Interviews med Bruno De Lazzari

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

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

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

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

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

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

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

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

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

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

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

Here's the proofread and rewritten version:

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

The Grampo Lamp's deceptively simple appearance belies the intricate design process behind it. While the final product appears effortless, it actually took over 500 hours to develop. The core concept of using the wood's natural flexibility to create a clamp that also charges the lamp head, detaches as a flashlight, and adjusts the light direction, demanded meticulous attention to detail. This meant extensive research on dimensions, connections, and suitable materials. Additionally, integrating the electronics and battery within the compact lamp head required rigorous testing of various components to ensure optimal functionality.

make it a detacheble flashlight and makes it possible to adjust the light direction. That needed a very precise study of dimensions, connections and materials study. Also to fit the whole eletronics inside the spot with the battery i need to test a lot of components to get it right.

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

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

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

At De Lazzari Mobiliario Urbano, we're committed to giving back to our community. We partner with Voluntary Architects, a group that improves hospitals and schools in Porto Alegre, our hometown. This city recently faced a devastating flood, and in response, I personally designed and built mops to aid in the cleanup efforts. We also held a raffle featuring one of my designs to benefit those affected by the flood.

In the realm of education, I'm currently collaborating with a design course at Unisinos University in Porto Alegre. I'm always enthusiastic about the opportunity to discuss design within educational settings.

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

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

The thrill of resolving problems in a creative way.

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

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

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

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

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

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

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

A big sculpture for my city.

Persistence and curiosity.

Jorge Zalszupin, Eero Saarinen, Zaha Hadid.

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

Its like choosing your favorite child! I can't.

Be more original, try new things.

Programmer.

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

My family and the people who work with me.

Being curious and tech savy.

Overcoming anxiety and becoming more relaxed with the process and its inherent failures.

Expositions, videos, pictures, renders, drawings, text. In that order.

I am focusing now on urban furniture at De Lazzari Mobiliario Urbano

To be a reference in my native state and country.

Elegant and creative solutions.

As art, it fulfills a human need for meaning.

Introducing new concrete and steel projects for De Lazzari Mobiliario Urbano.

The Sao Pedro Oratory, people have a strong connection with religious pieces.

Fewer derivative designs and more interesting ones.

As everything in our society, AI will play a big role in design and manufacturing.

It varies, ranging from 3 months to a full year, as was the case with the Grampo Lamp.

It depends on the concept, but generally, it's done directly in CAD software.

Create, don't copy.

In my opinion, design sets trends because it often stems from technical innovation.

Everything is technology, unless you are drawing a concept in the sand with your fingers!

Blender, 3ds Max, 3-axis CNC machine, 2-axis laser cutter and engraver, 3D printers, and woodworking tools.

Wood is my favorite material; every piece has its unique patterns, and it's as organic as us. That's something special.

How did you come up with it?

How did HE (or she) come up with it?

I've tried, but I work better solo.

My father.

History of Modern Architecture - Leonardo Benevolo

Curiosity in learning both virtual and real tools.

Paul Klee

My ego is okay with it!

Green in my house, italian food, spring, cars, my own brand.

The CAD software that I still use today is something I started using at the age of twelve. My interest sparked when I saw a GIF of a spinning car in the early days of the internet!

Being in the zone, leaving work late at night not because I have to but because I was so into the moment.

Being in the zone, I find myself leaving work late at night not because I have to, but because I'm so engrossed in the moment.

With AI advancements, I can't predict what will happen in the next 10 years, let alone a thousand. I hope we become an interplanetary species.

Follow my york in social media, look for Atelier Bruno De Lazzari, and De Lazzari Mobiliario Urbano.

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

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

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

The ones where I find an interesting original concept.

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

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

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

When the sun sets.

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

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

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

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

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

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

The integration of Brazilian wood fibers in the Grampo Lamp is grounded in an appreciation of both tradition and innovation. Brazilian wood has an inherent flexibility and strength, and working with it allowed me to explore how its natural properties could be enhanced through modern technologies. This union between materiality and technology grew organically, starting from a desire to showcase wood's adaptability. I wanted to highlight its versatility, not just as a static material but as something capable of interaction and transformation. This balance of traditional woodworking and contemporary techniques, like 3D printing for parts, came naturally, resulting in a product that embodies both Brazilian heritage and forward-thinking design.

The idea of transforming the Grampo Lamp from a stationary fixture to a portable flashlight stemmed from a desire to create a light source that could adapt to the user's changing needs. I imagined a piece that wouldn’t just exist in one place but could accompany its owner, offering both function and form. Modern lighting should meet us where we are, physically and conceptually. This adaptability reflects my vision of lighting that is as dynamic as life itself. By making it portable and rechargeable, the lamp becomes not just a source of light but a companion, a functional piece that aligns with contemporary, mobile lifestyles.

Using sustainably sourced Brazilian wood was fundamental to the Grampo Lamp. I wanted the design to celebrate the material's origins and beauty while respecting the ecosystem it comes from. The lamp’s form and functionality accentuate the wood's natural flexibility and warmth. By embracing its texture and color, the design pays homage to Brazilian wood. At the same time, the sustainable sourcing underscores a commitment to preserving these forests. The Grampo Lamp is both an aesthetic and ethical statement, showing how traditional materials can be used responsibly in a way that harmonizes with modern environmental concerns.

The journey to harmonize wood flexibility with the Grampo Lamp's internal wiring was, indeed, a challenge. Initially, finding a way to maintain structural integrity while allowing the wood to bend and carry wiring was daunting. After much prototyping, I settled on a flexible, durable internal casing for the wires, allowing for both movement and connectivity. This internal structure is complemented by the wood's natural flexibility. Balancing these elements required fine-tuning materials and testing, but the result is an elegant solution that aligns with the lamp's design language and functionality.

My family's carpentry background has deeply shaped my approach to design. This heritage brings an inherent respect for wood as a material, an appreciation for its grain, and an understanding of its natural characteristics. With the Grampo Lamp, I aimed to merge this tradition with modern technology, such as 3D printing, which allowed precise, efficient production of smaller parts. This mix of heritage and technology is how I carry forward my family’s legacy, blending skilled craftsmanship with innovation to create something familiar yet distinctly contemporary.

The Grampo Lamp’s touch-sensitive control and wireless energy transmission were not just technical innovations; they reshaped the entire design concept. These advancements added multifunctionality and streamlined the user experience, making interaction with the lamp intuitive and seamless. More than that, these features influenced the overall visual language of the piece, guiding me to refine its form and aesthetics to match the sleek, integrated technology. The technical elements became part of the lamp’s identity, transforming it into a cohesive blend of functionality and artistic expression.

The Grampo Lamp began as a solution for exhibition lighting, designed to spotlight artwork in an understated way. As it evolved, I began exploring ways it could adapt to other environments while retaining its original charm. This evolution reflects my philosophy of versatility in design — creating objects that serve multiple purposes without compromising aesthetic value. As the design developed, I became increasingly focused on making it adaptable, intuitive, and expressive, ultimately resulting in a lamp that aligns with my vision of design as functional art.

Balancing homage to modern Brazilian designers while pushing boundaries was a careful dance of tradition and novelty. I looked to figures like Sérgio Rodrigues and Joaquim Tenreiro for inspiration, focusing on their ethos of design rooted in materiality and function. By integrating contemporary functionality, like portability and adaptability, I aimed to evolve their legacy rather than replicate it. This balance honors Brazil’s design heritage while asserting a modern, innovative vision that reflects today’s diverse demands on a lighting fixture.

Winning the Gold A' Design Award was a validation of the Grampo Lamp's potential to impact sustainable lighting design. I envision it encouraging a resurgence of interest in Brazilian wood, demonstrating how this material can be both traditional and avant-garde. I hope the Grampo Lamp becomes a reference point, inspiring future designers to innovate sustainably, particularly by using local materials thoughtfully and creatively. It’s a reminder that sustainable practices can yield designs as beautiful and functional as they are responsible.

Designing the Grampo Lamp for indoor and outdoor settings was essential to its versatility. Each use case informed choices like the lamp's durability, weight, and recharging capabilities. By envisioning these different environments, I created a product adaptable enough for both, yet retaining a consistent aesthetic that appeals across settings. This dual-purpose design embodies my philosophy of lighting that can flow with the user’s needs, wherever they may be.