miguel leiro
Miguel Leiro photographed by Celine Van Heel.
Miguel Leiro is a distinguished designer, curator, and educator based in Madrid. His early career focused on exploring the versatility of design processes, spanning from industrial manufacturing to craftwork limited edition projects.
In 2020, Miguel founded the Office of Design, a non-profit cultural management organization, and launched the acclaimed MAYRIT Bienal project. Now in its third edition in May 2024, the MAYRIT Bienal stands as a pinnacle of experimental architecture and design. Miguel's work, exhibited in over 9 countries, showcases his global impact and dedication to enriching the cultural value of design.
Miguel Leiro's exceptional contributions have been recognized with prestigious awards such as the Rome Design Award at the Spanish Academy in 2017-18 and the Paris Maison&Objet Rising Talent Award. His role as a teacher at iED Madrid and iE University underscores his commitment to shaping the next generation of design professionals. Collaborations with renowned publications such as PIN UP or Icon Design further highlight his thought leadership and influence in the design community.
Establishing his studio early in his career, Miguel Leiro has continued to push boundaries and inspire innovation, with the MAYRIT Bienal evolving into a celebrated platform for experimental design.
LUCIJA ŠUTEJ: Coming from an artistic family, rooted in furniture design -how has this environment shaped your approach to the field?
MIGUEL LEIRO: My great-grandfather, Francisco Leiro, founded a furniture store in Galicia and worked on local wood carving for churches. My grandfather, Manuel Leiro, took over the store, and my father, Francisco Leiro; a sculptor, was influenced by that lineage. There’s a strong tradition of working with raw materials, whether it’s furniture or sculpture, and an interest in creating something from scratch. Growing up surrounded by art and my family’s furniture business shaped me. I became interested in furniture design around the age of 16 while in New York, and it’s been a long-standing relationship ever since. My father being an artist is something I took for granted. People often say, “It must be so cool to have a father who's an artist,” but for me, it’s just the norm.
Francisco Leiro pictured with his children started the family business in woodworking.
The family business established approximately in 1925, operated from Cambados, Galicia.
LŠ: What tangible knowledge has been passed down to you regarding working with materials? Did you ever work with your grandfather in the studio?
ML: With my grandfather, it wasn’t so much a knowledge exchange, but more of a visual experience—watching him work on different restoration furniture projects and observing how things were made. With my father, there’s more of a direct learning process as we travel together, discuss art and design. He also loves design. It’s a more prominent influence from him - specifically his persistence is something that I have adapted.
Manuel Leiro, grandfather of the designer.
LŠ: Do you feel that certain materials, like wood or stone, resonate more with you because of your background?
ML: Wood and stone definitely speak to me - specifically the direct relationship between these two materials and their origin. Unlike other materials, they do not require an extensive refinement process. However, I believe designers should approach materials based on the context and problem at hand. It's not just about liking material; it’s about finding the right solution for a project. The family of materials I work with has grown - hyper glass, chrome steel, fabric, and textiles; andeach project brings new expertise and requirements.
LŠ: You studied industrial design at Pratt in New York and worked in Valencia with Jaime Hayon. How did those experiences shape your design philosophy?
ML: Both experiences are closely related. In New York, I was taught under a design philosophy that, looking back, felt a bit outdated. I learned about American design trends like “design thinking” and “social design,” which often felt empty of meaning, particularly as they became widely used methodologies and terminologies. All sense of value and cultural relevance were extracted. It was frustrating and subsequently, I realized the design I was drawn to was happening in Europe, where the work was connected to the culture of the project, something the Italians call cultura del progetto. The European vision of design felt more aligned with my interests.
Working with Jaime Hayon was an incredible experience. I learned so much about running a studio, experimenting, and conceptualizing, as well as treating people well in the workplace. Jaime has a great team dynamic, and I gained a lot of insight into “existing in the design field”.
LŠ: Who are your design influences, particularly from Italy?
ML: Early on, I was obsessed with the classics like Charles and Ray Eames. Later on, I became fascinated with the Italian maestros—(Achille) Castiglioni, (Ettore) Sottsass, (Alessandro) Mendini, (Andrea) Branzi, (Michele) De Lucchi. They’re trailblazers with incredible sensibility. In university, I admired designers like Jasper Morrison for his supernormal project, which emphasized honesty and transparency in products.
Still one of my favorites is Konstantin Grčić from Germany. He balances working with industry while maintaining an artistic sensibility. He can design an innovative mass-produced product and, at the same time, create a limited-edition project for a gallery. Grčić’s exploration of the relationship between humans and objects is almost existential, and I find his work masterful.
LŠ: Yes - I like how Grčić’s design speaks on so many levels. He seems to have many interests and that shows through his work.
ML: Absolutely! It’s not just about doing many different things; it’s about how he executes them with such a specific and refined language. His work is urban, strong, and deeply connected to materiality. For me, he’s a huge reference.
LŠ: Your design work is heavily influenced by historical and archaeological elements. Can you walk us through your design process and how these references shape your creative approach?
ML: That actually started when I was accepted to the Rome Prize, where I pitched a project developing a collection of objects inspired by Imperial Rome. This required researching the material culture of Ancient Rome, which naturally led me to archaeology and I realized archaeologists are reverse designers—they find something and then figure out how it was made, used, and by whom.
This experience opened my eyes to a more objective understanding of objects and materials. Archaeology connects us with history, and for any creative person, history is crucial for learning and critically assessing the present. Our making of objects today is our way of documenting the times we live in, and archaeology helped me understand the responsibility of that. It’s become something I really enjoy—visiting museums and archaeological sites—and it’s now part of my design process. While in Italy, I've visited numerous archaeological sites, with Pompei being particularly impactful. It felt like entering a time machine and video game.
LŠ: Are you reading any history books at the moment?
ML: Yes! (laugh) I’m currently re- reading Alexander the Great—an incredible book. I also have two books on Philip II of Spain and the Spanish Armada. Since I was raised in the U.S., there’s a lot of Spanish history I missed out on, so I’m trying to fill in those gaps. Recently, I also read Capitalist Realism by Mark Fisher, which I found fascinating.
LŠ: Philip II with the Battle of Lepanto and the Spanish Armada. Do you think more designers should engage with archaeology - and how?
ML: With archaeology providing valuable insights into historical problem-solving and material use, it would be interesting to see collaborations between design schools and archaeology departments, or by organizing design workshops at archaeological sites.
LŠ: Are you planning any collaborations with archaeological sites and museums to think of new ways to present artifacts?
ML: Not yet, but it sure is a good idea!!
LŠ: Could we revisit the start of your design studio?
ML: After Rome, I was driven by a desire to explore my own design language. Early projects included furniture pieces that blended historical references with contemporary functionality. The main challenge was balancing creative vision with the practical constraints of sustaining the costs of actually running a studio.
Sketches for AIM Cart, year 2016.
AIM Cart, 2016.
Reliquary, 2021, tinted pine wood.
Production process and installation view of the piece Baja. All images by Santiago Vega.
LŠ: Also a few works I wanted to highlight- firstly the Doric chop, a light piece that references the Doric order of the ancient Greek architecture. Perhaps we could stop at your own research into the structure and its ultimate connection to light?
ML: The Doric Chop light was inspired by my fascination with classical architecture. I was intrigued by how the Doric order embodied both strength and elegance, and I wanted to translate that into a modern lighting fixture. It certainly also includes a humoristic element to it.
LŠ: Another work that captured my attention immediately is the Vico Table, a multi-purpose object that migrates between a table, storage and chair.
ML: The Vico Table emerged from a desire to create a versatile piece for small living space - the project actually originates from my mothers need for a bed stand table that could facilitate her reading needs such as storage and ability to install a clip lamp. From this simple brief , the design emerged in a rather natural manner. The piece is actually named after her. The wood finish was achieved through a combination of traditional techniques and modern treatments. I´ve always been fascinated by multifunctionality in design, it's something that opens up a lot of possibilities.
LŠ: How did you achieve such a distinct wood finish?
ML: The piece is actually made from an assembly and joinery of various woods, there are almost 8 different types of wood in each table. These are carefully selected and joined. The final finishing is a coat of varnish.
LŠ: You also founded the non-profit Office of Design - could we explore the cultural landscape(s) and gaps the institution was trying to address? Did you have any influences that you turned to when seeking your own direction?
ML: The Office of Design was founded to address the lack of support for emerging designers in Spain. We aimed to provide resources, mentorship, and exhibition opportunities. My co-founders were fellow designers I met during my studies and early career. We were influenced by the work of offices such as Space Caviar or more historic design collectives like Memphis Group adapting their collaborative spirit to our local context.
The nascent location of RUGE Studio, 2020, first edition of Mayrit.
Andres Izquierdo’s old studio. In 2020, the artist presented a collaborative project with architect Pablo Ferreira.
Designer Ines Llasera setting up the exhibition of the collection developed as a part of Tornasol Studio in 2020.
Javier Montoro, curator of project space Aparador Monteleon alongside designer Tomás Alonso setting up his show for the first Mayrit.
LŠ: And the journey towards the first Madrid Design Biennial - Mayrit?
ML: (laughs) I always wanted to immerse myself in the design community, which eventually led to the establishment of the Biennial. Madrid has a wealth of talent—architects, designers, filmmakers, and photographers—people full of energy and eager to express themselves. While exploring influential groups in Madrid, like La Movida Madrileña, a cultural explosion in the 1980s that revitalized Spanish music, film, and art after Franco's death, I began to see how this moment of cultural awakening influenced our biennial.
However, there's a persistent precarity in Spain's cultural industries. Many talented individuals intern without pay, and career opportunities—especially outside of UX design—are limited. In observing Spain's design industry, I found a landscape both challenging and ripe for change. Traditionally, design presentations in Spain centered on large events like the Madrid Design Festival and ARCO, which often favored established names. Exhibitions at academic institutions were typically confined to students and faculty, while corporate presentations followed rigid formats that didn’t foster much creativity.
Seeing these issues, I felt compelled to act. I envisioned a new approach to democratize platforms for emerging and independent designers, offering them a voice beyond traditional gatekeeping structures. My goal was to create an interdisciplinary focus, blending design disciplines to reflect the modern landscape. Digital integration was also essential—by leveraging online platforms and social media, we could extend our reach beyond physical events. I proposed smaller, community-driven initiatives to encourage collaboration and networking among designers. Most importantly, I wanted to shift the focus from final products to the design process itself, promoting learning and innovation. By addressing the challenges young designers face, I hoped to create accessible platforms that nurture talent and invigorate Spain’s design scene.
Mayrit Official Store (2024), Bate Social Store. Photo credit Asier Rua.
Many emerging designers were interested in a more context-based, speculative approach to design, which called for a dedicated exhibition platform. So, with a group of friends (Victor Clemente, Joel Blanco, and Cristina Schaver), we established Mayrit as a festival. After the first edition received positive press, we realized we were onto something significant, which led to its formalization as a biennial. We also sought to open conversations with museums, given their responsibility to present content to a broad audience.
Instrumentos de Cocina, by Alv Aldina, as part of the Materia Computada show in Museum of Decorative Arts from the third edition of Mayrit in 2024, photo credit Asier Rua.
Kiosko 004 (2024), Vicent Orts x Tambourine. Photo credit Asier Rua.
Carne Suave (2024), Cinema Parentesi. Photo credit Asier Rua.
LŠ: Perhaps we could revisit the first edition?
ML: The first edition was more personal and spontaneous, where I curated projects based purely on enjoyment. Today, Mayrit offers a variety of spaces for artists, using unconventional venues like public squares and abandoned buildings to engage audiences more deeply. We’ve also introduced financial and technical support programs for artists. Experimentation remains essential, and we’ve expanded by inviting curators and artists through open calls and direct invitations. The 2024 theme, inspired by the concept of water—linked to Madrid’s ancient name, “Mayrit"—culminated in Marina Otero curating Wet Dreams, our largest exhibition to date.
Looking ahead, we are working on differentiating our programming into curated shows and independent initiatives.
Installation views of Wet Dreams exhibition, curated by Marina Otero at CentroCentro Madrid in 2024, credit: Ana Robles Pérez.
LŠ: How do you see the identity of Madrid impacting your work?
ML: Madrid has a unique energy—it’s full of people seeking new experiences. Unlike Barcelona, which has a stronger local identity, Madrid draws people looking to explore. Spaces like Casa Encendida and Instituto de Postnatural Studies foster experimentation and innovation, regardless of their size or budget.
Tesoros Especulativos (2020-24), Juan Covelli at Espejito Espejito, curated by Grandeza Studio. Photo credit Asier Rua.
Koln/Ruge at Ruge Studio from Mayrit 2020 * All images are courtesy of Mayrit Biennial.
LŠ: Looking at the evolution of the biennial - what were your key learning moments?
ML: My learning moments come almost daily (laugh). I never studied cultural management, so my approach has been very hands-on—jumping into the water and seeing what happens. Much like design, you learn by making mistakes. Each edition has seen improvement, but as we evolve, we must also navigate different contexts.
LŠ: As someone shaping the international design scene - what challenges and opportunities do you see for designers today?
ML: The biggest challenge is survival. For any designer, it’s a marathon requiring continuous project engagement. There’s a lack of integration of design into the corporate landscape, which complicates things. However, the industry is beginning to recognize the role of design, and there's potential for further growth. Institutions are also starting to incorporate design more actively. Sustainability is always a given in our conversations, but the real focus should be on building supportive networks to help designers thrive.
LŠ: How do you plan to expand the work of biennial and what are your plans and vision for the upcoming edition?
ML: For the upcoming edition of the Mayrit Biennial, we're excited to have Eduarda Neves and Mohammed Salemy as the researchers in charge of developing the new theme. Neves, a Portuguese researcher and curator, brings expertise in contemporary art and philosophy; while Salemy, an Iranian-Canadian artist and critic, is known for his work on technology and critical theory. Their combined perspectives promise to bring a fresh, interdisciplinary approach to our theme. As for expanding the biennial, we're looking to forge partnerships with international design institutions and local businesses.