ᨓᨓᨊᨌᨑ ᨔᨗᨒᨚᨂ Ariane Cristina da Rosa

Fragmentos was inspired by the possibility of seeing value where others might see waste. I wanted to give discarded marble a new purpose, preserving its natural beauty while creating objects with their own identity.

The collection follows a circular design principle: material removed from one piece becomes the starting point for another. I was also inspired by the way nature transforms materials over time, revealing beauty in their variations and imperfections.

My main focus was to bring together sustainability, functionality and a sophisticated aesthetic. I wanted to show that responsible design can result in objects with a strong sculptural presence and lasting appeal.

Rather than treating sustainability as an added feature, I made it part of the design process from the beginning, considering how the marble could be used as efficiently as possible.

I would like to expand the visibility of Fragmentos and explore opportunities to bring the collection to new markets through carefully selected partnerships.

I am also interested in continuing to develop the concept, exploring new objects and ways to apply the same design principle while respecting the identity and quality of the original collection.

The project began as an idea in March 2023 and was completed in September 2024, taking approximately eighteen months from the initial concept to its public presentation.

During that period, I developed the design language and explored how the pieces could relate to one another while making better use of the marble.

Fragmentos grew from my own interest in exploring the creative potential of materials that might otherwise be discarded. I wanted to look at these fragments differently and understand how they could become pieces with beauty, purpose and value.

The project reflects an idea that is important to my work: thoughtful design can reveal possibilities that are not immediately apparent

I am interested in exploring production and commercial partnerships that respect the collection’s concept, quality and authorship. The right collaboration would need to consider both the character of the material and the design principles behind Fragmentos.

As an architect and designer, I work closely with materials and see how much potential can remain in pieces that are often considered too small or unsuitable for conventional applications.

Decorative objects and a side table offered an opportunity to explore this potential on different scales. They also allowed me to create pieces that people can appreciate individually or as part of a composition.

Fragmentos was shaped primarily by my observation of the material itself and by my broader interest in contemporary design, architecture and the relationship between form and function.

Rather than drawing on one specific designer or object, I focused on developing a language that would express the natural character of marble and the idea of transformation.

The collection is intended for people who value original design, natural materials and objects with a story behind them. It is also suited to architects, interior designers and collectors looking for pieces that bring character and meaning to a space.

Fragmentos speaks to those who appreciate sophisticated aesthetics and want to make more considered choices about the objects they live with.

What distinguishes Fragmentos is the relationship between the pieces. The collection was conceived so that material removed from one element can become another object, creating a connection between form, production and the use of resources.

Each piece has its own presence, yet together they share a coherent visual language. The natural variations of the marble also contribute to the individuality of each object.

The name Fragmentos refers to the pieces of marble that inspired the collection and to the idea that a fragment can hold the potential for something complete.

It expresses both the origin of the material and its transformation into an object with a new purpose, identity and value.

The development involved drawings, studies of proportions and an examination of how the pieces could be created from the available marble. The production process was conceived around precise stone cutting, combined with the care required for finishing natural stone.

The most distinctive aspect is that each object is connected to the others through the way the material is used. A piece can emerge from material removed to create another, so the collection has a shared origin as well as a shared aesthetic.

That relationship gives the objects a narrative that goes beyond their individual functions.

The realization of a collection in natural stone requires a close dialogue between design and specialized production knowledge. Understanding the properties of the marble and the possibilities and limitations of cutting and finishing is essential to achieving the intended result.

Technology supports the precision needed to translate the concept into physical objects. The production approach combines precise stone-cutting techniques with finishing processes that respect the natural character of the marble.

For me, technology is most valuable when it helps a design idea become viable while preserving the material’s beauty and identity.

The research focused on circular design and on ways to make better use of marble remnants in furniture and decorative objects. It involved studying the relationship between the forms, the available material and the cutting process.

The aim was to reduce material loss while creating a collection that remained coherent, functional and visually refined.

One of the main challenges was creating a cohesive collection while considering the limitations and possibilities of the available marble. The relationship between the pieces required careful attention to proportions, cutting and the amount of material that could be used.

Another challenge was to ensure that the sustainability concept was expressed through the design itself, while maintaining the quality and visual presence I wanted for each object.

I decided to submit Fragmentos because I believed its approach to material use and contemporary design could contribute to a broader conversation. An international competition offered an opportunity to present the project to a wider audience and have it evaluated alongside work from different countries and disciplines.

The recognition has helped bring visibility to both the collection and the ideas behind it.

Fragmentos reinforced the importance of looking at materials with curiosity and questioning assumptions about what can or cannot be used.

It also deepened my understanding of how a design concept can guide decisions throughout a project, from the initial idea to the relationship between the pieces and the production process.

Fragmentos reflects my belief that design can create value through the way we see and use resources. A piece of marble carries its own natural history, and I wanted to give it the opportunity to continue that story in a new form.

My hope is that the collection encourages people to appreciate not only the finished object, but also the thought, material and process behind it.

The Primadonna Armchair was inspired by the idea of presence. It explores the relationship between comfort, elegance and personality, translating the image of a woman who enters a room and naturally becomes the center of attention. The design is not about excess, but about attitude, proportion and visual impact. Its main principle is to create a piece that is both functional and expressive, capable of transforming an interior through form, texture and emotion.

My main focus was to create an armchair with a strong identity, one that could offer comfort while also acting as a sculptural element in the space. I wanted to achieve a balance between softness and power: a piece that feels welcoming to the body, but also has enough visual strength to define the atmosphere around it. Primadonna was designed to be memorable, elegant and emotionally engaging.

My future plans are to expand the visibility of the Primadonna Armchair through exhibitions, editorial publications and strategic partnerships with brands aligned with authorial design. I also intend to study possibilities for production, licensing or limited editions, always preserving the identity and quality of the original concept.

The concept was developed over several months, from the first sketches and references to the refinement of proportions, volumes and details. The process involved research, visual experimentation and technical adjustments to ensure that the final piece would have both expressive power and ergonomic coherence.

This design was born from an authorial inspiration, not from a commission. I wanted to create a piece that would represent feminine presence, confidence and sophistication through furniture design. The idea was to go beyond a conventional armchair and create an object with a narrative, a piece that could communicate identity and emotion within an interior.

At this moment, the design is managed by my studio as an authorial piece. I am open to future partnerships with companies that understand the value of design with identity, craftsmanship and strong visual presence. The possibility of licensing, production rights or limited production may be considered, provided that the essence and quality of the design are preserved.

I have always been interested in furniture as a powerful element of interior architecture. An armchair is more than a seat; it can define a corner, create a pause, invite the body to rest and also express the personality of the space. I chose this type of work because it allows a very intimate relationship between design, comfort and presence.

The Primadonna Armchair was mainly influenced by my own research into authorial interiors, feminine forms, visual rhythm and emotional design. Rather than following a specific designer or existing piece, I was interested in creating a personal interpretation of elegance and presence. The inspiration comes from fashion, performance, architecture and the way certain objects can command attention without needing to be loud.

The target customer is someone who values authorial design, individuality and emotional connection with the objects they choose. It is intended for clients, collectors, architects, interior designers and design brands looking for a statement piece with elegance, comfort and identity. Primadonna is especially suited for sophisticated residential interiors, lounges, boutique hotels and spaces where furniture is expected to create atmosphere.

What sets Primadonna apart is the combination of visual impact, feminine energy and refined comfort. It is not only designed to be beautiful; it is designed to have presence. Its proportions, volume and character give it an almost theatrical quality, while still remaining suitable for daily use. The piece carries a sense of personality that makes it recognizable and emotionally memorable.

The name Primadonna refers to the leading female figure in an opera, the woman who occupies the stage with strength, beauty and magnetism. For me, the name expresses the essence of the armchair: a piece designed to stand out naturally, with elegance and confidence. It suggests protagonism, femininity and presence without losing sophistication.

The design process began with conceptual research, hand sketches and visual studies. Digital tools were then used to refine proportions, structure and details, including 3D modeling and technical drawings. These tools allowed me to test scale, ergonomics, material possibilities and the overall visual balance of the piece.

The most unique aspect of Primadonna is its ability to combine softness and strength in a single gesture. It has an expressive personality, but it does not sacrifice comfort. The piece was designed to be experienced both visually and physically, creating a connection between the body, the space and the emotion of being surrounded by meaningful design.

The design was developed under my creative direction, with the support of technical professionals involved in the development and realization of furniture pieces. Collaboration with specialized skills is essential in this type of work, especially when refining structure, upholstery, proportions and production feasibility. The final result depends on the balance between creative vision and technical precision.

Technology played an important role in transforming the initial concept into a precise and viable design. Digital modeling and technical development helped evaluate proportions, ergonomics and construction details before realization. Technology was not used to replace intuition or authorship, but to support the creative process and improve accuracy.

Yes. The design was influenced by research into ergonomics, proportions, furniture typologies, materials and the emotional impact of objects within interiors. I also observed how people interact with lounge chairs in residential and hospitality spaces. This analytical research was combined with aesthetic and conceptual investigation, especially around feminine presence, comfort and statement furniture.

One of the main challenges was achieving the right balance between strong visual identity and real comfort. A statement piece cannot be only sculptural; it must also welcome the body. Another challenge was refining the proportions so that the armchair would feel expressive, but not excessive. The development required careful adjustments in volume, structure and details.

I decided to submit Primadonna because I believed the piece had a strong authorial identity and could communicate beyond its local context. International competitions are important because they place the work in dialogue with a broader design community. For me, it was also a way to test the strength of the concept and expand the visibility of Brazilian authorial design.

This project reinforced the importance of trusting a strong concept while remaining open to refinement. I improved my ability to balance emotion, aesthetics and technical decisions within the same object. Designing Primadonna also deepened my understanding of how furniture can carry narrative, identity and atmosphere, not only function.

Primadonna is a piece about presence, but also about sensitivity. It reflects my belief that design should not be neutral when it has the opportunity to move people. A chair can be comfortable, functional and technically well resolved, but it can also tell a story, express a personality and change the way a space is perceived. That is what I wanted to achieve with this design.

The main idea behind Leaf Table is the observation of nature as a source of balance, movement and quiet sophistication. The design is inspired by the organic shape of a leaf, not in a literal decorative way, but as a structural and visual principle. I wanted to translate the delicacy, fluidity and natural asymmetry of a leaf into a functional object with sculptural presence.

My main focus was to create a table that could be both functional and emotionally engaging. I wanted the piece to have presence without excess, elegance without rigidity, and an organic form that could bring softness to contemporary interiors. The goal was to design an object that feels natural, sophisticated and memorable, while remaining practical for everyday use.

My future plan is to strengthen the visibility of Leaf Table as part of my authorial design work and to explore opportunities for production, licensing or collaboration with design brands that value originality, craftsmanship and expressive furniture. I also see this piece as part of a broader collection inspired by organic forms and emotional connection with living spaces.

The concept was developed over several weeks, from the first sketches and formal studies to the refinement of proportions, structure and visual balance. Although the initial idea came quite naturally, the process of transforming the inspiration into a precise and elegant design required careful development

Leaf Table was not created as a commissioned piece. It came from a personal inspiration and from my ongoing research into furniture that combines identity, comfort, organic movement and sculptural value. I wanted to create a table that could express softness and strength at the same time, as nature often does.

At this stage, Leaf Table is an authorial design concept developed under my own creative direction. I am open to future partnerships with companies that share the same values of quality, design identity and refined production. The design could be produced through licensing, collaboration with a specialized manufacturer, or as part of my own authorial collection.

Tables are central pieces in interior spaces. They invite gathering, conversation, contemplation and daily rituals. I was interested in designing a table that would go beyond its functional purpose and become an element of atmosphere, capable of transforming the perception of a room through form, proportion and presence.

The main influence came from nature itself and from the way organic forms can create harmony without needing perfect symmetry. I also have a deep admiration for Brazilian modernist design and for furniture pieces that unite clarity, materiality and emotion. However, Leaf Table was developed from my own formal research and personal design language.

The target customer is someone who values authorial design, refined interiors and meaningful objects. It is intended for clients, collectors, architects, interior designers and design brands looking for a piece that combines functionality with artistic presence. It speaks to people who want their spaces to reveal identity rather than simply follow trends.

What sets Leaf Table apart is the balance between organic inspiration and controlled sophistication. The design is not merely decorative; it is conceived as a sculptural yet functional piece. Its uniqueness lies in the way it translates the lightness and movement of a leaf into a stable, elegant and contemporary object.

The name Leaf came from the essential inspiration behind the piece. A leaf represents lightness, growth, movement and connection with nature. The name is simple and direct, but it carries the essence of the design: an object shaped by organic beauty, natural rhythm and quiet strength.

The process began with sketches and conceptual studies, followed by digital modeling and technical development. I used design and visualization tools to study proportions, volume, balance, structure and the relationship between the table and the surrounding space. These tools helped refine the concept while preserving the original organic intention.

The most unique aspect of Leaf Table is its ability to combine delicacy and presence. It has an organic and fluid visual language, but at the same time it is designed with precision and intention. The piece brings nature into the interior space in a sophisticated way, without becoming literal or excessive.

The creative concept and design direction were developed by me. During the development process, technical considerations related to structure, materials and production feasibility were also analyzed. For future production, collaboration with skilled manufacturers and specialized craftspeople will be essential to preserve the design’s quality, proportions and finish.

Technology played an important role in translating an organic inspiration into a precise and viable design. Digital tools allowed me to test proportions, refine curves, evaluate balance and visualize the piece in space. In this project, technology supports the creative process without replacing the sensitivity of the hand, the eye and the designer’s intuition.

The design was influenced by visual, formal and functional research. I studied organic shapes, furniture proportions, spatial use and the way a table interacts with movement around it. The research was not purely numerical; it was also based on observation, design experience and my understanding of how people live, circulate and emotionally connect with interiors.

One of the main challenges was finding the right balance between an organic form and a functional structure. A leaf is naturally delicate and asymmetrical, while a table needs stability, proportion and usability. The challenge was to preserve the poetic quality of the inspiration while creating a piece that could work as a real object in contemporary interiors.

I decided to submit Leaf Table to an international design competition because I believe authorial design gains strength when it enters a broader dialogue. International competitions are a way to test the relevance, originality and quality of a piece beyond its local context. For me, it is also an opportunity to present Brazilian design with sophistication, identity and creative confidence.

This project reinforced the importance of editing. In organic design, it is easy to add curves, gestures and visual effects, but the real strength often lies in restraint. Leaf Table taught me to refine the gesture until it became essential. It also deepened my understanding of how a functional object can carry emotion, narrative and identity.

Leaf Table reflects an important part of my work as an architect and designer: the belief that spaces and objects should not be generic. They should carry identity, atmosphere and intention. This design is part of my search for pieces that combine impact, comfort and emotional connection, creating objects that are not only seen, but also felt.

The comfort, beauty, lightness, and versatility are concepts I take into consideration with each new creation

The search for an outdoor furniture piece that was lightweight, with minimal details and embellishments, featuring curved, light, and elegant lines. Additionally, designed with dimensions and materials aimed at maximum comfort

This piece is being produced and marketed by Sulvimes in Brazil.

Approximately one year

I was searching for outdoor furniture for two particular projects, but couldn't find what I was looking for. So, I created and developed the Umma Collection.

The Umma Collection is being produced and marketed by Sulvimes in Brazil

The need I identified in the market: namely, the lack of outdoor furniture that was lightweight and delicate with a differentiated design and affordable price.

Philippe Starck and Daniela Ferro

Those who wish to have a designer piece of furniture at an affordable price

The curved lines, the lightness, the comfort, and the versatility. Also, the use of nautical rope: without unnecessary embellishment

Umma means 'community' in Arabic, it also means 'mother/mommy' in some African languages, it's the first signature collection I've created, meaning the mother of all.

Pencil and paper for sketching, then 3D modeling in SketchUp

the concept behind the collection: lightness, elegance and comfort

I hired someone to do the modeling

Sustainability and durability through the selection of appropriate materials for the desired function.

market research to find what was available

achieve the desired formal result taking into account the limitations of materials and production.

It's a piece so different from anything else out there, it's a really innovative and beautiful design, versatile and possible to produce. So I thought: why not?

I learned a lot about how to proceed when creating a design piece, what are the conditions that really matter

I would like to say that it is an immense pleasure and a great honor to have been nominated twice. And since my goal is to reach platinum, I will continue creating unique designs to achieve this goal.

The main intention of my design is to bring comfort, peace and tranquility to people, through an organic design that refers to nature.

Simplicity and elegance for me are basic and inseparable concepts. So, I always start from this principle to create my design with the intention of awakening feelings and sensations that go beyond reason.

The Umma armchair is part of the Umma collection, which is made up of ten pieces and is in the prototype development phase. I am very happy because the collection will be launched soon with an award for its main piece, which gave its name to the collection, the Umma armchair.

Since de first scratch, about a year.

For some time I had been looking for nautical rope furniture with a cleaner design, which would fit well both in interior decoration and for external areas. From this search, the Umma armchair was born, which gave rise to the collection of the same name.

The Umma collection is in the prototype development phase. The collection is being produced by the company Sulvimes, which will commercialize it.

The search for a cleaner and elegant design for indoor outdoor furniture.

I love Philippe Starck, Karim Hashid and Oscar Niemeyer

The elegant curved and continuous lines makes Umma outdoor indoor Armchair different from other products in the same category.

The term Umma meaning "people" or "community" was often related to the Arabic word umm, or "mother". Umma in this case is the mother of all, my first designed piece, from my first collection, which will also be the first signed collection produced by the company Sulvimes.

Pencil, paper and wine. Later autocad, sketchup and lumion.

The desire to bring a unique coastal vibe to any setting.

Laila Dutra made the imagens to me.

Technology makes it easy to get the angles and proportions of the initial design right before the project materializes, saving time and resources.

Yes, I researched the outdoor furniture market and found that in 2022 there was a 225% increase, according to WGSN, in demand for this type of furniture.

People's difficulty in believing in something new, different from what exists, with a value proposition that goes beyond.

I believe in what I do with all my heart.

The desire to see my ideas materialized led me to persist and move forward.

To achieve any goal, it is necessary to have will, determination and a little lack of common sense.

My background is in architecture and urbanism (1997). I have a degree in interior design and over the years I have taken courses and participated in immersions in search of constant improvement.

Since I graduated in architecture and urbanism most of my work is interior design. I always do a lot of research while carrying out my projects and I try to create really different environments that express the personality of my clients.

My creativity knows no limits. In each project I create exclusive pieces for each situation, for each client. Design came naturally to me in the daily performance of my duties as an architect and interior designer.

I design furniture and decorations, as well as lamps and small objects.

Be persistent, study hard and always improve. Listen to your heart and let the emotion flow.

Find simple and unusual solutions for common situations is the hardest part.

In my opinion, good design is one that stands out for its beauty, originality and simplicity. A good design brings a positive emotion to people and transforms the environment in which it is found.

Good design is always good, it doesn't lose its value over the years.

I would love to create limitless environments to vent my creativity. Commercial spaces, for example, are perfect for experimenting with new ways of relating to the environment.

Having my own design brand.

My secret ingredient in design is empathy. I believe that great design starts with truly understanding the people who will experience it. It’s not just about how a space looks or functions—it’s about how it makes people feel, how it meets their needs, and how it enhances their lives. By putting myself in the shoes of those who will live, work, or relax in the spaces I create, I can design with intention and purpose, ensuring that the result is not only beautiful but meaningful.

Another key element for me is resilience. Design is a process full of challenges, from technical limitations to unexpected obstacles, but I’ve learned that every problem is an opportunity for creativity. By embracing these moments, I push myself to find innovative solutions that often lead to more thoughtful and impactful designs.

Finally, I think it’s about maintaining a passion for learning and exploration. Design is ever-evolving, and I love staying curious—whether it’s diving into new materials, exploring sustainable technologies, or drawing inspiration from diverse cultures. This hunger for knowledge allows me to continuously grow as a designer and keep my work fresh, relevant, and inspiring.

Karim Hashid, Philippe Starck, Isay Weinfeld, Sig Bergamin, Kelly Hoppen, Marcel Wanders, Oscar Niemeyer

Chaise Longue Rio by Oscar Niemeyer for its elegant, lightweight and extremely comfortable shape. It's a masterpiece.

My greatest design is the one I haven't done yet, and that's exactly what makes it great, the anticipation of what's to come.

To become a better designer, the most important thing is to stay curious and open to learning. Design is constantly evolving, and the best way to improve is to never stop exploring new ideas, techniques, and approaches. Whether it’s learning from other disciplines, experimenting with different materials, or staying updated on trends, curiosity keeps you growing.

One thing that helped me immensely was developing empathy—understanding the people who will use the spaces or objects I design. The more you understand the needs, emotions, and behaviors of people, the more thoughtful and effective your designs will be. I’ve found that putting the human experience at the center of my work leads to solutions that are both functional and deeply meaningful.

Another key aspect is embracing failure and challenges. Design can be full of setbacks, but each one is an opportunity to learn. Instead of being discouraged, I learned to see problems as creative challenges that push me to find better, more innovative solutions. This resilience helps refine your thinking and makes your designs stronger.

Lastly, collaboration is vital. Working with other designers, engineers, or people from different fields broadens your perspective. I’ve found that some of my best ideas come from teamwork and listening to others’ insights.

Improving as a designer is a lifelong journey, and it requires a mix of curiosity, empathy, resilience, and a willingness to learn from every experience.

If I hadn’t become a designer, I think I would have pursued something where I could still create and make a positive impact on people’s lives. Maybe I would have been a writer or a storyteller, because I love the idea of using words to inspire, connect, and transport people to different places and ideas. Writing, like design, is about crafting experiences and evoking emotions, and I think that would have fulfilled my creative side in a different way.

Another path that’s always fascinated me is teaching. I believe in the power of education to transform lives, and sharing knowledge while helping others find their own voice and creativity would be incredibly rewarding. Whether in the classroom or through mentoring, I think teaching is another way to leave a meaningful impact on the world.

Ultimately, whatever path I would have chosen, it would have to involve creativity, human connection, and a drive to make the world a little better, just like design does for me.

For me, design is about creating solutions that improve the human experience. It’s not just about aesthetics or form—though beauty is important—but about how things function, how they serve people’s needs, and how they make life better. Design is the intersection of creativity and problem-solving, where we balance art with practicality to shape environments, products, and systems that are both meaningful and functional.

Design, at its core, is about intentionality. Every element has a purpose, whether it’s the curve of a chair that enhances comfort, or the layout of a space that fosters connection and well-being. It’s about seeing the world through the lens of possibility and always asking, “How can this be better? More efficient? More inspiring?”

For me, design is also deeply tied to responsibility. We, as designers, have the power to shape how people interact with their surroundings, and with that comes the responsibility to design sustainably, inclusively, and thoughtfully. Whether it’s reducing waste in materials, creating spaces that everyone can access, or designing with future generations in mind, design isn’t just about the present moment—it’s about leaving a positive impact for the future.

In short, design is about human connection, purpose-driven creativity, and making life better—one thoughtful solution at a time.

It may sound cheesy, but my family and my husband have a prominent role as supporters.

In short, a love for learning, empathy for others, resilience in the face of challenges, and collaboration are what have shaped my journey and success as a designer.

Before becoming a design master, I faced several challenges. I often questioned my skills and whether I belonged in the design field, which made building confidence take time. With limited practical experience, translating theory into real-world applications was tough, but each project taught me valuable lessons. Finding the right balance between innovative designs and practical constraints was also challenging but essential for success. Initially, feedback felt personal, but I learned to see it as an opportunity for growth and refinement. The design field evolves rapidly, so keeping up with trends and technologies was crucial for my adaptability. Establishing connections took time, but I realized that collaboration and relationships are vital for personal and professional growth. Overcoming these obstacles strengthened my determination and shaped my journey as a designer, with each challenge offering valuable lessons that helped me evolve in my craft.

In the best way possible, in an unusual way, using all the tools at your fingertips.

I have so many ideas all the time that sometimes it's hard to choose where to start. One thing is for sure, news are coming.

Today? Winning a Platinum A'Design Award

As an esteemed designer, people often have high expectations based on my experience and reputation. They typically look for creativity and innovation, seeking fresh ideas that push boundaries and challenge the status quo. Clients and peers expect me to bring a unique perspective to each project, creating designs that stand out and resonate with their vision. There is also a strong expectation for meticulous attention to detail, ensuring that every element of the design is thoughtfully considered and executed flawlessly, from aesthetics to functionality and sustainability.

Additionally, people expect me to have a deep understanding of design principles, materials, and the latest trends, looking to me for guidance and advice on how to best achieve their design goals while navigating potential challenges. They come to me with specific problems and anticipate effective solutions that are both practical and aesthetically pleasing. Clear communication is essential in design, and people expect me to articulate my ideas effectively, listen to their feedback, and collaborate closely throughout the design process to ensure their vision is realized.

Clients also expect timeliness and reliability, wanting me to deliver on time and within budget while demonstrating professionalism. In today’s world, there is an increasing expectation for designers to incorporate sustainable practices into their work, with clients looking for designs that respect the environment and promote responsible resource use. Ultimately, people expect me to be a trusted partner in the design process, someone who can translate their ideas into reality while exceeding their expectations and creating meaningful, lasting spaces.

Design plays a crucial role in creating a better society by shaping our environments and influencing our daily experiences. Thoughtful design can enhance functionality, accessibility, and aesthetics in public spaces, making them more welcoming and inclusive for everyone. It fosters community engagement by encouraging social interaction and promoting cultural identity through the use of local materials and styles. Furthermore, sustainable design practices contribute to environmental health, ensuring that resources are used responsibly and reducing waste. By prioritizing user needs and addressing social issues, design can inspire positive change, improve quality of life, and promote well-being, ultimately leading to a more harmonious and equitable society.

I’m currently working on a groundbreaking project that merges cutting-edge technology with sustainable design principles, and I can’t wait to share more details soon. This initiative aims to redefine how we interact with our spaces, creating environments that are not only visually stunning but also incredibly functional and eco-friendly. The concept is still under wraps, but I can promise it will challenge traditional design norms and spark conversations about the future of our built environments. Stay tuned, as I believe this project has the potential to inspire a new wave of creativity and innovation in the design community!

Casa da Barra, (The Concrete House) a project I did from the architectural to the interior details. The end result was a great satisfaction.

In the coming years, I would love to see the design industry embrace a more collaborative and inclusive approach, where diverse voices and perspectives are not just welcomed but actively sought out. This shift could lead to richer, more innovative solutions that reflect the complexities of our society. Additionally, I hope to see a stronger emphasis on sustainability, pushing for design practices that prioritize environmental stewardship and social responsibility. By integrating technology and focusing on the well-being of communities, we can create designs that not only enhance our physical spaces but also contribute positively to the lives of individuals and the planet.

For the greatest comfort with the least effort using sustainable materials

Sometimes years, sometimes days... it depends a lot on what is being developed.

inspiration, people needs and Research

My life motto as a designer is to "create with purpose and passion." I believe that every design should have a meaningful impact, whether it’s enhancing daily experiences, promoting sustainability, or fostering community connections. This motto drives me to approach each project with a sense of responsibility and enthusiasm, reminding me that design has the power to transform lives and shape our environments for the better. By infusing my work with genuine passion and intention, I strive to inspire others and contribute positively to the world around me.

It is definitely a two-way street. but I think that design invariably sets the trends

Assists in the development and improvement of projects

Literally whatever is available. In general I draw by hand and then model in some lighter software.

Color and texture are directly linked to emotions. The good choice of materials is one that uses these and other subterfuges to achieve what is desired.

How can i have one of these?

How did I not think of this before?

I think collabs are important and I believe that together we can do more.

Every situation I experience provides me with material for new creations.

The first design book I bought was Starck by Taschen and it left a deep impression on me.

Researching a lot, observing everything, going to trade shows, and listening to people.

Leonardo Da Vinci

I still don't consider myself that famous, but I definitely recognize that the awards and recognition I’ve received have made a significant impact on my career. They not only validate the hard work and creativity I've poured into my projects but also open many doors for new opportunities. While fame can bring its own challenges, such as increased scrutiny and pressure to constantly deliver, I focus on the positives—like connecting with inspiring people and being part of exciting collaborations. Ultimately, the recognition fuels my passion for design and motivates me to keep pushing boundaries in my work.

Red and turquoise, my house, Florentine steak, spring, desigual brand

The first time I wanted to produce a project of mine, I thought I had to do the whole process, from creation, assembly, transportation, delivery, everything. I temporarily gave up on my dream until one day I realized that all I needed was a partner to produce my designs. This took 20 years to happen.

What makes my day great as a designer is the thrill of bringing ideas to life and seeing how they resonate with people. Each morning, I find motivation in the small moments of creativity—whether it's sketching a new concept, exploring materials, or getting inspired by nature or architecture around me. Collaborating with my team and clients also energizes me; their enthusiasm and fresh perspectives ignite my passion. I set daily goals that challenge me, but I also take time to celebrate the small victories along the way. Ultimately, knowing that my designs can make a positive impact on people's lives keeps me motivated and excited for each new day.

From a young age, it was clear that my path would be in design. I was an incredibly creative child, always looking for new ways to express my imagination, whether it was through drawing, building, or redecorating the spaces around me. This passion, combined with my love for people, shaped my vision as an architect and designer. I believe that every project is an opportunity to connect stories and emotions, creating environments that not only delight but also embrace and inspire.

Looking a thousand years into the future, I envision a world where design seamlessly integrates with nature and technology, creating harmonious spaces that enhance our well-being. Architecture will likely evolve to prioritize sustainability, using innovative materials and energy-efficient solutions that minimize our ecological footprint. I imagine cities that adapt to their environments, with structures that breathe and change with the seasons, reflecting the beauty of the natural world. Moreover, design will continue to foster connections among people, creating communal spaces that encourage collaboration, creativity, and a sense of belonging. In this future, the role of a designer will be more vital than ever, as we strive to create spaces that not only serve practical purposes but also nurture the human spirit and celebrate diversity.

I want people to know that, as an architect and designer passionate about transforming the world through design, I believe empathy is essential. It’s not just about technical knowledge; it’s about understanding people’s needs and how spaces make them feel. I strive to create environments that inspire, comfort, and enhance lives, ensuring that my work leaves a positive and lasting impact. I also emphasize the social responsibility we have as designers; our choices can shape communities for generations. By choosing sustainable materials and promoting inclusive design, I aim to contribute to a more equitable future. Lastly, I embrace continuous learning, staying curious about new technologies and cultural approaches to design, as I believe this openness is crucial for making a lasting impact.

I always had a different look, seeking to create customized solutions for each project, which led me to develop a series of exclusive furniture for my clients. I love studying, researching and I'm very curious about the infinite possibilities that design offers. Thus, developing a signed line of furniture was the natural result of the path taken here.

At AR - Ariane Rosa Studio of architecture and design, we believe that everyone can be whoever they want. We create unique and daring projects, expressing your unique individuality in projects that value your stories and your personality in a unique way.

For me design is a way of seeing the world, a way of looking for alternatives to the endless day-to-day situations: improving processes to make life easier or simply for aesthetic reasons through a new look at the trivial.

I love people and their stories, and I believe that these stories must be told, whether in an architectural or interior project, residential, commercial or corporate, there is always a story behind every choice I make.

Philippe Starck was the first designer to catch my eye. Le Corbusier and Oscar Niemeyer, the Eames couple, Lina Bo Bardi and Jorge Zalszupin are some of my main references.

The Umma armchair

I love fabrics, wood and metal.

I have so many ideas all the time.

First the function then the beauty.

When I'm creating I forget that the world exists. At that moment there is only me and my thoughts. I am totally immersed, researching and looking for viable solutions for a given issue. I don't rest until I get the expected result.

when I get the result I expected, the feeling is of accomplishment. Then I try to multiply that particular solution for several possibilities.

Good Design is innovative, satisfies functional and aesthetic criterias, adds beauty to the world and remains relevant over the years.

First of all what is the function: good design solves the question it proposes. Then technical criteria such as the type of material, form of presentation and last but not least, the beauty.

The ideal would be to use sustainable, recyclable, reusable processes and raw materials, taking into account the entire path from creation and development to the final product.

More and more people seek to express themselves as individuals, to have their voice heard. Design is a way to realize this intrinsic human desire.

My last exhibition was at the Casa Cor decoration show in 2001 whith the interior design of "Intimate Area Bathroom" project, carried out jointly with the architects Inara Beck Rodrigues and Maria Andrea Triana, received the award for the best use of Portinari ceramics.

My inspiration comes from the search for solutions for my projects. Each new client brings a new story, needs and desires that need to be taken into account. I always do extensive research in search of alternatives to offer suitable solutions for each situation, so new pieces are born, created especially for that particular work.

my style is light and clean looking for elegant and sophisticated yet simple solutions.

I live in Brazil, here we have an exuberant nature and a very pleasant climate. I see inspiration everywhere, all the time: colors, textures and scents are a delight for the senses.

The main issue is an alignment of values, seeing if the designer's brand matches the company's brand. Once this is defined, everything else can be negotiated.

I usually have a vision of what I need or want as a result. So I do a search to see if what I'm looking for already exists, usually it doesn't. Thus begins the creation of a new design.

I love chairs and armchairs, lamps, rugs and trays

I love waking up early, having my family breakfast and doing my daily physical activity. Then I go to the office to carry out the day's agenda: doing projects, delegating tasks, meeting clients and suppliers. At the end of the day, I go home with a feeling of accomplishment, where I meet my family, we have dinner together, watch TV or play a game and then a good night's sleep.

Write down your ideas, research a lot, never copy someone, be persistent, believe in yourself, keep trying, have courage and determination, believe in your dream, always follow your path with joy in your heart because everything happens at the right time.

there is nothing negative, only positive. I am captivated by the constant challenge, the search for innovative, unexpected and yet simple solutions.

escape the pattern

As an architect who is passionate about transforming the world through design, I believe the most important skills for a designer go beyond just technical knowledge. It starts with empathy—the ability to truly understand the needs of people and the environment. Design, for me, is about creating spaces that inspire, comfort, and improve lives.

I draw all my ideas on paper, then model them in autocad and after making all the adjustments, I send them to my team to render and do the detailing

I have a well-organized schedule with free windows that I use to rearrange some appointments whenever necessary, such as spending more time researching or producing my projects.

It depends on the project, sometimes it's very quick, it takes just one day and sometimes the creation requires a lot of research, analysis and adjustments and can take up to months to be ready.

how to make the world a better place through my design?

working with the architect Alberto Julian de Santiago

Brands: Casa Moderna, Gatos e Atos, La Beaute

I like creation

To continue creating signature lines of furniture and decoration pieces, I want to exhibit at the Venice Biennale and at Il Salone in Milan

most of the time by myself, but I really enjoy working in teams and collabs

I'm working on a furniture collection made from solid wood. The big challenge is to create new pieces that, in addition to being beautiful, are also comfortable and commercial.

By email contato.arianerosa@gmail.com or on Instagram @arianerosa_arquiteta

as an architect who is passionate about transforming the world through design, one thing that often doesn’t come up but I believe is crucial is the emotional connection between people and the spaces they inhabit. Architecture, at its core, isn’t just about materials, forms, or functions—it’s about how spaces make people feel. Whether it’s the warmth and comfort of a home, the inspiration one feels in a cultural space, or the serenity in a well-designed garden, the emotional impact of design is something I always consider.

I also think it’s important to emphasize the social responsibility we carry as designers. The decisions we make affect communities for generations. By choosing sustainable materials, promoting inclusive design, or creating accessible public spaces, we have the power to shape a more equitable world. I strive to ensure that my work reflects these values and that my designs contribute to a future where architecture doesn’t just serve the few but uplifts everyone.

Lastly, I’d like to highlight the joy of continuous learning. Architecture is an ever-evolving field, and I thrive on keeping up with new technologies, techniques, and ideas. Whether it’s embracing new sustainable innovations or learning from different cultures and their approaches to space, I believe staying curious and open-minded is essential for any designer who wants to make a lasting impact.

The defining moment came when I stopped looking at the piece only as a table and began to see it as a small scene.At first, I was exploring the relationship between support, delicacy and light. I wanted the object to feel stable, but not heavy; poetic, but not decorative in an excessive way. The image of the leaf appeared very naturally during this process, almost as a gesture of protection. A leaf does not simply cover something. It filters light, creates shadow, suggests shelter and brings a quiet sense of life to the space.When I placed that idea over the structure, everything started to make sense. The wooden base gave the piece weight and grounding, the metal stem brought verticality and tension, and the golden leaf became both the emotional and functional element. It was no longer an ornament added to the design. It was the reason for the design.I think that was the moment I understood the concept had strength: when the leaf could shelter the light technically, but also symbolically. It carried the feeling I wanted for the piece — warmth, balance, softness and a subtle connection with nature.

My research made me look at the side table less as an isolated object and more as a quiet companion in daily life.In many homes, a side table is rarely used only to hold something. It is usually beside a sofa, an armchair or a bed, close to moments of pause: reading, having tea, talking, resting, leaving a book, a glass, glasses or a phone. These are simple gestures, but they say a lot about how people actually live with furniture.What became clear to me was that support and light often appear together in these moments. People place a lamp on a side table because they need atmosphere, not just visibility. They want a softer light, something that makes the room feel more intimate and comfortable. So I started to question why the table and the light should remain two separate objects if, in everyday use, they already work together.That was an important decision in the design. I did not want to add a lamp to a table. I wanted the function of light to emerge from the same gesture as the object itself. The Leaf Side Table became a way to simplify this relationship: the surface supports daily rituals, while the leaf creates a warm ambient light that protects and softens the space around it.For me, this merge makes the piece more meaningful. It is practical, but it also creates mood. It responds to the way people live, not only to the way furniture is usually categorized.

The material choices came from a very simple intention: I wanted the piece to feel grounded and delicate at the same time.The solid wood was important because it brings warmth, weight and a direct connection to nature. In the base, it gives the table stability, almost like the earth that supports the plant. In the tray top, wood also creates a more intimate contact with the user. It is a material people understand through touch. It has grain, temperature, small variations, and this makes the object feel less industrial and more alive.The metal had another role. I needed the stem and the leaf to be thin, precise and visually light, but still strong enough to hold the gesture. Metal allowed that balance. It gave structure without heaviness. The stem could be slender, and the leaf could have this more refined, almost suspended quality. For me, that contrast was essential: the wood anchors the piece, while the metal brings movement and lightness.The golden finish of the leaf also reinforces the symbolic part of the design. It is not only a botanical reference. It brings a sense of light, value and warmth. In a way, it transforms the leaf into something between nature and ritual, something protective and luminous.I also see this material dialogue as connected to cultural identity. In Brazilian design, there is often this strong relationship with natural materials, craft, warmth and expressive forms. I did not want to reproduce nature literally, but to translate its feeling. The wood carries memory and tactility. The metal carries precision and contemporary elegance. Together, they allowed the Leaf Side Table to speak about nature in a softer, more emotional way, while still remaining a functional object.

I believe furniture can do much more than solve a practical need. Of course, a table has to be useful. It has to support objects, work well in the room and respond to daily life. But when a piece also carries light, memory and symbolism, it starts to participate in the emotional atmosphere of the home.With the Leaf Side Table, I was interested in this more intimate role of furniture. It is a surface, but it is also a source of soft light. It can hold a book, a cup or a personal object, while at the same time creating a quieter mood around that moment. For me, this changes the relationship between the user and the piece. It is not only something placed beside an armchair or a bed. It becomes part of a small ritual of pause.The Brazilian sensibility appears in this connection with nature, warmth and informality, but also in the way the object tries to be poetic without losing function. I think Brazilian design has a beautiful ability to bring emotional presence into everyday objects. There is often a certain generosity in the forms, in the materials, in the way pieces invite touch and coexistence.So, when the Leaf Side Table brings together support, ambient light and botanical symbolism, it suggests that furniture does not need to be neutral or silent in a space. It can influence how people feel, how they slow down, how they experience the room at the end of the day.For me, that is the broader conversation. Furniture is not only about occupying space. It can shape atmosphere. It can create comfort, memory and belonging. And sometimes, through a very simple gesture, it can make daily life feel a little more meaningful.

The most demanding decision was how to bring the light into the piece without making it feel like a lamp placed on a table.That was a very delicate point in the process. If the light source became too visible, the object would lose the quietness I wanted. If the leaf became too large, it would dominate the composition. If it became too small, it would no longer protect the light or carry the symbolic strength of the concept. So the challenge was not only technical. It was a matter of proportion and emotion.I spent a lot of time refining the relationship between the base, the stem and the leaf. The base needed enough presence to give stability, but it could not feel heavy. The stem had to be slender, almost like a natural extension growing from the base, but still strong enough to support the upper element. And the leaf had to appear light and suspended, while also hiding and directing the illumination in a soft way.Resolving the position and scale of the leaf was probably the turning point. Once I understood that the light should be sheltered rather than exposed, the whole piece became clearer. The leaf was no longer just a visual reference to nature. It became the element that organized the entire design.That decision defined the final character of the Leaf Side Table. It gave the object its balance between sculpture and function. The piece could be expressive, but still calm. It could have a strong identity, but still feel useful and natural in a domestic space. For me, that refinement was what allowed the table to become what it is today: a functional object with a quiet emotional presence.

The methodology evolved quite naturally, because the first studies were not about solving a technical problem immediately. They were more about understanding the gesture of the piece.In the beginning, I was sketching very simple relationships: something that touches the ground, something that rises, and something that shelters. I was interested in this almost organic movement, as if the object had grown from the base instead of being assembled from separate parts. At that stage, the botanical reference was still open. It was not yet about a specific leaf, but about the feeling of protection, lightness and presence that nature can bring into the home.As the studies evolved, the lighting became more important. I realized that the piece should not simply have light added to it. The light needed to belong to the form. That changed the process. I started to test how the leaf could hide the light source, how it could direct the glow, and how much visual weight it could have before the object became too decorative or too literal.One unexpected observation came from looking at the shadows. When the light was too exposed, the piece lost part of its softness. But when the light was partially sheltered by the leaf, the effect became much more emotional. It created a quiet atmosphere, almost like filtered sunlight under foliage. That finding redirected the design. From that moment, the leaf was no longer only a symbolic element. It became the element responsible for the behavior of the light.The material exploration also refined the methodology. The wood needed to give the table warmth and grounding, while the metal allowed the stem and leaf to remain thin, precise and visually light. Each test made the object a little less literal and a little more balanced.In the end, I think the process was a constant negotiation between concept and use. The piece had to carry a cultural and poetic reference, but it also had to work naturally in daily life. The final design came from these small adjustments, and from accepting that sometimes the most important decisions are revealed by observation, not by the first idea.

At this stage, I see the prototype as a very important moment of truth for the Leaf Side Table.Until now, the piece has been refined through concept, proportion, material intention and visual balance. But when it becomes physical, other questions will appear with much more clarity. I expect the main challenges to be related to stability, the exact weight of the wooden base, the thickness of the metal stem, and the way the leaf holds or hides the light source without losing its delicacy.The lighting will probably be the most sensitive point. It has to be soft enough to create atmosphere, but still functional enough to justify its presence. The temperature of the light, the direction of the glow, the way it touches the metal surface and reflects back into the room — all of this can change the emotional quality of the piece. These are things that drawings and renderings can suggest, but only the prototype can truly confirm.I also believe the connection between the materials will require careful study. The wood and metal need to meet naturally, without the structure feeling forced or overly engineered. The table has to remain visually light, but physically reliable. That balance is central to the identity of the piece.What interests me most is that prototyping may reveal things I cannot fully predict now. A small shadow, a reflection, the way the user approaches the table, or even the sensation of touching the tray top may influence the final adjustments. I like this part of the process because it keeps the design alive. It is no longer only about defending the original idea, but about listening to what the object itself starts to ask for.For my studio, I think this experience can open a new path. Light is usually treated as an added function, but I am increasingly interested in seeing it as a material — something that shapes emotion, volume and atmosphere. The Leaf Side Table is an important step in that direction. It may guide future pieces where furniture is not only a support for daily life, but also a way to create intimacy, pause and a more sensitive relationship with the interior space.

I think one aspect that deserves more attention is the idea of silence.The Leaf Side Table is not trying to be a loud object. Even though it brings together different layers — wood, metal, light, technology, symbolism — its intention is not to impress through excess. For me, the most important part of the piece is how it can quietly change the atmosphere around it.I wanted the table to offer a moment of pause. It is small in scale, but it creates a kind of emotional presence in the room. The touch-activated light is part of that experience because it makes the relationship with the object more intimate. You do not simply turn on a function. You touch the piece, and it responds. That small gesture matters.Beyond its functional description, I would like architects and interior designers to understand that the Leaf Side Table is also a tool for creating atmosphere. It can define a corner, soften a composition, bring warmth to a bedroom, or create a more contemplative mood beside an armchair. It is not only a surface with light. It is a piece that participates in how a space feels.For everyday users, I would like the experience to be even simpler. I would like them to feel that the object belongs naturally to their routine. A place for a book, a cup, a glass of water, a moment before sleep, a quiet light at the end of the day.What the Leaf Side Table truly offers, I believe, is this combination of usefulness and emotion. It carries Brazilian sensibility, craftsmanship and nature, but in a restrained way. It does not explain everything at once. It invites people to live with it, touch it, use it, and slowly understand its presence.

The hemispherical base came from the need to create stability without making the piece feel rigid.I did not want a conventional flat base, because that would make the object too predictable and too close to a standard lamp or side table. The half-sphere brings weight, but in a softer way. It feels grounded, almost like a seed, a stone or something that belongs to the earth. That was important for the botanical narrative of the piece, because the table is not only inspired by the image of a leaf. It also has this idea of growth, from the base to the stem and finally to the leaf.Structurally, the geometry gives the table a strong visual anchor. The wooden base holds the composition and allows the metal stem to be more slender. Without that sense of weight at the bottom, the upper gesture would feel fragile or unstable. But because the base is rounded, the weight does not become aggressive. It remains calm.I also liked the tension between the base and the stem. The base is dense, warm and close to the ground. The stem is thin, precise and vertical. This contrast creates the balance of the piece. It is almost as if the object begins in the earth and then rises naturally toward the light.For me, the hemispherical form also gives the Leaf Side Table a more sculptural presence. It makes the piece feel simple, but not ordinary. The base is not just a technical solution. It is the beginning of the story. It carries the weight, both physically and symbolically, so the rest of the object can appear light.

I approached light in the Leaf Side Table almost as if it were a quiet material, not just a technical feature.From the beginning, I did not want the light to compete with the form. The piece already had a strong symbolic gesture with the stem and the leaf, so the illumination needed to support that gesture rather than dominate it. I was interested in the kind of light that changes the atmosphere of a room without calling too much attention to itself.That is why the glow is discreet and ambient. It is not meant to illuminate the entire space or perform like a traditional lamp. It is closer to the light we look for at the end of the day, when the room becomes softer and the body starts to slow down. The golden leaf helps with that intention because it filters and reflects the light in a warmer, more emotional way.The touch activation also reinforces this idea. A single touch creates a small transformation in the space. For me, that gesture is important because it makes the object feel responsive and intimate, almost like a companion in a daily ritual.This restraint reflects a broader belief I have about design. I do not think objects need to impose themselves on a room to be meaningful. Sometimes the most powerful pieces are the ones that understand the atmosphere around them. They participate, they soften, they create presence, but they do not shout.In the Leaf Side Table, light is handled in that way. It is there to reveal, not to exhibit. It gives the piece emotional depth and allows the room to feel warmer, calmer and more inhabited.

Thank you — I'm happy you noticed this aspect of the work, because it truly reflects the heart of Fragmentos. The nested manufacturing process wasn’t just a design solution, it was a philosophy that emerged naturally as I engaged more deeply with the material. I was working with marble remnants — beautiful but often discarded pieces — and I saw potential in every fragment.Instead of treating waste as a byproduct, I began to see it as the beginning of the next object. From the core of a table, a vase was born; from the core of the vase, a candleholder took shape. Each negative became a positive, and this nesting of forms allowed me to honor the full life cycle of the stone. It was an organic evolution — both creative and ethical — that challenged me to think not only in terms of aesthetics, but also in terms of continuity, responsibility, and storytelling.In the end, Fragmentos became a celebration of what remains — a poetic way of turning absence into presence.

For me, combining craftsmanship with CNC technology was never about contrast, but about continuity. The hand and the machine aren’t in opposition — they complement each other when guided by clear intention. Fragments was born from a desire to offer a new perspective on what is typically discarded, and to do that, it was essential to merge the artisan’s sensibility with the precision of digital tools.CNC allowed me to extract the maximum potential from each piece of marble — with accuracy and minimal waste, something that would be nearly impossible to achieve through manual processes alone. But it’s in the hands of the craftspeople that each object truly gains its soul: the touch, the polishing, the final detailing. It’s the subtle imperfection that gives the piece its identity.This fusion not only deepened our commitment to sustainability, but also made it possible to reach a visual and tactile softness — a quiet aesthetic that feels almost as though the object emerged naturally from the stone itself. I believe it’s this balance between technical precision and human gesture that truly brings Fragments to life.

That was, perhaps, the most beautiful challenge of the Fragments collection — to elevate what was once considered waste into something worthy of admiration, care, and presence. I’ve always believed that luxury is not about excess, but about intention. True elegance lies in the way we choose, the way we craft, and the meaning we assign to materials.The marble offcuts I worked with carried scars, irregularities, and unpredictable veins — and instead of hiding them, I chose to reveal and celebrate them. Each imperfection became a feature. Each fragment, a story. The design process focused on enhancing these unique characteristics, framing them within soft, fluid forms that speak of refinement and timelessness.By combining thoughtful design with artisanal finishing and high-precision technology, I was able to maintain the tactile and visual richness expected in luxury pieces, while embedding them with a deeper value — one that honors both the material and the act of transformation. That, to me, is the new definition of luxury: beauty with purpose.

Material optimization was not just a practical concern in Fragments — it was the very foundation of the design language. From the beginning, I approached each marble remnant as a finite, precious resource, and this shaped every decision regarding scale, proportion, and composition.The dimensions of the side table, for instance, were determined by the maximum usable area of a standard discarded slab. From there, the inner core — the negative space left behind — naturally defined the size of the vase. The same logic applied again when extracting the candlestick from the remaining center of the vase. This sequence created a kind of dialogue between the pieces: each one born from the void of the last, each one echoing the form that preceded it.It was a deeply intuitive process, but also guided by a kind of architectural precision. Every curve and thickness had to respect both the structural integrity of the marble and the harmony of the ensemble. The result is a collection where nothing is wasted, and everything is connected — spatially, formally, and emotionally.

Absolutely — circular design was not just a reference point, but a guiding principle throughout the entire development of Fragments. Early in my research, I became fascinated by the idea that waste is not the end of a process, but the beginning of another. This shift in mindset deeply influenced how I approached both form and function.Rather than designing individual objects, I started designing systems — relationships between volumes, negative spaces, and material flow. The concept of nesting, of one piece emerging from the core of another, was born from this investigation. It allowed me to minimize waste while giving new meaning to absence — turning what would have been discarded into the genesis of a new form.In production, this translated into a methodology where every decision — from slab selection to cut strategy — was rooted in respect for the material’s full potential. Circularity became not just a sustainable practice, but a poetic one. Fragments is, in essence, a material conversation: an exploration of continuity, purpose, and beauty found in what remains.

Thank you — achieving visual cohesion within such tight material constraints was both the challenge and the reward of Fragments. I approached the design process with a strong commitment to continuity — not just in material usage, but in visual language. Each piece needed to feel distinct, yet part of a greater whole.To guide the aesthetic, I focused on principles of softness, balance, and silence. I avoided sharp angles and sought continuous lines that could flow naturally across forms, as if the pieces had been shaped by time, not tools. Proportions were carefully refined to maintain a sense of harmony, even as each object differed in scale and function.The constraint of nesting actually became a source of elegance — it demanded restraint, clarity, and intention. Rather than force complexity, I allowed the form to emerge from the material’s own logic. The result is a collection that feels serene and unified, precisely because every decision honors both the stone and the story behind its transformation.

I truly believe that Fragments is part of a larger movement — one where luxury and sustainability are no longer seen as opposites, but as partners in shaping a more conscious future. For too long, high-end design has prioritized rarity and perfection, often at the expense of resources and meaning. But I see a shift happening — a quiet revolution where value is measured not just by exclusivity, but by intention.With Fragments, I wanted to show that sustainability doesn’t require compromise. In fact, it can elevate the creative process. By working with what already exists — by listening to the material, embracing its history, and designing with care — we create objects that carry both beauty and depth.I hope this approach inspires others in the industry to rethink what luxury can be. Not just polished surfaces and flawless finishes, but design that tells a story, honors material cycles, and invites emotional connection. That, to me, is the future: sustainable design that is not only responsible, but irresistible.

The hand-polishing process is where the soul of Fragments truly emerges. While the machine offers precision, efficiency, and the ability to optimize material use, it is the human hand that brings warmth, subtlety, and individuality to each piece. That contrast — and harmony — between digital and manual is essential to the collection’s character.The soft curves and flowing lines created through CNC cutting are only fully revealed through touch. The hand-polishing allows us to respond to the natural veins, the unexpected textures, and the nuances of each fragment of marble. It’s not about correcting what the machine did — it’s about listening to the material and elevating what’s already there.This balance is what gives the collection its quiet power. It feels refined, but not cold. Sculptural, yet intimate. Each object carries the memory of the hand, the trace of care — and I believe that’s what resonates most. In the end, people don’t connect with perfection; they connect with presence. And that’s what the hand finishing offers: presence.

Winning the Iron A’ Design Award with Fragments was an honor — but more than that, it was a reaffirmation that sustainable design has a place at the table of innovation and beauty. If there’s one insight I would share with other designers, it’s this: sustainability is not a limitation — it’s an invitation.Working with discarded materials taught me to shift my perspective. Instead of beginning with form, I began with what already existed — the marble remnants — and asked myself what they wanted to become. That shift in approach opened up new creative pathways and forced me to design with greater intentionality, sensitivity, and respect.Another key learning was that sustainability is not just about materials — it’s about process, narrative, and emotion. When we design sustainably, we’re not only reducing waste; we’re telling a deeper story about value, care, and connection. I hope Fragments encourages more designers to explore the poetry of what remains, and to see the extraordinary in the overlooked.

From the very beginning, I envisioned Fragments not just as objects, but as presences — pieces that would live in dialogue with their surroundings. I wanted them to feel rooted, yet open; quiet, yet compelling. Spatial dynamics were central to every design decision, because how a piece occupies space is just as important as the piece itself.The circular forms, soft silhouettes, and varying heights were all chosen to invite a sense of flow and ease within a room. These objects are meant to breathe — to leave room around them — and in doing so, they create a sense of calm and intentionality in the environment. I was particularly interested in the negative space each object created, and how those voids could speak as powerfully as the solids.Their sculptural quality invites movement — not only physical, but emotional. I wanted the viewer to feel compelled to walk around them, to get closer, to touch. In that sense, Fragments is not a static collection; it’s a spatial conversation between material, form, light, and the human body.

Absolutely — choosing kiri wood was both a conscious and poetic decision. Known for its lightness, strength, and fast-regenerating properties, kiri embodies the very principles I wanted the Primadonna to express: elegance, responsibility, and longevity. Its sustainable nature aligned beautifully with my commitment to environmentally sensitive design, but it also offered unique aesthetic and structural opportunities.The circular frame of the Primadonna was directly shaped by the wood’s inherent qualities. Kiri is surprisingly pliable for a hardwood, allowing me to explore continuous curves and sculptural softness without compromising durability. That fluid, enveloping silhouette became central to the chair’s identity — not just visually, but emotionally. It embraces the user in a gesture of comfort and presence.By working with a material that’s both gentle on the earth and generous in its expression, I was able to craft a piece that feels as light as it looks — airy, elegant, but grounded in intention.

The idea behind the Primadonna’s modular design was born from a deep understanding of how modern living demands flexibility without sacrificing style or comfort. Contemporary spaces often require furniture that adapts seamlessly to different moods, functions, and moments — whether it’s a quiet afternoon of relaxation, an intimate conversation, or a casual gathering.Incorporating the ottoman as both a footrest and a side table was a way to honor this versatility. It’s a piece that invites the user to interact with it on multiple levels — to put their feet up, to place a book or a cup of tea, or even to rearrange the setting according to their needs. This dual functionality reflects my belief that good design should enhance daily life by being as dynamic and multifaceted as the people who live it.Moreover, the clean lines and cohesive aesthetics ensure that functionality never feels utilitarian or intrusive. Instead, it becomes an elegant extension of the chair’s sculptural form — a quiet companion that enriches the space while respecting its character.

Thank you for highlighting that — the smooth, flowing lines of the Primadonna are truly the result of a deep dialogue between the material, the hand, and the eye. Working primarily with manual techniques presented both challenges and opportunities to honor the wood’s natural qualities while achieving the chair’s elegant silhouette.Kiri wood, while lightweight and flexible, requires meticulous care during shaping and finishing to maintain structural integrity without losing its softness. The process involved a careful balance between precision carving and intuitive adjustments, always attentive to the grain, texture, and subtle variations in each piece.One of the greatest challenges was ensuring continuity in the curves — that seamless flow which gives the chair its iconic embrace. This demanded patience, repeated refinements, and a sensitivity that only comes from working closely with the material, almost as if the chair guided the maker’s hands.In the end, those flowing lines are more than an aesthetic choice — they are a celebration of craftsmanship, material respect, and the human touch. It’s this blend that I believe gives Primadonna its timeless elegance and soul.

Balancing durability with sophistication was central to the fabric choice for the Primadonna. I wanted the upholstery to complement the chair’s graceful form while meeting the practical demands of everyday living — especially considering how many people now seek pieces that blend luxury with resilience.The high-performance, waterproof fabric offered the perfect solution. It provides protection against wear, spills, and exposure, ensuring the chair remains beautiful and functional over time. But beyond its technical qualities, the fabric’s texture and finish were carefully selected to enhance the tactile experience and visual harmony with the warm, natural tones of the kiri wood.I believe that true luxury lies not only in appearance but also in longevity and comfort. Choosing a fabric that could endure without compromising on elegance was a way to honor the user’s lifestyle while maintaining the Primadonna’s refined character.

Ergonomics was at the core of the Primadonna’s design journey. I believe that true elegance is inseparable from comfort, and for a piece as intimate as an armchair, this connection becomes even more essential.My research involved studying the natural posture of the human body, the subtle ways it seeks support and relaxation. The specific curves of the Primadonna — from the gentle sweep of the circular frame to the contour of the upholstered seat and backrest — were carefully sculpted to cradle the body without imposing, inviting a feeling of effortless repose.Proportions were refined through iterative testing, ensuring the chair accommodates a wide range of users while maintaining its sculptural integrity. The balance between openness and enclosure allows the sitter to feel both embraced and free, which is fundamental to the armchair’s emotional appeal.Ultimately, this ergonomic focus ensures that Primadonna is not only a statement of style but a sanctuary of well-being — where beauty and comfort coexist seamlessly.

Designing the Primadonna to be easily disassembled without compromising its structural integrity was a key engineering challenge — and a reflection of my commitment to both practicality and enduring quality.From the outset, I focused on creating a joinery system that would allow secure connections yet remain accessible for assembly and transport. This involved selecting durable, precision-engineered fittings that align perfectly with the chair’s organic forms, ensuring stability without visible hardware disrupting the aesthetic.Attention was also given to the distribution of loads throughout the frame, so that even when assembled or disassembled, the chair maintains its strength and comfort. The modular nature respects the material’s limits, particularly the kiri wood’s flexibility, while leveraging its strength in key areas.Ultimately, this efficient system enhances the chair’s versatility, making it ideal for contemporary lifestyles where mobility and adaptability are increasingly valued — all without sacrificing the timeless elegance and solidity that define Primadonna.

My Brazilian background and connection to the rich tradition of craftsmanship here have profoundly shaped the Primadonna. Brazil’s culture is full of warmth, creativity, and a deep respect for natural materials — qualities that I wanted to infuse into this piece.Growing up surrounded by artisans and the vibrant design community, I learned to value the human touch and storytelling embedded in handmade work. This influence guided my approach to balancing precision and softness in the Primadonna’s design, marrying contemporary techniques with a soulful, handcrafted feel.The Brazilian landscape and its diverse textures also inspired the chair’s fluid forms and natural finishes, reflecting a sense of place and belonging. Ultimately, the Primadonna is a tribute to the spirit of Brazilian design — a blend of elegance, sustainability, and heartfelt craftsmanship.

The development journey of the Primadonna from June to December 2024 was full of insightful discoveries that enriched the final design in unexpected ways. One of the most significant was realizing how the interplay between the kiri wood’s natural flexibility and the hand-finishing techniques could be pushed further to enhance both comfort and sculptural presence.Early prototypes revealed subtle opportunities to refine the circular frame’s curvature, creating an even more enveloping embrace without compromising the chair’s lightness. This iterative process also led to innovations in the joinery system, making disassembly smoother while preserving strength.Another pleasant surprise was how the modular ottoman evolved from a simple footrest to a multifunctional companion piece, doubling as a side table and inviting new ways of interacting with the chair. This duality added a dynamic layer to the design, perfectly suited to contemporary lifestyles.Ultimately, these discoveries reinforced the philosophy that design is a living dialogue between material, maker, and user — a journey where openness to experimentation transforms intention into experience.

The idea of removable upholstered components in the Primadonna grew out of a desire to marry luxury with practicality — ensuring that the chair remains as beautiful and inviting years down the line as it is the day it’s first enjoyed.Initially, the focus was on comfort and aesthetic harmony, but as the design evolved, I recognized the importance of easy maintenance in real-life use. I wanted users to feel confident that their investment would endure without sacrificing elegance.This led to developing a system that allows the upholstery to be gently removed and reattached without disrupting the chair’s seamless silhouette. It required close collaboration with fabric specialists and craftsmen to ensure the fastening mechanisms were both durable and discreet.The result is a feature that supports sustainability by extending the piece’s lifespan and offering the possibility of refreshing or replacing textiles over time — all while preserving the Primadonna’s refined appearance and comfort.

Sustainability was a fundamental guiding principle throughout the Primadonna’s design and production. From the very start, I prioritized responsibly sourced kiri wood — a fast-growing, renewable species known for its strength and lightness — ensuring that the material footprint was as low as possible without compromising quality.The production process itself emphasizes precision and care to minimize waste. Combining traditional craftsmanship with modern techniques allowed us to use the wood efficiently, reducing offcuts and maximizing each piece’s potential. Additionally, the modular and disassemblable design extends the chair’s lifecycle by making transport easier and repairs or refurbishment more feasible.Beyond materials and manufacturing, I see sustainability as a holistic commitment — one that encompasses durability, emotional connection, and timeless design. The Primadonna invites users to cherish their piece as a lasting companion, fostering a relationship that counters disposable culture and supports a more mindful, environmentally conscious industry.

During some outdoor projects I looked for furniture that was lighter, without so much nautical rope, but elegant, without right angles. That they were versatile and durable. As I didn't find what I was looking for on the market, I developed the Umma Armchair, and later the Umma Swing as well as 8 other pieces that make up the Umma Collection.

When developing the Umma Collection I noticed that on the market we didn't have open swings that were comfortable and beautiful. Most of the swings were closed, thus preventing the relationship with the surrounding environment. So, following the same lines as the Umma Armchair, I developed the Umma Swing with its light and elegant aesthetic, which does not weigh down the environment, being a piece that is not only functional, but also decorative.

While designing the Umma Swing for both indoor and outdoor use, I focused on selecting robust materials like aluminum and nautical rope, which provide weather resistance while maintaining a visually delicate feel. This balance was essential to capture the tranquility and elegance of coastal surroundings. My goal was to create a restful piece that, while durable, conveys lightness and timelessness, complementing spaces without overwhelming them visually. In this way, the Umma Swing becomes an invitation to contemplation, evoking serenity and connecting the user with the surrounding environment.

The cushions of the Umma Swing were crafted to immerse the user in a feeling of peaceful suspension, as though resting by the shore. In the design process, I focused on creating a softness that mimics the gentle, enveloping embrace of waves. The shape and placement of the cushions were carefully considered to provide not only physical comfort but also an emotional experience, as if time slows and the surroundings fade into tranquility. This connection through form and comfort was key to evoke that timeless, serene atmosphere, allowing the swing to become a haven of quietude, whether by the ocean or in an indoor setting

Sustainability was central to the development of the Umma Swing, guiding both structural and aesthetic choices. The use of recyclable aluminum allowed for a lightweight yet durable frame, essential for achieving the swing's open, airy design that harmonizes with its surroundings. This material provided the flexibility to form continuous, flowing lines without right angles, enhancing the sense of visual lightness. Technical fabrics, chosen for their durability and eco-friendly properties, added to the swing’s resilience against various elements while keeping the aesthetic soft and refined. Each decision was a step toward creating a sustainable, elegant piece that merges functionality with an enduring, responsible design.

Receiving the Bronze A' Design Award for the Umma Swing is both an honor and a catalyst for future explorations. This recognition reinforces my commitment to creating furniture that transcends function and becomes a form of artistic expression. Moving forward, I am inspired to continue blending sculptural aesthetics with practical comfort, pushing boundaries with sustainable materials and fluid forms. The award fuels my vision to craft pieces that invite interaction and evoke emotion, bridging the gap between design and the human experience. I see it as a stepping stone to explore new concepts that challenge conventions while resonating deeply with those who engage with them.

Designing the Umma Swing to achieve both optimal comfort and an elegant, seamless look within its dimensions presented unique technical challenges. Maintaining the balance between a sturdy structure and a visually light appearance required precise engineering. The frame’s curvature and proportions were meticulously calculated to support a naturally ergonomic posture, ensuring comfort without adding bulk. Additionally, the placement and density of the cushions were adjusted to offer a soft, suspended feeling, enhancing the swing's inviting character. By focusing on these details, I was able to create a piece that feels as good as it looks, blending functionality with an effortless elegance

My background in architecture has deeply influenced my approach to furniture design, especially in the creation of the Umma Swing. With 27 years in the field, I’ve developed a keen eye for proportions, spatial harmony, and structural integrity, all of which are integral to my design philosophy. In the Umma Swing, I applied architectural principles—such as the flow of continuous lines and the balance between form and function—to achieve an open, inviting geometry that connects seamlessly with its surroundings. This approach allowed me to create a piece that feels like an extension of its space, blending architectural precision with a sense of lightness and movement.

Integrating nautical elements into the Umma Swing was a journey of research and experimentation aimed at capturing the essence of coastal living while keeping it versatile for varied environments. I explored traditional maritime materials, like nautical rope, known for its durability and natural texture, and combined it with sleek aluminum to evoke a sense of breezy elegance. The goal was to achieve a subtle maritime influence without being overly thematic, allowing the swing to feel at home in a range of settings. Experimenting with different textures, weaves, and proportions helped me create a design that hints at the sea’s tranquility yet retains a universal appeal, fitting seamlessly into both indoor and outdoor spaces

From the very start of Umma Swing’s development in February 2023, my commitment to creating 'unique and daring projects' shaped each design choice to ensure the piece was both functional and emotionally resonant. I wanted to challenge traditional expectations of a swing, crafting it with open, continuous lines that convey a feeling of suspension and lightness. Each curve and material was carefully selected to blend elegance with durability, allowing the swing to evoke a sense of calm and connection with its surroundings. This approach infused the piece with both a bold visual identity and a quiet emotional depth, creating an experience that goes beyond functionality to truly resonate with the user.

Absolutely. The Umma Collection was born from a desire to bridge the elegance of interior furnishings with the resilience needed for outdoor settings. When I began designing the Umma Armchair, I wanted materials that would feel light and effortless yet withstand various environments. Aluminum and nautical rope offered exactly that balance. Aluminum, being durable and recyclable, embodies sustainability, while nautical rope brings a warmth and tactile quality, suggesting a seamless connection between natural and crafted elements.This material choice also aligns with my broader vision for sustainable design. I’m committed to selecting resources that are not only functional but also tell a story about adaptability and respect for the environment. Every piece I create aims to awaken emotions and provide a fresh perspective on materials, merging sustainability with innovative aesthetics in a way that resonates with modern lifestyles.

The inspiration for the Umma Armchair came from the idea of blurring boundaries between indoor and outdoor spaces, creating a harmonious flow that feels effortless and natural. I envisioned a piece that could transition beautifully between settings, capturing a sophisticated coastal aesthetic without sacrificing durability. This led me to design with materials like nautical rope and aluminum, which bring both resilience and visual lightness.The goal was to craft a chair that feels equally at home in a living room as it does by the ocean. Its curves and lack of sharp angles embody a sense of ease and openness, evoking coastal landscapes and inviting relaxation. The Umma Armchair is a reflection of my belief that furniture can connect us to our surroundings, creating spaces that feel grounded yet inspiring, versatile yet unmistakably refined.

The Design Tank immersion in Bento Gonçalves was pivotal for me. Being surrounded by designers and experts who deeply understand materials and production processes brought new perspectives to my creative approach. This experience sharpened my focus on crafting pieces that are as refined in function as they are in form.In developing the Umma Armchair, I applied these insights to balance the technical aspects of durability and weather resistance with a softer, more expressive aesthetic. Working through this blend of structure and artistry taught me how to let the materials shape the design in a way that feels natural yet purposeful, ensuring the piece serves both practical and aesthetic needs without compromise.

Creating the Umma Armchair involved a deep dive into the balance between comfort and aesthetic presence. My approach was to view ergonomics as integral to the design, rather than a separate layer added afterward. I started with sketches that prioritized natural body alignment, exploring how each curve could offer support without interrupting the armchair’s visual flow.From there, I experimented with proportions, ensuring the seat depth, angle, and back height encouraged relaxation while staying true to the piece’s sculptural essence. The goal was to have the armchair invite you to sit while still appearing light and elegant, almost as if it could belong to any environment without dominating it. This careful harmony between form and function became the heart of the Umma Armchair’s design.

Developing the weather-resistant features of the Umma Armchair presented a series of technical challenges, especially in selecting materials that could withstand both sun and moisture without sacrificing style. One key hurdle was ensuring that the aluminum framework remained lightweight yet sturdy enough to resist corrosion, while also harmonizing with the more tactile qualities of the rope.To address this, I collaborated closely with material specialists, experimenting with coatings and testing the resilience of the rope under different conditions. These adjustments influenced not only the structure but also subtle details in the armchair's contours, as I aimed to maintain a clean design that didn’t appear overly industrial. This process ultimately led to a refined piece that doesn’t compromise on elegance or durability, staying true to the spirit of versatile, enduring design.

From the outset, I envisioned the Umma Armchair as part of a versatile family of pieces that could adapt to different needs and settings. This meant designing a foundational form that was flexible enough to transform into complementary pieces without losing its character. By starting with a modular approach, I focused on creating a core structure with proportions and materials that could seamlessly expand into a stool, loveseat, or even a swing, while still maintaining visual cohesion.Throughout the design process, I refined details like the joining points and curvature, knowing these elements would need to adapt across variations. This adaptability was woven into every aspect of the design, allowing each piece to share a unified aesthetic and purpose, yet serve distinct functions, bringing consistency and versatility to the collection as a whole.

Receiving the Bronze A' Design Award for the Umma Armchair is an incredible honor that reinforces my commitment to pushing the boundaries of furniture design. This recognition encourages me to explore even more innovative approaches in future projects, particularly in blending functionality with artistic expression.I envision this achievement as a catalyst for deepening my exploration of sustainable materials and adaptable designs. It inspires me to continue creating pieces that not only serve practical needs but also evoke emotions and connections to their surroundings. This award motivates me to experiment further with form, texture, and the interplay of indoor and outdoor environments, ensuring that each future design remains a conversation piece that reflects my dedication to quality and creativity.

My Brazilian heritage and the rich local design culture have profoundly shaped the aesthetic of the Umma Armchair. Growing up in a vibrant environment filled with natural beauty, I’ve always been inspired by the coastal landscapes, which evoke a sense of calm and connection to nature. This influence is evident in the soft curves and organic forms of the armchair, designed to mirror the fluidity of the ocean and the serenity of beachside living.Additionally, Brazilian craftsmanship, known for its attention to detail and materiality, played a crucial role in shaping the armchair’s construction. I wanted to incorporate elements that reflect both local artistry and a modern sensibility, resulting in a piece that resonates with the relaxed elegance often found in coastal settings. This blend of heritage and contemporary design not only informs the visual appeal of the Umma Armchair but also speaks to the deep-seated values of comfort, community, and connection to the environment that are integral to my work.

While designing the Umma Armchair, I closely observed shifting lifestyle trends and user behaviors that reflect a growing desire for seamless transitions between indoor and outdoor living spaces. People are increasingly looking for environments that foster connection and relaxation, often blurring the lines between these areas. This insight drove me to create a piece that embodies versatility and invites users to enjoy their spaces, whether they’re indoors or out.I also noted the rising importance of outdoor areas as extensions of the home, particularly in urban settings where access to nature may be limited. As a result, I focused on developing a design that not only suits various environments but also enhances the experience of those spaces. By using lightweight, weather-resistant materials, I ensured the armchair could effortlessly adapt to different settings while maintaining a welcoming aesthetic that encourages social interaction and comfort. Ultimately, this awareness of lifestyle trends guided me in creating a piece that resonates with modern living and the evolving needs of users.

Balancing my original design vision for the Umma Armchair with manufacturing requirements and market considerations was a nuanced process. From the beginning, I focused on creating a design that was not only aesthetically appealing but also practical for mass production. This meant working closely with the Sulvimes team to understand their capabilities and the materials available, ensuring that my vision aligned with their manufacturing processes.I prioritized key elements of the design that would resonate with the target market, such as the versatility of the armchair and its adaptability to various environments. While I remained committed to my artistic vision, I was open to iterative adjustments that would enhance manufacturability without compromising the integrity of the design.Additionally, market research played a vital role in guiding my decisions. Understanding consumer preferences and lifestyle trends allowed me to make informed choices about materials and features that would appeal to potential buyers while ensuring the armchair's production remained cost-effective. This collaborative approach ultimately helped me strike a balance, resulting in a commercially viable piece that stays true to my original creative intent.