Lattoog

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Lattoog ("Lattoog") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

Lattoog : Leonardo Lattavo, one of the partners, graduated in architecture in Rio de Janeiro and did his master's degree in England, and Pedro Moog is self-taught. At that time, they didn't see any possibility in Rio de Janeiro of doing a good job as an architect. So, being very detail-oriented and passionate about art, they got together to design what would become Lattoog's first piece, the Knot Armchair, 25 years ago. They started out as a hobby, but as it was very successful among friends, it was a stimulus for them to start making other pieces.

DL: What do you design, what type of designs do you wish to design more of?

Lattoog : We generally design all kinds of furniture, from residential to corporate, in wood, upholstery, glass and metal. But we'd like to design more urban and electronic furniture.

DL: What should young designers do to become a design legend like you?

Lattoog : Always look for something that makes the project very specific, that isn't a repetition of patterns and uses that have already been made. And that something specific could be in the use, it could be in the materiality, it could be in the shapes, you name it. It's hard to say what that something specific would be, but without having that particularity, it's harder to stand out in the market.

DL: What distinguishes between a good designer and a great designer?

Lattoog : I believe that a good designer reaches a point in the development of the product where they feel satisfied, as if they have reached the end of the project. On the other hand, a great designer isn't content to stop there; they constantly look for ways to improve the product. This involves a continuous process of refinement, in which the designer challenges their own vision and seeks excellence in detail. The development of a product is a long journey, in which many designers tend to stagnate at what I consider the halfway point, thinking that they have already reached the apex. However, for great designers, this is a never-ending process of refinement that aims to go further.

DL: What makes a good design a really good design, how do you evaluate good design?

Lattoog : A really good design is one that manages to captivate, that has a solid cultural narrative, rational production techniques and aesthetic appeal. When a project embraces all these characteristics, it stands out and is truly successful.

DL: What would you design and who would you design for if you had the time?

Lattoog : We want to collaborate on projects that involve larger teams of designers and that are multidisciplinary, thinking about comprehensive solutions to global issues such as the well-being of the planet, people, animals and the environment. We currently participate in very few projects with this broader approach.

DL: Who are some other design masters and legends you get inspired from?

Lattoog : We deeply admire the work of Achille Castiglioni, whose ideas brought new perspectives to the field of design. Le Corbusier, due to our background in architecture, also had a significant influence. Oscar Niemeyer has always been a source of inspiration, especially for his courage to draw curves and express himself. Marcel Breuer, a forerunner in the use of metal and furniture technologies. More recently, Marcel Wanders of Moooi. And Philippe Starck, not only for what he creates, but also for the way he presents his products.

DL: What helped you to become a great designer?

Lattoog : Brazil was going through a time when it needed more people thinking about design. Because Leonardo Lattavo had lived in Europe for 10 years and studied the subject for two decades, he already had a considerable background when he returned to Brazil. And when he arrived here, he noticed a significant lack of this type of thinking in the country. Coming out of a turbulent post-military dictatorship period, Brazil was emerging from a state of cultural lethargy. It was in this context that a resurgence took place, and we had the opportunity to contribute to what is now known as contemporary Brazilian design.

DL: How do you think designers should present their work?

Lattoog : When we present our work to a client or when faced with a request, we often try to captivate with seductive images that express the project well. However, I realize that this is common practice for many, and we try to do it uniquely, in our own way. However, designers are currently facing the challenge of using new technologies to present their projects in even more engaging ways. This includes the use of finely edited videos, digital models and animations, and even physical models. I believe there is a growing expectation regarding the presentation of work, and many of us are used to presenting in a static way. We would like to explore less conventional methods of presentation, and I believe younger designers should consider this approach too.

DL: What’s your next design project, what should we expect from you in future?

Lattoog : We are currently involved in creating pieces that range from advanced technologies to simpler, more traditional materials. For example, we are experimenting with pottery production with an indigenous tribe in a remote region. And something interesting could emerge from trying to combine these two different aspects...

DL: What’s your ultimate goal as a designer?

Lattoog : Foremost, it's gratifying to be able to support ourselves through design, although this has never been our main goal, it's more of a consequence. At the end of our career, we would like to look back and realize that we have contributed in some way and brought something meaningful to people's lives. Our focus has always been to meet demands in the best possible way, applying our design expertise to create relevant and impactful products. However, if we're talking about dreams and ultimate goals, we'd love to develop something that has a positive impact on the environment or on people's consciences.

DL: What would you like to see changed in design industry in the coming years?

Lattoog : We would like design in Brazil to be recognized as an element of cultural value, to the point of providing tax incentives for companies that invest in it. In addition, we envision a scenario where design has a more significant influence on the urban planning of our cities, becoming less about individual objects and more about the urban configuration as a whole. It would be great if there were more education about design in schools, so that people understood this field better.

DL: Where do you think the design field is headed next?

Lattoog : We see many designers investigating new raw materials, young people, with this research linked to making and materiality. Always looking for solutions that are more sustainable and fairer to the planet. So we think that the future of design is much more linked to rethinking materiality and raw materials, rather than a purely formal aspect.

DL: Do you think design sets the trends or trends set the designs?

Lattoog : It's a relationship of constant exchange, an ongoing conversation. Designers act as agents who identify issues in life, absorb them and process them. It's a cycle in which one process feeds the other, resulting in a continuous flow of ideas and reflections.

DL: What is the role of technology when you design?

Lattoog : When we consider the design profession, it is inevitable to note the constant interaction with knowledge, technology and machinery. It is therefore essential to keep these aspects in mind when working. Personally, we would like to explore even more technologies than the ones I currently use. Although technology already plays a significant role, I feel it could be even more integrated into the process. The design process is predominantly technological: we start with analog drawings, but soon move into the field of technology. It's funny how we sometimes forget how technological our process is. We are so immersed in everyday technology that we sometimes lose perspective. When we look around, we realize that there are countless other technologies besides the ones we're familiar with. This makes us question where we are on this technological spectrum. It's difficult to determine whether we are too technological or not. However, it is undeniable that the presence of technology is practically omnipresent these days. It is a reality that is inseparable from our profession.

DL: What is the role of the color, materials and ambient in design?

Lattoog : We tend to place great value on the natural colors of the materials in our projects, such as wood, glass, metals and stones. This is a defining characteristic of our work. Additional colors are usually introduced more sporadically. Often, this is in response to client preferences, such as when they choose a fabric that complements the tone of the wood or opt for a specific paint. In this sense, the color palette is very flexible. We even like it when our clients, including architects who buy our products, participate in the color selection process. In general, we're not very strict about it.

DL: Which books you read had the most effect on your design?

Lattoog : We prefer to look for inspiration in cookbooks or novels to create new products, rather than in design books. When you translate ideas from a different field into your own medium, that's when you find a path to originality. One book in particular that influenced us a lot was the series of magazines by the English group Archigram, of which Leonardo Lattavo was a teacher during his master's degree. These magazines, published in the 1960s, opened our minds to a new perspective on architecture. They presented the idea that architecture could be anything, and this has had a huge impact on our work to this day.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

Lattoog : I remember one product in particular, a light fixture, which was a lot of work for us. We spent weeks trying to design it, but we just couldn't get it right. Then, in a moment of frustration, I decided to cut it in half and, by turning it upside down, I turned it into a fruit bowl. Surprisingly, this fruit bowl became a commercial success and is still sold today, more than ten years later. It was a clear example of how important it is to be open to mistakes and possibilities. Making mistakes is part of the process and often opens doors to new solutions. Sometimes we are so focused on one direction that we don't see other viable alternatives. It's as if we were adjusting our radar, keeping ourselves receptive to the opportunities that arise along the way.