Studio Galho is the result of a fusion of regional roots in the north-east, located in João Pessoa / PB. The proposal is to enhance and explore Brazilian regionalism and cultural richness.

The minimalist and authentic design, which enhances the semantic dimension of objects and their interaction with the user is printed in the DNA of the products, which like the budding of leaves, flowers and fruits, are synthesized in products that lead to simplicity, beauty and the awakening of memories.

Studio Galho. Author design studio located in João Pessoa – PB, composed of two partners and designers: Klivisson Campelo and Edson Martone.
Where he studied:
Both studied in the Industrial Design course (Currently with DESIGN nomenclature) at the Federal University of Campina Grande.

What are the awards you participated in and won?

Participation in design contests was decisive at the beginning of the studio, especially at Salão Design and Museu da Casa Brasileira, already in the professional modality. In the 2015, 2016 and 2017 editions, several products were entered in these contests, and, in general, a good number were finalists. In the subsequent stages, which demanded the sending of products (prototypes), they were designed as the first major challenges, since the scarcity of production processes in the northeast region, linked to inexperience, made the execution of the pieces very difficult. However, the initial feedbacks from the first stages, where the design project and conceptual proposal was evaluated, served to confirm the viability / potential of the product. In other words: We knew about the potential of the products, we received good evaluations in the contests, but we did not (at that moment) have the means to manufacture them.
Until in March 2018 we decided to take a chance, entering a space at the HIGH DESIGN EXPO fair, held in August of the same year. We created the brand, the visual concept, revisited projects that were stopped, developed new pieces and started the challenge of producing, with our own hands (most of the time) the pieces that would be exhibited at the fair. The fair brought good results and gave us good bases on how the market works. Thus, among so many “squeezes” and initial difficulties, the studio was created.

His main works?

In our brief history, we can mention the initial pieces, those that appeared next to the studio, that were in our first exhibition. Pieces like the Badok, Sincera and Burrego luminaires. But they all demonstrate our essence and attachment to meaningful design, rooted in Brazilian cultural memories and roots.
Your favorite work?
Highlighting a particular work is complicated. However, we have a fondness for the former, as we mentioned earlier. We are beginning to design products with partners, and within this process there are a number of parameters to be respected, aspects that concern the type of factory production of each partner. The products from these partnerships have all of our essentials, but the affection for the first pieces developed is different.

Who do you have as an expiration?

Our academic background has a somewhat functionalist character, so that certain design characteristics reverberate in our work. Examples of this are aspects related to minimalism and formal simplicity. However, these characteristics do not fully encompass our work, whereas experimentation and mixing of materials makes a counterpoint to this more “conservative” formation. In short, we value functionality and minimal design, but we are not caught up in these currents of thought.
In national design, we highly value the work and trajectory of the following names: Guto Índio da Costa; Jader Almeida; Faher Brothers, Fernando Mendes, Eduardo Baroni, Sergio J. Matos, Nelson Ivan Petzold and José Carlos Bornancini.
In international design: Dieter Rams, Donald Norman, Jonathan Ive and Philippe Starck

What is your favorite design style?

We have previously mentioned the functionalist character of our training. However, still within the academic universe, we were very influenced by currents of thought linked to emotional design.
That said, we believe that the essential thing is for furniture to have an objective to exist, either to convey a semantic affectivity or a specific need. We sculpt our products from the inside out, first psychological characteristics then physical ones. The primary function of a chair seems pretty obvious, doesn’t it? The act of sitting, waiting, resting. But how is this object born? What memories does her formal configuration bring? What will be the relationship between user and product? Is it purely practical or are there other semantic factors that must be taken into account? What about materials, textures and shapes? What are its practical and semantic functions within the composition? The creative process is closely linked to the resolution and discussion of these issues, without ergonomic and technical factors being detached. Our design conception “fluctuates” between functionalism and the subjectivity of user / object relationships.

What is your favorite type of furniture?

We appreciate pieces of furniture that, in addition to the functional aspects, bring something more in terms of meaning. This user / product relationship should not, in our view, be restricted solely to use. Products that have this semantic character attract us, and, in a way, inspire our work.
As pictures the furniture industry in the near