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COM PORTUGUESE DESIGN 葡萄牙设计 PAGE 147

Pedro Sousa
葡萄牙设计师

采访 ：Emanuel Barbosa 图片 ：Pedro Sousa

1976 年出生的 Pedro Sousa 是过去 10 年中葡萄牙
不多两年吧，我意识到我不可能在当时工作的那 旧受到我之前设计过的品牌风格的影响。当然，
最具影响力的青年设计师之一。他的设计作品游 家公司得到什么发展，于是我决定自己创业。我 我也常在作品内标刻上自己的个人风格，但最终
离在艺术、装饰和设计之间，有着最精致的文艺 曾是 Boca do Lobo（葡萄牙著名家具品牌）的创始 还是要受到之前众多品牌的综合影响。
复兴风格，又能够将现代主义的设计融汇其中， 人之一，也是该品牌第一个系列的设计师，并在 所有的这些品牌都有着非常明确的受众客户，其
涉足的领域包括家具、产品以及室内设计等。 那段时期取得过一些成功。我也曾经市 SAAL 设 细节体现可谓无处不在 ：高品质的材料，从草图、
计的设计总监，同时也是这个葡萄牙品牌的创始 模型到最终成品都要执行高标准的质量控制，甚
请和我们分享一下你的职业经历。 人之一，以及第一个系列产品的设计师。但那之 至细微到包装，名录或名卡上的字体要求。所以
后，我开始了个人的职业生涯，迎接新的挑战并 对于我来说，能与这些有着高标准要求的公司合
我的学习生活非常简单。那是一段重在实践的过 成立了 Pedro Sousa 工作室。在这里我拥有自己的 作所带来的好处就是，我也需要不断的要求自己
程，也是一段如同天堂般的日子，有机会接触到 个人品牌产品，也为其他品牌做设计，其中包括 将细节做到极致。
了许多优秀的老师，正是那段时光塑造了我之后 Ginger & Jagger，我为他们设计了第一个系列 Earth 我的作品现在也不只是独特和奢华，我也在为
对设计的激情，它教会了我如何爱上设计，时至 to Eart，并在今年 4 月的米兰家具展上推出，反 其他类型的客户市场设计一些小件作品。这次
今日，我觉得这也是我自己唯一能够做的事了。 响很好，我也相信它会有一个更美好的未来。 的尝试会非常的不同，作品也许都不会有太多
在我求学的时候，我只是一个成绩平平的学生， 的媒体曝光，但对我来说它们的价值是相同的。
因为那个时候的我有太多更有趣的事情要做。 你的作品常常与独特，精致和奢华等字样联系在 我喜欢寻求新的挑战，用新的工艺制作出更多
在那之后我开始接受专业课程的培训。我最初接 一起。你自己是怎么看的？ 前卫的作品。
触到的专业课程是木工，这也让我有机会获得一
些真正具有专业性的经历。接下来一段时间，差 我的作品一贯如此，甚至更甚，直到现在它们依 从你的作品上可以感受到许多葡萄牙元素，这一
 PORTUGUESE DESIGN 葡萄牙设计 PAGE 149

别是之前与一些非常优秀的专业技师合作做模型
的经历也许会成为我日后回顾的趣事。我真是非
常地幸运可以和一群有着高超技能又有着丰富人
生经历的人们合作。但不幸的是，其中两位已经
去世了。对我来说，和他们一起消失的还有他们
所擅长的那些祖先留下来的高超的技艺。他们的
教诲让我对工艺产生了认识，是他们的经验教训
或成功经历教会了我如何做人做事，而这些是我
非常愿意拿出来分享的故事。

Diamond 餐具柜已经成为了葡萄牙设计的一个
符号，你觉得它的出现是你事业中的一个转折
点么？

从某种意义上来说，它的确是一个非常重要的作
品，但是每一个作品都代表着一种新的挑战和冒
险，毕竟它需要集合我们最大程度的关注度，注
意力，投入比，努力程度以及对客户的承诺。
一方面，我非常高兴地看着它成为葡萄牙设计的
符号，但另一方面，我不希望我的设计是一成不
变的，我希望可以有更新的改进和挑战。

听说你最近完成了葡萄牙 Furadouro 酒店的室内

设计项目，那对于家具设计和室内设计，你更倾
向哪一个呢？

这是两个完全不同的领域，我没办法说更喜欢哪
个。只能说在工业设计领域，我更喜欢家具设计，
毕竟我已经有 10 年的设计经验了。另一方面，
室内设计这个新的领域对我来说也是一个挑战，
它范围更大，需要将诸如灯光，空间感，颜色等
的因素考虑进去才能达到一个预期效果，这是一
个非常有趣的过程。我的职业生涯大都投入到家
具以及小型项目的设计上，而像这样复杂的室内
切是有意为之的吗？ 当下正做的东西是对我来说是最重要的。毕竟它 设计对我来说极具诱惑。当然这也可以让我有更
还只是在构想阶段，等待成为一件实实在在的设 多的自由，想象我设计的那些家具如何能摆置在
这要看我们具体说的是哪个项目或哪个作品了， 计作品，而这需要花费更多的精力。 一个理想的空间中。
但有的时候当我需要用设计将葡萄牙悠久的文化 不过如果非让我选一个的话，我可能会选 Black
表现出来的时候，我会有意这样做的，比如说 D. Pearl 矮柜，因为它的整个制作过程就是一个极 你是否有自己非常钟爱的传统技艺或工业技术
Manuel 柜子。有的时候却也不是这样，原因可能 大的挑战。这件作品上，我利用了许多锁匠的手 呢？传统的技艺和工业技术能否互相兼容呢？
是因为所处的时期或品牌不适合，也可能只是单 工工艺来制作大型门窗和花式金属网格，来体
纯的因为没有必要，那我就会选择用别的方式来 现典型的葡萄牙风格阳台和 19 世纪风格的窗户。 现在讨论这个问题也许还为时过早，毕竟我还没有
表现。 Black Pearl 矮柜的创意源于葡萄牙北部米尼奥的 完全了解所有可以用于作品制作的材料或是技术。
对于不同作品的解读方式有时可以直观感受，有 传统珠宝，金银丝工艺品。 但作为一个好奇心过剩的人，我很想尝试不同的工
时又需要体味其中的奥妙，这就形成了葡萄牙式 我现在设计的作品（还处于雏形阶段，已预备进 艺和材料，因为我相信所有的设计师都会积极学习
的设计和产业。而我的个人风格也深深受到了周 入最后细节完善）对我来说也有着特殊的意义， 新工艺，创造新的表现方式，颠覆旧概念又开创新
围这种产业以及多年传承下来的生产技艺的影 这个设计灵感是我在爱尔兰都柏林做交换生时就 理念，但依旧质疑本来理所当然的事情。
响。正是这样一种世代相传的细节取胜的意识造 产生了，一直就不曾从我的脑海里抹去。它的名 如果我需要采用一种新材料，我会选木头，虽然
就了我今天的设计风格。当然，自我决定要在这 字叫 Causeway，而现在就是将它实现的一个绝佳 这对我来说是一种非常简单的材料，但经过时间
个国家建立事业开始，我就没有理由不首先利用 时机，我也很高兴能够在《CASA 国际家居》杂 的迁移它会发生属性的变化，这是很少有材料可
身边现有的技术和工艺来完成作品。否则，也是 志中首次发布这个作品。 以达到的效果。所以，木头并非只是一种简单的
对自己的一个否定。 材料。
可以和我们分享一些你觉得有趣的项目作品么？ 我很喜欢和小作坊的手工艺人合作，他们所用大
你记忆中印象最深刻的一个项目是什么？ 多是手工工艺，整个过程中添加了强烈的人工情
我不确定我的故事能否称得上有趣，或是得到很 感，也给作品赋予了生命的灵魂。正因如此，我
我的每一个项目都是独一无二的，但我也常说， 多关注。但是，有些事情确实让我受益匪浅，特 希望这个行业可以有所延续地发展，也希望更多
的年轻人可以来到这个领域工作。否则，随着标 那名单可就太长了，那么多的灵感不可能都是一
准化的生产，工匠职业比降被这个行业吞没。 个人给的。就像音乐或绘画，不可能只有某一首
而传统工艺和现代技术之间的兼容性，我坚信两 歌或某一幅画带给你灵感，肯定是有各种各样的
者是不可分离的。代表传统的手工工艺需要接受 歌曲或画作，它们用自己的方式激发着你的灵感。
自身的改变，并同现代技术的良性影响进行合作， 有时我很钦佩上世纪 40、50 年代的设计师，那
而这种合作也是相互的。我相信两者会在共存的 真是一个群星璀璨的时代，虽然有些人在今天也
情况下实现共赢。 还不是那么有名。有时我又非常欣赏新趋势下的
年轻设计师，他们每天都会在网络上展示自己的
你认为工作是一种乐趣么？ 新想法和新理念。还有那些设计界有标杆性的人
物，我没办法选择某一个，毕竟他们每一个人都
当然是，我从未怀疑过这点。对我来说，设计是 是天才。
世界上最好的职业，可以让我不断的学习新东西，
不断进步。我也相信我还可以做出不同的设计， 未来你还有什么想要尝试的新领域吗？
而且我在这行做的还算不错，但这是让我在每一
个新作品上进行改变创新的动力。这些工作的乐 目前除了想要试着和一些玻璃或是陶瓷工业，
趣在于可以每天在每个项目上有新的改变，开发 乃至更具现代技术的电气用具，电话，汽车等
新作品，让那些纸上的概念变成现实等等，对我 领域合作外，我也非常想和一些跨国公司合作，
来说，这就是最大的乐趣，受点劳累和折磨又算 帮助我的作品得到更广的受众领域。这将会是
得了什么呢。 一个激动人心的挑战，毕竟在葡萄牙还没有这
样的机会。
你是否有非常钦佩的设计师呢？哪一位格外的启
发了你的灵感？
 PORTUGUESE DESIGN 葡萄牙设计 PAGE 151

Pedro Sousa is one of the most influential

youngest Portuguese’s creators of the last
decade. His vision blurs the lines between
art, decoration and design bringing back
a renaissance in finely-crafted, intricate
objects within the context of contemporary
design culture: creating furniture, product,
and interiors.

Tell us about your professional experience.

Well, my academic life was pretty normal. It

was a very important time for experimentation
and utopia and also a great opportunity to
be in contact with some good teacher that
transmitted to me the passion for design.
That was the time when I learned how to
love design. Design is, today the only thing
that I can imagine myself doing. When I was
studying I was an average student, it was a
time in my life when I had many interesting
things to do at the same time.
Then the professional part came. I started to
have a professional course in woodworking,
this gave me the opportunity to have some
professional experience. After some time,
about 2 years, I realized that there were no
more opportunities to grow on the company I
was working at the time, so I decided to start
a personal project. I was one of the founders
of "Boca do Lobo" and the author of the
first collections of the brand, which in those
days had some success. I was also creative
director of SAAL Design and, once again, one
of the founders of this Portuguese brand and
the author of the first collection. After that, I
started my personal professional adventure
that allowed me to embrace new challenges,
so I created "Pedro Sousa Studio". Here I make
my own personal projects and also projects
for other brands. A good example of this is the
brand "Ginger & Jagger", that I'm designing
their first collection "Earth to Earth". This brand finishing and even small details like the It depends of the project and of the piece we easily available in our industries. It would be a "Minho", a northern part of Portugal, specially that I had the previlege to work with while
was recently presented at Isaloni 2012 in packaging, the catalogues or the business are talking about, but yes, sometimes it is great contradiction. filigree. doing some of my prototypes. Those are
Milan, on April of this year - there the feedback card typeface. So, to me, it is a privilege to intentional when I use languages that transport The design I'm working on right now (on episodes that I will remember to rest of my
was very good, and we preview a good future work with companies using this high quality you to the Portuguese legacy, like "D. Manuel". What was the project that you remember the prototype phase, ready to define the life. I had the previlege, in all this years, to
for the collection. profiles, this makes me even more demanding Sometimes no, either because it is not the right the most? last final details) is also very special to me, have contacts with people who, besides being
with myself - being always aware of all small time or right brand to do it or simply because it since it is stored on my memory since I was excellent professionals, were also amazing
Your work is very exclusive, exquisite and details. doesn't make sense to do it, then I follow other Each project is unique, but I use to say that the an Erasmus student in Dublin, Ireland. It is human beings. Unfortunately, two of this
luxurious. Tell us a little about this. But my language is not only about the languages. one I'm doing right now is the most important. called "Causeway" and just now it was the artisans are already died. To me, this also
exclusive and the luxury. Right now, I'm Sometimes this reading is immediate, The ones kept in the drawer, waiting to see the right timing to present it, and it is with huge represents the disappearing of many of the
More than everything, my work has been, until designing some pieces and products for other sometimes more subtle, this is also caused for daylight are my biggest preocupations and pleasure that I present it for the first time on ancestral noble activities that they mastered
now, influenced by the profile of each brand I markets and targets, a completely different the Portuguese reality and industry. I am very they absorve a big part of my energy. this magazine. so well. Those people told me everything I
work for. Of course that inside those languages approach, maybe without so many media moulded by the industry that surrounds me If I had to choose one, probably I would choose know, by sharing their experiences or good
I always imprint my personal style, but always exposure but with the same value to me. I like and by its ancestral production and knowledge. "Black Pearl", since it was a huge challenge Would you like to share some interesting moments on their company, so these are the
a result of the many influences of each brand to explore new challenges and techniques that A manual knowledge that is transmitted from to produce it. On this piece I took many of the story about your projects? facts that I want to share.
universe. allow me to find new and more daring results. generation to generation, with production of manual know-how of locksmiths, used to
All these brands have very well defined very small series that makes my work a result produce large gates and ornamented metal I'm not sure if the stories about my projects The Diamond sideboard has already
customer targets, and all details count: the We can feel a lot of "Portugal" on your of this. Also, since the moment that I decided grids, so typical of portuguese balconies and are so interesting to be told or deserve some become an icon of Portuguese design, do
high quality of materials, the very high quality projects, is this intentional? to build my career in this country, it would be XIX century windows. "Black Pearl" has also highlight. But the ones that enriched me are you think it was a turning point on your
control from the first sketches, prototypes, pointless to use techniques or processes not a huge inspiration on traditional jewelry from those related with the excellent professionals career?

In a way it was important, but each object
represents a new challenge and each piece a
new adventure, since it requires our maximum
atention, dedication, effort, concentration and
commitment. For one side I’m happy that
it is considered an icon of the Portuguese
design, on the other side it is not one of my
characteristics to be stuck to something that
was already done, but to always keep evolving
and find new challenges.
Recently you designed the interior of the
Hotel Furadouro, in Portugal, what do you
prefer, furniture or interior design?
Well, those are two different universes that
complete each other. I can't say I prefer one
to the other. Definitely I feel more comfortable
with the industrial design universe, especially
furniture design. This is natural, since I work
on this field for almost ten years now. On the
other side, the recent challenge of working
on a different scale, much larger and with so
many connections like light, volumetric, color,
etc. to reach a good final result, has been very
interesting. A large part of my professional
experience has been devoted to furniture
and small scale, but the complexity of interior
design projects also seduces me. With some
freedom it can also work as ideal scenery to
some piece that I designed.
Do you have some favorite techniques or
technologies? Is tradition compatible with
technology?
Maybe it is too sono to answer to that question,
since I haven't explored all available materials
or technologies for the production of my
pieces. I'm a very curious person, willing to try
other techniques and materials, as I believe
all designers are: people eager to learn, create
new languages, subvert concepts, invent new
connections and always question things that
we take as granted.
But if I need to choose one material, maybe I
will choose wood, since that this is more than a
simple material, to me. It is a living matter that
interacts, reacts with time, with characteristics
that very few materials can have. Wood is
much more than a simple matter.
I've been apologist of working with small
artisans, small industries with many manual
work, that pass to the work a strong human
feeling - contributing this way to the soul of
the project. This way, I want to contribute to
the sustainability of this industry, making
possible for more new young people to start
working on this fields. This kind of artistic
labor is disappearing with the huge universe
of standard massified productions, without
any possibly of choice. As far as compatibility
between tradition and technology, I deeply
believe that one can't exist without the other.
If one represents tradition, the manual know-
how and the starting point to technology,
tradition itself won't survive if it is not capable
of adapting itself and incorporate some of the
good influences of the technological world and
vice-versa. I believe that both parts win with
the existence of the other.
Is work a pleasure?
Yes, without any doubt. To me, design is one
of the best professions on the world, because
the makes me to always learn new things, to
always keep updated.
I like to believe that I can make some
PORTUGUESE DESIGN 葡萄牙设计
difference, I like to think that I'm good doing
my work, and this gives me strength to be
better than before on every new project. I work
with pleasure and joy: to follow every day the
evolution and the production of all the projects
that go behind the paper project - to me is a
huge pleasure, what doesn't mean that it is not
very tiring and wearing.
Do you have some designers you admire?
Who inspires you?
I can't tell you just one name. There are many
inspirations, it is not possible to just have one.
It is like music or painting: there is not just
one music or painting that you can choose,
there are several, each one is inspiring on their
own way. Sometimes I admire designers and
creators from the 1940's or 1950's - an era
PAGE 153
with many amazing people, some not very
famous today. Sometimes I admire the new
trends and younger designers that everyday
show their new ideas and concepts on internet.
Never forgetting the big design icons. I can't
choose, because each one is a genius on his
own way.
What would you like to try in the future?
Well, besides experimenting and being able
to work with other industries like glass or
ceramics or even some more technological
related like appliances, telephones, cars, etc.
- I would like to collaborate with international
companies, giving another dimension to my
projects. This would be an exciting challenge
since in Portugal there are no opportunities to
work on this scale.