Sophie Gelinet and Cédric Gepner didn’t have formal training in furniture design, but they shared a passion that led them to create their first lamp. That lamp became the foundation for a collection, and in 2017, Studio HAOS was born.

They believe in keeping things simple, using materials like oak plywood and sheet metal to create thoughtful furniture and lighting. They focus on clarity and proportions, avoiding unnecessary complexity. Now based in Lisbon, their work is recognised worldwide, and they’re represented by galleries in major cities like Paris, New York, and London.

Sophie and Cédric, thanks for being here with me. Could you narrate the journey of Studio HAOS, from its inception with the creation of your first lamp to evolving into a fully-fledged design studio?

We had the desire to work on something together, on the side of our regular jobs. We had a shared interest in photography, and that led us to a few personal projects in France and in the north of India. At some point I wanted to try something new and started working on the prototype of a first lamp, and Cedric soon joined me. It was just something we were doing for fun on the side of our regular jobs. From what was initially a single lamp we made a small series, we then reached out to the press, got some publications, started getting some orders, etc. It started like that, quite randomly. We created the studio in 2017, and a couple of years later reached the point where we could both work full time on HAOS. 

How did your previous exploration in photography inform or shape your approach to design?

Looking back at it I think it helped in three ways. The first one was learning how to collaborate on a creative endeavour, which is not simple especially when you are also partners in life. The second was that it helped us develop our understanding of what makes a good picture: just as much as in photography, design is about arranging shapes, finding harmony, playing with light, shadows, shades, textures… The third and maybe most important is that it’s usually fruitful to be exposed to as many fields as possible. It’s often at the intersection of seemingly unrelated interests that cross pollination or creativity happen. Trying to understand and replicate the appeal of pictures by Stephen Shore, Joel Sternfeld or Alec Soth, to name a few, that must have permeated into our practice of design in many positive ways that we don’t necessarily understand.

Your design ethos revolves around elevating humble materials such as plywood and sheet metal. What attracts you to these materials, and how do you integrate them into your designs?

One key feature of photography is that the most vernacular subject matter can be transformed into singular, poetic images. And this kind of transmutation can be achieved with the most basic equipment. All that is required is an understanding of colour, form, and composition. We believe design should work in the same way. Very intricate and time-consuming savoir-faire applied to opulent materials, that’s where craftsmen can shine. In our view the focus of designers should be on shape and form. The more accessible the materials and techniques, the better, as it is the thinking process that then takes center stage. If a piece is thought-out, it doesn’t need to be loud to catch attention. On the contrary, we believe there is a particular form of elegance that lies in the ability to express or evoke emotions with restraint and with purposely limited means. It’s not exactly a new idea, it has been exemplified by many designers and artists for more than a century, just think of Gerrit Rietveld and his crate chair, Achille Castiglioni’s floor lamp based on a car headlight, or the works of minimalists such as Donald Judd or Charlotte Posenenske. But this conversation is not over and it’s especially relevant today.

What does the concept of “slow design” signify for you, and how does it manifest in your creative process and final products?

Actually our practice tends to go in the opposite direction. We are now trying to experiment faster, because the more experiments we undertake (with new processes, new materials, etc.) the more chances we have to stumble upon something worthwhile.

How has the environment and atmosphere of Lisbon influenced your creative process and the direction of your designs?

Lisbon happened by accident. The initial plan was to relocate to Tangier in Morocco, but as the pandemy picked up again late 2021, we decided to make a stopover in Lisbon until things settled. It’s a city that’s hard not to like, and the stopover turned into a long-term installation. Being here enabled us to open a large-scale workshop, where design, prototyping and production can happen side-by-side. We can go from an idea to a finished piece in a matter of weeks instead of having to wait months for a first prototype. And we now have a lot more freedom to play with materials, processes and finishes. 

Studio HAOS is known for embracing simplicity while eschewing unnecessary complexity in design. How do you navigate the delicate balance between minimalism and functionality in your creations?

It can be tempting to free oneself from the “functionality” constraint, and make pieces that have more value as a work of art than as a functional object, and some do it very well. As for our way of practicing design, we feel it’s important to keep it because ultimately constraints are essential to the process of creation. Paradoxically the more constraints you have and the more creative you have to be, and besides functionality, we don’t have that many of them. We indeed have to balance this with quite a minimalistic approach, but they are not necessarily opposites. Minimalism for us is not about stripping everything out, it’s about achieving the desired effect with restraint, trying to be subtle rather than loud, leaning away from frivolous complication. In that sense ornament can be necessary, and functionality is not a cross to carry.

Reflecting on your journey so far, what advice would you offer to yourselves when you were first embarking on this path?

We were quite self conscious when we started, not having a product design background, and we would spend way too much time on each object. It usually doesn’t make them better, quite the opposite in fact. Looking back I would tell myself to be more confident, build more pieces, because with each new piece we make mistakes, learn, and get better at what we do. In other words, “it’s not about the destination, it’s about the journey”.

As Studio HAOS continues to evolve, what are your aspirations and goals for the future of the studio?

I hope we’ll always have the curiosity to experiment with new ways of doing things, and that we will keep doing so surrounded by a team of talented and fun people. And above all, I hope that we always get to keep the immense privilege of being allowed to spend our days making beautiful things, and be paid for it.