Centro de Turismo Nava Lindóia logo
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Centro de Turismo Nava Lindóia

Centro de Turismo Nava Lindóia is a Brazilian tourism brand associated with the Águas de Lindóia region in São Paulo state, operating under the corporate name Nova Lindóia Hotéis e Turismo S/A. No verifiable records confirm a logo design for the organization.

Centro de Turismo Nava Lindóia is a Brazilian tourism brand associated with the Águas de Lindóia region in São Paulo state. The organization operated under the corporate name Nova Lindóia Hotéis e Turismo S/A, with registered addresses in Águas de Lindóia and Campinas.[1][2]

Design and History

Documentation of a specific visual identity for Centro de Turismo Nava Lindóia is extremely limited. No verifiable records confirm the existence of a logo designed by Alexandre Wollner for this organization in 1962, nor do any primary sources describe the mark’s visual features, construction, or symbolism.

Alexandre Wollner (1928-2018) was a pioneering Brazilian graphic designer who studied at the Hochschule für Gestaltung in Ulm, Germany, between 1954 and 1958.[3] He created visual identity programs for many Brazilian companies, including Eucatex, Santista, Coqueiro, Klabin, Ultragaz, and Banco Itaú.[3] His retrospective book, “Design Visual 50 Anos,” published in 2003, documents his professional trajectory.[4] However, none of the available sources listing Wollner’s known projects includes a Nava Lindóia or Nova Lindóia tourism mark.

In 1962, Wollner established his own agency, DICV Designo.[5] That same year, he also initiated a typography course at the Museu de Arte Moderna in Rio de Janeiro with graphic artist Aloísio Magalhães.[5] While this period aligns with the claimed 1962 date, no evidence connects these activities to a Nava Lindóia commission.

Meaning and Symbolism

Because no verified documentation of the logo exists, any claims about its geometric forms, regional motifs, or intended meaning cannot be substantiated. The unverified attribution to Wollner and the description of the mark’s design should be treated with caution until confirmed by primary sources such as Wollner’s own publications or archival records.

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