Interviews with Estúdio Galho

Our main focus was to create a piece that combined functionality, identity and a poetic translation of the reference. We wanted the Genipabu Sideboard/Buffet to be more than a functional piece of furniture, seeking to transform an iconic landscape into product language, creating an emotional connection with those who see and use it. To provide a sensory and symbolic experience in which the user could perceive the beauty of the Genipabu dunes translated into form, texture and function, promoting design as a means of cultural appreciation and belonging.

We are expanding the product family, extending its aesthetic and functional advantages to other types of furniture. The idea is to explore its narrative potential in new typologies, while maintaining the identity and link with the original inspiration.

The design and development process took around four months, between research, immersion, creation, technical validation and refinements.

We were challenged to develop a project that translated the cultural and natural characteristics of the state of Rio Grande do Norte. With this in mind, we immersed ourselves in the territory, studying its landscapes, symbols and manifestations in order to extract emblematic elements and transform them into product language.

The design is being produced by our partner Movew, who took part in all the stages and embraced the proposal from the start.

It was an opportunity offered by the PCDIMOB project - Project for the Development, Competitiveness and Integration of the Furniture Industry, promoted by Abimovel, Apex Brasil and Sebrae, which took us on a cultural immersion in the state of Rio Grande do Norte. The richness of the place motivated us to transform its natural and cultural references into a meaningful piece with function, narrative and identity.

There was no direct influence from other designers, but we had the active collaboration of the Movew team, who were present at every stage, bringing valuable technical contributions to the feasibility and quality of the final product.

The piece is being produced by Movew - Móveis Planejados, with an audience in mind that values authorial design, Brazilian aesthetics and functionality with identity.

The difference lies in the way we translated the natural context of the dunes into a functional element of the furniture. The upper wine cellar, inspired by the ripples caused by the wind in the sand, is both a poetic and strategic detail that sets the piece apart both visually and symbolically.

The name pays homage to the Genipabu Dunes, one of the main postcards of Rio Grande do Norte. The ecological park in the municipality of Extremoz, about 20 km from the capital Natal, covers an area of 1,172 hectares and includes a beach, a dune complex, a lagoon and an environmental protection area. The piece bears this name as a way of paying homage to one of the state's most symbolic places.

We used a combination of analog and digital tools: pencil and paper at the conceptual outset, 3D software such as Rhinoceros, rendering in KeyShot and graphic tools for building semantic panels and analyzing references.

The wine cellar, located at the top of the piece of furniture, visually highlights the ripples of sand shaped by the wind. It's a detail that connects the object to its territory of origin, reinforcing the narrative and functionality of the piece.

Yes, we worked in partnership with Movew, which provided technical expertise, engineering and on-site support. This collaboration was essential for the concept to become viable and faithful to our initial proposal.

Technology was key to transforming the complexity of the dune-inspired shapes into viable surfaces for scale production. Parametric modeling and digital testing helped ensure precision, fit and process optimization.

Yes. We conducted exploratory and immersive research in the state of Rio Grande do Norte, analyzing geographical, cultural and sensory aspects. Based on this, we built visual panels, mapped local symbols and observed behaviors to create an object that dialogued with this context.

The main challenge was to transform natural references into function, semantics and experience, translating the beauty of the dunes and the wind into a useful form, without losing the emotional appeal. Another point was to adapt this symbolic language to the technical feasibility of serial production.

Together with Movew, we internally assessed the potential of the furniture and realized that it combined a strong identity, a well-founded concept, industrial viability and aesthetic differentiation. It was a way of taking part of the Northeast to the world.

We learned that the soul of the product is in the way it is built from the idea up; when it is born with truth, coherence and purpose, the result connects with people. This project also reinforced our belief that emotion and territory are powerful guides in the creative process.

We would just like to thank you for the opportunity to share this project, which for us represents more than an object, it is a gesture of recognition and appreciation of Brazilian culture. It's very important to see spaces like this that encourage authorial design and creative diversity around the world.

We are motivated by design's ability to transform ideas into tangible experiences. Design allows us to tell stories, recover memories and create new interpretations of the reality around us. Becoming a designer was a choice that came naturally, driven by this desire to create with purpose.

We chose to be designers. It was a decision guided by our passion for creating, our curiosity to understand how things work and our desire to materialize ideas into meaningful objects.

We mainly design furniture and everyday objects, and we increasingly want to develop pieces that have a timeless dialog with the culture, territory and time in which we live. We believe in design as a tool for connecting people and contexts.

They must study the world around them in depth, cultivate listening, curiosity and respect for the diversity of knowledge. They need to test, make mistakes, learn and, above all, understand that design is collective. And that a good career is built on consistency and sensitivity.

A great designer can translate complex ideas into simple, original and meaningful solutions. They go beyond aesthetics, understanding the context, impact and transformative potential of what they are designing.

We consider good design to be design that plays its role intelligently, sensitively and responsibly, that considers the user experience, respects the cultural context and minimizes its environmental impact. It is in this convergence that design transcends the object and becomes language.

Design improves quality of life. It can solve problems, optimize processes and arouse emotions. Investing in good design means investing in long-lasting, sustainable solutions that strengthen the identity of those who use it and those who produce it.

Designing more and more durable and timeless objects, in a sustainable way and with less impact on the production chain. This is our guiding principle. Each creation is born out of the desire to go beyond the practical function; they are objects that carry stories, symbols and affections. Estúdio Galho's DNA pulses with the integration of the natural and the sensitive, seeking forms that dialog with time, the user and the world we inhabit.

A sensory refuge with a direct dialog with nature. A space where Estúdio Galho's products come to life, inviting visitors to interact, pause and immerse themselves. Everything is designed to reinforce the essence of the studio: poetic forms, cultural references and a balance between matter and memory.

Our secret ingredient is a deep dive into the essence of what we want to communicate. We believe that the more authentic and rooted the project, the more it connects with people.

Many, from different lines, but we can mention Philippe Starck, Dieter Rams and Charles & Ray Eames.

Juice Salif by Phillipe Stark, The 9093 kettle by Michael Graves (alessi), Eiffel by Charles and Ray Eames. These are products that, each in their own way, explore the different levels of design. From the functional to the emotional.

It's difficult to choose just one, but we would highlight the Velê armchair, which represents the mastery and lightness of navigation. It synthesizes form, functionality and metaphor in a visual and emotional balance. Mention should be made of the Genipabu Buffet, winner of the A'Design Awards and Competition, for the symbolic charge of an object with practical and aesthetic functions that are linked to the translation of scenery and elements of nature. As well as the Riso Armchair, which in formal terms seeks to translate a feeling of joy into lines reminiscent of a smile.

It is essential to observe, draw, experiment and, above all, listen. Improvement requires constancy and humility. Participating in competitions, fairs, traveling and exchanging with people from the same and other areas has been fundamental in our journey.

It's an interesting question, but a little inconclusive on our part. Looking at our entire career, we can't identify any affinity with other specific areas. But I think that if we weren't designers, we'd still be in the creative field in some way.

Design is the sensitive and functional translation of a context into form. It means building bridges between thinking and doing, between the symbolic and the practical. We can't just summarize design as a set of techniques and knowledge for solving demands. There is a very interesting book entitled “Existe design? - Indagações filosóficas em três vozes” (2013) - Marcos Beccari, Ivan Mizanzuk and Daniel B. Portugal, which says that, as a symbolic mediator, design ”articulates senses and meanings; acting as a form of mediation between the human and the world, between the material and the symbolic”

We have had many supporters along the way, but we would like to highlight our families, friends, teachers and partners, who have believed in us and encouraged us at decisive moments. Collaboration is a fundamental part of our journey.

Active listening, restlessness in the face of everyday problems and the constant search for meaning in what we do. The desire to create something that has a positive impact is what always drives us.

We face the common challenges of entering the market, accessing resources and validating authorial proposals. But we turn every obstacle into learning and creative strength.

With clarity, sensitivity and context. A good project needs to be communicated with the same attention with which it was conceived. Well-told stories enhance ideas.

We are developing new pieces that explore Brazilian identity, with a focus on natural materials and collaborative processes. Expect even deeper narratives.

Our goal is to generate positive impact through design, promoting belonging, dialog and sustainability. We want to contribute to a design culture that is more accessible and connected to its roots.

They expect coherence, creativity and commitment to human and social values. Respect comes from responsibility for what you set out to deliver to the world.

Design, when committed, can solve real problems, promote inclusion and value diversity.

We are developing a new collection that makes reference to Brazilian biomes, with pieces that dialogue with the landscape and the emotional memory of different regions.

Projects that involve direct dialog with communities or the recovery of cultural elements. They connect us with the essence of design: listening, translating and sharing.

Less focus on passing trends and more focus on identity, durability and social responsibility. The industry needs to be more plural and inclusive.

We believe that design is moving towards a more collaborative, sustainable era, connected to local realities. There is a strong movement to revalue roots and artisanal practices.

It depends on the complexity, but generally between two and six months. We prefer to respect the maturation time of the idea and the validation stages.

We start with research and immersion in the context. Before designing anything, we try to deeply understand why and for whom we are creating it.

Designing with soul and responsibility. Every object carries a story, and it needs to be told well.

Good design anticipates needs and proposes new ways of seeing the world. It can create trends, but its value goes beyond them.

Technology is a great ally for enabling ideas and expanding possibilities, but it must be at the service of the project's purpose, not the other way around.

We use tools such as Rhino, SolidWorks, Adobe Suite, as well as physical prototyping with 3D printers and traditional hand tools.

They are essential elements that determine language and experience. Their choice communicates intentions and activates memories. We work with attention to the sensory.

We'd like you to ask the “why” of each choice. Every detail has a reason, and there's much more under the surface than meets the eye.

We think about the process that led to it. What choices, inspirations, materials and hands were part of the journey. The object carries the journey.

We fully believe in it. Our ideal partner is one who shares values and adds new perspectives. Co-design is part of our daily practice.

Family, friends, teachers, artisans, clients and others. Each exchange influences our outlook and strengthens the network of meaning that underpins our work.

We can cite “Emotional Design” by Donald A. Norman as the main one.

Practicing every day, listening to criticism, reworking projects and keeping an eye on the world. Improvement comes from constancy and passion.

With Leonardo da Vinci. His ability to move between art, science and engineering remains an example of boundless creativity.

Awards are gratifying because they recognize collective effort. But the focus is always on the real impact of the project, not on the fame itself.

Color: Blue. Place: Nature. Food: Northeastern regional Season: Summer. Thing: sketchbook and Bic pen. Brand: We can't define.

No início do estúdio, participamos de uma feira de móveis e decoração de grande importância nacional. Ficamos em uma área pequena, com foco em jovens designers. Era engraçado estar ao lado de marcas renomadas com estandes enormes. E nós, em espaços pequenos, com peças produzidas praticamente à mão, mas que carregavam a essência do design que nos define como profissionais criativos.

Seeing an idea take shape is already a great motivation. But what makes the day special is the moment when you realize that what you've created has touched someone in a positive way.

It wasn't obvious, but the signs were there, we drew everything, dismantled objects and always invented new uses for things. Creativity was always there.

We see a more collaborative future, with less consumption and more awareness. Perhaps in a thousand years, design will be something collective, intuitive and totally integrated with nature

We would like you to know that each project carries much more than a function, an aesthetic. It is made up of stories, people and affections. Our design has a soul.

Estúdio Galho was founded in 2018 in João Pessoa, the capital of Paraíba, by two partners and designers, Klivisson Campelo and Edson Martone, both passionate about design in all its dimensions. The studio’s mission is to highlight and celebrate Brazilian cultural richness. Minimalist and authentic design, combined with a focus on the semantic dimension of objects and their interaction with users, is deeply rooted in our product DNA. The creative process prioritizes conceptual maturation, resembling natural evolution that branches, sprouts, blossoms, and bears fruit, resulting in products that embody simplicity, beauty, and the awakening of memories.

To us, design is experience transforming observation into form, sensation into function, and meaning into every detail. It is creating with purpose, connecting people, materials, and stories through objects.

We like to create products that go beyond function, that evoke emotions and emotional memories, that touch people in a sensitive and symbolic way.

We couldn’t name just one. Generally, we’d say the products we developed at the beginning of the studio are our favorites, as they had a longer journey from concept to reality, some even developed while we were still in college. One example is the Badok lamp, which features a formal representation of the slingshot used by children in their childhood, evoking an emotional memory of simple yet striking experiences.

It was Burrego, a stand/magazine rack/bar that pays tribute to the donkey, an animal of great importance in the daily life and history of the sertanejo (inhabitants of Brazil’s countryside). The piece carries a symbolic translation, connecting tradition and contemporary functionality.

We like natural materials like wood, leather, and stone, which carry unique stories and textures. We also value technologies that dialogue with craftsmanship, such as CNC combined with manual woodworking.

When we are in contact with nature or close to water. These moments of reconnection help us refresh our ideas and activate our creative gaze.

The poetic translation of the reference and the psychological and emotional aspects of the object. We always ask: what can we extract from the inspiration to generate real meaning in the product?

We feel pleasure, joy, excitement, and a certain dose of creative anxiety, the kind that drives and thrills.

A joy that is hard to describe, especially when we see our products in people’s homes, creating experiences, memories, and emotional connections.

When it harmoniously combines form, function, semantics, aesthetics, and sustainability, and touches people.

The experience it provides and the degree of innovation in how it communicates or solves something.

It is our responsibility to design products that engage with industry in a conscious and sustainable way, proposing durable solutions that respect the environment and enhance people’s quality of life.

We are moving toward a design increasingly integrated with technology, but also more sensitive and connected to sustainability and emotions.

At ISaloni in 2025, with a side table called Seringueira, a sensitive and poetic tribute to the rubber tree native to the Amazon, which embodies not only the strength of nature but also the memory of an essential chapter in Brazil’s economic and cultural history. It was exhibited at the Brazil stand through the major Brazilian Furniture/Design Brasil + Indústria project, promoted by @abimovel, in partnership with @apexbrasil.

Our inspiration comes from Brazilian identity, nature, culture, and ancestry. We fuel our creativity by collecting visual, tactile, olfactory, and emotional memories, which we transform into physical form.

Our style is contemporary-affective and subtly representative of Brazilian culture. We avoid the obvious or folkloric. It was born from our methodology: a sensitive translation of references and emotions into the physical world.

We live in João Pessoa (PB), in northeastern Brazil. Brazil’s cultural heritage is essential to what we do. Its natural and cultural diversity directly influences us, creating an aesthetic rich in narratives. Brazilian design is expanding, but it still needs to be recognized as a vital part of company culture.

We work by licensing products. We develop authorial pieces with their own identity and then establish partnerships with companies interested in producing, distributing and commercialising these products. We believe that this model favours the valorisation of design, allowing the object to maintain its creative essence while adapting to the production and commercial needs of the industry.

It is essential to include the designer throughout the process, valuing their input and creative vision. A designer sees beyond the surface and contributes with differentiation, innovation, and purpose.

Our process is based on listening, observation, research, and experimentation. We map references, build narratives, sketch by hand, model in 3D, and create prototypes until we reach the final result.

Juice Salif by Philippe Starck, The 9093 kettle by Michael Graves (Alessi), Eiffel by Charles and Ray Eames, iPod Shuffle Red Edition, and some of our own products.

The routine at Estúdio Galho involves a collaborative dynamic between two designers, marked by constant exchanges and focus on refining ideas. The day usually starts with an informal conversation about visual and conceptual references individually collected, followed by a joint analysis to identify relevant creative paths. Then, we dedicate time to adapting and improving already-generated concepts, seeking more precise and aligned solutions for the project’s purpose. Communication with partners and industry is also a key part of our day, ensuring design decisions align with technical possibilities and shared values. We also prepare presentation materials, caring for narrative, visual clarity, and aesthetic coherence to communicate proposals sensitively and strategically.

Be curious, persistent, and sensitive. Create objects that deliver experiences, evoke memories, and create connections. Design doesn’t need to be just beautiful and functional, it can also move people.

The positive is the opportunity to create with purpose and generate impact. The negative is often the undervaluation of creative work and the challenge of making the industry understand the value of design.

Don’t design only with your eyes. Use your heart as well.

Sensitivity, listening, synthesis ability, visual communication, and cultural repertoire.

Pencil, paper, 3D software (such as Rhino and Keyshot), visual references, books, and, above all, life experiences that feed our Brazilian soul.

Yes, it takes time. We're always designing, mentally or physically, but we divide the year into blocks, two months per semester are intensely dedicated to bringing projects to life.

It depends. It can take from a week to a year, depending on the concept’s maturation and the product’s complexity.

“What is design?” We keep asking because we believe it is always evolving.

The current moment, with our Design Studio, where we can experience both sides, as manufacturers and licensors. This has brought us maturity and a very refreshing path in terms of experience across both fronts.

Movew, Mestre Artesão, Desygn Móveis, Corbelli, ArteObjetos, Linee, Cabanna, Lovato, Vimme, Dibrianza, Asa Estofados, Karams, Toro Bianco, Alma, Tapetah, Tora Brasil, Marê Mobiliário, House Garden, Meridiano, Legfatto, Maná, among others.

The kind that doesn’t just think about function but aims to awaken an additional experience.

We want to increasingly consolidate Estúdio Galho as a reference in Brazilian design, as well as expand national and international partnerships, exploring new languages, processes, and materials.

Both options are part of our process. We develop our own designs, but teamwork is essential throughout development, from conceptualisation to completion. The exchange of ideas, views and experiences strengthens each project.

Yes, but it’s still confidential. We’ll have news soon!

Through our Instagram: @estudiogalho
Or via email: contato@estudiogalho.com.br

Just to thank you for initiatives that promote design so broadly and meaningfully. They strengthen the field and encourage us to keep creating with purpose.