Interview with Gabriel Antunes Henke Carrano

My path to design was shaped during my college years by a series of factors. Initially, I couldn't afford furniture for my dorm, so I repurposed moving boxes to build a wardrobe. This made me appreciate the significance of design in everyday life. In class, I was inspired by iconic designers like Eames, Saarinen, Rodrigues, Niemeyer and Gray, who taught me that furniture can enhance how people experience spaces. Later, during an internship in Chicago, I created a piece of furniture with no prior workshop experience. My improvised techniques impressed my professor, who encouraged me by saying, "You’re really good at this." That moment gave me the confidence to pursue this path.

My primary goal is to design furniture that fosters presence and connection. For example, a comfortable chair to enjoy conversations or a stylish sideboard to hold a stereo for impromptu dancing. I draw inspiration from simple shapes and continuous lines, which align with the industrial style. My process balances functionality and aesthetics to create pieces that seamlessly integrate into the user’s life.

Designing fills me with excitement at the beginning, followed by anxiety as I work through challenges. As designers, it’s natural to worry about whether our ideas will translate well into reality. But this uncertainty is what drives us to improve. After navigating trial and error, the ultimate emotion is happiness—a sense of accomplishment in seeing the final product come to life.

During architecture school, my professors often noted that my projects were highly formal but lacked functionality. This critique pushed me toward furniture design, where I could balance both form and function. This shift allowed me to focus on the artistic aspects while maintaining practicality.

My next step is to collaborate with other designers to merge ideas into exceptional designs. While creating an atelier for my work is a distant goal, my immediate focus is on designing and collaborating. In the long term, I envision myself as a professor specializing in the history of furniture design.

Always read your contracts carefully. Trust the process and document every idea you share. Be open to changing your designs during development and stay loyal to those who support you. However, don’t hesitate to set boundaries when needed.

If I could influence my peers, I would emphasize the importance of designing for the future: using sustainable materials, honing technical skills, and mentoring young professionals who seek guidance.

I start my day with physical exercise to energize my body, followed by reading or gaming to engage my mind. My mornings are dedicated to sketching initial concepts by hand, while afternoons focus on technical design work. I end my day with podcasts and books about design to stay inspired.

I subscribe to numerous newsletters and frequently discuss market trends with friends. Trends provide direction, but they should not overshadow creativity. I trust that my designs naturally reflect the influences of what I read and observe.

Good design finds the balance between functionality and aesthetics, satisfying the designer, collaborators, and users. A well-designed product is one that cannot be meaningfully improved—or one that embraces its limitations gracefully.

For me, a design is complete when I can successfully create a 3D model where all parts fit seamlessly, both functionally and aesthetically. If the design achieves these goals without compromise, it’s ready.

I’m particularly proud of Pudu, a piece that has gained national and international recognition. It has performed well in competitions and garnered significant public and press attention.

My preferences evolve, but currently, I deeply admire Lina Bo Bardi. Her work captured the essence of Brazilian society during her time, producing remarkable furniture and architectural masterpieces.

I live a balanced life, enjoying the duality of exploring new places for inspiration while cherishing time with family and friends. My Brazilian heritage is reflected in the music I listen to, the food I eat, and the practical, joyful way I solve problems.

I typically begin my projects alone, with just a pencil and paper, as I believe the initial concept must come from a deeply personal and creative space. Once I have a clear idea, I delve into research to determine how to bring the design to life. Collaboration often comes into play at this stage, where I share my sketches and concepts with trusted partners to refine and expand on the original vision. This collaboration transforms good ideas into great designs.

I recently developed a bench made from recycled plastic that doubles as a shelter for homeless individuals. This project not only provides practical solutions but also involves the community in recycling efforts.

Participating in the A’ Design Award taught me the importance of articulating my design choices clearly. The process helped me better understand and refine my design approach, which has been invaluable for my growth

I live to make people's lives easier—that's my main concern. I believe this is why I became a designer.

I had the privilege of choosing to become a designer.

I design various types of furniture, but I wish I could design more pieces for retail stores.

Drink water, read a lot, and be patient.

A great designer creates from personal experiences, ensuring they deeply understand their ideas.

Originality, high-quality finishes, durability, ease of assembly, and ease of cleaning—all these elements elevate a design.

"Invest" might not be the right word. People should first experience good design to appreciate it. The real value lies in its accessibility, making it available to as many people as possible.

A new crib in teak wood for Kartell.

A collection inspired by Brazilian folklore.

Music and really bad TV shows.

Charles and Ray Eames, the Bouroullec Brothers, Campana Brothers, Lina Bo Bardi, Sergio Rodrigues, Pepe Lima, Etel Carmona, Paulo Mendes da Rocha, and Shiro Kuramata.

Steelwood Chair by the Bouroullec Brothers: Respect for materials.
Mole Armchair by Sergio Rodrigues: All the Brazilianness in one piece.
LCW Chair by the Eames: My first love.
Bowl Chair by Lina Bo Bardi: Amazing lines and concept.

My greatest design is always my most recent one! I’m too young to claim a definitive masterpiece.

I always will answer that with: READING MORE BOOKS

I would have been a brownie maker.

Design is what makes life more enjoyable and functional.

My curators and, of course, my family.

My energy and resilience.

My sexual orientation posed challenges in Brazil due to widespread homophobia.

In an organic way, as an experience—not like motivational coaches.

Nothing is set yet, but I can promise it will be different.

To reduce material waste!

I hope they expect good design!

Design is a tool that makes everything work better.

A Brazilian-inspired wood furniture collection. It’s challenging but exciting!

Every design is unique. But a bench I designed as a shelter for homeless people. I’m looking for investors to launch this project.

Quality products made for mass consumption, not just the wealthy.

Toward a focus on recycled materials.

Usually 4–5 months, but it depends—some ideas come ready, while others need more work.

Moodboards and conceptual drawings.

"Furniture allows people to experience spaces."

Customers and industry set trends, but design defines good taste and alternatives.

It helps me visualize realistic versions of my concepts.

3ds Max, SketchUp, SolidWorks, Rhino, Illustrator, even CorelDRAW.

Materials convey tradition, colors complement the ambiance, and together they create unique compositions.

"Let´s produce this!" (from a major company) or "How did you know I needed this?" (from a regular customer).

"One less thing to do for society."

I’d love to collaborate with Etel Carmona and Claudia Moreira Salles. Collaboration creates empathetic designs.

My idols on Instagram—they answer my questions and provide insights, which is incredibly rewarding.

The Design of the 20th Century
Móvel Moderno Brasileiro
POP Design
Great Designs
The Atlas of Furniture Design (by Vitra)
1000 Chairs

By learning from the masters of the past.

The Eames couple, Lina Bo Bardi, Sergio Rodrigues, and me—with a bottle of tequila during winter at Venice Beach.

I’m not famous, and I don’t want fame. I want famous people to buy my designs.

Dark blue, Chicago, feijoada, winter, my glasses, and Havaianas.

I once designed a cabinet made entirely of cardboard boxes during my freshman year.

Learning something new or having a meaningful design conversation.

Not at all—I was terrible at conceptual designs, even with LEGO!

People will print furniture at home using eco-friendly wood finishes. My brain might even be preserved in a lab!

I’m gay, Latino, proud, and my designs are truly unique.

I am an autonomous designer working from my home studio, which I call HNK—my surname without the "E's." Here, I experiment with forms, materials, and ideas that can or cannot transform into original designs. It’s a small yet meaningful setup where I pour love and respect into everything I create for my clients.

Design is the opportunity to elevate everyday environments, enabling people to experience atmospheres with a heightened sense of engagement and emotion. It represents the harmonious convergence of functionalism and beauty—where art seamlessly intertwines with science. Much like crafting a recipe, it requires the perfect blend of practicality and personal expression, balancing technical precision with creative intuition to enrich lives.

I design to meet people's needs, focusing on furniture that blends innovation with traditional techniques.

My design crush is the LCW chair by Charles and Ray Eames. It’s beautiful, fun, well-constructed, and made of wood—the most democratic material for designers. The way the pieces support each other is essential, and it’s timeless.

My first design was a nightstand called Corça, made of tubular steel and freijó wood. It’s light and distinctly Brazilian.

Wood—the most democratic material. It’s versatile, sustainable, and connects deeply with human touch and tradition. While I prioritize working with wood, I also leverage modern technologies like 3D modeling software, CNC machines, and digital fabrication tools to push creative boundaries and explore new dimensions of design.

When I discover something that could be improved with adjustments, inspiration often strikes during showers, meals, or moments of mental freedom. But I know, that’s cliché—sorry!

I ask myself: Is it functional? Is it unique? Is it possible? Will it be affordable? Is it going to last?

A mix of love, frustration (when things don’t work), happiness after a discovery, and peace when I see my designs improve someone’s life. It’s a journey of emotions, starting with, “This would be awesome to have in my home.”

Excitement, euphoria, and happiness all at once, along with a sense of accomplishment.

A design is successful when it builds a meaningful relationship with its users.

Originality, respect for traditions, material usage, and affordability. A design is not good if people can’t afford it.

Designers must translate societal needs into functional spaces or objects—even needs society doesn’t realize it has yet. Beyond that, designers hold the power to shape sustainable futures by focusing on material longevity, production methods that minimize waste, and designs that reflect cultural respect and inclusivity. They must ensure that their work enriches lives while leaving a minimal ecological footprint.

Design is evolving to improve relationships and create more functional lifestyles. The future of design lies in prioritizing realistic and sustainable material usage cycles.

My work has been featured in two exhibitions: the Abimóvel event in Brazil and the Utopia exhibition in New York. These experiences were incredibly enriching, as they allowed me to share the narrative behind the Pudu Pet House with diverse audiences. I look forward to future exhibitions that celebrate both individuality and collaboration, showcasing how my designs can resonate with both global and local audiences. A place where I can inspire others to make a difference, showing that a Latino gay man can create impactful designs!

My inspiration comes from nature, Brazil’s unique landscapes, local materials, and traditions. I also stay informed and inspired by diving into newsletters, books, mood boards, and even public spaces. Often, unexpected places like church ceremonies or simple interactions spark new ideas, keeping my creative process dynamic and ever-evolving.

I call my style "Brasilidade": a celebration of Brazilian traditions, materials, and manufacturing processes. It’s characterized by a harmonious blend of modern innovation and deep respect for cultural heritage, reviving Brazil’s cultural pride in every creation.

I live in São Miguel Arcanjo, São Paulo. Brazilian culture, with its vibrant diversity and deep-rooted traditions, provides endless inspiration for my work. It’s a double-edged sword, though—the richness of local resources and heritage fuels my creativity, but the high production costs and logistical challenges can sometimes be restrictive. Nevertheless, these challenges push me to innovate and adapt, reinforcing my connection to the culture I strive to represent.

Currently, I have a curatorship office doing this bridge between me and the furniture industry. I have to say a big thanks to Victor Leite and all people on Mollde design office.

Listen to designers and avoid defensive postures. Respect their process, don’t waste really valuable resources, and trust their expertise.

I start with simple mood board references, then identify a motive for the design. From there, I create drawings, cardboard models, and conceptual art, explore various forms and structures, refine details, and produce technical drawings. It’s a straightforward yet iterative process—the usual. I’m not trying to reinvent any methods; I listen to people who have been in this job longer than I have.

My armchair where I spend part of my day reading, sketching, and checking other designers' work.

My bed—a good night’s sleep is always a priority.

My old 3D printer, which doubles as a stand for my fan during summer.

My office table, of course.

The nightstand I designed, with a soft top to avoid injuries when turning off my alarm.

Wake up > Running routine > Read a design book > Check the news > Drawing session > Meetings > Create new drawings > Consult other professionals involved in projects > Attend restoration classes > Reflect on "what I learned today" in my diary.

Read, read a little bit more, and discuss what you read.

The positives include the power to create, being part of people’s lives, the ability to work while listening to music, and the opportunity to improve relationships. On the downside, there are challenges like high production costs, the complexity of detailing intricate designs—especially highly organic shapes—and, perhaps the most difficult, dealing with egos within the industry.

If it’s not useful for one, it’s not useful for anyone. I strive to design pieces that are inclusive and accessible. Leaving any part of society feeling excluded by my work is something I take very seriously and work hard to avoid.

Imagination and good communication.

Paper, pencil, crayons, mouse, 3Ds Max, SketchUp, Illustrator, Rhino, Solidworks. cardboard, wire, glue, wood, a manual saw, more glue, glasses, an iPad, headphones, and lots of good brazilian coffee.

By meticulously planning every step using Google Sheets.

If it depends solely on me, about two months. If machinery or others are involved, it can take longer.

“What is the most frequently asked question to you, as a designer?” (Yes, that’s the real answer. And Im really sorry!)

During the summer of 2015, I spent two months at USC’s architecture office working with Gail Borden. That experience taught me invaluable lessons and became the foundation for everything I’ve built since then.

I like to think of them as people with really good taste.

I love designing with purpose and tailoring designs to individual needs and routines. This approach ensures both uniqueness and functionality. While mass production is a reality in my daily work, it doesn’t mean I can’t address specific needs. Every experience in life is collective, and I aim to reflect that philosophy in my designs.

I’m preparing to become a professor and teach the next generation of designers. Additionally, I’m working on a unique furniture line inspired by Brazilian folklore.

I consult impressive advisors, but my designs start with me, a pencil, and my notebook.

I’m working on designs featuring organic shapes in a sophisticated way while keeping concepts simple. However, details are under wraps for now.

By my Instagram! It's 2025, people! @henke.gabriel By the way.

Democratic design is vital. If we don’t prioritize accessibility, we’ll end up designing only for museums.