Interviews are available in English only. Open the English page.
Interviews with Eduardo Acero Rodriguez
Designer profileDesign Interview
3 July 2025 · Renzo Concept Poltrona d'Accento
My design's primary goal is to balance modern living with nature. I try to incorporate the flow and elegance of organic shapes from the natural world into useful furniture by drawing inspiration from them. The goal is to emphasize longevity and authenticity by fusing traditional craftsmanship with modern methods and sustainable resources like solid wood. My aim is to create designs that are comfortable, visually light, and emotionally connecting yet feeling timeless and current. This idea is ultimately embodied by the Renzo Concept Chair, which invites users to experience both artistry and everyday ease by striking a balance between sculptural beauty and functionality.
Achieving a smooth balance between form and function was my primary goal while designing the Renzo Concept Chair. By combining organic curves with the inherent warmth of solid wood, I aimed to create a piece that seems both structurally sound and aesthetically light. The idea was to create a chair that would be both comfortable and a sculpture in any area. I also wanted to investigate sustainable crafting by fusing conventional methods with contemporary manufacturing processes. In the end, I wanted Renzo to be a design that appeals to consumers both practically and emotionally, embodying beauty, creativity, and purpose.
My future plans for the award-winning Renzo Concept Chair focus on refining the design and exploring its potential for production. I intend to further develop the ergonomic aspects and test sustainable material sourcing to ensure the chair meets both comfort and environmental standards. Collaborating with skilled craftsmen and manufacturers will be key to translating the concept into a fully realized product. Additionally, I hope to use the recognition from the Iron A’ Design Award as a platform to inspire more innovation in furniture design continuing to push the boundaries of combining traditional techniques with modern aesthetics. Ultimately, I aim for Renzo to become a timeless piece that connects with users on both functional and emotional levels.
Designing the Renzo Concept Chair took approximately four months. During this period, I focused on exploring the balance between organic form, structural integrity, and ergonomic comfort. The process involved extensive research into traditional woodworking techniques, like steam bending, alongside modern digital modeling to refine the chair’s flowing silhouette. Though still a concept, this timeframe allowed me to carefully develop a design that integrates sustainability, craftsmanship, and contemporary aesthetics.
The Renzo Concept Chair was born from a personal inspiration rather than a commission. I wanted to explore how natural materials like solid wood could be shaped into elegant, flowing forms that challenge conventional furniture design. This project allowed me to experiment with blending traditional craftsmanship and modern technology, while emphasizing sustainability and comfort. Designing Renzo was an opportunity to push my creative boundaries and contribute a fresh perspective to contemporary furniture, reflecting both my cultural background and my passion for innovation.
Currently, the Renzo Concept Chair remains at the conceptual stage and is not yet in production. Moving forward, I am exploring options for how best to bring this design to life—whether through collaboration with manufacturers, licensing agreements, or producing it myself. My priority is to ensure that the production process maintains the design’s integrity, quality, and sustainable values. I remain open to partnerships that align with these principles and can help realize the chair’s potential in the market.
I designed this particular work to explore the intersection of nature, craftsmanship, and modern design. I’m passionate about creating furniture that balances organic beauty with functionality, using sustainable materials like solid wood. This project allowed me to push creative boundaries and express my vision of elegance through flowing, sculptural forms that invite comfort and connection.
Yes, my design is influenced by a blend of traditional craftsmanship and contemporary designers who emphasize organic forms and sustainable practices. I draw inspiration from masters of curved wood furniture like Michael Thonet, whose steam bending techniques revolutionized furniture design, as well as modern designers who integrate technology with handcraft. Additionally, my Colombian heritage and the natural landscapes I grew up around have deeply shaped my appreciation for fluid shapes and material honesty. These combined influences helped shape the Renzo Concept Chair’s balance of elegance, innovation, and respect for materials.
The Renzo Concept Chair is intended for people who appreciate fine craftsmanship, sustainable design, and thoughtful design. This includes people who value furniture for modern houses, boutique hotels, or chic workplace environments as both a useful work of art and a wise investment. They have a great appreciation for natural materials and classic design, and they look for products that blend comfort and sophistication. In essence, the chair caters to people looking for distinctive, environmentally friendly furniture that improves their living or working space.
What sets the Renzo Concept Chair apart is its seamless blend of traditional craftsmanship and modern innovation, creating a design that feels both timeless and contemporary. Unlike many solid wood chairs, Renzo emphasizes organic, flowing curves achieved through a thoughtful combination of steam bending techniques and digital precision. This results in a visually light, sculptural piece that maintains structural integrity without compromising comfort. Additionally, the design prioritizes sustainability by using responsibly sourced materials and minimizing waste. Renzo’s unique balance of artistry, ergonomics, and eco consciousness makes it distinct in today’s furniture landscape.
The name “Renzo” holds special meaning for me, as it is my son’s name. He inspires me every day to push my creative boundaries and strive for excellence in my work. Beyond its personal significance, “Renzo” reflects qualities of elegance, strength, and timelessness mirroring the design philosophy behind the chair. The name captures the harmony between tradition and innovation, much like the chair itself, which balances organic beauty with contemporary sophistication. Naming the chair after my son makes this project deeply meaningful and motivates me to create designs that resonate both emotionally and functionally.
Since the Renzo Chair is still a concept, I focused heavily on digital design tools to explore its form and feasibility. I began with hand sketches to capture the organic flow and overall vision, then moved into 3D modeling software to refine the curves and proportions precisely. These digital tools allowed me to experiment with structural and ergonomic aspects virtually before any physical prototype. Although production hasn’t started, I also considered how CNC technology and traditional woodworking methods like steam bending could be integrated to realize the design in the future. This approach helped me balance creative exploration with practical considerations, all within the conceptual phase.
The most unique aspect of the Renzo Concept Chair is its elegant fusion of organic, flowing curves with solid wood craftsmanship. By blending traditional steam-bending techniques with modern digital modeling, the design achieves a visual lightness and sculptural quality rarely seen in solid wood furniture. This balance of structural integrity and aesthetic grace creates a timeless piece that stands out for both its innovation and emotional connection.
At this stage, the Renzo Concept Chair is a solo project, and I have not yet collaborated with others for its development. Moving forward, I plan to work with skilled craftsmen and specialists in woodworking and manufacturing to bring the design to life while maintaining its quality and integrity. Collaborating with technical experts will be essential to refine the production process and ensure the chair meets both aesthetic and functional goals.
Technology plays a vital role in the Renzo Concept Chair by enabling precise exploration and refinement of its organic forms. While still in the conceptual phase, I utilized digital 3D modeling to visualize and perfect the chair’s flowing curves and proportions, ensuring both aesthetic appeal and ergonomic comfort. Additionally, I considered how technologies like CNC machining could complement traditional woodworking techniques, such as steam bending, to achieve a high level of accuracy and craftsmanship. This thoughtful integration of technology supports innovation while honoring the material’s natural qualities, bridging the gap between artisanal skill and modern production possibilities.
While I didn’t rely on formal data or analytical research for the Renzo Concept Chair, my design process is deeply influenced by observing and studying new furniture pieces from other designers. I find inspiration in how they explore form, materials, and function. This ongoing visual research helps me understand current trends and push my own creative boundaries. Additionally, I draw on traditional woodworking knowledge and ergonomic principles to guide the chair’s comfort and structure. So, rather than data driven research, my approach is rooted in a blend of visual inspiration, craftsmanship, and intuitive design exploration.
Since the Renzo Chair is still a concept, one of the main challenges has been envisioning how to balance its organic, flowing forms with the structural limitations of solid wood. Without a physical prototype yet, I focused on exploring how traditional techniques like steam bending could be combined with modern production methods to achieve both strength and visual lightness. Another challenge was imagining how ergonomic comfort could be integrated without compromising the sculptural aesthetic. These conceptual challenges pushed me to creatively blend craftsmanship and technology, laying a strong foundation for when the design moves toward production.
I initially shared the Renzo Concept Chair on LinkedIn, and it caught the attention of someone connected to the Iron A’ Design Award. Although I don’t recall her name exactly, she encouraged me to submit the design to the competition. It was a great opportunity to gain international exposure and receive valuable feedback. Entering the competition felt like a natural next step to challenge myself and see how the design resonated beyond my immediate network. The recognition has been very motivating and has opened new doors for future projects.
Designing the Renzo Concept Chair was a valuable learning experience that deepened my understanding of balancing aesthetics with structural functionality. Throughout the process, I improved my skills in blending traditional craftsmanship techniques, like steam bending, with modern digital tools, such as 3D modeling. This project pushed me to think critically about material behavior and how to achieve organic forms without compromising strength or comfort. Additionally, working on a concept reinforced the importance of sustainability and thoughtful material selection in design. Overall, the process enhanced my ability to innovate within constraints and strengthened my confidence in pursuing designs that merge artistic expression with practical considerations.
At this time, I believe we’ve covered the key aspects of the Renzo Concept Chair and my design philosophy. I’m excited to continue developing this concept and sharing future projects that reflect my passion for innovation, craftsmanship, and sustainability. Thank you for the thoughtful questions and the opportunity to discuss my work in depth.
Design Legend Interview
2 September 2026
I am an Industrial Designer originally from Bogota, Colombia, where I studied Industrial Design. My education gave me a strong foundation in form, function, materials, ergonomics, manufacturing, and the relationship between objects and the people who use them.
Throughout my professional career, my practice has evolved into a multidisciplinary approach that includes interior architecture, furniture, product design, and spatial experiences. I am currently based in New York, where I continue developing projects that explore the relationship between architecture, interiors, furniture, materials, and human experience.
Throughout my professional career, my practice has evolved into a multidisciplinary approach that includes interior architecture, furniture, product design, and spatial experiences. I am currently based in New York, where I continue developing projects that explore the relationship between architecture, interiors, furniture, materials, and human experience.
What motivates me is the possibility of transforming an idea into something tangible and meaningful. I enjoy the entire process, from the initial concept and sketches to the development of materials, details, and the final experience.
I became a designer because I have always been curious about how things can be improved. Design gives me the opportunity to combine creativity, technical knowledge, and problem solving while creating something that can influence the way people live and experience their surroundings.
I became a designer because I have always been curious about how things can be improved. Design gives me the opportunity to combine creativity, technical knowledge, and problem solving while creating something that can influence the way people live and experience their surroundings.
I definitely chose to become a designer. Design always felt natural to me. From an early age I was interested in objects, spaces, proportions, forms, and the way things could be changed or improved.
As I developed professionally, I realized that design was not only something I enjoyed doing. It was also the way I naturally think and understand the world around me.
As I developed professionally, I realized that design was not only something I enjoyed doing. It was also the way I naturally think and understand the world around me.
My work encompasses interior architecture, residential and hospitality interiors, furniture, and product design.
I particularly enjoy working across different scales. Designing a chair requires a very different way of thinking than designing an entire interior, but both require a strong understanding of proportion, function, materials, and human experience
I particularly enjoy working across different scales. Designing a chair requires a very different way of thinking than designing an entire interior, but both require a strong understanding of proportion, function, materials, and human experience
I would tell them to develop your own point of view. Study constantly. Look beyond design and learn from architecture, art, fashion, nature, technology, history, and culture. Understand materials and how things are actually made.
Most importantly, be patient. A strong design career is built through experience, discipline, mistakes, persistence, and continuous learning.
Most importantly, be patient. A strong design career is built through experience, discipline, mistakes, persistence, and continuous learning.
A great designer does not simply create something different. They create something that feels relevant and meaningful.
For me, good design begins with a clear intention.
I evaluate a design by looking at its concept, proportion, functionality, materiality, craftsmanship, and emotional impact. I also consider its context and whether it has the ability to remain relevant over time.
The strongest designs are often the ones that feel simple, even though there is a great deal of thought behind them.
I evaluate a design by looking at its concept, proportion, functionality, materiality, craftsmanship, and emotional impact. I also consider its context and whether it has the ability to remain relevant over time.
The strongest designs are often the ones that feel simple, even though there is a great deal of thought behind them.
Good design has the ability to improve everyday life.
It can make a space more comfortable, a product more intuitive, a building more meaningful, and an experience more memorable. Good design is not simply about creating something beautiful. It is about creating value through function, quality, longevity, identity, and experience.
It can make a space more comfortable, a product more intuitive, a building more meaningful, and an experience more memorable. Good design is not simply about creating something beautiful. It is about creating value through function, quality, longevity, identity, and experience.
I would love to create a complete environment where every element is part of the same design language.
It could be a boutique hotel, private residence, or retreat where the architecture, interiors, furniture, lighting, objects, and landscape are all developed together.
I would design for people who appreciate authenticity, craftsmanship, originality, and thoughtful design rather than simply luxury for the sake of luxury.
It could be a boutique hotel, private residence, or retreat where the architecture, interiors, furniture, lighting, objects, and landscape are all developed together.
I would design for people who appreciate authenticity, craftsmanship, originality, and thoughtful design rather than simply luxury for the sake of luxury.
My dream project would be a complete hospitality destination where I could control the experience from architecture and interiors to furniture, lighting, objects, and landscape.
I would like the project to feel sophisticated and contemporary but also timeless. I would want every detail to contribute to a strong identity and create an emotional connection with the people experiencing the space.
I would like the project to feel sophisticated and contemporary but also timeless. I would want every detail to contribute to a strong identity and create an emotional connection with the people experiencing the space.
persistence
I am inspired by designers and architects who developed a strong personal language and were not afraid to challenge conventional thinking.
Ludwig Mies van der Rohe, Carlo Scarpa, Le Corbusier, Tadao Ando, Zaha Hadid, Eero Saarinen, and Achille Castiglioni are among the designers and architects that I admire.
Ludwig Mies van der Rohe, Carlo Scarpa, Le Corbusier, Tadao Ando, Zaha Hadid, Eero Saarinen, and Achille Castiglioni are among the designers and architects that I admire.
I am particularly attracted to designs where form, structure, and function become one.
The Barcelona Chair by Mies van der Rohe is a great example because of its proportions, simplicity, craftsmanship, and architectural presence.
I also admire Eero Saarinen's Tulip Chair because it challenged traditional furniture construction and created a completely different visual language.
I appreciate designs that are recognizable and powerful without relying on unnecessary decoration.
The Barcelona Chair by Mies van der Rohe is a great example because of its proportions, simplicity, craftsmanship, and architectural presence.
I also admire Eero Saarinen's Tulip Chair because it challenged traditional furniture construction and created a completely different visual language.
I appreciate designs that are recognizable and powerful without relying on unnecessary decoration.
I don't have one, I am still working on it.
I believe designers improve through observation, experience, experimentation, and criticism.
I constantly study architecture, interiors, furniture, art, materials, and manufacturing. I look at how other designers solve problems and then question how I might approach the same problem differently.
I constantly study architecture, interiors, furniture, art, materials, and manufacturing. I look at how other designers solve problems and then question how I might approach the same problem differently.
It is difficult for me to imagine myself doing something completely disconnected from creativity.
I would probably still be involved in a field where I could create, develop concepts, solve problems, and transform ideas into something tangible.
I would probably still be involved in a field where I could create, develop concepts, solve problems, and transform ideas into something tangible.
Design is the intersection of function, emotion, context, and intention.
For me, design is about creating meaningful relationships between people and their environment.
For me, design is about creating meaningful relationships between people and their environment.
My career has been shaped by many people.
My Brother, my mentors Agustin Lopez and Jairo Leal.
Clients who trusted my ideas, colleagues who challenged me, collaborators who helped bring concepts to reality, and the people who supported me throughout my professional journey have all contributed to my development.
I believe design is never completely individual. Behind every successful project there is a group of people who contribute their knowledge, experience, and trust.
My Brother, my mentors Agustin Lopez and Jairo Leal.
Clients who trusted my ideas, colleagues who challenged me, collaborators who helped bring concepts to reality, and the people who supported me throughout my professional journey have all contributed to my development.
I believe design is never completely individual. Behind every successful project there is a group of people who contribute their knowledge, experience, and trust.
Experience has been one of my greatest teachers.
Every project has taught me something different. Some taught me about creativity, others about technical execution, communication, leadership, or the importance of details.
Every project has taught me something different. Some taught me about creativity, others about technical execution, communication, leadership, or the importance of details.
One of the biggest challenges has been learning how to balance creative vision with realitiy.
A beautiful concept is only the beginning. It needs to be functional, technically possible, financially realistic, and capable of being executed.
A beautiful concept is only the beginning. It needs to be functional, technically possible, financially realistic, and capable of being executed.
Designers should present the story behind the design, not only the final image.
I am interested in continuing to expand the relationship between interior architecture, furniture, and product design.
I want to continue creating spaces with strong identities while developing furniture pieces that can stand on their own as objects of design.
Through Acero Design Studio, I also want to continue building a design language that connects architecture, interiors, furniture, and contemporary lifestyle.
I want to continue creating spaces with strong identities while developing furniture pieces that can stand on their own as objects of design.
Through Acero Design Studio, I also want to continue building a design language that connects architecture, interiors, furniture, and contemporary lifestyle.
My ultimate goal is to create work that has longevity.
I want my designs to remain relevant beyond the moment they were created. I would like people to recognize my work through its proportions, materiality, forms, and attention to detail.
Ultimately, I want to develop a recognizable design language without limiting myself to one particular style.
I want my designs to remain relevant beyond the moment they were created. I would like people to recognize my work through its proportions, materiality, forms, and attention to detail.
Ultimately, I want to develop a recognizable design language without limiting myself to one particular style.
I don't know what people expect, Im still processing all this
Design has a direct influence on how people live, work, connect, and experience their surroundings.
I am particularly excited about continuing to develop my furniture and product design work alongside my interior architecture practice.
The recognition received by my furniture designs, including the Renzo Chair in 2025, and the Lagoon and AB Accent Chair in 2026, has encouraged me to explore this area even further.
The recognition received by my furniture designs, including the Renzo Chair in 2025, and the Lagoon and AB Accent Chair in 2026, has encouraged me to explore this area even further.
The Renzo Concept Chair is one of the projects that has given me the greatest satisfaction because it represents an important milestone in my career. It was the first design award I received, making it a very meaningful moment for me professionally and personally.
I would like to see the industry move away from designing primarily for trends and speed.
I believe there should be more emphasis on longevity, craftsmanship, originality, responsible material selection, and meaningful design.
Technology has made it possible to produce and visualize ideas faster than ever, but speed should never replace thoughtfulness.
I believe there should be more emphasis on longevity, craftsmanship, originality, responsible material selection, and meaningful design.
Technology has made it possible to produce and visualize ideas faster than ever, but speed should never replace thoughtfulness.
I believe design will become increasingly interdisciplinary.
Architecture, interiors, furniture, technology, artificial intelligence, fabrication, sustainability, and digital experiences will continue to overlap.
The challenge will be using technology to expand creativity without allowing it to replace human intuition, cultural understanding, craftsmanship, and critical thinking.
Architecture, interiors, furniture, technology, artificial intelligence, fabrication, sustainability, and digital experiences will continue to overlap.
The challenge will be using technology to expand creativity without allowing it to replace human intuition, cultural understanding, craftsmanship, and critical thinking.
There is no single timeline because every project is different.
A furniture concept may develop relatively quickly, while an interior architecture project can take months or even years from concept to construction.
I believe the process should take as long as necessary to reach the right solution. The goal is not simply to finish quickly. The goal is to arrive at a design that has been properly developed and refined.
A furniture concept may develop relatively quickly, while an interior architecture project can take months or even years from concept to construction.
I believe the process should take as long as necessary to reach the right solution. The goal is not simply to finish quickly. The goal is to arrive at a design that has been properly developed and refined.
I start by understanding the project.
I study the architecture, context, client, users, program, circulation, natural light, proportions, constraints, and opportunities.
From there I look for the central idea that can organize the project.
I study the architecture, context, client, users, program, circulation, natural light, proportions, constraints, and opportunities.
From there I look for the central idea that can organize the project.
Never stop questioning.
I believe every project can be improved. Even when something looks finished, I continue asking whether it can be more refined, more meaningful, more functional, or more timeless.
I believe every project can be improved. Even when something looks finished, I continue asking whether it can be more refined, more meaningful, more functional, or more timeless.
I believe both influence each other, but I prefer designers who create rather than follow trends.
Trends can provide context and inspiration, but they should never become the foundation of a design.
Trends can provide context and inspiration, but they should never become the foundation of a design.
Technology is an important tool in my design process.
It allows me to develop ideas, create complex forms, visualize spaces, communicate concepts, and explore possibilities much faster.
I also see artificial intelligence as an evolving design tool that can help us explore ideas and visualize possibilities.
However, technology should support the concept rather than create the concept. Human intention must always come first.
It allows me to develop ideas, create complex forms, visualize spaces, communicate concepts, and explore possibilities much faster.
I also see artificial intelligence as an evolving design tool that can help us explore ideas and visualize possibilities.
However, technology should support the concept rather than create the concept. Human intention must always come first.
My workflow combines digital design tools with traditional design methods.
I use digital platforms for drafting, modeling, visualization, documentation, and presentation, while also relying on sketching, physical samples, material studies, and direct observation.
I use digital platforms for drafting, modeling, visualization, documentation, and presentation, while also relying on sketching, physical samples, material studies, and direct observation.
They are fundamental to the experience of a space.
Materials create physical and visual identity. Color influences perception and emotion. Lighting creates atmosphere and changes the way materials, textures, and architecture are experienced.
Materials create physical and visual identity. Color influences perception and emotion. Lighting creates atmosphere and changes the way materials, textures, and architecture are experienced.
I wish people would ask why.
Why this form? Why this material? Why this proportion? Why this lighting? Why does this space feel the way it does?
When people ask those questions, they are engaging with the design beyond its appearance.
Why this form? Why this material? Why this proportion? Why this lighting? Why does this space feel the way it does?
When people ask those questions, they are engaging with the design beyond its appearance.
I immediately begin analyzing it.
Absolutely. I believe collaboration can make a project stronger.
My ideal collaborator is someone who brings a different expertise or perspective while sharing the same commitment to quality
My ideal collaborator is someone who brings a different expertise or perspective while sharing the same commitment to quality
Clients, architects, designers, contractors, fabricators, artisans, manufacturers, and colleagues have all influenced my development.
It teaches you to think beyond the image and understand the realities of construction, manufacturing, materials, budget, and execution.
It teaches you to think beyond the image and understand the realities of construction, manufacturing, materials, budget, and execution.
I have always been influenced by books and publications related to architecture, furniture, industrial design, art, design history and science fiction.
Through experience, repetition, observation, and constant learning.
I would love to have a conversation with one of my mentors, Agustin Lopez. He was one of the people who truly introduced me to design and helped me discover how much I could love it.
I still remember the way he taught me the foundations of design. He did not simply teach me principles or techniques. He showed me how to observe, how to think, and how to understand design beyond what you see on the surface.
Because of him, I discovered my passion for design. He was one of the first people who made me understand that design could be a way of thinking, creating, and seeing the world.
If I had the opportunity to sit with him again, I would want to tell him how much his influence shaped my career and how grateful I am that he was the person who helped me fall in love with design for the first time.
I still remember the way he taught me the foundations of design. He did not simply teach me principles or techniques. He showed me how to observe, how to think, and how to understand design beyond what you see on the surface.
Because of him, I discovered my passion for design. He was one of the first people who made me understand that design could be a way of thinking, creating, and seeing the world.
If I had the opportunity to sit with him again, I would want to tell him how much his influence shaped my career and how grateful I am that he was the person who helped me fall in love with design for the first time.
I am not famous still i have a long path to walk, and many thing to learn
My favorite color is red, my favorite place the city were i grow Bogota, Colombia
My favorite color is red.
My favorite place is Bogota, Colombia, the city where I grew up. It will always have a special place in my life because it shaped many aspects of who I am
My favorite place is Bogota, Colombia, the city where I grew up. It will always have a special place in my life because it shaped many aspects of who I am
A great day is when an idea suddenly becomes clear.
I do not know if becoming a designer was obvious, but curiosity was always there.
It is impossible to predict what the world will look like in a thousand years.
Technology, materials, cities, and the way we live will probably be completely different.
Technology, materials, cities, and the way we live will probably be completely different.
I would tell them that I am still learning.
Every project, every challenge, every mistake, and every success becomes part of my development as a designer.
My goal is to create designs that are contemporary but not disposable, sophisticated but not excessive, and recognizable without becoming repetitive.
Every project, every challenge, every mistake, and every success becomes part of my development as a designer.
My goal is to create designs that are contemporary but not disposable, sophisticated but not excessive, and recognizable without becoming repetitive.
Designer Interview
1 July 2025
I’m an industrial designer from Bogotá, Colombia, and a graduate of Universidad Autónoma. My journey into design has been shaped by a deep curiosity for making and a strong connection to materials—especially wood, which I first explored while working as a teenager in my uncle’s carpentry shop. Over time, this hands-on experience evolved into a broader interest in designing both products and interiors.
Architecture has always been a significant influence in my life, largely thanks to my brother, Oscar Acero, a talented architect who became an early role model for me. While I didn’t initially dream of becoming a designer—at one point, I wanted to be a marine biologist because of my love for nature—my path shifted as I grew older. I later considered studying architecture but ultimately chose industrial design to carve out a direction that felt personal and distinct.
Along the way, two teachers played a pivotal role in guiding me toward design. Agustín López, one of my high school teachers, was the first to recognize and nurture my creative interests. Later, at university, Professor Jairo Leal helped solidify my passion and understanding of the discipline. Their encouragement gave me the confidence to pursue this path with purpose and passion.
Architecture has always been a significant influence in my life, largely thanks to my brother, Oscar Acero, a talented architect who became an early role model for me. While I didn’t initially dream of becoming a designer—at one point, I wanted to be a marine biologist because of my love for nature—my path shifted as I grew older. I later considered studying architecture but ultimately chose industrial design to carve out a direction that felt personal and distinct.
Along the way, two teachers played a pivotal role in guiding me toward design. Agustín López, one of my high school teachers, was the first to recognize and nurture my creative interests. Later, at university, Professor Jairo Leal helped solidify my passion and understanding of the discipline. Their encouragement gave me the confidence to pursue this path with purpose and passion.
Ace+Ro is a long-held dream that started during my university years in Bogotá, Colombia. For a while, I set it aside to focus on other priorities—whether that was the right decision, I’m not sure—but in 2023, I decided to bring it to life. While I currently work full-time as an interior designer in New York, Ace+Ro is my personal creative outlet, where I explore my passion for detail, craftsmanship, and handmade furniture. Living abroad, I also feel a strong responsibility to represent my roots—I see myself as an ambassador of Colombian design, striving to share its richness and character through pieces that are both functional and artistic, designed to elevate any space they inhabit.
For me, design is a lifestyle—a way of thinking and expressing what’s in your mind and heart. It’s not just about creating objects; it’s a form of communication and a personal escape from the noise of the world. Through design, I find clarity, purpose, and connection.
I’m most passionate about designing furniture. I love the way a well-crafted piece can combine function, form, and emotion. For me, furniture is more than an object—it’s a tactile expression of identity and atmosphere, something that can transform a space and connect deeply with the people who use it.
One of my favorite designs is a coffee table concept called Futo Giri. It’s meaningful to me because it brings together my two greatest passions: manga and design. With this piece, I found a way to blend the visual language and storytelling of manga with the functionality and craft of furniture design. Futo Giri represents a personal fusion of culture, creativity, and purpose.
The first design project I worked on for a company was creating a new packaging collection for a makeup brand based in Bogotá, Colombia. It was an exciting opportunity to apply my design skills in a real-world context and learn how to balance creativity with the needs of the market.
My favorite materials are wood and concrete. I love wood for its warmth, natural beauty, and versatility, and concrete for its strength and raw, modern aesthetic.
I’ve often felt that I’m not naturally creative enough, but I find my most creative moments come when I’m deeply engaged with a project—whether it’s experimenting with materials.
When designing, I focus primarily on functionality, ensuring the piece serves its purpose effectively. I also pay close attention to how it can be produced efficiently and sustainably. Of course, aesthetics are equally important, I strive to create designs that are both beautiful and practical.
When I design, it’s a mix of emotions. I feel peace and freedom as I immerse myself in the process and forget everything else. At the same time, there’s stress when I struggle to translate the ideas in my mind onto paper. That tension pushes me to work harder and do better, making the creative process both challenging and deeply fulfilling.
When my designs are realized, I feel a deep sense of excitement and accomplishment. It’s incredibly rewarding to see ideas come to life and to know that something I imagined can now be experienced and used by others.
A successful design is one that fully satisfies three key aspects: usability, production feasibility, and aesthetics. When a design works well in practice, can be efficiently produced, and looks appealing, I consider it truly successful.
When judging a design as good or bad, I first consider its usability—how well it functions for its intended purpose—and its aesthetics, or how visually appealing it is. Both aspects are essential for a design to truly succeed.
From my point of view, a designer’s responsibility to society and the environment is to create products that satisfy real needs rather than generating unnecessary desires. Designs should be durable, sustainable, and mindful of their impact, promoting thoughtful consumption and reducing waste.
I believe the design field is currently facing challenges due to the overwhelming sense of immediacy in today’s culture. Most consumers are driven by trends rather than conscious choices, which puts pressure on designers to produce quickly and superficially. This pace often limits the opportunity to create meaningful, lasting work, reducing design to something fleeting rather than relevant.
Looking ahead, I think the future of design lies in the thoughtful incorporation of new technologies. These tools can open exciting possibilities, but it’s crucial that designers use them responsibly to create sustainable, purposeful, and impactful solutions rather than just chasing the latest fad.
Looking ahead, I think the future of design lies in the thoughtful incorporation of new technologies. These tools can open exciting possibilities, but it’s crucial that designers use them responsibly to create sustainable, purposeful, and impactful solutions rather than just chasing the latest fad.
This will be my first exhibition. I’m excited to share my work with a wider audience and look forward to organizing more exhibitions in the future as I continue to grow and develop my designs.
My inspiration comes from everywhere—nature, films, everyday life, and the small details most people overlook. I feed my creativity by staying curious and observant, always looking for beauty and ideas in the ordinary. Anything can spark a concept if you’re open to seeing it.
To be honest, I don’t think I have a fixed design style—and I see that as a strength. Working as an interior designer has taught me to stay open and adaptable, exploring different styles based on each project's unique context and client needs. While I naturally gravitate toward clean lines, natural materials, and thoughtful details, my approach is rooted in flexibility, functionality, and creating meaningful spaces or objects that respond to real people and real needs.
I live in Queens, New York—a place that’s incredibly rich in cultural diversity. Being surrounded by so many different perspectives and traditions is a constant source of inspiration. One of the biggest pros is the creative energy and endless visual references that come from this mix of cultures. The challenge, however, is learning to filter and focus all that inspiration. With so much going on, it can be overwhelming at times to stay true to your own voice while still being open to influence.
I work with companies through collaborations, where I contribute my design perspective to develop unique, purpose-driven solutions. Whether it’s product design or creative direction, I enjoy working closely with teams to align ideas, explore materials, and bring concepts to life in a way that reflects both the brand’s identity and my design values.
If a company wants to work with a designer, it’s important to be open and willing to listen to the designer’s ideas—but that openness should go both ways. A successful collaboration is built on mutual respect and clear communication.
To select a good designer, companies should definitely look at their portfolio, but also pay attention to their personal projects. Those often reveal the designer’s true passion, creativity, and point of view beyond client work.
To select a good designer, companies should definitely look at their portfolio, but also pay attention to their personal projects. Those often reveal the designer’s true passion, creativity, and point of view beyond client work.
Since Ace+Ro is my personal project, I take my time with each design to ensure it reflects my vision and values. Everything starts with an idea—usually sparked by something I’ve seen or felt. I begin by sketching to get the concept out of my head and onto paper. If the idea still feels strong, I move into 3D software to develop it digitally, always thinking about how it can be realistically produced. For me, the process is a balance of creativity, precision, and craftsmanship.
Five of my favorite design items at home are:
1.Coffee table: a central piece that blends function and personality.
2.Accent chair: a sculptural element that brings character and comfort.
3.Lighting fixtures: they create mood and highlight the design details.
4.Rugs: they add warmth, texture, and help define each space.
5. Dining table: a gathering point that brings people together through design and experience.
1.Coffee table: a central piece that blends function and personality.
2.Accent chair: a sculptural element that brings character and comfort.
3.Lighting fixtures: they create mood and highlight the design details.
4.Rugs: they add warmth, texture, and help define each space.
5. Dining table: a gathering point that brings people together through design and experience.
A typical day starts early for me. I spend some quiet time with my wife and son in the morning, then take my son to school. After that, I hop on the subway to head to the office. During the commute, I like to read something in English—since it's not my first language, it's a habit that helps me keep improving. At work, I attend meetings and focus on ongoing design projects. After the day is done, I head back home to spend the evening with my family, which is always the best part of my day.
My advice to young designers is simple: don’t give up, and trust in yourself. Growth takes time, and so does finding your voice. Be patient with the process, stay curious, and keep creating—even when things feel uncertain. Every step, even the challenging ones, is part of becoming the designer you’re meant to be.
One of the biggest positives of being a designer is having the ability to impact people’s lives through your work—creating solutions that improve everyday experiences or inspire others. On the flip side, the downside is that your mind is always active, constantly thinking and analyzing, which can sometimes make it hard to switch off and find rest.
My golden rule in design is to always be open—open to new ideas, different perspectives, and unexpected solutions. Staying curious and flexible allows creativity to flow and helps me adapt to each unique project.
One of the most important skills for a designer is persistence. Design often involves trial and error, refining ideas, and overcoming challenges. Staying committed and pushing through obstacles is key to creating meaningful and successful work.
Even though I’m not the best at drawing by hand, I always start with pen and paper to quickly capture ideas. From there, I use various digital tools depending on the project—Rhino for 3D modeling, KeyShot for rendering, Photoshop and Illustrator for visuals and presentations. I also rely heavily on magazines and the internet for inspiration and staying up-to-date with trends. Social media plays a big role in keeping me connected to the design community. Honestly, I don’t stick to a strict toolbox—I’m open to using whatever helps bring my designs to life.
I believe that everything has its time, so I organize my schedule to create focused periods not just for design work, but also for hobbies, family, and health. This balance helps me stay productive and prevents burnout, making sure I give attention to all important areas of my life.
The time it takes to design an object can vary greatly depending on the complexity of the project and what I’m aiming to achieve. Some designs come together quickly, while others require more research, iteration, and refinement to get just right.
The most frequently asked question I get as a designer is, “Do you like what you’re seeing?” It’s a simple yet important question that reflects both my personal connection to the work and how others perceive it.
For me, the most important job experience was designing my first residential project in Brooklyn, New York. It marked the beginning of my journey as an interior designer in one of the most competitive and influential design cities in the world. The project, named Parkville, was a meaningful milestone that challenged me and helped shape my approach to design.
I haven’t collaborated with companies yet. Currently, I sell my work directly to individual clients, which allows for a more personal and tailored design experience.
What I enjoy most is making the prototypes. It’s the stage where ideas become tangible, and I can physically interact with the design. Seeing how materials respond, making adjustments, and refining details in real time is incredibly satisfying and essential to bringing the concept to life.
My future plan is to focus 100% on Ace+Ro. I want to fully dedicate myself to growing the brand, developing new designs, and sharing my vision of furniture as functional art with a broader audience.
I develop my designs on my own. Working independently allows me to fully explore my creative vision and stay closely connected to every detail of the process—from concept to final execution.
I’m always designing and exploring new ideas, but at the moment I don’t have a specific project in progress that I would consider ready to share. I believe in taking the time to develop something meaningful before presenting it.
People can reach me directly by phone at +1 (305) 570-7903 or by email at acerodesignstudio@outlook.com. I’m always open to collaborations, questions, or just connecting over design.
At the moment, I believe everything important has been covered. I have nothing more to add.
Grand Interview
22 October 2025 · Renzo Concept Poltrona d'Accento
From the start, achieving the Renzo Concept Chair's visual lightness was essential to the design goal. My objective was to investigate how curved wood components may produce a sophisticated, nearly floating effect even conceptual without sacrificing the notion of structural stability.During the design process, it was investigated how organic, flowing lines may be employed to imply comfort and support in addition to being purely beautiful. I was able to design a structure that feels flowing and sculpture like by combining classic woodworking methods, such steam bending, with contemporary digital manufacturing techniques. The chair, albeit currently only a concept, is intended to showcase the beauty and solidity of solid wood while providing a sleek and visually light form.
The decision to explore steam bending techniques in the Renzo Concept Chair came from a desire to celebrate the natural behavior of wood while pushing the boundaries of its expressive potential. Steam bending has a long standing history in furniture making, particularly in designs that emphasize fluidity and lightness qualities that were central to my vision for Renzo.I was drawn to this approach because it allows the material to dictate part of the form. There’s an honesty in letting the wood curve naturally under controlled conditions, which creates both structural strength and organic beauty. At the same time, integrating this traditional method with modern tools and digital modeling helped me refine the proportions and ensure that the design remains relevant in today’s context.
Human factors were at the core of the Renzo Concept Chair’s development. Even though the design remains conceptual, I approached it with a strong emphasis on ergonomics to ensure that its sculptural quality would also translate into physical comfort.The dimensions (890mm x 800mm x 890mm) were carefully studied to align with the natural posture of the body in a relaxed seating position. I paid particular attention to the angle of the backrest, the depth of the seat, and the height of the arms to create a sense of support without compromising the chair’s light, open appearance.I also considered how the flowing curves of the structure could naturally follow the contours of the human body, offering both visual softness and functional ease. Even as a concept, Renzo was designed with the goal of feeling intuitive and inviting a piece that anticipates the needs of the user while remaining true to its artistic and architectural language.
The Renzo Concept Accent Chair responds to a growing demand for furniture that blends comfort, sophistication, and sustainability. Its organic, sculptural form is designed to offer visual lightness while maintaining a sense of warmth and approachability. By using natural materials like solid wood and emphasizing fluid lines, the chair invites a relaxed seating experience without compromising style. Every curve is intentional, aimed at delivering ergonomic support with a refined aesthetic. While still a concept, Renzo reflects a shift in consumer preferences toward pieces that are not only functional, but also emotionally engaging and timeless. Its distinctive character lies in the balance it strikes: a statement piece that feels grounded, elegant, and purposeful, making it suitable for both modern and transitional interiors.
Sustainability is not merely a fad; it is a fundamental component of my design philosophy. I wanted to show that design brilliance and environmental responsibility can and should coexist with the Renzo Concept Chair. Great design, in my opinion, starts with materials that are sourced sustainably and takes into account a piece's whole lifecycle. The chair minimizes its environmental impact while embracing the authenticity and durability of natural materials by using solid wood sourced sustainably. The design's minimalism also shows that resources were used carefully, minimizing waste and eliminating excess. My objective was to develop a concept that offers comfort, beauty, and purpose while also honoring the environment and the final user. Sustainability, in my opinion, is a driving force behind more thoughtful, meaningful design rather than a limitation.
Designing the Renzo Concept Chair over four months in New York offered a unique intersection of influences. The city’s energy, architectural diversity, and design innovation pushed me to think boldly and refine every detail with intention. At the same time, my Colombian roots deeply informed the chair’s warmth, organic shapes, and connection to nature. I grew up surrounded by craftsmanship and natural materials, which shaped my appreciation for honest, expressive design. Renzo reflects this duality its sculptural lines and minimal form speak to contemporary urban living, while its use of wood and flowing silhouette pay tribute to the natural elegance often found in Latin American design. The result is a piece that feels global yet personal, grounded in cultural richness and modern sensitivity.
Creating the flowing silhouette of the Renzo Concept Chair meant pushing the limits of what’s typically expected from solid wood furniture. One of the main challenges was envisioning how to achieve organic, continuous curves while still respecting the structural limitations of the material. To address this, I researched traditional steam bending techniques and explored how they could be paired with modern digital modeling to map out precise geometries. Balancing strength with lightness was also a key concern every curve needed to serve both an aesthetic and structural purpose. While still a concept, the design required careful planning around joinery, grain direction, and load distribution to ensure feasibility. These challenges became opportunities to experiment with how craftsmanship and innovation can come together in truly expressive forms.
Getting the Iron A' Design Award for the Renzo Concept Accent Chair is a significant turning point in my design career as well as an honor. This accolade reaffirms my dedication to creativity, sustainability, and handiwork. It motivates me to keep experimenting with the merger of conventional methods and modern technology, pushing the limits of both form and function. The honor inspires me to create designs that handle changing user needs and environmental concerns in addition to being aesthetically pleasing. I see myself building on Renzo's concepts going ahead by improving material efficiency, strengthening ergonomic focus, and refining organic designs. In the end, this recognition feeds my desire to produce furniture that speaks to people both practically and emotionally, raising the bar for responsible, considerate design.
The integration of CNC precision with hand-finishing techniques in the Renzo Concept Accent Chair allows for an ideal balance between accuracy and craftsmanship. CNC technology enables precise cutting and shaping of complex curved elements, ensuring consistency and tight tolerances that would be difficult to achieve by hand alone. This precision streamlines the production process, reducing material waste and improving efficiency. However, the hand finishing stage remains essential to enhance the tactile quality, refine details, and celebrate the natural beauty of the wood grain. This combination brings warmth and authenticity to the final piece, blending technological innovation with traditional craftsmanship. Ultimately, it results in a chair that embodies both modern sophistication and artisanal character, elevating the user experience through superior design and build quality.
My goal for the Renzo Concept Accent Chair is to combine modern design ideas with the inherent beauty of nature. By encouraging designers to work with natural materials in ways that preserve their intrinsic attributes and reduce waste and environmental effect, this ideology promotes sustainability. The design is an excellent example of how innovation can respect the environment while producing stylish, useful things by fusing traditional craftsmanship with contemporary technologies. By encouraging more thoughtful material selections and design methodologies that put lifespan and emotional connection first, I think this strategy will influence the direction of sustainable furniture in the future. In the end, recognizing the harmony between nature and contemporary design creates furniture that is not only ecologically conscious but also classic and significant for its users, fostering a greater understanding of the craft and the natural world.
