Design em Lisboa: You are one of the most prominent professionals in Brazilian architecture and design, with more than four decades of experience and an uninterrupted presence at CASACOR. Looking back at the beginning of your career, what concerns motivated you — and which ones still do today?

Léo Shehtman: I’ve actually been involved with CASACOR for almost four decades, practically since the first edition. Throughout this time, I haven’t missed a single edition. However, I believe that life teaches us something new every day. If you were to ask me today, I would say that it was the anticipation of the magazines and the anxiety about the day I would be invited to CASACOR.

I think the internet has changed a lot of things for the better. It has allowed people to become more equal and have more opportunities. That’s why I reflect on my career, absorbing my experience and being grateful for everything I’ve experienced and the opportunities I’ve had. As I look forward, I try to understand the future and aim higher.

I strongly believe that everyday experiences make us stronger. It’s the difficulties of life that teach us. I’m also an extremely positive person. I always try to find something good in every detail I come across.

DL: What was the moment—or project—when you felt you had found your voice?

LS: It’s difficult to answer this question I’m often asked. What is your best project? Which project brought you recognition? Which project affirmed you as a strong artist? I believe our work is so rooted in everyday life that I don’t know how to answer. My day-to-day life has allowed me to mature and evolve and keep up with the changes. What I do know is this: I’ve become well-known, perhaps because of my contemporaneity and modernity. I’ve always appreciated modernity. Today, modern is closely linked to minimalism. So, I see myself in that category.

DL: Would you say this is how you define your aesthetic universe?

LS: Yes, certainly.

DL: How did the creative process begin and evolve? Is there room for improvisation in your projects?

LS: I don’t like to label anything. Is there room for improvisation? Of course. In fact, my best moments have come while traveling. That’s when I learn and observe. Often, when I talk about a trip, I’m not necessarily talking about somewhere on the other side of the world. Sometimes, you just walk into a restaurant bathroom, see something, and suddenly—wow! I strongly believe that everyday experiences make us stronger. It’s the difficulties of everyday life that teach us. I’m an extremely positive person. I always try to absorb something good from every nook and cranny and every detail I come across.

DL: You’ve participated in more than three dozen CASACOR editions. Which environments have challenged you the most, conceptually or technically, and why?

LS: For me, CASACOR has always been a spectacle, a show. I used to be more daring, and I think the public expected that from me. They expected something exaggerated and different with a lot of daring. Nowadays, I no longer recognize myself in such a disruptive way. Times have changed, and CASACOR has also become more commercial. We need to present our work with a more market-oriented focus.

If I had to choose three projects, though, I’d highlight a 1957 wagon that I transformed into a loft and the Casa Bolha, which had three inflatable bubbles. It was truly crazy to be able to complete that entire project. I needed the help of a set designer because there were complications, but it was a daring proposal. After 25 or 30 years, you can see hotels replicating that concept. And, without a doubt, Casa do Fauno. It was a very successful project. With God’s blessing, everything went well.

Nowadays, the word “trend” has become obsolete. What we’re looking for is a lifestyle. So, what does lifestyle mean? It means being able to link architecture with design, functionality, and technology.

DL: How do you decide which pieces should take center stage? Is there a piece that has made a special impression on you?

LS: Every project has a standout piece. For example, why the reference to Casa do Fauno? Curiously, I found a sculpture that represented a faun. I would never have named the space Casa do Fauno if I hadn’t found this sculpture. Casa do Fauno came about precisely because I found a faun. The Casa Bolha, in turn, was named after three inflatable bubbles.

The same thing happens in everyday life. In projects for clients, something always stands out as the protagonist. It could be an important work of art that the client values or wants to highlight. It could also be a photographic composition that tells the client’s life story. Often, it may not be relevant to me, but I recognize its value to the client. Therefore, the leading role emerges based on the project’s needs and essence.

DL: Which brands do you enjoy working with the most? Are there any that you always include in your projects? National or Portuguese?

LS: Today, we are seeing a huge rise in national brands. In my opinion, Brazilian design is wonderful and has been gaining international respect. I work a lot with +55, Mula Preta, and Zeia.

As for imported brands, of course, there are the traditional ones. B&B is undoubtedly a benchmark and a real school. Then there’s Poliform and Paola Lenti. If I listed them all, it would be an endless list.

I always try to create a mix. I hate starting a project, going to a store, and buying everything from just one brand — no matter how incredible the catalog is. I like combining pieces and mixing references. I think that’s what gives my projects personality and presence.

DL: How has technology changed the way you design and perceive architecture?

LS: I believe technology has greatly transformed our design style. In the past, I used to say that we traveled to follow trends. Nowadays, the concept of trends has become obsolete. What we’re looking for is a lifestyle. So, what does lifestyle mean? It’s the ability to link architecture with design, functionality, and technology. Technology has allowed us to evolve our projects and transform our everyday needs into new ways of designing and experiencing spaces.

DL: Is aesthetic inseparable from ethic? How do you translate the term “sustainability” into practice in your projects?

LS: To be honest, sustainability used to be a scary term for me. It seemed heavy and complicated. Everyone was hesitant. This was the case many years ago. Fortunately, today people are becoming truly aware of how important sustainability is for our future. That’s why I make a point of giving it due attention in my projects — sustainability only enriches, in my opinion. Some question whether sustainability can compromise the project. Not at all! On the contrary, it contributes and adds value.

DL: Furniture and object design has become more prominent in your work. At what point did this aspect evolve from a supplementary element of architecture to a language with a life of its own?

LS: It’s funny how things evolve in life. I’ve always been passionate about design. Four decades ago, few people knew exactly what the word “design” meant. I often say that Philippe Starck is one of the fathers of design. When he creates an orange squeezer or a toothbrush, you realize that anything can be designed. It was like an invitation. Little by little, I was slowly drawn in, and I liked it. I like challenges and projects that stimulate my mind. I think they’re all ways of keeping up to date and experiencing the present, as well as constantly renewing ourselves.

I started designing lamps and furniture, and companies began seeking me out. I feel blessed when I see that people like my work. Last week, I opened a jewelry design exhibition in collaboration with Isabela Blanco. If you ask me if I could ever see myself designing jewelry, Never. Did it go well? The key is to do something with determination and will, because then you can be sure it will happen.

DL: When designing a piece like the Otto armchair for Doimo Brasil, do you think about an object, a space, or an idea? Where does the creative process begin?

LS: For me, a project starts with the company’s DNA. That’s why, when we’re approached, it’s extremely important to first understand the company’s identity. For example, Doimo works with leather in an unparalleled way. If a piece had to be made of leather, for instance, the challenge would be to understand the company’s DNA and create something that incorporates my style while also making it clear how exceptional Doimo is.

DL: Designing objects and furniture requires an intimate understanding of people’s daily lives. What kind of dialogue do you seek to establish between form, function, and aesthetics?

LS: Form, function, and aesthetics go hand in hand. Look at how fashion and architecture are moving in the same direction today, for example. We see big fashion brands dedicating themselves to architecture. Why is that? Because of the unique shapes. The shapes we use in architecture are the same shapes used in fashion.

Today’s world requires us to absorb everything happening around us. We must understand that the globe functions as a whole. This whole attaches increasing importance and value to fashion, design, form, and technology, as I’ve already mentioned. In short, it’s what’s happening around us, and I’m happy to be able to keep up with it.

DL: It seems that your collaborations with brands like Dell Anno, Dunelli, and Linee Design go beyond commercial intent. How do you select design partners? What kind of freedom do you seek in this process?

LS: Everything is an exchange. Some suppliers give so much of themselves to us and are so involved that they become family. For me, Dell Anno is truly a partner. I’m always by their side, and I know I have their support.

When a client challenged me to do a job in Portugal and buy a huge apartment in a beautiful place, I immediately thought of the most important store in that country for me. It’s QuartoSala. They’ve been so welcoming and wonderful that there’s no way I could be in Portugal and not work with them. That’s why they’re now integrated into my projects as well. When I think of Portugal, I immediately think of QuartoSala. This whole exchange is special; it’s something good. It’s pure energy.

DL: What do you consider to be true luxury in product design? Is it comfort, execution, technique, or something less tangible?

LS: Nowadays, luxury and self-luxury are… It’s a term that the market can profit from. Whenever people talk about luxury, I mention that. But for me, luxury is being happy with what you’ve created. Luxury comes when I create something and look at it, thinking, “My God, I feel fulfilled.” That’s luxury.

DL: In projects like Casa do Fauno, custom-designed furniture helps build a narrative of place. Do you believe pieces have a memory? Can they convey a meaning that transcends their function?

LS: Of course pieces have memories. We carry these memories ourselves. For example, I doubt anyone travels without bringing something back from the experience. It doesn’t have to be fridge magnets or plates, but we always end up bringing something back. It could be a piece of furniture from a grandmother’s house, for example. This emotional memory is very important. I believe emotional memories help bring our project to life.

DL: Brazilian design has been gaining momentum internationally, with an interesting balance between sophistication and the organic side of form and material. How do you see this moment, and how do you try to position your work in this context?

LS: In fact, organic forms are very much in vogue, we see it everywhere… But at the moment, I feel it in a different way.  When I see that something is being overused, I feel the need to change. That’s why, for example, I don’t use organic shapes so much anymore, because I think I’ve used them enough. I’m constantly looking for something different. Sometimes people ask me where does it come from? I don’t know, it comes from God. God inspires me, God helps me, and God allows things to happen.

DL: Are there any upcoming pieces or collaborations that you’re particularly excited about?

LS: Everything I do is a source of joy and a boost in my life. Sometimes I’m successful, and sometimes I’m not, but I always try to do my best. The most challenging thing is doing what you’ve never done before, not knowing how to do it, and having to learn. This jewelry collection was a challenge for me. When I saw everything ready on the day of the launch, I thought to myself, “Did I do this?” Happiness.