Recchia came to working with glass somewhat by chance. While studying architecture at Mackenzie Presbyterian University in So Paulo, it was a school projectcreating a model for an all-glass buildingthat ignited his interest in what he considers a really new material in Brazil. Eager to deepen his understanding of the process, he connected with a local couple who, having honed their skills in the hot shops of Venice, had just set up their own atelier outside the city. Soon, Recchia established his own design practice and, with their help, created tables from vitreous slabs, blown orbs, and broken shards. His most recent seriesand his most complex yet to producenods to stained glass, inserting melted pieces into bronze or aluminum frameworks to create surfaces, mirrors, and more.Humberto Da MataSee more of Da Mata's work at humbertodamata.com.Trained as an architect, Da Mata cut his teeth under the Campana Brothers, a stint that, in his words, changed the course of my professional life. Inspired by their materials-driven practice, he devoted himself to the basics of making, first using local textiles to create cartoonishly woven upholstered pieces. After formally launching his studio in 2012, he expanded to ceramics in 2018, eventually developing his own blend of paper pulp that he applies to metal or wood frames in a highly improvisational process. Once it dries he sands it down, applying a thin layer of powder to eliminate imperfections and slicking the whole thing in automotive paint. The resulting formsorganic and often functionaldepart from the modernist language associated with Brazil. I studied architecture in a Niemeyer building, but then I moved to this chaotic city where there are a lot of things happening, reflects Da Mata, whose practice is also based in Barra Funda. In my work, I see these different influences coming together.PalmaPalma is represented by Verso gallery in New York (verso-works.com).Everyday staples prove ripe for reinvention in the work of Palma, founded by Lorenzo Lo Schiavo (left) and Clo Dbberthin. Many traditional handcrafts here have disappeared, explains Lo Schiavo. We re-create techniques that interest us. Candy wrappers, for instance, serve as clever substitutes for silver leaf and conventional metalwork, while broken eggshellscarefully applied using tweezersmimic refined Art Deco finishes. We like to be able to make the whole piece here, Dbberthin says, referring to their Barra Funda atelier, which does double duty as a materials library and laboratory. In 2022, the duo also initiated Design na Barra Funda, an annual neighborhood-wide open studio event that stirs together makers, designers, and artists in the area.The So Paulo designers of tomorrow are featured in ADs February issue. Never miss a story when you subscribe to AD.