MADEINSITU

Menu
Journal
/Jul
2022

José Mateus, from Nó Marceneiros, tells us about himself and the making of the wooden panels.

What are your earliest memories of working with wood?

 

I was a navy scout. Besides all the activities common to all scouts, we did a lot linked to the sea – things like building wooden boats and canoes. I have wonderful memories of these early challenges. But I didn’t consider carpentry from the beginning; for a long time I didn’t know what to do, professionally. I studied design at Lisbon’s Faculty of Fine Arts, and later on I taught plastic arts. Meanwhile, I thought about being a Jesuit priest, I moved to Coimbra.

 

When I returned to Lisbon, my father had opened a small carpentry studio. He did repairs, mostly. My father had worked all his life in something completely different, but he had the passion. His grandfather had been a carpenter, he had many memories of him and his craft, he grew up with these references. I remember, for instance, being small and my father wanting to build a mezzanine in the garage.

 

I started to work with my father, and progressively, I dedicated more and more time to carpentry. I wanted to learn more, get better at it. Later, when I already had an atelier of my own, my father stepped back but my brother joined me – he became instrumental in the project.

“ To me, a work of art has the purpose of being enjoyed, experienced. Either it has a message or not, but it has the ability to awaken in you a certain emotion or feeling. Design also has the functional side to it: the final result must be a dialogue, it has to strike a balance between aesthetics and function. [...] ”

What has transferred from your design and plastic arts education to your carpentry?

 

I can’t dissociate the two, to be honest. It’s in the way I look at things, the way I approach each new project. My first impulse is to look and understand the problematics for which I need solutions.

 

I remember talking about this with Noé. To me, a work of art has the purpose of being enjoyed, experienced. Either it has a message or not, but it has the ability to awaken in you a certain emotion or feeling. Design also has the functional side to it: the final result must be a dialogue, it has to strike a balance between aesthetics and function. For instance, if a piece is very heavy on one side, that weight needs a counterbalance. There are always problems for design to solve.

 

However, in the case of these panels, the design issues were already solved by the Made In Situ team, who had extensively studied the pieces, and handed over to us very clear final specifications.

What were the main challenges of this project?

 

The curve of the pieces. Although we were given the specifications, the execution of such pieces in wood was still challenging.

 

Another challenge was achieving the intended look, very clean, without too many knots. Wood, being a natural material, is something we can’t control or plan minutely, so we had to repeat slats until we reached the desired aesthetic.

 

The deadline was also challenging, because our usual supplier had a better-quality chestnut wood coming in – the wood Made In Situ asked for, sourced locally – and we decided to wait for it.

About the deadline, one thing stayed with me: the Made In Situ team asked if I could finish a week earlier than my estimation, to which I said no, it was impossible to deliver a high-quality result in less time.

 

How was it working with Made In Situ?

 

The team is very professional, and it’s great working with someone as experienced as Noé. I saw this right away when he came to the atelier: the kind of questions he asked, the sequence of the questions, the concerns he raised.

 

This is exactly the kind of project we want to work on at Nó Marceneiros, complex projects, and if possible, with this artistic side to them. Having someone come to us with such demanding standards, someone who challenges us, is wonderful.

 

For instance, the back of the pieces needed an assembly solution – each panel is essentially a tryptic, it’s made of three connected parts. We tried our best to minimize the tool marks left on the wood when assembling the parts, but still Noé preferred a solution using magnets, so that we wouldn’t have any marks, however millimetric.  Noé wanted even hidden joints to have covers – also made from chestnut wood.

 

In everything, it was about detail and perfection. The whole process was a great learning experience.

Back to journal