Luso Collective: Perception & Matter
For the 3rd edition of Lisbon Design Week, Luso Collective presented “Perception & Matter”, an exhibition featuring work by eleven design studios, with a focus on experimentation, exploration of materiality and “encouraging a re-evaluation of how materials inform not only design but also our emotional response to objects.”
Founded and curated by Natasza Grzeskiewicz and Tomás Fernandes of Studio THER, alongside Raquel d’Oliveira, Luso Collective reminds us of the strength found in collaboration and working together to fuel your own creative ideas along with others. The name ‘LUSO’ takes its meaning from the Lusitanians, the people who once lived in region of Portugal and parts of Spain and embodies the diversity of Portuguese history, culture and art. “Perception &. Matter” marks Luso Collective’s second exhibition in connection with Lisbon Design Week and an expansion of the collective to include 11 studios. The exhibition featured a range of objects and furniture displayed throughout the basement of an old industrial building in Lisbon’s Marvila neighbourhood. It also included a performance and installation by creative director Omer Gilony, who is currently based in Lisbon. The participants in “Perception & Matter” included: Macheia, Studio THER, Zoé Wolker, Sofia de Francesco, Rosana Sousa, Miguel Saboya, Violain d’Harcourt, Joana Vilaça, João Zará, AB+AC Architects, and Nikolas Miranda. TLmag spoke to Luso Collective about their purpose and the intention behind “Perception & Matter”.
TLmag: Tell us about the origins of Luso Collective and its objectives. Is it a fixed collective of designers, in terms of the people involved, or it shifts with each project?
Luso Collective: The original idea was to raise a like-minded community, by empowering collectively each other while shaping the Portuguese collectible design scene. We felt the need to create a specific voice in this sense, that by coming together in these determined atmospheres, we can elevate the current momentum in Portugal. It’s about reflecting on why we are based here, what inspires us to connect individually and collectively, as well as finding roots in local culture, craftsmanship and resources.
We never thought of having a fixed group or venue, as we are leaving an open door to evolve and adapt to each year’s ongoing processes and outcomes. We started on our own terms as 4 different studios, now with this year’s open call, we turned out to be 11 studios, so we decided to take this opportunity to shift the atmosphere as well. From clear, open space in the first edition to an intimate setup in the dungeon of the second edition, surely there is an energy shift. As we are getting to know each other as a collective, this newly formed relationship will lead to the according setup of next year.
TLmag: For the Lisbon Design Week exhibition, “Perception and Matter,” did you send a brief to each designer to create a new piece for the show or did you curate it yourself with existing pieces?
L.C.: The brief and manifesto were embedded into the open call, which started in November 2024, and we were seeking objects that played in between this relevant tension, of the functional and fine arts. What naturally happened is that most of the studios developed or adapted an existing proposal, to debut their bespoke piece in the exhibition. Nonetheless, there was always a chance to position previously designed and established pieces in this new setting, which always complements the overall result. So it became a curatorial process from object origin to space placement, which translates into this personal and relational outcome. We definitely felt that the objects in the end result formed a collective family, each with their own input into the aesthetic and function.
TLmag: Why the dark, underground space?
L.C.: The key word is definitely “immersive”. In the back of our minds, we were seeking an intimate surrounding, where light and space shape the objects whilst inviting people to come closer and observe them, touch them. It was about creating a unique setting rather than an object display. Curiously, we bumped into this space 5 years ago, on one of those event placement research days we often find ourselves, so it was always in the back of our mind that this had indeed a specific potential.
TLmag: Would you tell me about the collaboration with Omer Gilony for the opening event?
L.C.: We were in contact with Omer for over a year, exploring the possibility of working together. When the right purpose finally emerged—something that felt truly meaningful—it all came together naturally. It felt like something that was meant to happen, especially due the fact that we share common values that are deeply rooted in Portuguese culture, the reinvention of craftsmanship, and the repurposing of objects and materials in new contexts, all approached with a strong aesthetic sensibility; This resonates deeply with the core of Luso Collective. This community-driven approach, focused on detailing experiences and intimate intentions, aligns perfectly with the vision of the event. It was about translating these principles into a poetic and meaningful setting.
TLmag: Talk about the importance of experimentation in your own work and as Luso Collective?
L.C.: Experimentation is the foundation of our practice—a material-led approach. That’s why we often say, “we are what we explore.” This mindset applies to both our studio, Further Ther, and to the work we do through Luso Collective. Experimentation means staying open—open to process, to collaboration, and to outcomes that aren’t predefined. Working with craftsmen on any of our products, for instance, requires us to immerse ourselves in their practices and understand their specific expertise. This often leaves us with redefining the product’s form or structure. Same when we curate and select the participants for Luso Collective, it is a mutual exchange, where everyone brings something to the table and the results emerge organically from that dialogue.
Even the search for a venue becomes part of this experimental process. It’s not just about finding a space—it’s about sensing where this exploration can take place, building relationships with the owners, aligning with their values, and if the context supports the experience we’re trying to create. We ask ourselves: does our presence make sense here, and what kind of impact could it have? In the end, experimentation isn’t just about materials and form. It’s also about how the work is shared and experienced. The presentation format, how people interact with the space and objects, and how the story is told—all of these are extensions of the same experimental spirit.
For more information, visit Luso Collective’s recently re-launched website:
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