We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Matthias Ambros ("MA").
Matthias Ambros is a designer and architect whose work explores the intersection of material innovation, scientific concepts, and cultural narratives. With a background in Architecture and Urbanism from UFRGS, his projects span furniture design, branding, and spatial strategies, often integrating sustainable practices. He has participated in international design events such as Fuorisalone in Milan, contributing to the dialogue between contemporary design and long-term value creation. His practice emphasizes research, functional solutions, and the connection between design and societal needs.
Matthias Ambros Designs
We are pleased to share with you original and innovative design work by Matthias Ambros.
Matthias Ambros Design - Andorinha Chair
Designer Interview of Matthias Ambros:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
MA : My journey has always been marked by a balance between science and art. I grew up in a family of scientists — my father, a geologist; my mother, a pharmacist — and an aunt who was a painter, introducing me to the sensitive universe of colors and expression. From an early age, drawing was my refuge: cars, airplanes, machines... I was always fascinated by movement, engineering, the power of forms. This passion initially led me to mechanical engineering, but I quickly realized that the technical, rigid environment didn't allow me to explore creativity the way I wanted. It was in architecture that I found that space for freedom and provocation, where I could connect technique and poetry, function and narrative. Interestingly, it was during a personal moment — expecting my second child — that everything started to come together. While designing the furniture for our new home, Estúdio Mezas was born. A studio that carries this very origin: the desire to create a new home, to design objects that embrace, that create dialogues with people, that carry stories and are meant to last for generations.
DI: Can you tell us more about your company / design studio?
MA : Estúdio Mezas was born almost by chance, from a personal moment that became a turning point. While designing furniture for my own home, as I prepared to welcome my second child, I realized the potential to create pieces that went beyond function — objects that carry stories, that embrace daily life, that connect with people on an emotional level. Since then, Mezas has grown into an independent design studio focused on furniture and objects that blend material research, storytelling, and a critical view of contemporary living. Our pieces are not only functional; they embody concepts, scientific references, and narratives that challenge traditional boundaries between art, design, and architecture. We believe furniture can be a bridge between people, spaces, and time. That’s why our work explores themes like transformation, shelter, resilience, and movement — always with a strong focus on materials, tactile experiences, and the dialogue between industry and craftsmanship.
DI: What is "design" for you?
MA : For me, design is something broad, complex, and deeply connected to people's needs and realities. It starts with listening — to users, to clients, to contexts — and evolves into a process where creativity walks side by side with economic and production viability. I believe design has to be sustainable not only in terms of raw materials or environmental impact, but also in its commercial success and relevance. A product needs to make sense in the market, to generate value, to justify the time, the prototypes, and the energy invested in its creation. Design, in my view, accompanies the entire life of a product — from its birth in research and development, through cost design, to monitoring its performance and utility over time. It’s a continuous learning process, where each product teaches us something new that we can bring into the next one. For me, design is not static. It's alive. It evolves, adapts, and reflects the challenges and responsibilities we face as creators.
DI: What kinds of works do you like designing most?
MA : I’m especially passionate about designing furniture. For me, furniture is more than an object — it’s a presence in space, a silent companion in people’s daily lives. I like designing pieces that are functional, but that also carry meaning, provoke emotions, and create connections. I’m particularly interested in exploring materials, construction techniques, and how objects age and interact with the human body. I enjoy projects where I can challenge traditional processes and propose new ways of thinking about furniture, not only as utility but as narrative and experience.
DI: What is your most favorite design, could you please tell more about it?
MA : One of the pieces that represents me the most is the Andorinha Chair. It’s a project that carries a lot of layers — technical, symbolic, emotional. The chair was born from a personal moment of reflection about journeys, returns, and the need for shelter. Inspired by the swallow, a bird that always finds its way back, the chair became a metaphor for resilience, adaptability, and the human search for belonging. Technically, it challenged me to develop new solutions, like the floating backrest with no visible fixations, using an innovative plywood molding technique. But beyond the form and the technique, what makes it special to me is the story it tells — about movement, about embracing, about the invisible connections between people and objects. It’s a piece that has been with me through many stages, evolving, adapting, just like its concept. It reminds me why I design.
DI: What was the first thing you designed for a company?
MA : The first collection I designed for a company was a series of tables, benches, and coffee tables with very simple lines. What made them special was the way I explored concrete as a key material — not just structurally, but as an expressive element in tabletops and seats. At the time, it was an unusual choice, and it opened up a new path for me, showing how materials considered heavy or cold could gain new meanings when combined with more delicate forms and thoughtful proportions. That experience taught me the power of materials in storytelling, and how they can challenge perceptions. It was also the moment I realized that design, for me, would always be about this balance between simplicity, materiality, and narrative.
DI: What is your favorite material / platform / technology?
MA : I have a strong connection with concrete and metals, especially when combined with softer materials like fabrics and wood. I’m fascinated by the contrast between these elements — the coldness of concrete, the warmth of textiles, the precision of metal structures — and how they can create unexpected dialogues. But beyond specific materials, what excites me most is the possibility of experimentation. I’m always looking for ways to push materials and techniques beyond their conventional uses, combining craftsmanship with industry, analog with digital. Lately, I’ve been exploring AI tools like ChatGPT, MidJourney, and Runway as part of my creative process. They’ve opened new perspectives, helping me expand ideas, visualize concepts, and provoke reflections I might not reach using traditional methods. For me, technology is not a replacement, but an extension of creative thinking.
DI: When do you feel the most creative?
MA : I feel most creative when I see a clear need and specific constraints. For me, creativity doesn’t come from a blank page, but from the challenge of solving problems, of responding to limitations, of finding new ways within real conditions. It’s in this tension between what’s needed, what’s possible, and what’s desirable that I find the best starting point for creation. The act of designing, for me, is always about proposing solutions — and that’s where my mind feels the most alive and stimulated.
DI: Which aspects of a design do you focus more during designing?
MA : During the design process, I focus on finding a balance between aesthetics, ergonomics, and technique. For me, a design must be more than beautiful — it has to be reproducible, realistic, and functional, truly responding to the needs of its user. I always try to understand who the product is for, what context it will inhabit, and how materials and finishes can enhance not only its performance but also its emotional value. From the very beginning, I see design as a holistic process, where every decision — from proportions to production methods — needs to make sense and contribute to a product that is feasible, sustainable, and meaningful.
DI: What kind of emotions do you feel when you design?
MA : When I’m designing, I feel a deep sense of pleasure, challenge, and stimulation. It’s a process that activates me — mentally and emotionally. I enjoy being provoked by the constraints, by the search for solutions, by the possibility of transforming an idea into something tangible. Designing makes me feel alive, curious, and constantly learning. Every project is a journey into the unknown, and that’s what excites me the most.
DI: What kind of emotions do you feel when your designs are realized?
MA : When I see my designs come to life, I feel a deep sense of fulfillment, pride, and happiness. It’s like seeing an idea that once existed only in my mind taking shape, becoming real, touching people’s lives. There’s also a quiet satisfaction in knowing that all the effort, the doubts, the challenges along the process were worth it. It’s one of the most rewarding moments as a designer.
DI: What makes a design successful?
MA : For me, a successful design is one that is profitable, easy to produce according to its purpose, and clear in its attitude. It should be beautiful, simple, and objective, with no excess, no noise — just what is necessary to fulfill its role in the best way possible. A good design respects both the user and the production process. It finds balance between form, function, and feasibility.
DI: When judging a design as good or bad, which aspects do you consider first?
MA : For me, the purpose is always the first aspect I consider when judging a design. A design only makes sense if it clearly responds to a need, if it fulfills its role in a coherent, honest, and meaningful way. After that, I look at how it balances form, function, production, and user experience. But everything starts with why it exists. Without a clear purpose, even the most beautiful object loses its relevance.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
MA : From my point of view, a designer's responsibility goes beyond creating beautiful or sustainable products. We must design processes and products that respect not only material consumption, but also durability, commercial purpose, and long-term success. A good design should generate positive impact across its entire production chain — creating jobs, supporting local industries, and ensuring the product remains relevant and valuable over time. For me, sustainability is not only about the material itself, but about creating products that make sense, that last, and that contribute to a healthier economic and social ecosystem.
DI: How do you think the "design field" is evolving? What is the future of design?
MA : I believe the design field is evolving towards a more critical and responsible practice. We’re moving beyond just aesthetics or trends, and focusing more on processes, sustainability, circular economy, and production feasibility. Technology, especially tools like AI, is opening new creative possibilities and speeding up processes, but I believe the real challenge for the future of design is not just being faster or more digital — it’s being more relevant, responsible, and connected to real needs. Design will need to balance innovation with durability, efficiency with meaning, and always keep in mind its broader impact on society, the environment, and the economy. In the future, designers will be not only creators of objects, but mediators between technology, industry, people, and the planet.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
MA : My last exhibition was at the Fuorisalone in Milan, 2025, where I presented the Andorinha Chair as part of an independent Brazilian design showcase. The piece was also shown at Design Week São Paulo, Brasília, and Porto Alegre, and it is scheduled to be exhibited in New York later this year, as part of the (AI)ndustrial exhibition. For my next exhibition, I’m currently developing new works that continue exploring the intersection between science, design, and materials. I aim to present them again at Milan Design Week next year, and I’m also looking to explore more experimental and immersive exhibition formats beyond the traditional design fairs.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
MA : My design inspiration comes mainly from science and my personal history. For me, design is something emotional — it’s shaped by our life experiences, by the people around us, by the stories we carry. In my case, much of my inspiration comes from my parents, my wife, and my two children. They are a constant reminder of why I create, and they push me to design more consciously, more thoughtfully, and always with purpose. I also feed my creativity by staying connected to scientific thinking, always questioning, observing, and exploring new ways to combine materials, forms, and narratives. Everyday life, when looked at with attention, is full of subtle inspirations.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
MA : I would describe my design style as having a strong personality and a recognizable identity. I’m always looking for a balance between functionality and expressiveness, avoiding overly conservative or predictable solutions. I like when a piece surprises, invites reflection, but at the same time serves its purpose with clarity and efficiency. What drives me to explore this approach is the belief that design should go beyond solving problems — it should create connections, tell stories, and provoke emotions. I’m interested in forms that have character, that stand out, but that are still honest, functional, and feasible to produce. For me, design is about finding the tension between the bold and the essential, between the conceptual and the practical.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
MA : I live in Brazil, a country full of contrasts, complexities, and rich cultural heritage. Without a doubt, the place where I live influences the way I design. Brazilian culture, with its informality, resilience, and creativity in the face of challenges, deeply shapes my approach to materials, forms, and narratives. I believe there’s a certain lightness, improvisation, and warmth in the way we create here, and that reflects in my work — in the search for simplicity, in the attention to human needs, and in the desire to create objects that feel close and meaningful. The pros of designing in Brazil are the creative freedom, the diversity of cultural references, and the richness of informal knowledge and craftsmanship. The cons, in my view, are mainly related to the weak and often non-meritocratic market, which makes it difficult for more experimental or authorial design to be recognized, valued, and commercially viable. But I see these obstacles as part of the challenge that pushes me to keep exploring new ways to create and to connect with different audiences.
DI: How do you work with companies?
MA : I have my own factory, which allows me to work independently and have full control over the entire process — from design to production. This gives me the freedom to experiment with materials, develop new techniques, and work at my own pace, without depending entirely on external approvals or structures. However, when I collaborate with companies, I always seek to create an open dialogue, aligning my design vision with their needs, production capabilities, and market strategies. I believe in partnerships that respect both sides — where creativity and business walk together with honesty and realism.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
MA : My suggestion to companies is to see the designer as a partner, not just a service provider. A good collaboration happens when there is openness to dialogue, when the designer is involved from the beginning of the process, understanding the company's needs, challenges, and goals. When selecting a designer, I believe companies should look beyond portfolios. They should look at the designer’s ability to understand the market, to propose feasible solutions, to balance creativity with production and business realities. A good designer is not the one who creates the most striking shape, but the one who brings relevance, honesty, and coherence to the product, and who knows how to listen, adapt, and challenge when necessary.
DI: Can you talk a little about your design process?
MA : I’ve developed my own circular design process, where the end of a product’s life cycle is directly connected to the beginning of new research and development. For me, the market itself is the biggest laboratory — it provides real feedback, technical knowledge, and reveals new needs that often only emerge after the product is in use. This continuous flow allows me to observe how products behave, age, and are used over time, and from there, I bring these learnings back into the design process, closing the loop between creation, production, and the real world. In my work, the end is never really the end — it’s always the starting point for something new.
DI: What are 5 of your favorite design items at home?
MA : Kaweco Mechanical Pencil — I love its precision and the tactile experience it brings to sketching. It’s simple, efficient, and timeless. Lamy Safari Mechanical Pencil — It has been with me for years, and I like how it combines functionality with an iconic, almost playful design. Cauny Siza Watch — Designed by Álvaro Siza, it's more than a watch; it’s an object of reflection, pure in form and meaning. Bouman Chair — One of my own creations, but a piece that I use daily and that reminds me of the balance between material honesty, comfort, and formal purity.
DI: Can you describe a day in your life?
MA : My days are very dynamic and never exactly the same. Since I manage my own factory, a big part of my time is dedicated to operations management — balancing production, logistics, and team coordination. At the same time, I always try to create space for designing, prototyping, and developing new ideas, while also taking care of the business side — finances, marketing, and sales management. It’s a constant exercise in time management and balance, making sure I can switch between the creative and the operational without losing focus. And, of course, I always make time for physical activity, which helps me clear my mind and stay connected to my body — an essential part of my creative process.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
MA : My advice to young designers is: be patient and stay curious. Design is not just about creating beautiful things — it’s about listening, observing, and understanding the world around you. Don’t rush to find your style too soon. Let it come naturally, through experimentation and real-world experience. Also, always keep in mind that design needs to be feasible, relevant, and connected to people’s lives. Balance creativity with practicality, and never lose sight of the production and commercial realities behind a project. And most importantly, be humble. The market is a great teacher, and the best designs often come from listening carefully to users, to producers, and to the constraints of the process itself.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
MA : From my perspective, one of the positives of being a designer is the ability to transform ideas into tangible objects that can improve people's lives, create connections, and leave a mark on the world. It’s a profession that keeps you constantly learning, questioning, and evolving. On the other hand, one of the negatives is dealing with the frustration that comes from the gap between creation and reality. Not every idea will be feasible, accepted, or valued. You have to navigate between creativity, commercial pressures, and production constraints — and that can be challenging. But I see these tensions as part of the process. They keep us grounded and push us to find better, more honest, and relevant solutions.
DI: What is your "golden rule" in design?
MA : My golden rule in design is: Always respect the purpose and the people behind the product. For me, design only makes sense when it’s functional, honest, feasible, and meaningful. It has to serve a clear need, respect the user, and be realistic in terms of production and commercial viability. Form, technique, and aesthetics are important, but they should always be in service of the product’s purpose and the value it brings to people’s lives.
DI: What skills are most important for a designer?
MA : I believe the most important skills for a designer are adaptability, resilience, and a broad knowledge base. Design is not a linear process — it requires the ability to navigate uncertainty, to adapt to different contexts, and to deal with constant challenges. Resilience is key, because not every idea will work, and the ability to learn from failures is essential. At the same time, having a wide and diverse knowledge — from materials and techniques to art, culture, and business — allows a designer to connect different areas and create more meaningful, relevant, and innovative solutions. In the end, it’s about being flexible, curious, and always open to learning.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
MA : My toolbox is a mix of traditional and digital tools. I always start with hand drawing — it’s where ideas flow more freely and intuitively. From there, I use SketchUp and SolidWorks for 3D modeling and technical development, and Photoshop for visualizations and presentations. Lately, I’ve been integrating AI tools like ChatGPT, MidJourney, and Runway into my creative process, using them as provocations and sources of inspiration to expand possibilities. I also rely a lot on surveys, user observations, and market research — the market is, for me, the most important laboratory. And of course, I’m always surrounded by books, magazines, and design references, which help me stay connected to different perspectives.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
MA : To be honest, it’s chaotic, and it’s not easy. Since I manage multiple roles — from running the factory to designing, overseeing finances, marketing, and sales — time management is one of my biggest challenges. I try to prioritize what’s most urgent and critical, but I’ve also learned to embrace the chaos as part of my process. Sometimes creativity happens in the middle of that mess, in the gaps between one task and another. It’s a constant effort to create space for design while managing the demands of the business. I don’t believe in perfect balance — I believe in adjusting and adapting every day.
DI: How long does it take to design an object from beginning to end?
MA : In the way I see design, the process never really ends. Every product keeps evolving, teaching us, and opening doors for improvements even after it’s in the market. But if I consider the commercial side of design, from the first sketches to a matured, prototyped, and tested product ready for the market, it usually takes around 6 months to 1 year. This time is essential to make sure the product is not only aesthetically strong, but also technically feasible, commercially viable, and ready to perform well in real-life conditions.
DI: What is the most frequently asked question to you, as a designer?
MA : The question I hear the most is: "Where did the inspiration for this piece come from?" People are always curious about the story behind the object, the idea, the concept. And I like that, because for me, design is about storytelling as much as it is about function. But sometimes I also get asked the practical side of things — "Is it comfortable? How is it produced? What materials do you use?" — which reminds me that design is always walking between imagination and reality.
DI: What was your most important job experience?
MA : My most important job experience has been the combination of managing my own factory, running a brand, and balancing that with family life. Each of these roles challenges me in different ways, and together they’ve taught me about resilience, adaptability, leadership, and the importance of staying grounded while dreaming big. For me, these experiences are interconnected. Managing a factory taught me about processes and discipline; running a brand showed me the value of vision and storytelling; and managing a family keeps me connected to what really matters — people, care, and purpose.
DI: Who are some of your clients?
MA : My clients are mostly from a high-end, niche market — people who are passionate about architecture, design, and craftsmanship. They are demanding, well-informed, and usually work closely with architects and interior designers to curate their spaces. They tend to be young professionals between 30 and 45 years old, with a minimalist aesthetic and a strong appreciation for timeless, durable products that will accompany them throughout different phases of their lives. What they value most is not only the object itself, but the story, the design process, and the added value behind each piece.
DI: What type of design work do you enjoy the most and why?
MA : I enjoy working on clean, minimalist, and honest designs the most. I like objects that have a clear purpose, balanced proportions, and no excess — where every detail is intentional and contributes to the whole. For me, this kind of design is powerful because it doesn’t try to impress at first glance, but rather reveals its qualities over time, through use, touch, and presence. It’s about creating quiet, essential pieces that feel timeless and connected to people’s lives in an authentic way.
DI: What are your future plans? What is next for you?
MA : My future plans are to expand the brand, strengthen its identity, and reach a broader, global audience. I want Mezas to be recognized not just as a design studio, but as a brand of excellence and personality, where each piece reflects our values, our processes, and our way of seeing the world. More than growth itself, my goal is to make the brand inspiring — to create objects and narratives that connect with people on a deeper level and that stand the test of time.
DI: Do you work as a team, or do you develop your designs yourself?
MA : I develop my designs myself, but I always seek different perspectives throughout the process. I believe that even when the creation is personal, having open conversations and feedback from others — especially from my wife, who is also my partner — is essential. These exchanges help me refine ideas, see things from new angles, and make the process richer and more grounded. I like to say that I create alone, but I never design in isolation.
DI: Do you have any works-in-progress being designed that you would like to talk about?
MA : Yes, I have several designs currently in development, but I prefer to keep them under wraps for now. I like to let the ideas mature in silence before revealing them. There’s something special about keeping a bit of mystery and suspense — it keeps the process alive and allows the pieces to surprise when the right moment comes.
DI: How can people contact you?
MA : People can contact me through my website, email, or Instagram: mezas.co matthias@mezas.co @mezasmob I’m always open to conversations, collaborations, and exchanges — whether about projects, design, or simply sharing ideas.