Interviews met Leonardo Liendo

Vitro was inspired by the idea of suspending time. The project originated from a personal reflection on how time is perceived and valued in contemporary life. In a world that constantly accelerates our routines, I wanted to create a watch that transforms the act of reading time into a more reflective and meaningful experience. This idea is expressed through the suspended movement design, where the dial and mechanism appear to float inside the case.

My main goal was to create a watch capable of communicating an idea through its own material and formal configuration. I wanted every design decision to reinforce the concept of suspended time, from the triple-crystal structure to the visual lightness of the case and strap system. At the same time, the product needed to remain functional, comfortable, and technically feasible to manufacture.

I do not have a specific plan defined for Vitro at the moment. My main goal is for it to continue finding opportunities to be seen, used, and appreciated by new people. Like many independent projects, I am open to seeing how it evolves over time, whether through new editions, exhibitions, or simply by reaching more users.

The project was developed over approximately three years, from August 2021 to December 2024. During this period, I worked through multiple stages of research, prototyping, engineering, material selection, testing, and refinement before arriving at the final product.

Vitro was a self-initiated project born from a personal interest in watches and from a broader reflection on the way we experience time. Rather than responding to a client brief, it emerged from a desire to explore how industrial design could transform an abstract concept into a tangible object.

Vitro is independently produced in small batches through my own design practice. Each watch is signed, numbered, and finished by hand.

Watchmaking has always fascinated me because it combines engineering, craftsmanship, functionality, and symbolism within a relatively small object. Watches are products people interact with every day, yet they also carry strong emotional and cultural value. This combination made the wristwatch an especially interesting typology to explore through design.

Rather than being inspired by a particular designer or watch, Vitro emerged from a personal reflection on time, as well as my interest in technical precision, material honesty, and the intimate relationship between people and objects.

Vitro is intended for people who appreciate design, craftsmanship, and objects with a strong conceptual narrative. It is aimed at individuals looking for something beyond a conventional wristwatch: a product that combines functionality with emotional, cultural, and symbolic value.

Its most distinctive feature is the suspended movement design, where the dial, hands, and mechanism appear to float inside the case. This effect is made possible by a patented triple-crystal structure that allows light to pass through with minimal visual interference. The one-piece strap and its clasp system, adaptable to any wrist size, further reinforce the product's simplicity and uniqueness.

The name Vitro comes from the Latin word for glass and references one of the project's fundamental elements. Transparency plays a central role in both the concept and the visual experience of the watch, making the name a natural extension of the design itself. It is also short, memorable, and directly connected to one of the product's most distinctive features.

The development of Vitro combined both traditional and digital techniques and technologies. Initial concepts were explored through sketches, while SolidWorks and KeyShot were used for CAD modeling, technical development, and project visualization. Numerous 3D-printed and laser-cut prototypes helped validate dimensions, assembly methods, and ergonomic aspects. The final product combines CNC machining, turning, and die-cutting with traditional woodworking and watchmaking techniques.

I believe the most unique aspect of Vitro is its ability to transform an abstract idea into a tangible visual experience. The triple-crystal system allows the dial, hands, and movement to appear suspended within the case, which, together with the adaptable strap, makes the experience of reading time both functional and contemplative.

Vitro was entirely conceived and developed by me. However, its production required the collaboration of local specialists and workshops, including machinists and suppliers related to watchmaking. Both the technical knowledge I acquired throughout the process and the expertise of these professionals were essential to bring the project to life with the required level of precision.

Technology played a fundamental role in both the development and production of the project. Digital tools such as CAD modeling, rendering, and prototyping helped validate complex solutions before manufacturing. At the same time, technologies such as CNC machining made it possible to achieve the precision required to realize a concept that would have been very difficult to produce through purely manual processes.

The research focused primarily on resolving the project's technical challenges while preserving its original concept. The process included sketches, mock-ups, and prototypes to evaluate proportions, structure, and assembly. Anthropometric data was also considered to develop a strap adaptable to a wide range of wrist sizes, while different hardwood species, aluminum alloys, and finishes were evaluated to determine the final material palette.

The main creative challenge was developing the suspended movement concept without compromising the structure or proper functioning of the watch. From a manufacturing perspective, one of the greatest challenges was precisely machining both concentric faces of the small wooden case using local technology. Hardwood is an uncommon material in watchmaking and requires a high degree of technical precision to work with successfully.

After several years of development, I felt that Vitro had reached a level of maturity that made it ready to be evaluated in an international context. Submitting it to the A' Design Award was an opportunity to obtain independent feedback while also giving international visibility to a product designed and produced in Argentina.

Vitro taught me that successful design is not only about creativity, but also about persistence, problem-solving, and attention to detail. The project allowed me to deepen my understanding of materials, manufacturing processes, prototyping, and technical development, while also giving me a greater appreciation of the complexity involved in bringing an idea from concept to finished product.

Vitro represents a synthesis of many of the ideas that interest me as a designer: the relationship between concept and object, the dialogue between technology and craftsmanship, and the search for new experiences through everyday products. Beyond being a wristwatch, I hope it encourages people to reflect on time and on the way they choose to experience it.

Since I was a child, I have always been drawn to the creative world. I spent hours drawing everything around me: my family, landscapes, cartoons, and pretty much anything that caught my attention. What I enjoyed most was that, after drawing them, I could continue interacting with them through play and imagination. It was something that genuinely made me happy. Over the years, this interest gradually became a more important part of my life. Driven by that passion, I chose to study Industrial Design at university. As time went by, my enthusiasm for the discipline only grew stronger, constantly confirming that it was the right path for me.

My design practice is independent and focused on two main areas. On one hand, I design and produce my own objects, developing products with a strong personal and authorial character across a wide range of categories, from furniture to product design in general.

On the other hand, I collaborate with companies and design studios, helping develop new products through a design approach that combines conceptual thinking, technical development, and production feasibility. My goal is always to create meaningful products that bring value both to brands and to the people who use them.

For me, design, in all its forms—industrial, graphic, interior, and beyond—is one of the most powerful ways of communicating ideas. Designers are, in many ways, the authors of those messages. Through design, we can evoke emotions, communicate concepts, solve problems, encourage reflection, and contribute to improving people's quality of life as well as our relationship with the environment.

I enjoy working on projects where narrative and conceptual value play a central role in the final object. I am particularly interested in products that go beyond their functional purpose and are able to tell a story, communicate an idea, or create an emotional connection with people. This includes furniture, watches, lighting, and many other types of products.

One of the designs I admire most in the world is Eutopia Chair by Francisco Gómez Paz. Francisco is one of my greatest design references, and Eutopia is a project I deeply admire for the way it bridges industrial production and craftsmanship while showcasing Argentine design on a global scale.

The first product I developed professionally for my own design practice was Vitro, a wristwatch inspired by the idea of suspending time, which recently received the Bronze A' Design Award. More than just an object, Vitro reflects my approach to design and has become my introduction to the international design community.

I enjoy working with a wide variety of materials and technologies, both traditional and emerging. However, if I had to choose one, it would undoubtedly be wood. I find it to be a truly unique material: noble, renewable, and incredibly diverse. Every species offers different aesthetic, technical, and manufacturing characteristics, creating almost endless possibilities for design. It is a material that can feel both timeless and contemporary at the same time.

Paradoxically, I usually feel most creative when I am away from a pencil and paper. Ideas often come to me when I least expect them: while running, exercising, traveling, or simply spending an afternoon outdoors. I think creativity often emerges when the mind has enough space to wander freely.

There is no single aspect that I prioritize above all others. I try to approach design as a fully integrated process where every stage deserves equal attention. That said, I place great importance on conceptual richness, morphology, manufacturing and technical considerations, industrial viability, and the overall narrative behind the object. For me, the strongest designs are those where all these aspects work together in a coherent way.

Designing is usually a mix of curiosity, excitement, and uncertainty. What I enjoy most is that every project begins with more questions than answers. There is always a moment where possibilities seem endless, and part of the challenge is discovering which path is worth pursuing. That constant process of exploration is what keeps design exciting for me.

Seeing a design become a real object is always a very rewarding experience. After spending weeks or months developing an idea, there is a great sense of satisfaction in finally being able to hold it in your hands and experience it in the real world. At the same time, there is often a sense of surprise, because physical objects reveal qualities and details that are impossible to fully appreciate through sketches or digital models alone.

For me, a design is successful when balance function, production, aesthetics, and conceptual value in a coherent and honest way.

The first thing I look for is coherence. I like to understand whether the decisions behind a design make sense and respond to a clear intention. A product does not need to be complex or visually striking to be good. In many cases, the best designs are those where every element has a purpose and nothing feels arbitrary.

I believe designers have both environmental and cultural responsibilities. On one hand, every design decision has consequences in terms of materials, production processes, durability, and resource consumption. Designers should be conscious of these impacts and strive to create products that make responsible use of resources. On the other hand, design also communicates values. The objects we create influence how people interact with the world around them, which makes thoughtful and responsible design more important than ever.

Design is becoming increasingly interdisciplinary, integrating technology, sustainability, digital tools, and artificial intelligence into the creative process. At the same time, I believe there will be a growing appreciation for authenticity, craftsmanship, and human-centered experiences. The future of design will likely emerge from balancing technological innovation with meaningful human values.

My most recent exhibition was at Brasília Design Week 2026 in Brazil. Looking ahead, I would love for my next exhibition to take place in Milan or another Italian city. Beyond its extraordinary design tradition, Italy holds a special place in my family history because my great-grandfather was Italian, and I have always felt a strong connection to its culture.

Inspiration can come from almost anywhere, but I am particularly fascinated by understanding how things are made and why they are made the way they are. I find inspiration in architecture, engineering, nature, manufacturing processes, and the history of design. I am also constantly inspired by observing everyday objects and discovering solutions hidden in ordinary situations. More than anything, I try to stay curious. I believe creativity is less about waiting for inspiration and more about maintaining a genuine interest in the world around you.

I think my design style is still evolving and will probably continue evolving throughout my career. Every project teaches me something new and contributes to shaping my perspective as a designer. That said, my work is generally characterized by strong conceptual thinking, technical rigor, aesthetic sensitivity, and a highly experimental creative process. The resulting objects are often defined by a clear constructive logic, a minimal use of elements, and a distinctive formal identity.

I live in Córdoba, Argentina, a province historically considered one of the country's most important industrial centers, with a strong manufacturing tradition. This context naturally influences my work, encouraging me to think about production methods and industrial logic from the earliest stages of a project, whether it is intended for small-batch production or larger-scale manufacturing. At the same time, Argentina's economic and technological challenges often require designers to be resourceful and adaptable. It is common to prototype and produce through small workshops, working closely with local craftspeople such as woodworkers and metalworkers. This environment has taught me to deeply value practical knowledge, craftsmanship, and the expertise that exists within local trades.

I work closely with companies to transform ideas into products that connect with people while also responding to production, business, and market requirements. I see design as a collaborative process, so I try to maintain an open dialogue throughout the development of a project, from the initial concept to the final product. My role is not only to propose solutions, but also to help identify opportunities, solve problems, and create products that bring long-term value to the brand.

When selecting a designer, it is important to look beyond visual style and evaluate how they think, solve problems, understand manufacturing processes, and contribute to the broader objectives of the company. A successful collaboration is built on shared values and a clear understanding of goals.

My design process is highly experimental and rarely follows a completely linear path. It involves a constant dialogue between research, sketching, prototyping, testing, and refinement. Typically, a project begins with observation and conceptual development before moving into formal exploration and technical resolution. Throughout the process, I frequently move back and forth between stages, allowing new discoveries to inform previous decisions and improve the final outcome.

Some of my favorite objects at home are classic Thonet chairs, a traditional Italian moka coffee maker, glass tableware, a small stainless-steel toaster, and several rugs.

No two days are exactly the same, which is one of the things I enjoy most about being a designer. A typical day may involve sketching ideas, developing CAD models, preparing presentations, communicating with clients, reviewing prototypes, or coordinating with manufacturers. I also try to make time for physical activity and spending time outdoors, as many of my best ideas tend to appear away from the computer screen.

Stay curious and be patient. It is easy to focus on trends or compare yourself to others, but I believe it is more important to develop your own perspective and way of thinking. Learn how things are made, remain open to different disciplines, and understand that meaningful growth takes time.

One of the greatest rewards of being a designer is the opportunity to transform ideas into tangible objects that can positively impact people's lives. One of the challenges is dealing with uncertainty. Design often involves navigating ambiguity, balancing multiple constraints, and accepting that not every idea will succeed. However, these challenges are also what make the profession so engaging.

Every element should have a reason to exist. Whether functional, structural, aesthetic, or conceptual, every decision should contribute to the overall integrity of the design. I believe the strongest products are often the ones where nothing feels unnecessary.

Curiosity is one of the most important qualities a designer can have. Beyond that, observation, empathy, communication, technical knowledge, and problem-solving skills are all essential. Design is not only about creating objects; it is about understanding people, identifying opportunities, and translating ideas into meaningful solutions.

I regularly use SolidWorks, KeyShot, Adobe Illustrator, and Photoshop, and various prototyping methods like 3D printing, laser-cut models, and full-scale mock-ups to evaluate ideas in a tangible way. Beyond software and hardware, I also consider books, exhibitions, travel experiences, conversations with craftspeople, and everyday observation to be essential design tools. One of my favorite books is Product Design and Development by Karl Ulrich and Steven Eppinger.

I try to organize projects into clear stages and establish priorities from the beginning. At the same time, I leave room for exploration because some of the most valuable discoveries happen during the process itself. For me, managing time is about finding a balance between structure and flexibility.

It depends entirely on the nature of the project. Some products can be developed in a matter of months, while others may take even years. Factors such as complexity, manufacturing challenges, and the desired level of refinement all influence the timeline.

One of the questions I hear most often is where did the idea come from? People are often curious about the origin of a concept and how an initial intuition eventually becomes a finished product. It is a question I always enjoy answering because every project has its own unique story.

At this point in my career, I believe Vitro is one of the most important projects I have developed. The watch took nearly three years to develop and allowed me to bring together everything I had learned as a designer into a single project. More importantly, Vitro taught me that successful design is not only about creativity, but also about persistence, problem-solving, and attention to detail throughout the entire process.

I am open to collaborating with brands, companies, and design studios across furniture, lighting, and product design in general.

I particularly enjoy designing products from the ground up, especially when they allow me to communicate an idea or convey a specific message through the object itself. I am interested in exploring how technology, materials, and manufacturing processes can be used to create new experiences, challenge conventions, or introduce a different approach to a familiar product typology. I especially enjoy designing furniture, watches, tableware, lighting, and everyday objects, as these products offer an interesting balance between functionality, form, and meaning.

My goal is to continue expanding the visibility of my work internationally and to build meaningful collaborations with design brands, both established and emerging. I am particularly interested in working with companies that value innovation, strong product identity, and thoughtful design. Looking ahead, I would also love to exhibit my work in Milan, a city that represents one of the world's most important design capitals.

My projects are developed independently, which allows me to maintain a direct connection with every stage of the design process. At the same time, I strongly value collaboration and frequently work alongside engineers, manufacturers, craftspeople, photographers, and other specialists whenever a project requires additional expertise. I believe the best results often emerge when different perspectives come together around a shared goal.

One of my most recent projects is Settecento, a stackable chair that pays tribute to the essential spirit of Italian Bel Design. Inspired by Gio Ponti's iconic 699 Superleggera, Settecento reinterprets this classic typology through the strength and durability of steel, adapting it to contemporary hospitality settings such as cafés, trattorias, and restaurants. Its structure is defined by two continuous bent steel tubes that form the legs and backrest, while a CNC-cut and perforated steel seat completes the design. The result is a chair that seeks to balance visual lightness, structural performance, and manufacturing simplicity.

People can contact me via email at info@leonardoliendo.com, through my website at www.leonardoliendo.com, or via my professional Instagram account @leonardoliendo_.

I would simply like to express my gratitude for the opportunity to share my work and thoughts through this interview.