Interviews are available in English only. Open the English page.
Interviews with Maurício Coelho
Designer profileDesign Legend Interview
23 January 2025
My relationship with design and the arts began early, practically during childhood. I grew up experiencing the behind-the-scenes of theater, where my mother performed, and accompanying my father in his graphic design studies, always drawing and creating. This creative environment deeply influenced me, and from a young age, I was encouraged to explore different forms of expression, such as arts, music, and sports, which were part of my routine for many years.
In 2013, I started studying Architecture and Urbanism at Universidade Metodista Izabela Hendrix in Belo Horizonte. During my studies, I had my first encounter with 3D modeling and visualization, and I quickly fell in love with this field. This interest led me to self-study and seek specialization, marking the beginning of my professional journey.
As a 3D artist, in 2018, I was invited by a fellow designer to develop three-dimensional versions of his products. This partnership, which lasted about a year and a half, was a unique opportunity to delve into the world of furniture design. During this period, I participated in all stages of the creative and production processes, providing me with a solid foundation of learning and experience.
After this collaboration ended in 2020, I decided to focus on creating my own pieces. This work culminated in the launch of my first authorial collection, titled *Origem*, in 2022, in partnership with a Brazilian factory. It was a significant milestone in my career and a moment of great fulfillment.
Currently, I continue to work in design and 3D modeling with the same enthusiasm I had when I started. I remain committed to professional growth and learning because I believe that continuous knowledge is essential to maintaining passion and quality in what I do.
In 2013, I started studying Architecture and Urbanism at Universidade Metodista Izabela Hendrix in Belo Horizonte. During my studies, I had my first encounter with 3D modeling and visualization, and I quickly fell in love with this field. This interest led me to self-study and seek specialization, marking the beginning of my professional journey.
As a 3D artist, in 2018, I was invited by a fellow designer to develop three-dimensional versions of his products. This partnership, which lasted about a year and a half, was a unique opportunity to delve into the world of furniture design. During this period, I participated in all stages of the creative and production processes, providing me with a solid foundation of learning and experience.
After this collaboration ended in 2020, I decided to focus on creating my own pieces. This work culminated in the launch of my first authorial collection, titled *Origem*, in 2022, in partnership with a Brazilian factory. It was a significant milestone in my career and a moment of great fulfillment.
Currently, I continue to work in design and 3D modeling with the same enthusiasm I had when I started. I remain committed to professional growth and learning because I believe that continuous knowledge is essential to maintaining passion and quality in what I do.
My motivation to design comes from my desire to be in constant creation and my drive to contribute to the world and to people.
I became a designer because it gave me the opportunity to express myself through objects and creations that will one day be useful to others.
I became a designer because it gave me the opportunity to express myself through objects and creations that will one day be useful to others.
I chose this field myself, which was unintentionally introduced to me through the Architecture and Urbanism course. I have always had the freedom to choose my professional path, and even today, I don’t feel bound to design. I choose it out of love and passion.
Today, I primarily work in the furniture industry, with particular expertise in upholstered pieces such as sofas, armchairs, and chairs. However, my portfolio includes a wide range of products, such as dining tables, lighting and decorative objects, beds, and more.
I don’t consider myself a designer confined to a single type of product, and I aspire to further expand my creative field in the future.
I don’t consider myself a designer confined to a single type of product, and I aspire to further expand my creative field in the future.
They should not be afraid to show their creations to the world and must study design deeply, understanding everything from aesthetics to ergonomics. Knowledge of photography and presentation is equally important to be recognized as skilled professionals in the field.
A great designer is someone who sees their creation as something meant to be useful and appreciated by the world, not merely as a form of self-expression. A good designer may create beautiful pieces, but without transcending common ground due to a lack of deeper meaning and purpose.
True good design is one that fulfills its aesthetic function but, beyond that, positively and meaningfully impacts others.
The value of good design lies in its ability to touch us on levels beyond the physical, reaching emotional depths. It resides in its usefulness while offering an opportunity to connect with the human spirit through desire and emotional memory. I believe everyone should invest in good design to feel connected to material goods through their senses, not merely for their functionality or economic value.
I would love to design a collection for an Italian upholstery company, such as Minotti or Natuzzi.
I dream of one day designing a furniture collection made from materials discarded by the industry, with the goal of offering affordable options to people with limited financial resources.
I don't have a secret ingredient for success. However, I believe my unique strength lies in my ability to understand people's desires, allowing me to create designs that truly resonate with my target audience.
I draw inspiration from many designers and artists, but two names are particularly dear to me: Jorge Zalszupin and Jader Almeida, both Brazilian architects and designers. Each of them has had and continues to have significant importance in different eras of Brazilian design, and their unique creations greatly inspire me to create.
One of my favorite designs is the Cubo armchair by Jorge Zalszupin, developed in the late 1970s. It is a piece that masterfully balances straight and organic forms while offering exceptional ergonomics and comfort in its construction.
I believe the Oco Armchair may be my most memorable creation to date. Its ability to harmoniously combine different geometries, while achieving a visually balanced design, makes it a product that captures the attention and desire of many. Moreover, it is a piece that is highly comfortable and ergonomic.
I believe that to become a better designer, one must engage in continuous learning and study new technologies while staying attentive to the latest trends in the design world. At the same time, having a solid understanding of past creations and their respective creators is essential.
I also emphasize the importance of gaining firsthand knowledge of construction aspects through hands-on experiences on the factory floor.
I also emphasize the importance of gaining firsthand knowledge of construction aspects through hands-on experiences on the factory floor.
If I weren’t a designer, I would certainly be fully dedicated to the field of 3D visual solutions. It’s an area I’ve worked in for many years and one I’m deeply passionate about, alongside design.
For me, design in the context of products is the ability to harmoniously and effectively combine aesthetics and functionality, solving problems and bringing utility to people and the world.
I can't name just one person. Many have helped me and been essential in my journey so far. From my parents, who provide me with unconditional support and encouragement, to my friends, colleagues, and partners I've worked with over the years. Everyone in my closest circle cheers for me, and I am profoundly grateful to them.
Many things have helped me become a good designer (though I believe I can still improve greatly), but I think my deep connection with spirituality is one of the most important tools in keeping me focused on my goals and on the challenging task of striving to be the best I can be every day.
I faced many obstacles before becoming a master designer. However, I dare say that one of the most challenging was adapting to the timelines and limitations of the serial furniture industry. The entire process is slow and requires numerous adjustments along the way, including those that can be unpleasant for us as designers, such as project changes and adaptations we may not consider ideal.
Understanding that conception and final execution are distinct stages—and that our ideas will not always result in what we initially envisioned—remains a challenge I still struggle with to some extent.
Understanding that conception and final execution are distinct stages—and that our ideas will not always result in what we initially envisioned—remains a challenge I still struggle with to some extent.
As a 3D artist, I believe it is essential for a designer to present their products in a three-dimensional format, allowing for diverse representation. This approach enables the designer to go beyond the limits of the real and tangible, making their work more captivating and distinctive.
My next project will be a collection of exclusively upholstered products. You can expect my utmost commitment to my work, resulting in highly refined creations and launches imbued with meaning and value.
My ultimate goal is to enrich the world with products that make sense from a functional, aesthetic, and sustainable perspective. I aspire to be a reference in creating products that positively impact people's lives, whether they are clients or part of the production process.
I believe people expect innovation and products that align with what they’ve seen in my work. However, I understand that these expectations may not always be met, as our identity evolves over time. What I can say is that people can always expect professionalism and deep care from me, both in what I create and for those who engage with my creations.
Through solutions that instill a sense of belonging and value in society, positively transforming social relationships and our connection with nature. Above all, these solutions should meet people's real needs in the most practical and effective way possible.
I am currently developing a new upholstered furniture collection, and I feel very excited about the results I am achieving.
Every project I have participated in so far has brought me great satisfaction, regardless of the results. After all, the knowledge I had the opportunity to gain from each project always makes the process worthwhile. In the end, I always come out better and more experienced than when I started.
I would like to see, especially here in Brazil, greater encouragement for signature design and more recognition for professionals in this field, as well as a stronger commitment to the environment and its well-being. Additionally, I wish companies were more dedicated to innovation, producing fewer copies—a practice that is still all too common in the country.
Toward a place more aligned with the concepts of sustainability and innovation. At least, that’s what I hope.
"Each project has its own unique timeline for conception. Various factors influence this process, such as the complexity of the project, production or aesthetic limitations, specific project objectives, or even my own emotional state. I can say that some designs have taken as little as two days to conceive, while others have taken months."
"I always start with a hand-drawn sketch. I don't consider myself a great draftsman, so as soon as I complete the sketch, I transfer it to a 3D modeling program, where I have more experience and greater ease in transforming and adjusting the product."
My life motto as a designer is: "Every stage is unique, and all of them matter." For me, design goes far beyond the drawing itself—it's about the entire process, from conception to the customer’s experience with what has been created.
I believe it’s a two-lane road. Trends are based on human needs and previous experiences with existing design. Consequently, new designs are shaped by these trends. Therefore, I think this is a cycle that constantly renews itself, with one naturally feeding the other.
Technology plays an essential role in the conception of my designs, as I work with companies that rely heavily on technological resources. As such, I must always be mindful of the technological limitations involved in each project, allowing me to propose solutions that align with these constraints or take advantage of their potential.
While many processes are and must remain artisanal, others are simply not feasible without the aid of technology, and this must always be considered during the design phase.
While many processes are and must remain artisanal, others are simply not feasible without the aid of technology, and this must always be considered during the design phase.
Unlike some colleagues who still enjoy working with paper and pen, I am more inclined toward digital tools. I prefer sketching my initial ideas on my phone or tablet and then transferring those sketches to 3D modeling software. Therefore, I must always stay up-to-date with electronic devices, as these tools evolve very quickly.
Although I’m not as connected to manual instruments, I occasionally enjoy sketching by hand or testing volumetrics using real objects.
Although I’m not as connected to manual instruments, I occasionally enjoy sketching by hand or testing volumetrics using real objects.
"They are as essential as any other tool used in design. After all, color, material, and environment are factors closely tied to the objectives behind a design project and, therefore, play a decisive and/or defining role in this context."
I would love for people to take an interest in learning the full story behind my designs, from conception to the constructive aspects of each piece. After all, there are so many stages involved before reaching the final result...
My first thought is about how it was made. I love learning about and understanding the constructive stages of things.
I don’t think it’s possible to define what an ideal partner would be; however, some aspects are essential for me to work with someone, such as mutual respect and alignment of ideas and objectives. Not only do I believe in this, but I also hope to collaborate with some designer friends in the future.
Many people around me have influenced my design. From fellow designers to family members, each, in their own way, inspires me to create something different or helps me become a better designer. However, I’d like to give special mention to a designer I worked with early in my journey, back when I was a 3D artist. He taught me a great deal about this world and was a significant source of inspiration for my first creations.
Two books I’d like to mention, as they greatly helped me understand a bit of the history of this sector in Brazil, are: *"Modern Furniture in Brazil"* by Maria Cecília Loschiavo dos Santos and *"Furniture in Brazil: Origins of Production and Industrialization"* by M. Angélica Santi.
I consider myself a self-taught individual. Even though I don’t have formal education in design, I was able to build a wealth of knowledge through independent study and hands-on factory floor experiences throughout my career. I believe that the constant pursuit of knowledge and references, along with valuing on-site experiences, has allowed me to grow into a master designer—even though this title feels a bit grandiose for what I’ve achieved so far.
I find this question quite challenging because there are so many people I’d love to meet and talk to. However, considering that time and space are irrelevant here, it would be an immense pleasure to have a conversation with architect Lina Bo Bardi and designer Jorge Zalszupin, both of whom are no longer with us. I would love to gain insights into their creative processes and how they viewed design, even though some books and stories already provide glimpses of their perspectives.
Titles, to me, are something very small compared to the power of change they allow us to generate. That is to say, I feel very happy to receive such recognition—it reassures me that my work is worthwhile and that I should keep going. However, more important than that is the ability to be useful in someone else’s life and to help the world through what I do.
If I don’t receive any awards but my work is valuable to people and society, I’ll be deeply satisfied. As for the recognition I’ve achieved so far, I think the most challenging aspect is the weight of expectations placed on me—expectations that I may not always be able to meet. That’s the downside of being “famous.”
If I don’t receive any awards but my work is valuable to people and society, I’ll be deeply satisfied. As for the recognition I’ve achieved so far, I think the most challenging aspect is the weight of expectations placed on me—expectations that I may not always be able to meet. That’s the downside of being “famous.”
My favorite color is white. My favorite place is my home. My favorite food is a dessert called "pudim de leite condensado" (condensed milk flan). My favorite season is winter (the winter in the region where I live isn’t very cold). My favorite thing is music. Lastly, I don’t have a favorite brand, but I greatly admire a Brazilian brand called Jader Almeida.
"I remember a funny situation that happened on the day of the launch of the Origem collection. Champagne was being served to the guests, and since I'm very sensitive to alcoholic beverages, I decided to drink some to ease the tension of the moment. As a result, I ended up getting slightly tipsy. It didn’t affect me in any way, but we had a good laugh about it backstage."
"A great day for me, as a designer, is when I manage to disconnect from everyday life problems and spend hours creating and developing a project without interruptions. I find a lot of motivation in being in touch with nature and exploring/researching the work of fellow designers."
"I had no idea. I believe there has always been a desire within me to create and to be an artist, in whatever field it might be. But specifically becoming a designer, I could never have imagined."
"Certainly, a thousand years from now, we will be a fairer society, where people judge each other less and where social inequality will no longer be a reality. I believe that in all this time, we will have the capacity, as humanity, to look at one another with more empathy and less selfishness. We will take pleasure in seeing ourselves as equally important in the construction of society, and differences will be widely respected and celebrated. At least, I hope and wish for it to be so."
"I would like people to know that my work is neither better nor worse than anyone else's and that I approach it with a great deal of care and love. Not all stages of the process are enjoyable or glamorous. There is a lot of hard work and, at times, a great deal of struggle involved. Yet, these challenges are absolutely worth it for the ultimate goal of creating something meaningful. I am not perfect, nor do I strive to be, but I put in every effort to be the best designer I can."
Designer Interview
7 January 2025
Since childhood, I have had the ability to view life through an artistic lens. During my teenage years, I studied Architecture and Urbanism, and during this period, I developed an interest in 3D art, which later became a tool that led me to discover furniture design as my true passion. 3D art plays a pivotal role in my work as a designer, enabling me to express my ideas and creations with clarity and precision.
My design company was established in 2020, shortly after I realized that furniture design is my true passion. Every process within the company is guided and managed by me, ensuring that everything presented aligns with my design philosophy. My company is still in a growth phase, and I feel truly happy to see it thriving.
For me, design means the expression of the Self through the union of functionality and aesthetics.
Upholstered products. I have a special fondness for items like sofas and armchairs.
I can't say if I have a favorite design, but the most iconic piece in my collection is certainly the Oco armchair. Its ability to resonate with people and inspire their admiration for design makes it truly special to me.
An upholstered armchair.
My favorite material to work with is fabric. I'm always amazed by its organic versatility, as it can cover almost anything with a wide range of finishes, colors, textures, and more.
When I am in close contact with nature. Nothing inspires me more than that.
Functionality and aesthetics. For me, design must balance these two characteristics harmoniously.
Excitement and exhilaration. But I also often feel frustration, as the creative process isn’t always enjoyable.
Euphoria and contentment.
When it serves people.
Functionality, a pleasing and balanced aesthetic, and the coherent use of materials.
Creating products that are functional and meet the needs of society; approaching product development in an ecological and sustainable way; providing support and knowledge to those with less understanding of design.
I believe that design is increasingly being understood as something that should be viewed beyond its commercial aspect. I think the future of design lies in reducing production scales to better address human and environmental needs.
My last exhibition was in 2022, and my next one will be in 2025.
I can say that my greatest sources of inspiration come from nature, human relationships, and the understanding of our emotions.
I can say that my design style is minimalist and contemporary, combining functionality with aesthetic concepts. I wouldn't claim to have a unique style, but rather styles that interact and create the distinctiveness of my work. I always strive to be as clear as possible in my designs without allowing them to become simplistic.
I live in Brazil, and while I draw inspiration from international fellow designers, I strive to incorporate the characteristics of my local culture. My personal experiences and life stories are an inherent part of my creative process. I am very proud to be Brazilian and to find my greatest inspirations here. My country has immense cultural wealth, which I believe is the greatest advantage of living here. However, it is still a very unequal country with technological limitations that occasionally restrict creativity.
I work on demand for furniture brands, providing my visual and design solutions tailored to what they seek for their businesses.
It is important for companies to be open to innovation and to allow designers the freedom to fully develop their work, enabling them to make use of all the resources, labor, and technology the company offers. Companies will attract talented designers when they provide them with freedom and fair recognition.
My process is very straightforward, starting with ideas that come from various sources. I then bring these ideas into the 3D process, where I better understand and visualize the product with greater precision. I make the necessary adjustments and constructions until the final stage, deciding on finishes, construction materials, as well as technical and production aspects.
Sofa, armchair, chair, coffee table, and bed.
An ordinary day like anyone else's, in which I work out of necessity and passion, seek inspiration in everyday tasks and things, and strive to be the best person I can be for myself and those around me.
Don’t be afraid to show the world your potential. Design is a balance between risk and success, and for that, it’s essential for people to see what you are capable of. Additionally, study the references available worldwide extensively, and value art and culture.
Being a designer is an incredible journey that keeps you in a constant process of learning and improvement. I believe this is the greatest advantage. However, it is a field where standing out and being noticed can be quite challenging. Perhaps this is the biggest hurdle from my perspective.
Functionality combined with aesthetics.
A photographic and aesthetic eye, the ability to balance forms, and a deep understanding of ergonomics and functionality.
I make extensive use of virtual 3D modeling tools to understand the shapes of my designs and constantly seek references from websites or design books that are significant and impactful in this field.
I always strive to wake up early and use this part of the day for creating, when my body and mind are still fresh. However, it's not a strict rule—creativity can strike at any moment, even during sleep.
It depends. Some products were finalized in two or three days, while others took months to complete. There isn’t a definitive answer to this question.
The question I’m asked the most is where I draw my inspirations from, and I always make a point of saying that life as a whole is my greatest source. Creating is something too broad to be reduced to small moments or specific things.
All of them are equally important and essential to my growth as a designer.
Studyo 4 Estofados has been, so far, my most important commercial partner.
Development of an upholstered product collection, due to the constructive complexity and challenges involved in this type of project.
Over the years, I intend to strengthen my brand and develop a variety of products to meet a wide range of human needs.
I develop my designs independently. However, I rely on colleagues to evaluate my creations and help me find solutions when needed.
Yes, I am developing a product line using unconventional materials in the commercial context. It is a project without a release date yet.
Through my website: https://mauriciocoelhodesign.com
Being a designer means understanding the responsibility of providing comfort and necessary solutions to people's lives.
Grand Interview
22 October 2025 · Oco Poltrona
The hollow hemisphere was conceived as the central element of the Oco Armchair, reflecting my pursuit of exploring the visual and symbolic strength of pure geometry. This choice was not solely aesthetic but also functional. The spherical form, with its symmetry and continuity, creates an experience that naturally, almost intuitively, embraces the human body, providing physical comfort and a sense of protection. At the same time, the piece establishes a dialogue between functionality and artistic expression. The simple and precise geometry evokes a minimalist language, while its striking presence invites reflection on the role of everyday objects in our environment. My intention was to go beyond utility, proposing a design that also fosters emotional and intellectual interaction with the observer, positioning the armchair as a balance between functional furniture and a piece of contemporary art. This concept adds a deeper meaning to the design, connecting aesthetics, utility, and purpose.
The inspiration to combine the minimalist design and ergonomic comfort of the Oco Armchair arose from a desire to explore contrasts—strength and softness, simplicity and sophistication. Fiberglass was chosen not only for its structural integrity but also for its versatility in shaping organic, continuous forms that align seamlessly with the chair’s minimalist aesthetic. Additionally, this material allowed us to achieve a clean, fluid silhouette while ensuring both durability and stability. The development process was a lengthy and exhaustive journey. The focus was on creating a visually lightweight structure that remained sufficiently robust to support adequate loads. During prototyping, we explored different thicknesses and fiberglass stratification techniques to ensure the shell maintained its slim profile without compromising strength. The combination of the fiberglass hemisphere and the upholstery was a deliberate choice to contrast rigidity and softness. This pairing reflects the dual purpose of the armchair: to serve as both a design object and a functional piece of furniture. Throughout the development process, ergonomics were refined by adjusting the curvature, proportions, and finishes, ensuring not only a striking appearance but also a welcoming comfort. The dialogue between materials and forms embodies the ethos of the armchair: a minimalist design rich in experience, seamlessly blending artistic expression with human-centered functionality.
The prototyping process of the Oco Armchair involved complex stages and significant time investment, particularly due to the challenges of working with fiberglass and natural wood veneers applied to an organic, spherical surface. It demanded innovation, extensive experimentation, and persistence to achieve the desired result. For fiberglass, the main challenge was ensuring a uniform, slender, and sufficiently robust structure with perfect fittings, providing the necessary structural integrity for the project. Ensuring strength at the connection points between the shell and the steel base was perhaps the aspect that required the most attention. Regarding the natural wood veneers, the difficulty lay in adapting a material with limited flexibility in multiple directions to a spherical surface, avoiding cracks, deformations, and visual imperfections. The solution came through highly specialized craftsmanship in marquetry, which helped refine the processes of cutting, bending, and attaching the veneers. Additionally, we opted for wood species with greater flexibility. The meticulous development of the Oco Armchair required intense collaboration between industrial and artisanal processes, deepening our appreciation for the value of manual craftsmanship within the design context.
The name "Oco" plays a central role in the conceptual narrative of the armchair. It directly references the empty space within the spherical form, serving as both a physical feature and a metaphorical anchor for the design. This void is not merely an absence but an intentional space that invites interaction and fosters a sense of belonging. Physically, the hemispherical structure guided the design of the armchair by creating a form that is both open and inviting. The user is enveloped by this shape, which provides comfort and a sense of protection. The curves embrace the individual, similar to a cocoon, promoting feelings of security and relaxation. This spatial concept transforms the armchair from a static object into an ergonomic and emotional experience. Emotionally, the empty space, partially filled by the upholstery, symbolizes the idea of potential—something waiting to be completed by the presence and interpretation of its user. The name "Oco" was chosen to encourage a deeper connection with the piece. My intention was to create an emotional resonance aligned with the simplicity and purity of the form, making every interaction with the armchair meaningful.
From a structural standpoint, the addition of a 12 kg metal profile was an essential decision to ensure the stability of the armchair, considering its rounded geometry and the weight distribution at its base. Without this counterweight, the armchair could become unstable, especially during natural movements like sitting down or standing up, compromising both user safety and comfort. Aesthetically, the additional weight plays an equally significant role. One of the design challenges was ensuring that the backrest—conceived as a loose cushion—remained securely positioned on the seat. The goal was to give it a sense of lightness without shifting easily or appearing to float inconsistently. The metal profile, integrated in a concealed manner, allowed us to achieve this balance, keeping the cushion precisely aligned and contributing to both functionality and the visual harmony of the piece. This technical solution was carefully designed to avoid interfering with the visual lightness of the design. The discreet integration of the profile ensures that the armchair's minimalist and refined aesthetic is preserved while meeting the practical requirements of stability and functionality.
There were several standout moments during the prototyping process of the Oco Armchair. Among them, two particularly challenging stages stand out: the lamination of the shell and the development of the fiberglass joints with the carbon steel base. The first challenge stemmed from the low flexibility of wood veneers when applied to organic curves like the hemisphere, which required us to seek highly specialized craftsmanship. The second occurred due to the limitations of fiberglass in shaping highly detailed forms. To remain true to the design, numerous attempts and fiberglass lamination processes were necessary to achieve the perfect fit. In addition to these challenges, it’s worth emphasizing that developing the armchair demanded unwavering persistence. It was one of the most time-consuming and difficult projects in the entire collection, yet it also represented a significant milestone in our creative journey.
The development of the Oco Armchair undoubtedly had some standout moments throughout the process. Two episodes, in particular, left a strong impression on me during this time. The first was the challenge of attaching the wood veneers to the fiberglass shell. The initial design envisioned the application of veneers in two directions, but the complexity of this procedure required a rethinking of the approach. The solution was to create a pattern with four distinct directions, which demanded adjustments to the design and the collaboration of highly skilled craftsmanship to ensure precision in this stage. The second notable challenge was related to the development of the upholstery, particularly in defining the ergonomic features of the backrest cushion. Ensuring comfort without compromising the visual balance or the original design was a task that required numerous adjustments. Everything from foam preparation to stitching details had to be revised to achieve the final result. Lastly, I must emphasize that the development of the Oco Armchair made me appreciate even more the interaction between artisanal and technological processes. While technology is an indispensable tool, there are moments when the artisan's touch becomes irreplaceable, providing solutions that automation alone cannot achieve.
In my view, absolute ergonomics, especially in products intended for mass production, is an ideal that is difficult—if not impossible—to achieve, considering the countless variables that exist between different body types. Each individual possesses unique characteristics that influence their interaction with furniture. However, it is possible to identify general patterns associated with cultural, regional, or population-specific contexts that enable the development of an ergonomic design that meets the needs of most people. For the Oco Armchair, I began with a body standard that served as the starting point for the initial design. From there, I invited individuals whose physical characteristics fell outside this standard to test the prototype. During the tests, participants were able to experience the armchair in various positions, exploring different ways of sitting and standing as well as evaluating overall comfort. This practical phase was essential for identifying adjustments that would make the design more inclusive, comfortably accommodating a broader spectrum of individuals. Even after its launch and availability on the market, I continue to listen to feedback and learn from various user experiences. This openness creates opportunities for future adjustments that can further enhance the ergonomic and comfort aspects of the armchair.
Just as I have drawn on influences that helped shape the concept of the Oco Armchair, I believe it will serve as a foundation for many other creations in the future. The timelessness of its design justifies not only the inspirations it embodies but also its potential to inspire others. I imagine and hope that it will gain increasing recognition, not as an original piece, but as an authentic one—rooted in the beauty of everything that came before it.
What I am most proud of in this design is its ability to unite simple elements into a product that is both complex and minimalist in aesthetic. I am equally proud of the masterful execution of each part of this piece, whose production processes are highly intricate and time-consuming. Receiving the Silver A'Design Award for the Oco Armchair is a significant validation and a reaffirmation of the purpose that guides me as a designer. This recognition highlights not only the aesthetic value of the piece but also the care, commitment, and respect involved in its creation. It reinforces my belief that design transcends the creation of beautiful objects, striving instead to bring meaning and purpose to the world and to people. Ultimately, the Oco Armchair embodies this philosophy, and having this recognized through the A'Design Award is an immense honor for me.
