Ignacio Martínez Todeschini

Since childhood, I showed a strong interest in music, visual arts, and crafts. My parents always encouraged a philosophy of expressing creativity, and I would often return their love by creating drawings and sculptures as gifts. As a child, I became a sort of 'creative machine,' producing artworks especially when they traveled. Over the years, I deepened my artistic, musical, and technical abilities. At the age of eight, I began playing the cello in my school orchestra and performed in prestigious theaters in Buenos Aires. Around the same time, I started building mechanical-electronic prototypes with my father, using wood, metal, and traditional tools. This experience shaped my understanding of how to combine beauty and function. I also became fascinated with science, mathematics, and astronomy, spending hours watching documentaries and reading. At fifteen, I discovered industrial design in high school and immediately felt a calling. The balance between technical and artistic dimensions resonated with me. After completing my technical baccalaureate, I enrolled in the University of Buenos Aires—Argentina’s most prestigious institution—and graduated at 23. That marked the beginning of my professional design career.

My brand, BILU, is a collection of signature luminaires based on computational algorithms that mimic natural behavior. Using additive manufacturing and combining it with noble materials such as wood, ceramics, metal, and natural stone, BILU was born during the pandemic, while I was still a design student. Nature was a key inspiration, as I felt the intrinsic need to reflect my passion for the natural world in a collection. Although it took time to define the visual and conceptual language, the identity emerged as a blend of sustainability, technology, and the cultural heritage of Latin America. In just three years, the brand has received significant recognition, including design awards and exhibitions at leading national and international fairs such as Salone del Mobile Milano. In parallel, I began designing for other companies, including IWish, an Argentine lighting brand. Together with its director Ignacio Noel, we developed 'Órbita', a luminaire that gained international prestige and won the Gold A' Design Award, marking a major milestone in my career.

Design, for me, is a language—a tool for transformation. It’s not an end in itself but a medium through which we can create meaningful value in people's lives, culturally, aesthetically, and functionally. Design holds great power in the commercial world, and as designers, we must learn to use it to benefit both users and the environment. We are cultural agents trained to articulate complex systems within the production chain. It’s our duty to raise our voices and make a positive contribution to society.

I’m especially drawn to projects that require or allow for strong emotional and narrative depth. That’s why I’m particularly attracted to lighting design. In decorative lighting, luminaires serve not only a functional role but also act as sculptural objects. Still, I remain curious to explore new fields, particularly within interior design.

If I had to choose one piece that summarizes my path as a designer, it would be the luminaire 'Órbita', which won the Gold A’ Design Award. Its technical and conceptual development is unique—especially in the Argentine context. The piece features high-quality materials, intricate joinery, and an internal rotation system that allows users to customize their lighting experience. It was conceived from the outset for export, blending inventive and artistic complexity into a timeless design. We aspire for Órbita to become an icon of 21st-century design.

The first major project I designed for a company was the Órbita luminaire for IWish Deco. It was an intense year-long process of exploration, prototyping, and refinement. The result was a conceptually and technically rich product aimed at the international market—one that still awaits full-scale industrial production but is already celebrated for its inventiveness and uniqueness.

I have extensive experience working with biopolymers, which allow for complex forms through 3D printing while maintaining a sustainable focus. I also appreciate natural materials like wood and textiles for the warmth and authenticity they bring. Tools like Grasshopper enable previously unthinkable generative design processes. Recently, I’ve been experimenting with ceramics and translucent natural stone. I’m always eager to immerse myself in new materials and processes that align with my creative language and worldview.

Primarily when I travel and explore natural environments. I enjoy hiking and immersing myself in wild, overgrown places—settings not everyone would dare to enter. This connection with nature clears my mind and sparks new ideas. Additionally, encountering unfamiliar cultural expressions and forms of art stimulates fresh perspectives. These two forces—nature and culture—continuously feed one another in my creative process.

I focus on morphology, narrative, material selection, and the sensory interaction between object and user. Equally important is the commercial viability of a design. I strive to ensure that each piece aligns with a sound business strategy—one I actively help shape.

What I feel most intensely happens before I even begin designing—an inner urge to materialize a concept. Sometimes the process starts with a piece of writing or a conceptual thread that captures my attention; other times it begins with a sketch or an intuitive form. The journey evokes a mix of excitement and introspection, as I experiment with materials and techniques. Ultimately, watching a concept become a tangible object that touches people’s lives is deeply fulfilling.

Generally speaking, if I have done things correctly, it is met with admiration. The sensation of having created something new, of having introduced something original into a world inundated with choices and information, fills me with immense pleasure. Moreover, if this is positively received by the public, the gratification is doubled.

A successful design should be able, within its particular ecosystem, to satisfy all parties in the best possible way. In other words, it must ensure a proud designer, a company recouping its investment, a customer pleased with their purchase, a user with one less problem in their life, workers or artisans employed under dignified conditions, and nature enduring the least possible negative impact.

Emotional connection should always be inherent in good design. There are other professions equipped to create products that satisfy needs; however, what distinguishes design from these fields is its exceptional added value in terms of usability and aesthetics. Establishing a connection with the user or viewer is fundamental.

There are infinite responsibilities—far too many to fully contemplate, one might say. Yet, I believe that foremost there is a responsibility to the industry, through respecting those who work within it and keep it afloat, as well as our fellow designers. Next, it is imperative to design with conscious intent so that the users of my products experience genuine happiness, receiving true value in their lives rather than merely ephemeral pleasure. Moreover, within the broader framework of society lies the environment, our only home, which will remain so for many generations to come. It is not only about meeting today’s needs but also about considering—and not compromising—the needs of tomorrow. Still, I recognize that for designers to bear this responsibility alone is unfeasible; the task, to be successful, requires the cooperation of several parties: institutions, companies, designers, and consumers.

The focus on the human element, emotionality, and the hybridization with technology are aspects of design that resonate profoundly today. Collaborative design endeavors, in which different actors—sometimes of divergent natures—converge to create high-value projects, further highlight this shift. Moreover, personalization and unique design break away from traditional industrial methods, carving out a renewed space for craftsmanship and inviting it to reinvent itself and contribute once again.

My two most recent exhibitions took place at Salone Satellite, part of Salone del Mobile Milano—a prestigious venue in the design world that showcases emerging and avant-garde design by sub-35 designers, within the most celebrated design exhibition and the foremost design week. Being selected for this showcase granted me the privilege of participating on three occasions. Consequently, my projection for next year is to return to Milan and, whether at Satellite or Fuorisalone, once again present a glimpse of what I have been diligently working on throughout the year.

The careful observation of everyday life, art in all its manifestations, the people in my sorroundings, scientific advances, and the inexplicable beauty present in nature.

Although my style is in constant evolution, I can assert that its guiding principle lies in the integration of the latest technologies with artisanal craftsmanship. This fusion gives rise to an aesthetic that engages in a dialogue between both worlds—between machinery and the artisan. The natural environment, serving as an inexhaustible source of inspiration, compels me to realize organic forms that depart somewhat from the customary industrial aesthetic. It also inspires the use of neutral, visually pleasing colors that harmoniously blend with their surroundings rather than overwhelm them. Moreover, 4.0 technologies have enabled me to materialize ideas that would be impossible to manufacture using traditional industrial methods—ideas that resonate on an emotional level with people and meet contemporary needs.

I reside in Argentina—the country where I was born and where I have spent the majority of my life. I also travel frequently to Uruguay, my second home across the widest river in the world, the Rio de la Plata, where I have the other half of my family. The cultural heritage in my region is truly impressive; in Buenos Aires, in particular, there exists a remarkable synergy between artisanal craftsmanship and industry, with both working together harmoniously for many years. Trades and industry mutually complement one another. In an economy as unstable as ours, there is an established know-how that enables us to solve nearly any problem using minimal resources. There is no challenge too great for us Argentines to dare to resolve, and for that reason, we are in high demand professionally around the world.

First, I invest considerable time in thoroughly understanding what the client or company explicitly expresses as a need. Then, building on the insights gathered, I endeavor to identify additional challenges that the client may not have yet recognized. There is what I refer to as commercial creativity—a skill I have developed over the years through my brand—which arguably exceeds the typical capabilities of a designer. This exceptional creativity is a distinctive value that I am committed to bringing to the company from the very outset. My aim is not solely to deliver value through design but to provide something more. That "something more," along with my personal vision of the world, constitutes my unique signature and distinguishes me from other designers. I firmly believe in collaborating with the company—not just working for it—by incorporating them into the design process and utilizing my tools and resources to empower them to create as well. When such a collaborative commitment exists, the results achieved are truly remarkable

For a company, a designer is akin to a partner—one whose relationship may last for a few months or many years, but who must be chosen with great care. There is a proper timing that must be observed, where both parties feel that they have “found the one.” When this sentiment is mutual, success is assured. I also understand that there are cases in which, particularly with very large companies, this ideal match becomes somewhat more complex to achieve. Ultimately, however, it is a relationship between organizations—a connection between human beings that should flow as naturally as water. If numerous obstacles arise from the outset, then it is likely that this is not the right path to follow. There is an ideal designer for every company, and a company for every designer.

My design process begins with an in-depth research and observation phase, during which I identify needs and opportunities. I analyze relevant references and familiarize myself with every detail of the ecosystem in which the design element will operate. Next, I conduct a brainstorming session, segmented by aesthetics, functionality, technology, usability, and sustainability—using online collaborative platforms that enable the exploration of the diverse issues surrounding the project. Once I have a comprehensive understanding of the overall landscape, I start addressing questions with the aim of solving problems through innovative solutions. This leads into the sketching phase, where I employ not only hand-drawn sketches but also digital drafts, three-dimensional models, and fast renderings powered by artificial intelligence. I propose multiple approaches to select at least two viable paths, generating various proposals that are ultimately chosen by either myself or the client, often supplemented by focus group tools and validation with real users. Finally, the prototyping stage is fundamental to detect necessary adjustments and refine the proposal technologically, ensuring that it not only meets quality standards but also remains cost-effective and fulfills sustainability requirements.

Find your own voice, practice keen observation, and be patient. Identify where your true strengths lie and where you can contribute something uniquely different from what others can. Work diligently, understanding that while shortcuts may exist, none can replace the value of hard work. It is essential to grasp, deep within, the extent to which one is willing to risk or sacrifice to achieve desired results, and to be honest about that commitment without comparing oneself to others. Recognize that the professional journey is long, and consistency is of paramount importance. Establish clear, well-defined objectives in the short, medium, and long term, and commit to steady progress throughout the process. As the saying goes, “It’s a long way to the top,” reminding us that while motivation may not always be present, perseverance remains crucial. Yet, despite these challenges, finding pleasure in the journey and enjoying the process is equally important, for without it, the pursuit loses its meaning.

Creative freedom, the opportunity to introduce new contributions to the world, to add value to society, and to serve as a transformative art in the history of humanity. The downside, perhaps, is the considerable intellectual time it demands and the challenge of ever being able to still the mind.

To deliver value to the world without neglecting one's own core values.

Knowing how to work collaboratively and delegate tasks is essential. Embracing challenges and managing risks effectively are equally important. Furthermore, one must understand when it is truly worthwhile to invest effort in a particular endeavor and when it is not. It is also important to acknowledge that designers often suffer from an affliction known as perfectionism, which typically works to our detriment.

Drawing notebooks, markers for rendering, and occasionally watercolors. The computer stands as the quintessential tool, enabling a myriad of actions to achieve exemplary design. Online collaborative platforms facilitate effective teamwork, while various artificial intelligence software applications are employed to process data and rapidly generate fresh ideas. I utilize Rhinoceros 3D for three-dimensional modeling, Grasshopper for creating complex parametric surfaces, SolidWorks for crafting parts or assemblies with specific technical requirements, Keyshot for renderings, and both Illustrator and Photoshop for developing presentations. Additionally, 3D printers and specialized tools and machinery for processing wood or metal are integral to the prototyping phase.

Working diligently makes it possible to complete nearly any design task. However, effective time management is essential to ensure that such hard work does not encroach upon one's personal life. My greatest challenge is balancing my work and personal commitments—a goal I aspire to achieve one day. Currently, going the extra mile has become a constant in my routine. Moreover, knowing how to delegate tasks that others may perform better or that I have little interest in undertaking is crucial for managing time effectively.

It depends heavily on the project. The first collection presented at BILU took approximately six months to develop from the moment I defined my objective—essentially, designing for myself as my own client. Later, for example, in designing the Orbita light fixture, the design process spanned a full year. The final outcome is a prototype, which still requires some final technical adjustments before a formal industrial production can be launched. I would say that a good project within a small yet competent organization naturally takes between one and two years.

I am often asked how I managed to accomplish so much in such a short time. Truthfully, I’m not entirely sure, but I believe it is, as I mentioned before, by working diligently—even to the point of exhaustion—often without receiving direct results or immediate rewards. I have learned to cultivate patience and to understand that every action undertaken with sincere intention and positive energy will eventually bear fruit. By connecting with the right people and very consciously choosing the projects in which I engage, I always honor my decisions and give nothing less than the best of myself.

Professionally, I have achieved several significant milestones that have led me to where I am today. First, there was the process of creating my brand from scratch. Designing, developing, and launching a collection of signature products into the market—without having the necessary contacts and with virtually no knowledge of the field—is no easy task. It was a colossal challenge, filled with many ups and downs, from which I learned immensely, not only as a designer but also as an entrepreneur and small business owner. The second milestone was participating in the Feria Puro Diseño for two consecutive years, a platform with 25 years of history dedicated to showcasing emerging Argentine talent and design. Through this experience, I successfully connected my brand, BILU, with major companies, met potential clients, distributors, and media outlets. Following that, I was honored with the Sello Buen Diseño Argentino for the “Ombo” collection, the first and most representative of my brand. This recognition not only enhanced my market positioning and validated my work, but it also opened significant institutional opportunities. Lastly, being selected by SaloneSatellite at Salone del Mobile.Milano was perhaps the final major milestone that ultimately catapulted my professional career. Initially, it seemed impossible, and it truly required an enormous amount of work for an emerging designer from Argentina to reach Milan. After participating for two consecutive years, I managed to establish a strong presence in the local scene and open doors on the global stage. In the 2025 edition, we presented Orbita—a project on which we worked diligently throughout the year and from which I gained a wealth of knowledge.

Overall, I work with small to medium-sized companies that are willing to invest in design to extend their reach—not only commercially but also in their advertising efforts. These organizations believe in the transformative power of design and view it as a long-term strategy that will yield results well beyond the immediate future.

Conceptual design—the intangible—shapes and gives purpose to design. It is arguably the most artistic and creative realm, a domain that no one can approach in exactly the same way. I am not drawn to working in areas of design that, at their core, any other designer could address in a similar manner.

I have a strong desire to pursue international design experiences, traveling extensively, engaging with new organizations, and immersing myself in diverse cultures. I long to meet and learn from new people, to feel like an internationally recognized designer with a well-deserved title, all while never forgetting my roots and showcasing them proudly to the world.

I believe in a hybrid approach to work. Certain phases are inherently individual while others require collaboration. Even so, teamwork remains indispensable. The diversity of ideas, opinions, experiences, and efforts is always beneficial, and it is extremely difficult—if not impossible—to achieve great results by working alone.

I am currently designing a collection of natural stone luminaires in collaboration with a renowned stone distribution company in Argentina, using a Brazilian stone with translucent properties and unparalleled beauty. Although the original idea was to showcase them in Milan, time constraints made that impossible. I now aim to have the collection ready by next year, offering the world a glimpse of indigenous materials and craftsmanship.

Email: ignaciomtodeschini@gmail.com Instagram: https://www.instagram.com/imtodeschini/ Website: https://imtodeschini.com.ar/ LinkedIN: https://www.linkedin.com/in/ignaciomartineztodeschini/

My story as a designer begins when I was very young, drawing and painting experimentally from the age of 3 until about 10. Between 15 and 20, I drew and painted a lot. I made drawings, paintings, using different techniques, and I created art pieces. Additionally, I have always liked sculpture and crafts. Over the course of those 10 years, I made a series of experimental objects with my father, using motors, flashlights, and simple circuits, but that was like a first step towards industrial design. Later on, I also got very involved in music; I played the cello for 5 years in a philharmonic orchestra, from age 8 to 12. I specialized in industrial design during my technical studies, and then I started my professional career studying industrial design at the University of Buenos Aires.

What motivates me most about designing is that I can, in some way, shape people’s everyday lives and improve their quality of life. I think design has something very human and very direct toward addressing a concrete need. So, I find it very interesting because it’s a middle ground between artistic expression and what people need, and what the market demands. In art, I found that balance a bit harder to find. I feel that, personally, design makes more sense for me. Although I love and deeply appreciate art—looking at it, feeling it—design is an area that fits me better professionally. Additionally, I believe it has the capacity to shape the future by relying on technologies and industry.

I think it’s a bit of both at the same time. The truth is, I’ve always leaned toward art and music on one side, and on the other, I’ve always had this more technical, scientific side. As a child, I was very attracted to mathematics, astronomy, and the exact sciences. At the same time, the entire artistic world fascinated me, and I wanted to express myself and create new things. When I first encountered industrial design in high school, where it was an optional specialization, I honestly had no idea what it was. I had heard the word “design,” but if you don’t get into design, you never really know what design is. So, yes, it was somewhat inevitable, but when the opportunity arose, I chose it consciously.

In recent years, I have mainly focused on designing lighting fixtures. The truth is, I have always been particularly interested in this product because I believe that the lighting fixture, as an object within interior design, is like the object that allows you to play more artistically and sculpturally compared to other products such as a chair, an armchair, or a table. I think the lighting fixture is like the crown jewel in an interior design proposal—I always say that. And well, I never close myself off; the reality is that I have designed other types of things, more technical ones, machines, really a bit of everything. But I liked specializing in one area, and for now, I feel there is still much to explore in this field. And probably in a few months or maybe years, I will end up diving into another sector or another product typology, but for now, I want to continue fully involved in lighting fixtures.

First, I don’t know if I consider myself a design legend yet; I think that title is a bit too big. Maybe in a few years, perhaps. Nowadays, I simply see myself as a designer who has made a journey and achieved very significant results in a short time. But I don’t know if I can say it’s just creativity and talent or some natural inclination to be a designer. I believe there is a lot of effort involved, believing in your own vision, and knowing that what you create is good even before the public sees it and decides whether they like it or not. I think that decision to know if something is good or not before showing it to someone is very important to be a designer. And I believe the rest is very hard work — always looking for opportunities, opening doors, contacting people, understanding that you can’t get anywhere alone, that you always have to work in teams and form alliances that amplify what you do. And I think being a designer today is very much about that. It’s not just sitting at a computer or with a notebook making sketches and waiting for someone to come and see them, but going out to show them, going out to look for clients, companies, people who will empower and validate the ideas you have.

I believe there are several things that differentiate a good designer from an excellent one. But primarily, I would say two. On one hand, the ability to understand what you want to do and what your own vision is, to know how to differentiate yourself and to be able to impose your own perspective on design. And also to know how to read the audience, the market, and trends. Having a sense of where things are going, having that reading is important. Because you can have a great idea, but if at the moment you present it the world is going in another direction, perhaps that idea will reach far but maybe it should have been presented 30 years later. So, knowing how to read what is happening is also interesting. Then, I also think there is an issue of resources. There are designers who perhaps have great talent and creativity, but they lack the possibilities, the time, simply don’t have the chance to present themselves and their vision. And that’s a bit sad, but it’s reality. I don’t believe great designers are made only by talent or hard work. It’s also a matter of opportunity. And well, in all of that, I also believe hard work is very important. I mean, whoever is an excellent designer, whoever they are, I can assure you they had to sacrifice a lot to get where they are.

I believe a good design solves a problem in a different way, with a new approach, with an idea that breaks with what we have seen before. And then there are many requirements that we already know, such as quality, the ability to understand its user, the market, the processes, the costs, and all the things we already know about good design that were established in the 20th century. I think all those requirements that are talked about so much are real and apply to good design. But mainly, it’s about solving a problem for a user, for a society, in a new, different way that brings something new, whether culturally, economically, socially, or even at an industrial level.

I think I’m going to answer this one from the end backwards. I believe that not everyone necessarily should invest in good design. The investment in good design depends on who the end client is, and whether that client is willing to invest in good design. The reality is that you shouldn’t impose that everyone must invest in good design. But I do think that good design, particularly for a company, is a strategy — and it has to be seen as such. A strategy to offer better solutions, to provide more sustainable solutions, in line with laws or institutional issues that support the company, not just society. I also believe it works as an excellent marketing strategy, offering a differential, understanding what the company’s values are, and translating them into the design. Enhancing brand image. And, well, even reducing costs, amplifying profitability, the company’s profitability. So, I’m not sure if everyone should invest in good design, but I do think that all companies — or practically all companies — should invest in good design.

It’s a somewhat difficult question since I would love to design many things. First, I really enjoy designing for myself and my own company. It’s something that I have a lot of fun with and do all the time. But if I had to choose one company today that I would love to design for, it would be the Italian company Flos Lighting. I would create an innovative, distinct collection for them, one that has its own unique approach and brings something new to the company, something commercially viable, aligned with their history and in harmony with the great designers who have worked for that company. Honestly, if that company contacted me today, I would find the time no matter what — time would not be an issue.

I don’t have a specific dream project, but I do have the desire at some point in my life to start a new company—one where design permeates every aspect. It would be a company that is not only focused on exclusive or signature design but truly operates as a B2B, technology-driven business that adds value to the design industry as a whole. A company that brings value both to the end user and to other businesses, and that perhaps changes the course of design history a bit and opens new opportunities for others. It’s a bit abstract, perhaps, but it’s something I would like to do someday. A very ambitious project, and right now it’s not that I don’t have time, but rather that I don’t have the means or a concrete idea yet. It’s something I will need to develop over the years.

Nowadays, I believe my success in design is based on three main aspects. First, the personal quest to be able to express my perspective, my vision, in every design I create. I think it’s a challenge to achieve that. Then, secondly, inspiration from nature as a very powerful source, which almost always ends up aesthetically pleasing the end user if it’s done well, properly bio-inspired. In that same category, I would include the use of regional materials or craftsmanship. I think it’s a super key tool to differentiate oneself in the world. And lastly, I believe another part of the formula is the use of technology and the latest industry trends to create new morphologies that have never been seen before. Achieving that balance between traditional and contemporary technological approaches. I would also like to add a fourth aspect, which I find very important when working with a company. It’s always about trying to establish partnerships with companies because it’s a sign that if the company sees value in what you are designing, it’s probably because there is commercial and economic value, and also value for the user. I believe that having a business vision is crucial for a design to be successful. Sometimes designers tend to only create beautiful, nice objects and seem to forget a very important part that I think the company can complement very well. From there, I believe that understanding what a company needs or wants, and ensuring it’s aligned with its objectives, potential, and differentiators, is key. Being able to grasp all of that, bring it down to earth, and translate it into a design, I think even before you create the design, you have already added value to the company because you did the research, gave them an idea, provided value that no one else had given before. And if on top of that you materialize it in a design, I think that’s an outright success. I believe that’s very important.

First, I want to mention a 20th-century designer from the Nordic countries named Tappio Wirkkala. He was a very important reference when I started my brand Bilu because what really caught my attention was his approach to creating objects that are not only inspired by nature, but this inspiration is not so direct—it's simply understood, perceived, but not something overtly literal. Secondly, what he did by working in favor of the materials and the physical properties of the materials, shaping the form and aesthetics of an object based on the physical properties of the material, is a concept that really impressed me when I read and learned about it. I always remember this about Tapio Wirkkala, so for me, he is a great master. Then, perhaps another great master who is contemporary and current, whom I have crossed paths with at some events but never personally interacted with, is Cristian, the Argentine industrial designer Cristian Mohaded. I think he was able to see something particular about Argentina and bring it into design, showing it to the world, and the world appreciates and values it. I believe what Cristian Mohaded has done and is doing today will change the course of design history and craftsmanship in Argentina, as well as the world’s vision of Argentina in this regard. I think what he is doing today is very important and that he is opening paths for other designers like me, perhaps without even realizing it, and paving the way for the future of Argentine design worldwide.

Actually, the biggest design I have done so far is the Orbita luminaire, designed in partnership with the Argentine company iWish Deco and its founder Ignacio Noel. I believe the Orbita luminaire was ambitious from the beginning and managed to capture many of the things I’ve been discussing in this interview. It understood the attributes of the Fénix material in a very particular way and successfully translated them into an object. It recognized the material’s difficulties and took them as attributes rather than barriers. It was also very ambitious in terms of technology. Even with the technical and industrial challenges in Argentina, we decided to push it to the limit and do things that would have been impossible to do naturally, and that suppliers would have told us were impossible from the start. Honestly, it was well thought out from every angle — from the storytelling, the product conceptualization, usability, materiality, partnerships with companies, the plan to showcase it internationally, the extensive technical development, and the number of prototypes we made. I believe it is an example of a truly well-executed design project.

I believe becoming a better designer requires a combination of several factors. First, it is essential to trust and impose your own vision, learning to differentiate yourself and have a clear and personal perspective on design. It is also very important to understand the audience, the market, and the trends, because a great idea presented at the wrong time may not reach its full potential. Another key aspect is forming alliances with companies and collaborators, as this shows that your work has commercial value and is valuable to users. I always worked hard, seized opportunities, and sought collaboration, knowing that no one gets anywhere alone. Constant effort and perseverance are fundamental.

I have always been attracted to both artistic and technical fields. I was passionate about music and art, but also had a great interest in mathematics, astronomy, and sciences. If I weren’t a designer, I might have pursued something related to science or music professionally, given my experience with the cello and my technical inclination in my youth.

For me, design is understanding what people need and translating it into your own language that offers a solution. It is a blend of personal vision and artistic expression, while also being environmentally, socially, and economically sustainable. Good design solves problems in a new and innovative way without harming the ecosystem.

Without a doubt, my greatest supporters have been my parents. They supported me from the beginning, giving me the freedom to choose my path and encouraging me to pursue my interests. Their support was key in my growth.