VITÓRIO PAULO :: ARQUITETO

Hi there,

So here am I in one more beautiful, shinny and warm summer day in my native town of São Salvador da Bahia, Brazil taking some time to write, while in confinement due to this pandemic. But let’s keep strong and hopeful, and thinking positive: better times are to come.

I’d like to start up speaking in regard of my goals with this case-study. Mostly, I’d like to discuss how thoughts drive design. Yep! Exactly! Architects, Designers, Inventors, Students, Hobbysts, whatever, have y’all already thought about the path that drives the Design process? Indeed, I really believe that there’s not such a rule, though I’d like to explain a bit of my design process.

In this way of thinking, firstly I establish WHAT I ‘m looking forward to Design and WHY? As such, I think something like that: “Hmmm… I’d like to Design a Chaise…” Or, the concept comes first and the object, after: something like “Hmm… I wanna do a Tribute to Rio de Janeiro, Brazil”. Then, I already have the object and the concept in mind. Awesomesauce! The design process have already began.

The next step in the creation process is to brainstorm about HOW an homage to Rio could be done. The inspirations are endless! Rio (as well as all of Brazil is extremely rich at the standpoint of its culture, history, all kind of arts, as well as the easy-going style of the people, the landscapes, nature, and much more). As such, I can do anything, as soon as the design portraits and is loyal to the concept. I can also say that the Design can be almost thematic or not. I’m the designer, as such, it’s up to me. Simple like that. And, repeating, most importantly, in my standpoint, is if the concept can be perceived in the product.

Okay, let’s keep moving then! I have the concept, and I know the product that I wanna design. Beautiful! Next step: after brainstorming, I have already many preliminary ideas in mind of how the concept can be translated into a design.

Going further, it’s supercool that I already have matured the concept, mostly in regard of its shape. But design is not only form. It needs to necessarily be functional, industrial viable, aesthetic pleasant and, thereafter: brings joy, amusement, happiness to the end user and have a strong concept.

Amazing. Let’s keep moving, folks. After researching a lot about Rio, and with the experience that I have, as someone who has lived there for almost three years, I realized that nothing speaks so loudly than the nature. Mostly, the bold curves of the mountains, establishing presence everywhere and, with all poetry, surrounding the Guanabara bay.

Guanabara! Yep! Chaise Guanabara, I said myself! Perfect! Well done Vitório, I’ve said myself. Great name for the produt, I thought. What comes next, buddy? Thinkink myself loudly. It’s time to bring to paper the ideas of the product that comes in my mind. So I go, thinking with the pen and paper, sketching in order to get a first material approach of what only existed in the wonderful world of the abstraction and senses.

After all Isometrics, perspectives and views sketched in scale with pen and paper, it’s time to refine the idea and document it for production: with the computer and gadgets, making usage of a set of CADD and graphic tools that composes my workflow.

Important, peers! You need also to think about how the product will be crafted (it needs to have industrial viability, remember?). The Chaise Guanabara was thought to be produced in stainlees still structure, injectable foam in a mold (seat) and the seat finished in stretch cloth (though firstly thought to be in velvet).

The Guanabara Chaise hasn’t been already prototyped or even have gone into mass production. As such, if anyone wants to join forces and keep developing the product with me, let’s catch up! Nonetheless, stronger together, always.

Hope y’all enjoyed this article and feel free to be in touch. Looking forward to hear from you.

Sweet!

Hi everyone,

So here am I writing one more of many for the future being essays. Very recently ArchDaily published an article entitled 121 definitions of Architecture. Statements made by many Architects and Architectural critics from worldwide nations:

At the very beginning of this post, it’s important to clarify that the aim here is not at all dive in deep into the matter. Indeed Architecture, as a complex and multidisciplinary field of knowledge, would allow thesis and thesis to be written in regard of the theme. In this standpoint, the goal of the essay is to promote an introductory discussion about it, opening space for further discussions.

Firstly, it would be tough, even not viable at all to discuss each and all of the 121 statements posted on the recent ArchDaily article. I’ve selected as such some of them to start thoughts. Important at this point to tell that the selected statements does not privilege any Architect or Architectural critic or historicist from any nation and/or historic period, in respect to worldwide cultures and way of thinking.

The first one that brought my attention was a statement made by Brazilian Architect Oscar Niemeyer: “Architecture is Invention” (In Newsweek). Immediately I thought: yes, I have to agree with him. It has all to do and honors the creativity and problem-solving nature of our craft. But wouldn’t other fields of knowledge, mostly related to design processes (e.g. product design, fashion design, furniture design, whatsoever design) also be invention?

Well, in my thoughts, yes. Definitely. And mostly important, everything related to design processes, doesn’t matter the genre, is Architecture as well. Not by chance, just as an example, Niemeyer designed furniture too. Swiss/French Architect Le Corbusier’s activities related to Niemeyer stated concept of “Architecture as Invention” surpassed the common sense of Architecture as the field of knowledge responsible for the conception and delivery of facilities, in all of its known design stages.

Le Corbusier was not only an Architect, but acted in many other design related disciplines: furniture design, fine artistry, and so on. An Architect (Inventor), as Niemeyer’s definition that can be totally described, in the most higher degree of what an Architect is supposed to be. As well as Niemeyer. And importantly to be phrased here, there is no such space to compare who was better than the other and why. Geniuses are not supposed to be compared, but equally respected for their practice and legacy, as well as about what can we learn from them. Both were giants in the field and, not by chance, had written their names in history.

So let’s keep moving forward. Not attempting to be partial here regardless of nationality, but couldn’t help on considering the Architecture’s definition from French Architect Jean Nouvel: “Its the petrification of a cultural moment.” (In Newsweek). I thought it was extremely interesting Nouvel’s point of view, mostly because it brought me a memory from the time I was enrolled in the Bachelors` of Architecture and Urban Planning of the Federal University of Bahia, in my native Salvador da Bahia / Brazil, where I’ve graduated.

In a discipline entitled (if my memory doesn’t fail) “Introduction to Architecture”, the Professor asked us to define Architecture. When I judged it was appropriated to express my thoughts, with elegance, I’ve said: “It’s the expression of human kind in its historical period”. The Professor then answered me back: “It’s a very interesting statement Vitório, but wouldn’t such concept be equally applied to other fields of knowledge? Fine Arts, Philosophy, Literature, and so on?” At what I’ve answered: “Indeed it would. But it’s also truthful regarding Architecture.” A silence followed the class. After a minute or so, the Professor restarted the Lecture. Decades after this episode, here am I, noticing that my point of view is tuned with Nouvel’s thoughts on defining Architecture. It’s not only a suitable definition for Architecture, but thoughtful as well.

One definition of Architecture that really amused me was the one from American Architecture Critic and Writer Ada Louise Huxtable: “Architecture is a form-maker, problem-solver and environment-creator, and the international exposition is its laboratory.” (In New York Times). Such definition in my standpoint is extremely resourceful, thoughtful, original and full of poetry. And honors her legacy, in my opinion, as one of the most important Architecture critics of her generation.

Indeed, Ms. Huxtable definition of Architecture talks about definitely important concepts of Architecture as the field of knowledge responsible for the ideation of the built environment. Architects are form-makers: their liable for shaping facilities, that’s true. As soon as each building has its unique specificities, it’s in the responsibility of the Architect to problem-solve and create environments suitable to its demands. Thereafter, Architecture is a global practice and all of the world’s geometrical physical space can be understood as its laboratory. Period.

The thoughts following Ms. Huxtable statement narrated in the last paragraph is in tune with Iraqi/British Architect Zaha Hadid definition of Architecture: “Architecture is unnecessary difficult. It’s very tough.” (In The Guardian). I have to agree with Ms. Hadid: yes, architecture is really tough, and difficult. It’s intellectually challenging and, in my perspective, that’s exactly something about Architecture that makes it so fascinating. I'm at the same page of Ms. Hadid, as well as Ms. Huxtable.

There are so many factors to be considered in the ideation of a facility that makes it a really tough craft. In this context, it’s really hard for the initial concept not to be lost. And not by chance, American Architects Charles & Ray Eames once stated: “We’d rather design furniture instead of practicing Architecture, once there are much less factors to interfere with the original concept.” Which doesn’t mean at all that the Eames weren’t extremely talented, brilliant and gifted in the field of Architecture, Fine artistry, Sculpture, Product Design and many other crafts related to creation processes.

Now it’s time to finish thoughts in regard of this brief essay, that targeted a brief introduction to the definition of Architecture. Firstly, I’d recommend everyone to read the published ArchDaily article (see link in first paragraph). And secondly, I’d be glad to be in touch with everyone. Don’t hesitate to reaching me out.

Best regards!

Hello, everyone!

It’s almost Christmas and I’m taking some time of this splendid sunny and beautiful day here in my native Salvador (Bahia/Brasil) to write to y`all about the Tongs Wanna Hand? I think it’s important to emphasize what are the goals with this post. Let’s start as such. Firstly, I’d like to talk in regard of the workflow I’ve used, from conception to production of the product. Secondly, I’d like to express my opinion in regard of the softwares used in the workflow. And thirdly, speak about the period the product was developed and how I’ve got inspired to develop it.

Back to 2010, I was looking forward to add to my workflow new processes of Computer Aided Design (CAD), mostly concerning 3D modeling and it’s possibilities of integration with contemporary Computer Aided Manufacturing (CAM). I already was aware that the Design industry as a whole was adopting SketchUp for 3D modeling purposes. After conducting independent research and studying about the theory behind the scenes of the software, I decided to give it a chance, using the, at the time, free version Sketchup Make. After playing around with the software I ended up quite surprised with its user friendly interface and the low learning curve to start effectively using it in a production setting, as promised by the software-house (Google at that time, if doesn't fail my memory, now undergoing development by Trimble).

Reviews and testimonials though, confirmed my experience with the software: without add-ons (plug-ins), the SkecthUp was limited regarding the possibility of reproducing geometries with higher levels of complexity. As such, my next steps diving in depth regarding experiencing the software was all about learning and exploring the potential of plug-ins. My experience couldn’t be better: the usage of add-ons added an incredible value to the workflow. Going further, it allowed me to develop the product (Wanna a Hand?), which geometry is complex and made even friends of mine from the industry getting surprised that I was able to design it inside SketchUp.

The design of the product though had its kick-off back to 2013, one year after my daughter Catherine was born and I’ve put my career in standby to be a full-time, 24/7 stay at home daddy: a priceless period of my life, a couple of years that changed my life substantially to better. It’s quite interesting to realize how the experiences we live, mostly if we’re in an industry that push us to think out-of-the-box, such as the Design (doesn’t really mattering the genre), translates in our production.

At that time Catherine was under my care (for about 3 years), it took me about two years developing the product in my rare free hours. Catherine and I was used to play a lot. I remember how Catherine was so passionate about Lego and the possibilities of emulating structures with it. Also, she always had an eye for colors and how she could make the structures in lego look even more playful. She loved to see cartoons as well, though I always had the care to do not allow her to be all day long in front of the TV.

The delay in developing the product, that toke me about 2 years, is justified as such for my main occupation at that time as a full-time job father raising my little one. As soon as she went to bed at night, I was used to go to the computer for a couple of hours to keep developing the Wanna a Hand?. At this point, here is interesting to make the link between this period I’ve lived and the design of the product itself: playful, childish like, irreverent, creative and out-of-the-box. If it’s not enough, a multi-purpose, “total flex” product: as a Tong (occidental standpoint), it can be used to pick-up salads; on the other hand, it can be totally understood as the reinvention of the Hashi (oriental perspective).

Once the product was designed in SkecthUp Make, it needed to be in compliance with the guidelines of the 3D printer bureau of services: manifold (meshes totally closed, water tight, without holes), as known in the 3D printing industry. In order to prepare the product to be 3D printed, I made the final review of it using the program MeshLab, which is a very nice piece of software to debug, fix and improve products that own compĺex meshes geometry.

Btw, still speaking in regard of the design process, my most sincere congrats to the staff of devs behind Kerkythea. A powerful and user friendly rendering package that can be easily integrated into the SketchUp workflow. Gimp, an outstanding photo-editing program, was also used to deliver a final touch on the Kerkythea generated rendering images.

Supercool everyone! Job done! It was time now to just upload the 3D model as a .stl file to get it 3D printed. In the market place, I’ve choose to work with the global leader New York based 3D printing bureau of service Shapeways, and opened my online store with them: Vitório Paulo's Shapeways online Store

Hope y`all liked the post and do not hesitate to be in touch for further information. If interested in purchasing the Wanna a Hand? as well, it would be simply put - awesomesauce! I say bye for now wishing everyone a blessed Christmas holiday with the hearts full of love and a terrific New Years eve. Let’s send our positive vibrations to the universe in order to make 2020 The Year!

Cheers!

Hey'all,

So here am I updating a post from late 2014. I am doing so in an attempt to explain the importance to talk about the idea toward the conception of a product. As such, I will use as a case-study the Berimbau Chaise: a furniture I designed that dates back from 2002. It's important though, to discuss principles of the Design process to understand what is my goal with this post.

So let's keep moving forward. In order to make a product marketable, I believe it's relevant to tell a story about it, and further in this post, I will dive in deep in regard of my thoughts into the matter. Nonetheless, speaking about the Design of a product, such concerns needs to be taken into consideration:

* What is the concept?

* How did you come out with the idea?

* What are the influences that guided the development of the product?

* What is the intention behind its creation?

* What is the profile of the patrons targeted to purchase the product? Is it a product to be sold in small quantities with a high price and mark-up or is it a product to be fabricated in industrial scale and sold at affordable prices at a lower mark-up in order to profit with its scalable distribution?

* What will be the distribution channel(s) of the product once released in the marketplace? And when and where the product is planned to be released to the end-user?

* What will be the strategy(ies) to advertise the product in the market(s) of the targeted audience?

*  Mostly important: if the product is industrially viable, aesthetically pleasant, functional, eco-efficient and establish a strong emotional connection with the end-user, then there is a last matter to be taken into consideration: Is it being released in a moment in human history that the targeted audience is prepared to purchase and use it? Indeed, there are many factors behind the success or failure of a product, right? Bingo! You've got it.

At this point, you might ask me: What the heck are you talking about Vitório Paulo? It's not rocket science my friend, not at all! Let make myself understood: as an example, Leonardo Da Vinci, a man hundreds, hundreds and hundreds of centuries ahead of his time ideate products (e.g. military devices) that could be crafted at the period he lived. There were available technologies at the time to build its designs. There were also demands to built such artifacts.

On the other hand, Mr. Da Vinci designed products that were only able to be crafted many centuries ahead of his time! Some of them only in the 20th century! Examples? The Helicopter... the Parachute..  and many, many others that couldn't be built in his time in history due to lack of technology. 

As such, put simply, taking Mr. Da Vinci as an example, if there's not available technology at a period in history to manufacture a Design, then the product is not viable: it won't get out of the paper, nor from the screen. On the other hand, if the demands of a society (mostly concerning behaviors and life style) is not evolved enough for avant-gard, ahead of its time products (and I'm here speaking about societies that evolves with time in an industrial technological fashion), then the product is equally susceptible to failure. 

Okay, now we are almost there. If all the aforementioned principles that involve the ideation, planning, development and delivery of a product is met, then here I come with the importance to link to the product a story about it. At this point you might ask me: but why my dearest Vitório Paulo?

The answer for this inquire is very simple: because in this moment in history, earlier 21th century, the end-user does not want ONLY to use a product. Does not want ONLY a product that function and do "the job". In this historic moment, patrons are looking forward to have joy, pleasure, well being whenever using a product. And that's exactly why the consumer decides between a product that pleases him (her) more than competitive others available in the marketplace.

Finishing thoughts, the end-user wants to purchase and use a product that will bring happiness, satisfaction to him (her). And telling a story behind your product my friend you will, as a Designer, not only aggregate value to it, but mostly important, differentiate your brand from the crowd and strengthen it. Simple like that.

As an example, here's showcased the story I've written (Sinopsys) about a product I've designed in 2002, the Berimbau Chaise. I was around my middle 20's at that time. The furniture was selected among few pieces from all over my native continentaly huge Brazil to be at the final of the Movelpar Design Awards 2nd Ed. (professional category), which was held in Parana-Brazil, 2015.

At that time, first decade of the 20th century, I've managed the production, marketing and sales of this and other conceptual furniture. My goal was to sale such products in small quantities: unique or almost unique pieces. With high price and mark-up to make the business model profitable, honor the higher content of authorship and strengthen my brand.

Btw, as I did with the Berimbau Chaise, I've written stories for all other conceptual furniture I've designed as well. I'll post them in the future, no worries. I beg my pardon to have not yet translated the Sinopsys into english, but my intention was to be loyal (at least for now) to the original version in Brazilian Portuguese, in order to do not have its essence lost into translations.

Hope you've enjoyed this post and you are more then welcome to be in touch. I'll be glad to hear back your thoughts and chat with you in regard of those ideas.

Regards from my motherland Brazil.

"  Rucungo, Urucungo ou ainda Orocongo. Assim é conhecido o Berimbau em todo o continente africano. Instrumento de um toque singular, cruza o Oceano Atlântico através dos navios negreiros, aportando no Brasil colônia junto com os antigos escravos.

O Berimbau manifesta e revela-se nas tradicionais rodas de Capoeira, demonstrando para os povos das diversas regiões do país e do mundo traços marcantes da plural e diversa cultura brasileira.

O Berimbau, através de sua riqueza tímbrica e sonora, celebra o swingue, a ginga, a dança e alegria “... deste Brasil que canta e é feliz, feliz…”*1 na mais autêntica brasilidade; reflete “...um pouquinho de Brasil iá, iá... um pouco de uma raça que não tem medo de fumaça e não se entrega não…”*1;

e consagra-se no universo da criação literária e da composição musical a partir dos versos de Vinícius de Moraes que, embalados ao som do violão de Baden Powell fizeram história – “...capoeira que é bom não cai, mas se um dia ele cai, cai bem. Capoeira me mandou dizer que já chegou, chegou para ficar. Berimbau me confirmou, vai ter briga de amor, tristeza camará.”*2.

A Chaise Berimbau*3, inspirada no instrumento homônimo, soluciona com eficiência e plasticidade as questões do design, com caráter genuinamente brasileiro. O móvel - concebido para um público alvo de fino bom gosto, erudição e sensibilidade plástica, que admira o Brasil e sua gente, sua história e cultura – aplica-se a ambientação e décor de salas de estar e terraços, varandas e livings.

A Chaise Berimbau, homenagem do Arquiteto a “São Salvador da Bahia” - sua terra natal - destina-se a todos que desejam ter um pouquinho da “Bahia de Todos os Santos” em seus lares e corações.

1- BARROSO, Ary. Isto Aqui, o que é.

2- DE MORAES, Vinícius. Berimbau. 

3- PAULO, Vitório. Chaise Berimbau. 2002.   

*NOTE: This is my original writing in Brazilian Portuguese, dating from 2002. The translation to english will be available soon.