Bruno De Lazzari

I've always been passionate about art and design, deeply influenced by my family's tradition of woodworking. Studying architecture at UFRGS allowed me to refine my design skills and creative vision. Founding De Lazzari Mobiliário Urbano and Atelier Bruno De Lazzari was a natural progression, as I wanted to blend traditional woodworking with modern technology.

Atelier Bruno De Lazzari and De Lazzari Mobiliário Urbano are two complementary ventures I founded, the latter with my father. At the atelier, I focus on merging traditional woodworking with modern technology to create unique, high-quality pieces. This space allows me to explore innovative designs and techniques, ensuring each piece is crafted with care and precision. De Lazzari Mobiliário Urbano, on the other hand, specializes in urban furniture design, combining functionality with aesthetic appeal. Both ventures reflect our commitment to craftsmanship and innovation.

For me, in a very personal way, it's a way to exercise my creative ability within constraints that make it commercially viable and useful for people.

I spend a lot of time on each project, from starting with the concept to the prototype and the manufacturing process. Like a song you've listened to during a phase of your life, each project is a reminder of a period I went through. That being said, it is very hard for me to pick just one.

A rectangular tubular stool with wooden seats, very Bauhausian, as I had recently graduated in architecture and had access to steelworking equipment and woodworking tools.

CNC machined wood, it really defines my work at the Atelier and my uppringing, I was a nerdy milleial kid with a woodworking heritage.

Prototyping is by far the most time-consuming process, but in my case, it's intertwined with the concept and the eventual manufacturing process.

There are two main phases where I feel most emotional in design: the initial spark of a truly original concept, and the completion of the entire project. It's the beginning and the end that hold the biggest emotional weight, even though the process itself is filled with small challenges. It can be both frustrating and delightful, an exercise in managing those contrasting emotions. Design has actually helped me become less anxious. Through the design process, I've come to understand that truly great things take time and perseverance.

I'm deeply fascinated by the deeper meaning behind a design project. It's like conceptual art – everything clicks into place when you understand the underlying story. This story can be about the innovative construction solution, the source of inspiration, or some element that isn't immediately obvious. Conversely, designs that are purely derivative and simply follow trends hold little interest for me. They may fulfill a basic function, but they lack the depth and intrigue that truly resonate.

I live and work in Porto Alegre, a city in the south of Brazil. My woodworking heritage comes from my ancestors who came from Italy in the 19th century. They built their houses and neighborhoods from scratch using local wood.

The prototyping phase is the most crucial step for me. It's where I first experience the object in its physical form, and where the design continues to evolve. The feeling of holding a real, tangible piece is irreplaceable. This constant back-and-forth between CAD software and the woodshop, making adjustments as I go, is what fuels my design process.

I divide my time drawing in the computer and making prototypes, I don't really have a strong routine, it depends on what project Im working on, sometimens its more hands on, and sometimes its more in the computer.

Since graduating with a degree in architecture in 2010, I've been working in the design field. That same year, I co-founded De Lazzari Mobiliário Urbano with my father. The company designs, manufactures, and sells urban furniture. More recently, I established Atelier Bruno De Lazzari, where my focus is on creating conceptually rich wooden pieces, a contrast to the commercially oriented pieces of the urban furniture company.

It's truly all about heritage. Both my parents are architects, and both of my grandfathers were carpenters. This combination, along with my curiosity in technology, led me to design pieces on the computer that I could then build using my woodworking knowledge.

The prototyping phase is the most crucial step for me. It's where I first experience the object in its physical form, and where the design continues to evolve. The feeling of holding a real, tangible piece is irreplaceable. This constant back-and-forth between CAD software and the woodshop, making adjustments as I go, is what fuels my design process.

There are two main phases where I feel most emotional in design: the initial spark of a truly original concept, and the completion of the entire project. It's the beginning and the end that hold the biggest emotional weight, even though the process itself is filled with small challenges. It can be both frustrating and delightful, an exercise in managing those contrasting emotions. Design has actually helped me become less anxious. Through the design process, I've come to understand that truly great things take time and perseverance.

Curiosity is the cornerstone of my background. It has driven me to become self-taught in the design software I use. This curiosity extends to the technical and historical aspects of the design world, all of which contribute to a rich wellspring of knowledge from which my creations emerge.

My design journey continues with a focus on creating exceptional work for both of my brands. At De Lazzari Mobiliario Urbano, my aspirations lie in expanding our market reach and consistently elevating the quality of our products. Meanwhile, at the Atelier, I aim to create even more captivating and deeply meaningful pieces with a stronger artistic expression.

For new designers, investing in a good 3D software and a 3D printer is a fantastic way to explore design possibilities. While CNC machines can be incredibly powerful, 3D printers offer a more accessible entry point. There's simply no substitute for the experience of interacting with a physical object in the design process.

You have to show your work, really, social media today is a great way to do that, you can find your public and people will give a honest feedback on where you are at.

I divide my time drawing in the computer and making prototypes, I don't really have a strong routine, it depends on what project Im working on, sometimens its more hands on, and sometimes its more in the computer.

My design process is a flexible balance between digital and physical exploration. I don't adhere to a strict routine, but rather adapt my workflow based on the project at hand. Some projects require a more hands-on approach with prototyping, while others demand extensive digital work. This balance allows me to explore ideas iteratively, fostering creativity and innovation in my designs.

I'm deeply fascinated by the deeper meaning behind a design project. It's like conceptual art – everything clicks into place when you understand the underlying story. This story can be about the innovative construction solution, the source of inspiration, or some element that isn't immediately obvious. Conversely, designs that are purely derivative and simply follow trends hold little interest for me. They may fulfill a basic function, but they lack the depth and intrigue that truly resonate.

Here's the proofread and rewritten version: There's always room for improvement, especially with constantly evolving manufacturing processes. However, the best part about finishing a project isn't just the satisfaction of completion, it's the exhilarating anticipation of starting a new one.

The Grampo Lamp's deceptively simple appearance belies the intricate design process behind it. While the final product appears effortless, it actually took over 500 hours to develop. The core concept of using the wood's natural flexibility to create a clamp that also charges the lamp head, detaches as a flashlight, and adjusts the light direction, demanded meticulous attention to detail. This meant extensive research on dimensions, connections, and suitable materials. Additionally, integrating the electronics and battery within the compact lamp head required rigorous testing of various components to ensure optimal functionality. make it a detacheble flashlight and makes it possible to adjust the light direction. That needed a very precise study of dimensions, connections and materials study. Also to fit the whole eletronics inside the spot with the battery i need to test a lot of components to get it right.

The pioneering designers of the modern era, such as Mies van der Rohe, Le Corbusier, and Marcel Breuer, are a constant source of inspiration for my work. Their designs, characterized by the use of industrial steel profiles and a minimalist aesthetic that emphasizes functionality and clean lines, marked the beginning of a movement that continues to resonate today. I'm also fascinated by the artistry of car designers. The way they sculpt surfaces with precision and complexity that would have only been possible for the most skilled sculptors a century ago is now something more accessible for designers like me through CNC machines.

Music holds a special place in my heart. I view it as the purest form of human expression. This perspective influences my design philosophy, as I constantly seek parallels between design and music. In other words, music plays a role in shaping my design process. My work is shaped by two distinct cultural influences. Firstly, I am the grandson of a carpenter, which instilled in me a deep appreciation for craftsmanship and working with wood. Secondly, growing up in the technological era fostered a love for computers. This unique combination translates into my design process, where I embrace both digital design and physical construction with wood.

Solitude plays a key role in my design process, which is reflected in the Atelier bearing my name. This focus on independent creation allows me to fully immerse myself in my ideas. At De Lazzari Mobiliario Urbano, while I sometimes collaborate with my father, the majority of the company's work is the result of individual efforts, either by him or myself.

At De Lazzari Mobiliario Urbano, we're committed to giving back to our community. We partner with Voluntary Architects, a group that improves hospitals and schools in Porto Alegre, our hometown. This city recently faced a devastating flood, and in response, I personally designed and built mops to aid in the cleanup efforts. We also held a raffle featuring one of my designs to benefit those affected by the flood. In the realm of education, I'm currently collaborating with a design course at Unisinos University in Porto Alegre. I'm always enthusiastic about the opportunity to discuss design within educational settings.

Winning this award for my project is incredibly validating. It was a demanding endeavor, and during the process, I occasionally questioned whether the complexity justified the time investment. The project could have easily yielded two separate designs. However, the international recognition and being named "designer of the day" reinforce the immense privilege of pursuing my passion for design and becoming an inspiration in the field.

I studied architecture at the Federal University of Rio Grande do Sul (UFRGS). My education and early fascination with woodworking, passed down through my family, directed me towards a career in product design, blending traditional craftsmanship with modern technology.

chose to become a designer. It was a natural progression from my architectural studies and family background in woodworking, allowing me to explore a field that captivates my imagination and passion.

currently design urban furniture and unique wooden pieces. I aspire to work more with CNC machines and robots, which will expand my repertoire for design solutions.

Stay curious and persistent; you'll only find creative solutions through hard work.

Good designer solves a problem, a great design solves it with an artistic touch and innovation.

A really good design is one that not only fulfills its intended function but does so with an elegance and simplicity that appears effortless. It should engage users emotionally and intellectually.

The value of good design is that no only solves a problem but tells a story, and that engages the user experince and connection with the investor.

The value of good design is that it not only solves a problem but also tells a story, engaging the user experience and connection with the investor.

The Panton chair, its very sleek and elegant, impressive for a pre-cnc machine era.

For me, design is the intentional creation of solutions that marry form and function to meet human needs, crafted in a way that appeals to the senses and intellect.