At CNLL we provide furniture design services both for private and public stakeholders.
With a diverse range of furniture produced, the CNLL’s design team often works as an integral part of the overall architectural project, but also developing products at a domestic or commercial scale. Our products are unique and carry author’s design signature, which guarantee the exclusivity and quality of each piece.
As a working basis for the creation and development a design piece we always bear in mind the senses of usage and living, touch and use, in order to understand the references made as carnal expressions of a way of life full of experiences and different participations.
The pieces of furniture that we at CNLL design are not merely images, but presences and, above all, reasoning exercises. This also males them drawing exercises, bearing the tought of improving the client’s relationship to the world, making it more inhabitable, more artificial, which is the most natural to man.
It is necessary to humanise. The pieces we create are some attempts of this, aproaches to a happiness ideal.
Pieces of furniture are only unique when impregnated of utility and use, when they wear out and tear, when they assume themselves as witnesses of a living process spaces and people.
At CNLL, the feeling and idea of being capable to make/build the pieces of furniture and objects we draw, provides us a certain freedom and easy-feeling that interferes positively in the creative process and, on the other hand, sets aside a mythifying relationship some creators have with drawing, worshiping it.
Many times, the drawing is made on the wooden board, and the detail, the coupling, the connection and the gable are drew in articulation with the matter being considered. In that sense, I doubt the drawing process results from an academic or descriptive procedure. The result is a language further from mathematics, closer to the senses and error, in the analysis of a programe to be solved through inert and innacurate materials, where the unintentional and unexpected, the surplus, is a part and parcel of conception. In a kind of “living theatre”, in a sort of day without schedule, we sometimes take the process of creating as a liberation thought.
All Dream. All Desire.
“Nuno and I share the same taste for furniture design. We belong, however, to different generations. I designed furniture due to the poor range of goods on the market and the need to incorporate them into architecture projects.
For Nuno that need to create objects which complement the architectural spaces exists, naturally, but it quickly becomes autonomous and flies off to other places, both likely and unlikely. His inspiration has a more poetic nature, freer, more sensual and with a clear taste for risco. And I say risco because of the ambiguity of the word: the joy of doodling, of drawing and the pleasure of taking risks…
Each piece of furniture lives as a whole object, a form of affirmative independence from any place. It is a matter in itself beyond any pretext, an expression of freedom and protagonism.
There is a love of adventure that plays out in the geometry of his furniture, using the contrasts and shine of the various woods and metals. He bends lines and planes, plays with balance, he creates movement with the circular shapes that seem to motivate him so much – waves, oval, round, are names which identify some of his creations – in a vibrant and restless dynamic of strong plasticity.
He creates tension and joy with each of his furniture pieces and with the whole that this book reveals to us. And he gives a new impetus to the concept of usefulness, giving it grace and provocation.
He designs furniture as an artist aware of the need to search for and experiment with other forms. He is theatrical and modern, but also calm and serene. We can’t browse through this book without thinking that his furniture is the result of both emotion and rationality.
All Dream. All Desire.”
Pedro Ramalho in “Furniture – Do Pensamento ao Desenho”