief celebrated Brazilian handcraft as identity, echoing sambas-enredo like Brasil Feito à Mão… do Barro ao Carnaval (1992).

A 100 m² home where Sebrae's store and a residence share one space: carnival-maximalist rooms put regional designers' chairs, mirrors and lamps into real contexts of use.

Carnival-maximalist color and texture; pieces by Pé Esquerdo, Lucas Caramés, Gardênia Nascimento, Cleziania Ribeiro, Mok + Paula Gambirasio and Danilo Vale; dry construction preserved the original floor and ceiling; the Nós collection pairs Brazilian wood with cords woven from beachwear-industry textile waste.

Ran to October 12, 2026 at Casa do Candango as part of the 34th CASACOR Brasília, putting Distrito Federal designers, artisans and manufacturers in front of paying visitors.

For the 34th CASACOR Brasília, architect Rick Hudson designed Sebrae Feito à Mão, a 100 m² environment inspired by the maximalism of Brazilian carnival — rich in color, texture, objects and narratives. The space draws on samba-enredo themes such as Brasil Feito à Mão… do Barro ao Carnaval (1992) and Deus Fez o Homem e a Águia de Ouro Feita à Mão (2007), framing handcraft as cultural heritage and belonging. For the first time, Sebrae's store was combined with a residence in a single space.

Instead of treating craft as something isolated, the project stages furniture and objects in real contexts of use, so the house becomes part of the experience rather than a backdrop. The curation spotlights local production from the Distrito Federal, bringing together designers, artisans and manufacturers: the Espelho Jô mirror and Poltrona Travessia armchair by Pé Esquerdo, Lucas Caramés's Poltrona Poty, the Candangas collection by Gardênia Nascimento and Cleziania Ribeiro, the Veredas coat rack by Mok + Paula Gambirasio, and Danilo Vale's Aura stool.

Sustainability ran through the project from conception: the original floor and ceiling were kept, dry construction minimized water and material waste, and one highlight — the Nós collection by Pé Esquerdo with Studio Jader Rodrigues and Instituto Ser Tão Fort — combines Brazilian wood with artisanal cords made from textile waste of the beachwear industry, joining contemporary design to a circular economy.

Sebrae's brief was to treat craft as living culture rather than isolated display, so the store became a residence where furniture sits in real contexts of use.

Hudson leaned on carnival maximalism and samba-enredo references — beauty emerging from excess and mixture — to match the country's cultural density instead of a neutral showroom look.

Sustainability was structural: the original floor and ceiling were kept, dry construction cut water and material waste, and the Nós collection wove beachwear-industry textile waste into lamp cords.

Craft sells as memory, not inventory: staging handmade furniture inside a lived-in home — with its waste-stream materials visible — turns a trade showcase into an argument about identity.

The space ran through October 12, 2026 at Casa do Candango, closing the 34th CASACOR Brasília with a special-sale weekend on October 11 and 12.