Interview with Alex Hell

I became a designer out of necessity — by trying to solve real problems. I didn’t start with a degree, but with an urge to do things better. The journey began by creating ceramic pieces for restaurants that needed aesthetics with purpose. Over time, I became a designer by learning through doing, testing, listening, and improving.

My three main priorities are: purpose, material intelligence, and emotional durability. Every project starts with a question: what problem are we solving? We combine digital tools (Rhino, Adobe Suite) with traditional techniques — including mold prototyping, hand-finishing, and industrial performance tests.

There’s a mix of tension and excitement — like you’re on the verge of discovering something that didn’t exist yet. I love the first sketches and the last refinements. When a product starts to “speak” on its own, that’s the moment of joy.

My background in storytelling, entrepreneurship, and systems thinking shaped my design approach. I value clarity, endurance, and impact. I also learned a lot from chefs — their precision, their focus on experience — it shaped the way I think about usability.

Our goal is to expand Bioplates globally and develop new regenerative objects for the hospitality sector. My dream is to design an entire ecosystem of circular serviceware — a collection that goes from food plating to zero-waste logistics.

Don’t chase recognition. Chase relevance. Learn how to listen, how to critique yourself, and how to refine. The best advice I received? "Design with your ears first."

Success is not about visibility — it's about clarity. Focus on making fewer, better things. Avoid imitation, ignore trends, and stay close to the real users.

I start early with some time in nature, then go to the studio. Mornings are hands-on — material tests, quality control, physical mock-ups. Afternoons are for communication, planning, or deeper creative work. A good day ends with something real in my hands.

We’re aware of trends, but we don’t follow them. Our focus is longevity and low environmental impact. Inspiration comes more from observation, nature, and use — not fashion.

If it solves a problem elegantly, withstands time, and people build an emotional relationship with it — it’s good design. Aesthetics matter, but so does resilience and purpose.

When it no longer bothers me. When it communicates without needing explanation. And when users interact with it as if it always existed.

Bioplates. It’s a culmination of years of learning — a product that’s sustainable, durable, scalable, and aesthetically elegant. It represents our studio’s philosophy in its purest form.

Buckminster Fuller — for his visionary thinking, holistic systems approach, and timeless relevance. He showed that design can be a tool for planetary change.Bruno Munari — for his clarity and humanity. And Dieter Rams — for his timeless discipline.

I live in Cascais, Portugal — a coastal town where the Atlantic meets tradition and modernity. The light, the sea, and the rhythm of life here influence my design deeply. Music, food culture, and everyday rituals inspire how we think about beauty and sustainability.I live in the Portuguese countryside, surrounded by nature and silence. It influences everything — from the textures we create to the way we test endurance. Music and natural light are part of my everyday environment.

We’re a small, focused team. We work with purpose and kindness. Every decision is filtered through ethics, impact and usability. We’re not fast — we’re intentional.

We created the Studioneves Sustainability Award to spotlight hotels and restaurants that lead by example. We also mentor young creatives and support local schools in education about design and materials.

The A’ Design Award gave us valuable feedback, visibility, and credibility. The three biggest benefits: learning to communicate better, connecting with an international audience, and being challenged to present our work at its best. Receiving the Silver Award was a meaningful recognition — it validated not only the product’s innovation but also our design philosophy. was an honor — it felt like a recognition of both our product and our process.

What motivates me is the chance to reduce harm and add meaning through form. I became a designer because I couldn’t find existing solutions that aligned with my values — so I built them.

It wasn’t planned, but it was inevitable. The questions I was asking about sustainability, waste, and aesthetics naturally led me to design.

We design sustainable tableware and regenerative material solutions. I’d love to design entire systems: from circular kitchens to closed-loop hotel operations.

Forget about being a legend. Stay curious, take responsibility for what you put into the world, and never stop listening.

A good designer executes. A great designer anticipates. One builds what’s asked; the other builds what’s needed.

When it meets a need with clarity, longevity, and minimal footprint. When it respects the user — and the planet.

Because bad design costs more in the long run — in waste, frustration, and lost potential. Good design compounds in value.

I’d design for low-resource schools and circular community kitchens — solutions where design could create dignity and autonomy.

A regenerative hospitality ecosystem — where every material, from the plate to the menu, follows a circular path.

Restraint. Knowing when to stop. Letting the material and purpose guide the form.

Yvon Chouinard, Dieter Rams, Neri Oxman, Eileen Gray, Buckminster Fuller.

The simplicity of Rams’ Braun pieces. The poetic logic of Oxman’s work. The humanity in Gray’s furniture.

Bioplates. Because it solves a real problem, is scalable, and tells a story without saying a word.

Observe more. Speak less. Prototype faster. Fail in public. These steps shaped me the most.

I’d be working in regenerative agriculture or teaching systems thinking.

Design is the human instinct to arrange the world with care and intention.

Gabi Neves, my partner and cofounder. She grounded and elevated the entire journey.

Honest feedback, long walks, and remembering that design is service, not show.

Skepticism from traditional clients, the pressure of working with fragile materials, and navigating business while staying true to values.

With clarity, evidence, and humility. Let the work speak — and then give it a voice.

An expansion of Bioplates into a family of products — and a circular delivery system for high-end takeout.

To create fewer, better things that improve the systems they exist within.

Consistency. Clarity. And designs that align values with outcomes.

By setting the default path toward dignity, equity, and sustainability.

bathroom itens made of BIOPLATES material, aimed for hotels and other tableware products as well.

Bioplates, because it proves that sustainability can be scalable, elegant, and practical.

More accountability. Fewer ego-driven products. A return to design as stewardship.

Toward regenerative materials, shared platforms, and fewer, more meaningful objects.

From weeks to years. True design isn’t linear — it’s lived, tested, refined.

With a real-world observation or pain point. We don’t start with “what’s cool.” We start with “what’s needed.”

Design less. Mean more.

Trends are waves. Design should be the coastline — stable, conscious, and built to last.

To expand material possibilities and precision — but never replace human purpose.

Our hands, and a sketchbook.

They are not extras — they are silent collaborators. They guide perception, emotion, and context.

“What systems does it support?” That’s more meaningful than “What inspired it?”

Gratitude. And usually a sense of quiet admiration for the restraint it took to make it that simple.

Yes. My ideal partner is someone who leads with curiosity and listens deeply — like Gabi does.

Chefs who demand performance. Clients who challenge convention. Colleagues who prioritize purpose over perfection.

Let my people go surfing , by Yvon Chouinard. As Little Design As Possible, by Dierter Rams

Through trial, listening, iteration, and by treating failure as feedback, not defeat.

Buckminster Fuller. I’d love to ask how he’d redesign the world today.

We don’t chase fame — we chase impact. Recognition helps, but it’s not the goal.

Color: pastel dark green. Place: Cascais. Food: Slow-roasted vegetables with fish from the market. Season: Spring. Thing: My sketchbook. Brand: Patagonia.

Once, a chef asked if we could design plates that “make the food look more expensive.” The answer was yes.

When a client tells us our product made their work easier or more meaningful.

No. But I was always the one asking “why” and trying to rebuild things.

Either we will live in balance with nature — or we won’t live at all. Design will be the difference.

We design with care, not ego. Bioplates is not a trend — it’s our answer to what comes after plastic, after waste, and after denial.

Studioneves is a B-Corp certified ceramic design studio based in Portugal, founded by Alex Hell and Gabi Neves. We specialize in creating sustainable, handcrafted tableware for some of the world’s most respected restaurants and hotels — including clients with over 100 Michelin stars combined.

What makes us different is our commitment to designing for durability, beauty, and impact. Every piece we create is made with rainwater, solar energy, and local materials — but beyond process, we focus on meaning. We believe tableware isn’t just functional — it’s a storytelling tool, a stage for experiences, and now, with Bioplates, a vehicle for circular design innovation.

At our core, we are not just a studio — we are a mission-driven workshop building the future of sustainable hospitality, one plate at a time.

Design is the art of solving problems with intention and clarity. It’s not just about aesthetics — it’s about making choices that shape how people live, feel, and interact with the world.

For us at Studioneves, design means responsibility: to the user, to the environment, and to the future. A well-designed object should not only serve a function — it should embody a principle. It should last, communicate, and quietly elevate the everyday.

In that sense, design is not decoration. It’s direction. It’s the most silent, yet powerful, form of leadership.

We love designing objects that quietly change behavior — things that are used every day, but carry deeper meaning.

Our favorite works are those that live at the intersection of function, beauty, and impact. Plates, bowls, trays — these may seem simple, but when designed consciously, they can tell stories, reduce waste, and reshape industries.

We enjoy working with materials that challenge us — ceramics, bioplastics — and turning them into tools for better living. Not flashy, but thoughtful. Not trendy, but timeless.

Bioplates is our most meaningful design to date. It combines circular material innovation with elegance and technical performance. It’s not just a product — it’s a design-driven solution to one of hospitality’s most persistent sustainability problems.

Our first design was a handmade ceramic plate for a Michelin-starred restaurant in São Paulo, Brazil. It taught us how powerful tableware can be in telling a story.

We love working with natural and organic materials — especially those that return to nature without leaving waste. Combining natural material with timeless design is at the heart of our studio.

When we’re close to real problems. Creativity for us comes from constraint — from trying to solve something that hasn’t been solved well yet.

Function, emotion, and consequence. We ask: will it last? will it matter? and will it be remembered for the right reasons?

uriosity, challenge, and responsibility. Design is not a blank canvas for self-expression — it’s a call to respond meaningfully to the world.

Pride and humility. Pride for what was achieved — and humility for knowing it will evolve with use.

When it solves a problem beautifully, lasts over time, and leaves a positive footprint — in minds and in nature.

Intent, impact, and integrity. Not everything needs to be revolutionary, but it must be honest, thoughtful, and useful.

To consider the full life cycle of what we create. Designers shape culture and material reality — we must do it with care.

Design is shifting from object to system. From aesthetics to ethics. The future is regenerative, inclusive, and accountable.

Ambiente Fair 2025, in Frankfurt, Germany. Next one probably Host, in Milan.

From observing nature and how chefs create experiences through food. We design like chefs: with purpose, balance, and attention to detail.

Minimalist, grounded, and intentional. We explore forms that feel timeless — not trendy — and emphasize material truth.

We live in Portugal, where craft meets heritage. The culture of ceramics, food, and simplicity deeply influences our work.

We collaborate closely with restaurants and hotels — listening first, co-creating second. Each project begins with understanding the client’s real needs and values.

Trust the process. Good design needs time, context, and conversation. Choose designers whose values match your vision.

We start with purpose. Then move to sketches, models, material tests, and real-world trials. We co-develop with users whenever possible.

A hand-thrown teapot, a Japanese paring knife, a Bauhaus lamp, a ceramic bowl by Gabi, and a Bioplate prototype we still use.

Morning starts with yoga and maditation at 6am. Than gym. After that, breakfast. Then hands-on studio time, testing materials or reviewing samples. Afternoons are for writing, meetings or creative deep work. This finishes the first half of the day. Then we pick up the kids at school and the second part os the day starts with sports, homeworks and house affairs. Put the kids in bed, meditation again, and bedtime.

Design less. Observe more. Be generous with your curiosity and ruthless with your edits. And never forget who you're designing for.

The positive: shaping culture. The negative: being asked to do it quickly, without thinking.

If it’s not useful, meaningful and sexy — don’t make it.

Empathy. Systems thinking. Visual clarity. And the ability to listen between the lines.

Hands, sketchbooks, Rhino, Photoshop, casting molds, calipers, literature, and lots of kitchen prototypes.

By working in focused blocks and avoiding perfectionism in early stages. Progress over polish.

Anywhere from a few weeks to over a year — depending on complexity and material development.

Why does a plate need to be redesigned?" — and the answer is always: because how we eat is changing.

Developing Bioplates and testing them in high-end hotels under real-world pressure. Design means nothing if it doesn’t survive reality.

Six Senses, Aethos Hotels, Sublime Comporta, Alma Restaurant, and other Michelin-starred chefs around the world.

We love projects that bridge ecology and elegance — things that are used daily but make a silent statement

Expand Bioplates globally and explore new regenerative materials for hospitality.

We work as a team — our strength lies in collaboration. Gabi leads design, Alex guides strategy.

Yes — bowls and cups in the Bioplates collection, plus a new returnable packaging format.

Via email (contato@studioneves.com), Instagram (@studioneves), or through our website.

Only that design must do more than look good. It must do good. That’s the standard we design for every day.