Welcome to another talk, in our series Future Talks by RTF, a platform dedicated to engaging with the visionary individuals who bring the world of design to life. In today’s insightful conversation, we have the privilege of delving into the remarkable journey of Bruno Kim, a distinguished architect with a unique background and a deep passion for transforming spaces into meaningful experiences.
Bruno Kim’s story is a fusion of cultures and a testament to the power of architectural innovation. Born into a Korean family in Brazil, he has not only embraced his diverse heritage but also found his calling in the vibrant heart of São Paulo, a city teeming with cultural diversity and architectural gems that narrate the stories of immigrants who shaped the urban landscape.
After graduating from the prestigious FAUUSP (School of Architecture and Urbanism of the University of Sao Paulo) in 2012, Bruno embarked on a career that has spanned renowned architectural firms, each with a distinctive approach to design. His professional journey has taken him from the world of fine design and innovation at Pascali Semerdjian to the realm of critical thinking in architecture and urban planning with Metro Arquitetos, where he had the privilege of collaborating with the esteemed Pritzker Laureate, Paulo Mendes da Rocha.
But Bruno’s passion for architecture goes beyond the corporate world. During his college years, he co-founded “oitentaedois,” a creative design firm that embodies a multidimensional approach to design, spanning publications, exhibitions, graphic design, illustrations, branding, and architectural projects. In 2021, Bruno embarked on a new chapter, founding “Bruno Kim Arquitetura,” a platform where he leverages his architectural expertise to help individuals and companies translate their worldviews into tangible, inspiring spaces.
Moreover, Bruno’s commitment extends to the digital realm, where he shares his insights and vision for architecture with a global audience through his social media presence, @brunokimarquitetura. His mission is to shed light on how architecture can profoundly enhance our lives and surroundings, inspiring us to envision a more beautiful and functional world.
Join us in this illuminating conversation with Bruno Kim, as we explore the fascinating intersection of culture, design, and innovation, and discover how he is shaping the future of architecture and our built environment.
RTF: Hi Bruno, We are glad to have you as a guest on Future Talks by RTF. Thanks for joining us. How crucial is a multi-dimensional approach towards building one’s own firm? What were the challenges you faced initially working towards Oitentaedois and Bruno Kim Arquitetura?
Bruno: Thanks for the invitation. At first, it was difficult for me to understand that running a firm involved so much more than just designing the projects. As a matter of fact, although the designs are the main products of my firm, it took me a while, as a small business, to realize there are many other activities that must be carried out for the projects to be successful, such as marketing, HR, finance, and customer service. In the past I was very naive and thought that being good at designing was all it took to be successful. It was only after I understood that, as a child of Korean immigrants who came to São Paulo in the 60s, living in a middle-class environment and in a city with huge social inequality, my path would be different from the architects I admired. Most of them were born into families that already had the right connections and access to the construction, art, and architecture industries, while my parents and grandparents ran a small clothing shop in an Italian neighborhood.
As soon as I started to focus on developing these other abilities, I think it all began happening to me. After all, I feel that it is impossible to be in the right state of mind to solve all the complex problems involved in a project while also juggling daily tasks such as posting in social media or dealing with accounting issues. This might seem simple in countries where the architecture business is more established, but it wasn’t the case for me. Most Brazilian architects from one or two generations prior mine had a master-apprentice relationship, whereas now it is impossible to avoid dealing with our profession as a business.
As for my former work in oitentaedois, I feel it was a place that served as a lab where we could explore different ways of tackling a problem in a creative and collective way. We started as a group of eight architecture and design students who just liked doing things together — although each of us had something different in mind. I, in particular, wanted it to be something like Charles & Ray Eames studio or OMA–AMO, which approach design in its multiple forms, from graphic design to buildings. Others looked up to Pentagram or similar firms. This free, horizontal dynamic is very enriching from a creative perspective; however, as time went by and our responsibilities with bigger clients escalated, I began to feel that this structure became problematic.
That’s when I started Bruno Kim Arquitetura, combining everything I had learned from my previous experiences, not only at oitentaedois but also at Metro Arquitetos, PS Arquitetos, and global agencies such as Innocean-Hyundai and Cheil-Samsung.
RTF: How would you highlight the importance of constantly evolving in architecture? How do you look at it in your work since you began?
Bruno: In the early stages of my practice, I felt I knew just about everything there was to know, since I had worked in good firms, participated in a great variety of projects, and dealt with a wide range of clients. Also, I had the privilege of collaborating with a Pritzker Laureate. Naively, I believed I was top-tier material.
It wasn’t until I first started facing difficulties with my own clients, who didn’t even know who Paulo Mendes da Rocha was, that I began to understand that the things I had learned weren’t nearly enough to solve their problems. It was far from what they needed in their daily lives. The kind of architecture I was trained for didn’t suit them for several reasons.
One of the main reasons for this gap is that only a handful of Brazilians can access and actually recognize the architecture we study in academia or see in specialized publications.
That’s when I realized that constant development — not only in architecture, but in other areas such as communication, entrepreneurship, and empathy — is not a choice. It is the only way to create meaningful projects that will make a profound impact in the lives of the clients and the people who will experience the things I design.
I’m sure this is a cliché, but the more we evolve and learn, the more we realize that there is always to learn. This creates the need for us, architects, to be surrounded by as many different people as possible in order to effectively address the various challenges presented by each client. I believe that this is what leads to a genuine and meaningful collaboration between professionals and to an effective architecture that will justify the investment of natural and financial resources and enhance people’s lives.
RTF: What are your views on sustainability in urban design and architecture? Have far have we come from sustainability renders and plans to their real-life execution?
Bruno: I believe that the Brazilian modern architecture established in the past century has always aimed for sustainability. It has sought the best ways to respond to our climate, with features such as natural lighting and ventilation as a fundamental part of all building designs. And since a great number of Brazilian architects drink from the source of modern architecture, it’s safe to say that sustainability has always been part of the DNA of Brazilian architecture.
However, when it comes to sustainability, I feel that only a few improvements were made to our national production in the past decades. Sure, there are some flagship buildings that can serve as great examples of sustainability, but when it comes to mass production, we are far from attaining a reasonable level of sustainability.
On one hand, our population continues to grow while the social gap widens. It means that mass-produced buildings, the ones that make the greatest impact in shaping our landscape, have to be completed quickly and inexpensively, except in some privileged neighborhoods. On the other hand, our construction industry is quite conservative. This is partly due to a lack of specialized labor force, which I believe discourages the industry from taking risks and trying something different. It is a problem that involves education and development of the industry as a whole.
There are good projects being carried out using modern rammed earth techniques and construction solutions such as MLC, which effectively reduce carbon emissions. However, I believe there is still a long way to go before it makes a noticeable impact on the environment.
I live in a neighborhood where there is a growing trend of retrofitting old buildings to serve new functions, in an effort to reduce the city’s sprawl. But despite numerous economic problems, a lack of public concern, and the conservatism of developers, I find it hard to say that we are making progress at the right pace.
Almost half of the Brazilian population still don’t have access to safe drinking water or basic sanitation. I find it hard to believe that sustainable building, which often involves more expensive construction methods, will be a top priority for us anytime soon. So, I’m quite pessimistic about it. We are still far from accomplishing the basics, let alone attempting to achieve zero carbon footprint.
RTF: What does the mindset of young architects need to be in order to excel in the design industry? How has your journey been?
Bruno: I like to interact with many students and young architects, especially through lectures and my Instagram account. Most of them are concerned about their own expression and how they are going to leave a mark on the world, trying to make their names known. As a professional, I don’t believe that is a promising goal. In a country where most people can’t say anything beyond “pretty” and “ugly” when they express their opinion about Niemeyer’s work — whose buildings are frequently showcased on TV news and are therefore widely recognized — it seems unlikely that the same people would be interested or able to understand what an architect is saying through their own architecture. And if there is no interest, is it possible to make a living from it?
On the other hand, everyone, regardless of financial status, face problems related to space and design from the moment they get out of bed, cook breakfast, go to work, return home, enjoy their free time, until they go to bed again. Most of those problems can be tackled through design, architecture, and urban planning. I’m not convinced people would pay to hear what an architect has to say, but I’m confident they are willing to pay to have their problems solved and their lives improved.
Once I began to focus on solving people’s problems rather than trying to find my own style, my business began to take off. So, if I can offer any advice to help those who are just starting their journey, it is to be mindful of the problems surrounding you and those around you. Bearing that in mind, what skills do you have that can be used to solve those problems? And what tools are at your service? Answering those questions will help you understand what you can add to the industry.
And as long as there is capitalism and problems in the world, you can use your work to achieve your personal goals. Creativity and self-expression will naturally manifest as this journey unfolds. These should not be established as goals. I see them only as skills that will develop while you try to solve people’s problems in your own way.
RTF: ‘Falling out of love’ with the practice and ‘obsessing’ over a project is not an uncommon phenomenon in creative fields. How does one keep a stable head to pursue design to the best of their abilities?
Bruno: It is easy to understand why this happens. We get the briefing, try to understand it, try to figure out how to make the design work, spend hours working on it — we even skip meals and go to bed thinking about the project. It is hard not to fall in love with something we get so intimate with. With this mindset, having a project rejected by the client can be just as disheartening as having your beloved girlfriend or boyfriend rejected by your family or friends. It gets really personal, and it’s hard to remain chill. I used to think this way too.
Nowadays, I don’t like to see myself as the author of the projects. I rather think of myself as the translator of the client’s worldview. Most of the time, an architect will design something for others to use, not for themselves. This is very important to keep in mind.
This way, I feel that what’s at stake is not my personal feelings. Whether I fail or succeed in an approval of a project, what is right or wrong is only how I interpreted the problem. And even when it’s rejected, I like to see it as an opportunity to harness my creativity and try something new. Domingos Pascali once told me that we are very fortunate for having someone to pay us to do what we love and to develop our creativity. I quite agree with him.
Falling in love with the project may blind us to the client’s real needs and problems. It’s not about us. It’s about them. I believe this is a healthier way to deal with the projects.
RTF: How have you shaped yourself creatively? What are the constant efforts towards it?
Bruno: I think that my experience working with Martin Corullon, Gustavo Cedroni, and Anna Ferrari in Metro Arquitetos was crucial to build on the architecture knowledge I had gained at FAU-USP, which follows the modern school of thought. Also, having direct contact with Paulo Mendes’ drawings and sketches, often recreating his handmade drawings on the computer — which I see as a huge privilege — has been incredibly influential in shaping my thinking and drawing process. There was creativity, but there was also a strict and rigorous approach to thinking and designing.
Then I met Domingos Pascali and Sakis Semerdjian, who had a totally different approach towards design. Doing something new, something different, regardless of adherence to any architectural movements, and focusing more on experimenting with new aesthetics was of great importance to them. At first, it was really hard for me to let go of some premises I had previously internalized, but soon I realized that architecture could have almost no rules.
After that, at oitentaedois, I experimented a lot with collective design. It was not uncommon for a design to go through the hands and minds of four different people in a somehow chaotic workflow. It was extremely difficult to explain how we reached those results after the completion of the design.
I’m telling you this little story because, in fact, I don’t think too much about honing my creativity. I believe that all past experiences, the things I see on the streets, the music I listen to, the references my clients show me, they all somehow merge and something comes out of it.
What I consciously do when I’m creatively stuck is often resort to watching K-pop videos and listening to K-pop songs. I find it amazing how freely they are while experimenting with so many different aesthetics, almost without any strings attached, yet in a very pragmatic and effective way, managing to catch the eye of people from all over the world. Although it may not be deeply rooted in any culture, it surely produces new aesthetics every once in a while.
I often try to fight my instinct that tells me that everything should have a reason, and try to design more freely.
RTF: How do you look at the work beyond designing for young architects, such as the likes of involvement in publishing, handling media and building an online presence?
Bruno: I believe it is essential for any architect to do more than just designing. It helps to understand that the design itself is just a small part of something bigger.
On the one hand, having an online presence can be a heavy burden, because your work will be judged not only by your client, but also by thousands of followers who, more often than not, have no previous knowledge of architecture. On the other hand, it gives us an opportunity to demonstrate how architecture has the power to transform our lives, therefore granting more recognition to our profession.
My impression is that architects often make the mistake of communicating in a way that only other architects will understand. This is a huge flaw since architecture demands an multidisciplinary approach in order to create a project able to respond to our society’s needs.
RTF: What do you think of building a social media presence for architects? How important is it and what does it demand from the architects who choose to do it all on their own?
Bruno: Nowadays, I build all my social media presence on my own. I usually invest 15-20 hours of my time per week. Even when I have someone to help me, the task is still demanding. People want to talk to a real person, not a brand. It is my voice and my face that must be there interacting with people. On the other hand, I’m sure I wouldn’t have the opportunity to work with such a great number of good clients if it weren’t for my presence on social media.
RTF: What kind of attention do you give to the ‘community’ in conceptualising a project? How do pragmatism and subjectivity go hand-in-hand in it?
Bruno: I often tell my clients, and also say on social media, when you’re designing a structure, whether it is an apartment, a house, or any kind of building, you should always see then as part of a city or a neighborhood. Also, you must always bear in mind that every space is part of a larger cultural context: when we build a space, we’re also building its surroundings. I guess once everyone who’s involved in the design adopts this mindset, paying attention to the community is something that comes naturally. Of course, since I only work with private clients, there are limits to how far I can go before the private and public interests begin to clash. But I believe that if I can make my clients see through this perspective and agree on building a space that should benefitis not only beneficial to them but also to the people who live around it, the outcomes will always be positive.
As for pragmatism and subjectivity, I’m no longer inclined to engage in disputes around subjective issues like I used to in the past. There is no right or wrong in something that is subjective. Now I try to welcome any subjective view that is not my own and to see it as an opportunity to broaden my design repertoire. I believe this makes me more open to welcoming diversity, even if I don’t fully understand it at first; I try to understand it better as I design. I think that’s a pragmatic way to deal with subjectivity.
RTF: How does a community make ‘An Architect’? And how important is the role of parents in shaping a child, who is sensitive towards art and architecture?
Bruno: Having a social media community is very interesting because I can get feedback on what topics were important to them and what type of content they find helpful, almost in real time. Those are the topics that I will emphasize, and naturally, that is what my image will be associated with. I guess that is how my image, as an architect, is constructed. My clients and followers often tell me I’m an architect with no frills and down to earth compared to other architects in Brazil that have an online presence. I take that as a good sign.
I can’t talk on behalf of other parents, but when I look back on my childhood, I remember my father introducing me and my sisters to so many great movies and music. On the other hand, my mother was always the one who brought us down to Earth, a typical Asian mom. I suppose that is what shapes my view on architecture, being sensitive to the problems that surround us, yet eager to solve them in a very effective way. It is also something creative that leaves room for a certain degree of chaos, but I cannot overlook the fact that it is still a business… Finding this balance which, I believe, has worked for me.
RTF: Who has been your inspiration throughout your architectural journey?
Bruno: I don’t relate very much with other architects as sources of inspiration. But one person that often comes to my mind when I’m immersed in a project is a Brazilian musician called Dominguinhos. He had the ability to create and improvise complex songs from a harmonic standpoint, all while singing widely popular ones that anyone could easily connect to and that had a distinct Brazilian identity. In other words, he managed to use sophisticated techniques to reach out to the emotions of everyone, being appreciated by scholars and the general public alike. I believe that is what I’m always trying to do: an architecture that can be appreciated by anyone, regardless of their knowledge of the field, even if a complex design solution was employed. To me, that’s good architecture.
RTF: Where do you find global architecture a decade from now?
Bruno: I hope that in a different place from where we are right now. Currently, whenever a project says that it is “accessible to everyone,” it is considered as something to be highlighted and celebrated. Instead, it should be commonplace. Everyone should be able to understand how transforming a space can change our lives. I’m also very curious to see how AI and big data will assist us in solving problems related to urban planning, ergonomics, housing deficit, and sustainability in our daily work.
RTF: You are your own client. What would the essence of the project be then?
Bruno: Laziness. I’d love a house where every place is a good place to take a nap.
