How does Portugal’s craftsmanship legacy shape your approach to integrating traditional techniques with industrial design methods?
Portugal’s rich craftsmanship legacy is deeply embedded in my approach to design. I see traditional techniques not as something static but as part of a continuously evolving dialogue between past and present. For me, it’s about understanding the essence of these artisanal methods—their materiality, processes, and cultural significance—and exploring how they can be reinterpreted through my contemporary design perspective.
I often find inspiration in architectural details and archival materials, which offer insights into how craftsmanship has shaped our built environment. This perspective helps me bridge the gap between handmade and industrial, treating materials as collaborators and allowing their natural qualities to guide the design process. Ultimately, I aim to create pieces that honor tradition while embracing innovation, striking a balance where function, aesthetics, and history coexist.
B1 Stool: How did you address the structural challenges of combining materials traditionally used in modernist architecture with artisan craftsmanship in the B1 stool?
The B1 Stool was born from an exploration of contrasts—bringing together materials commonly found in modernist architecture with the sensibility of artisan craftsmanship. Structurally, the challenge was to balance the raw, industrial nature of these materials with the precision and refinement required for a functional object.
I approached this by allowing each material to play to its strengths. The metal elements provide stability and a sense of architectural rigor, while the handcrafted details introduce warmth and tactility. Rather than forcing one to conform to the other, I worked on a dialogue between them—highlighting their inherent qualities while ensuring structural integrity and comfort. The result is a piece where materiality is not just a technical consideration but a fundamental part of the design language, creating a stool that feels both solid and expressive.
Paper Derm Studies: In creating the Paper Derm tactile surface, what techniques did you use to apply handcrafted recycled paper paste to the metal grids, and how did you manage the adhesive properties required for durability?
The creation of the Paper Derm tactile surface involved a hands-on, experimental process. I crafted a paste using recycled cartons, breaking them down into fibers through a soaking and manual pulping technique. This paste was carefully applied onto industrial metal grids, which provided a structural base and a textural interplay with the paper surface. The creation of the Paper Derm tactile surface leverages the inherent properties of the recycled material itself. The paste, made from recycled cartons, naturally contains adhesive qualities due to the fibers and binders already present in the material from its original lifecycle. This eliminates the need to add extra adhesives, highlighting another advantage of using recycled materials: they bring embedded functionalities that can be repurposed creatively.
In the context of open-source design, such as Bricòláge, how do you approach intellectual property concerns, especially when fostering a collaborative, replicable model in the public domain?
Open-source design is a cornerstone of Bricólàge, and I embrace its potential to democratize creativity and innovation. While intellectual property concerns are valid, I see them as opportunities to rethink how design can be shared and evolved collectively. By making technical sheets freely available for download, I aim to strike a balance between transparency and fostering ethical collaboration.
I rely on clear communication and the use of open licenses that allow for replication, adaptation, and distribution while crediting the original work. This approach encourages collaboration while protecting the integrity of the project. I also view intellectual property as a means to build relationships rather than restrict them. Sharing Bricólàge as an open-source design is an invitation for others to engage, adapt, and contribute their ideas, creating a dialogue that enriches both the project and the wider design community.
How do you see your multidisciplinary approach evolving in future projects, particularly in relation to sustainable and accessible design initiatives?
My multidisciplinary approach has always been about exploring the intersections between craftsmanship, industrial techniques, and material innovation. Moving forward, I see it evolving with an even stronger focus on sustainability and accessibility—not just in terms of materials but also in the processes and systems behind design.
For my next collection, launching in 2025, I am exclusively using locally sourced Portuguese wood. This decision reduces the carbon footprint associated with transportation while supporting the local economy. As a small design studio, I’m proud to help other small businesses and artisans thrive by working with locally sourced materials, creating a more interconnected and sustainable ecosystem.
The creation of the B1 stool involved close collaboration with six highly skilled local artisans, each contributing their expertise to the production process. I partnered with two seasoned carpenters, a specialized small business focused on wood finishing, and two expert upholsterers working from a traditional atelier, all located within a 30 km radius of my studio. This level of craftsmanship demands significant manual effort, with each artisan leveraging years of experience to ensure precision and quality.
By engaging with these local artisans, I not only uphold the highest standards of workmanship but also support small businesses and preserve traditional craft techniques. This approach fosters a deep connection with the local community while contributing to a sustainable design process through localized production and responsible sourcing.
I’m particularly interested in how traditional craft knowledge can inform more responsible production methods, reducing waste while preserving cultural heritage. Genuine collaboration with artisans and a deep understanding of how things are made are essential to my process.
Understanding the full journey of a material or technique often sparks new ideas and approaches. At the same time, I want to explore ways to make well-crafted, thoughtfully designed pieces more sustainable—whether through adaptable materials or cross-disciplinary collaborations. Ultimately, I see design as a tool for creating meaningful, lasting connections between people, objects, and the environments they inhabit.
