Design em Lisboa: How and when did you become interested in design? 

Dado Castello Branco: My interest in architecture and decoration began when I was very young. Ever since I was a teenager, I’ve had memories of going into a house, a museum or traveling around and admiring the spaces and the way they were designed.

I also have my mum, who has always loved design, as a reference. Every two years she would change the decor in the house, the fabrics and the sofas. My curiosity has existed from a very early age and I can say that this has always been a fascination for me. I always wanted to know more about the world of architects, decorators and furniture. Art was also a subject that always caught my attention.

DL: Was there a mentor (or source of inspiration) along the way?

DCB: I’ve never had a mentor, but I can say that I’ve always had inspirations. Life has shown me the work of good creators, different places, different atmospheres, different cultures, but not anyone in particular.

DL: Do you remember your first project? What changed and what remained in your work?

DCB: My first project was an important one. When I came back from France in 1994, 30 years ago, I was asked to decorate the house of one of the biggest art collectors in São Paulo. It was an interesting challenge. I involved the construction company Fairbanks & Pilnik and the landscaper was Gilberto Elkis, who thought up the landscape design.

It was a classic house that had to contrast with the client’s contemporary art collection. It was therefore an architectural project that we can’t define as contemporary or modernist, but which gave me immense pleasure. And the house is still there.

DL: You have an international career, with projects all over the world. What continues to inspire you? 

DCB: Yes, we have projects in different locations around the world. Currently in New York, Miami and Portugal. We’ve also projected offices in Uruguay, Chile, England and other places.

In my creative process I always try to explore the local culture and include elements from the country where the work is being done. These are details that can be reflected in the joinery, fabrics or furniture. It’s also important to emphasize the beauty of the natural light in each place.

DL: In your projects there is a dialogue and harmony between architecture, design, furniture and accessories. How do you think about and realize this relationship?

DCB: This dialogue is natural and always exists. Interior design reflects the location – whether it’s a country house, city or beach. And the style of the house also influences the design. Everything is interconnected and the challenge is to think about the space and find harmony, functionality and beauty between all the elements.

We can talk about contemporary houses, open to the outside, where the outdoor area is integrated into the architecture, or in a more Provençal and classic style, and this naturally influences the curation of furniture, fabrics and also art.

DL: The way he uses contemporary pieces alongside vintage pieces is one of the signs that characterizes him. Where does the incessant search for a perfect curation come from? 

DCB: Combining vintage pieces with new ones is an exercise I’ve always enjoyed. I think it’s one of the great differentiating features of my work. Ever since I started working, I’ve tried to create comfortable environments, making the most of natural light and looking for pieces that somehow reflect the beauty of the contrast between modernity and what is old, but no less special.

It’s interesting to explore these differences and, for example, place a contemporary sofa in a classic environment. This mix of styles is, in essence, what I like to do.

DL: How did you come up with the idea of introducing tiles into the project in the way they were arranged? Do you try to integrate indigenous elements into your projects?

DCB: In this case, Portuguese tiles were used, even though there is no reference to them inside the house. We bought a large batch of unconnected 18th century tiles, fragments of panels.

We used them to decorate the entire dining room, from the skirting board to the ceiling. All the walls have Portuguese tiles. The room was very large and this new element was able to create an impactful yet cosy atmosphere in a space where the whole family gathers.

DL: Have you created a relationship with Lisbon? If so, how is it reflected in this project?

DCB: Yes, of course. I love Portugal, and we’re doing some work in Cascais and Lisbon. My idea is always to expand this work. I like the quieter life, the city, and Lisbon’s sky with its unrivaled blue. Lisbon is a sunny city. I like Portugal, but Lisbon in particular.

DL: What piece or element struck you in this project? 

DCB: The main point of the flat was the use of colour. I didn’t used to use colour so much in my projects, but now I’m trying to use it more and more. The second point is, of course, the beauty of Portuguese heritage and tradition through tiles. I think that’s the most striking point of this project.

DL: How was the process of working with local suppliers, such as QuartoSala, with whom you also collaborated on this project?

DCB: Our relationship with QuartoSala has been growing. The service is sensational, because of the number of brands available, but also because of the diversity of suppliers, which completed our work in Lisbon. It was very good.

DL: What was different about the way you developed this project?

DCB: I don’t know exactly, perhaps the question of exploring Lisbon’s light and blue skies, which are hard to see in the world. Also the Portuguese lifestyle, which has undergone big changes in recent times, I think as a result of the recent big investment in the country and a lot of things happening.

DL: We can see that your projects in Lisbon are happening more and more frequently. Should we expect more developments from your architecture studio in the city soon?

DCB: Yes, we’re planning to open a new interior design studio in Portugal soon.