Architect Bruno Carvalho presents a new project in Cascais
Award-winning architect Bruno Carvalho presents a new project in Cascais, guided by color, modernism and creativity.
- Photography Denilson Machado
Gabriel Bordin creates a minimalist project in Cascais
- Photography Gui Morelli
Gabriel Bordin is an architect and urban planner, graduated from the University of Southern Santa Catarina. He studied at the Universita degli Stufi di Firenze Facolta Architettura and the University of Illinois at Chicago.
Design in Lisbon: How does the creative process for a project happen? Where do you look or find inspiration?
Gabriel Bordin: The starting point is the needs of the client and the location – their particularities sharpen the creative process. I find inspiration in trends that can accompany a timeless design. I project a space while crossing contemporary elements and canons with the history of the user and the building.
DL: What distinguishes your project?
GB: Minimalism on surfaces that makes room for design and affective compositions. Natural and classic materials, functionality and simple shapes are punctuated with furniture, objects and symbols that communicate the essence of the project.
Natural and classic materials, functionality and simple shapes are punctuated with furniture, objects and symbols that communicate the essence of the project.
DL: What has been the most memorable moment of your journey to date?
GB: We are still a new studio with a young team, our achievements happen every year as our work is recognized by different audiences, but certainly reaching the international market is one of them. Our debut in 2020 started with a project in Daytona, Florida; this project in Cascais marks our first project on European ground.
DL: Who are your main references?
GB: Mies van der Rohe, Isay Weinfeld and Marcio Kogan. Jorge Zalszupin as an architect and designer of iconic pieces of Brazilian furniture. Burle Marx with his visual alchemy in landscaping and visual arts also inspires me a lot and ends up giving me brilliant clues on how to include nature and organic forms in architecture.
DL: What brought you to Lisbon?
GB: This project. Coincidentally, other opportunities and experiences brought me back to Lisbon this year and it has always been a good surprise.
DL: What is the city like in your eyes?
GB: Historical architecture in counterpoint or together with contemporary architecture and design creates a rich, fascinating aura – the city’s geography also contributes. An important factor is also the cultural connection I make with my home, the island of Florianópolis, in Brazil; where ancient history and new times take place alongside great waters.
DL: What makes you want to stay (or return)?
GB: In addition to the enchantment of the city, I return because of the welcome I received. The common language and finding a significant Brazilian community were important. I felt a little at home. Of course, I would also go back for the custard tarts.
DL: Any unexpected challenges?
GB: Maybe not so unexpected, but finding local suppliers and transmitting our language to another culture was the biggest challenge. In this mission, QuartoSala supported us a lot, by sharing its contacts and supporting us in monitoring the work.
DL: Do you feel that Portuguese cultural heritage ended up influencing your work?
GB: Yes, and this was one of the intentions. The client wanted a project that conveyed a bit of the regional aura and its landscape bathed by the Atlantic. We designed a base that references natural elements, punctuated with objects and works of art by local artists, some even themed, such as tile works by Add Fuel, paper sculpture by Vhils, lithography by Vhils and Manuel Cargaleiro and photographs by Xan Patron, Antoine Violleau and Igor Shrayer.
We designed a base that references natural elements, punctuated with objects and works of art by local artists, some even themed, such as tile works by Add Fuel, paper sculpture by Vhils, lithography by Vhils and Maniel Cargaleiro and photographs by Xan Patron, Antoine Violleau and Igor Shrayer.
DL: How did the partnership with QuartoSala come about?
GB: During the project’s conception, QuartoSala came up in our research when we were looking for a multi-brand supplier that brought together designers we admire. It was also recommended to us by professional colleagues and friends.
DL: Which brands do you highlight and why?
GB: Flexform as an integral solution for the apartment; Paola Lenti and her outdoor pieces full of personality; Flos and its creative lighting features; and, of course, the Brazilian brands Sérgio Rodrigues and Sollos, which we always love to include in our projects.
DL: Do you feel that there are significant cultural or aesthetic differences between the work of architects and interior designers in Portugal and in other countries? And if so, how do you address these differences in your projects?
GB: Yes. I’m quite observant and for some years now I’ve been trying to capture and include these aesthetic – and cultural – differences in our drawings. In 2022, for example, we designed the Allora Room for an interiors show and the location was a former classroom in a building preserved and highlighted as public heritage. To influence the space, we were inspired by European interior design which, in our opinion, tends to respect the architectural and historical characteristics of the place; the plan tends to be more fluid, with iconic and loose pieces that can be repositioned, adapting to the user’s new demands, a design that mixes the permanent with the ephemeral.
DL: Did you at any point feel like it was difficult to not have your usual suppliers that you work with, as is the case with your suppliers in Brazil, or did it somehow end up being a challenge to find different solutions and get out of your comfort zone?
GB: As mentioned, we had a lot of help from QuartoSala in this regard; Still, there was a lot of room to leave the comfort zone, as part of what makes the work interesting are also the different solutions.
DL: What layer has this experience added to your work? How has the city transformed you?
GB: The immersive experience in another culture, the walks looking for interesting objects for composition and the morning runs that happened to introduce me to new places to return to were very stimulating. I was able to find pieces and spaces. It was almost like a clue, to stay curious.
Gabriel Bordin
Architect and urban planner, graduated from the University of Southern Santa Catarina. He studied at the Universita’ degli Stufi di Firenze Facolta’ – Architettura and at the University of Illinois in Chicago.
Gabriel Bordin creates a minimalist project in Cascais
- Photography Gui Morelli
Gabriel Bordin is an architect and urban planner, graduated from the University of Southern Santa Catarina. He studied at the Universita degli Stufi di Firenze Facolta Architettura and the University of Illinois at Chicago.
Design in Lisbon: How does the creative process for a project happen? Where do you look or find inspiration?
Gabriel Bordin: The starting point is the needs of the client and the location – their particularities sharpen the creative process. I find inspiration in trends that can accompany a timeless design. I project a space while crossing contemporary elements and canons with the history of the user and the building.
DL: What distinguishes your project?
GB: Minimalism on surfaces that makes room for design and affective compositions. Natural and classic materials, functionality and simple shapes are punctuated with furniture, objects and symbols that communicate the essence of the project.
Natural and classic materials, functionality and simple shapes are punctuated with furniture, objects and symbols that communicate the essence of the project.
DL: What has been the most memorable moment of your journey to date?
GB: We are still a new studio with a young team, our achievements happen every year as our work is recognized by different audiences, but certainly reaching the international market is one of them. Our debut in 2020 started with a project in Daytona, Florida; this project in Cascais marks our first project on European ground.
DL: Who are your main references?
GB: Mies van der Rohe, Isay Weinfeld and Marcio Kogan. Jorge Zalszupin as an architect and designer of iconic pieces of Brazilian furniture. Burle Marx with his visual alchemy in landscaping and visual arts also inspires me a lot and ends up giving me brilliant clues on how to include nature and organic forms in architecture.
DL: What brought you to Lisbon?
GB: This project. Coincidentally, other opportunities and experiences brought me back to Lisbon this year and it has always been a good surprise.
DL: What is the city like in your eyes?
GB: Historical architecture in counterpoint or together with contemporary architecture and design creates a rich, fascinating aura – the city’s geography also contributes. An important factor is also the cultural connection I make with my home, the island of Florianópolis, in Brazil; where ancient history and new times take place alongside great waters.
DL: What makes you want to stay (or return)?
GB: In addition to the enchantment of the city, I return because of the welcome I received. The common language and finding a significant Brazilian community were important. I felt a little at home. Of course, I would also go back for the custard tarts.
DL: Any unexpected challenges?
GB: Maybe not so unexpected, but finding local suppliers and transmitting our language to another culture was the biggest challenge. In this mission, QuartoSala supported us a lot, by sharing its contacts and supporting us in monitoring the work.
DL: Do you feel that Portuguese cultural heritage ended up influencing your work?
GB: Yes, and this was one of the intentions. The client wanted a project that conveyed a bit of the regional aura and its landscape bathed by the Atlantic. We designed a base that references natural elements, punctuated with objects and works of art by local artists, some even themed, such as tile works by Add Fuel, paper sculpture by Vhils, lithography by Vhils and Manuel Cargaleiro and photographs by Xan Patron, Antoine Violleau and Igor Shrayer.
We designed a base that references natural elements, punctuated with objects and works of art by local artists, some even themed, such as tile works by Add Fuel, paper sculpture by Vhils, lithography by Vhils and Maniel Cargaleiro and photographs by Xan Patron, Antoine Violleau and Igor Shrayer.
DL: How did the partnership with QuartoSala come about?
GB: During the project’s conception, QuartoSala came up in our research when we were looking for a multi-brand supplier that brought together designers we admire. It was also recommended to us by professional colleagues and friends.
DL: Which brands do you highlight and why?
GB: Flexform as an integral solution for the apartment; Paola Lenti and her outdoor pieces full of personality; Flos and its creative lighting features; and, of course, the Brazilian brands Sérgio Rodrigues and Sollos, which we always love to include in our projects.
DL: Do you feel that there are significant cultural or aesthetic differences between the work of architects and interior designers in Portugal and in other countries? And if so, how do you address these differences in your projects?
GB: Yes. I’m quite observant and for some years now I’ve been trying to capture and include these aesthetic – and cultural – differences in our drawings. In 2022, for example, we designed the Allora Room for an interiors show and the location was a former classroom in a building preserved and highlighted as public heritage. To influence the space, we were inspired by European interior design which, in our opinion, tends to respect the architectural and historical characteristics of the place; the plan tends to be more fluid, with iconic and loose pieces that can be repositioned, adapting to the user’s new demands, a design that mixes the permanent with the ephemeral.
DL: Did you at any point feel like it was difficult to not have your usual suppliers that you work with, as is the case with your suppliers in Brazil, or did it somehow end up being a challenge to find different solutions and get out of your comfort zone?
GB: As mentioned, we had a lot of help from QuartoSala in this regard; Still, there was a lot of room to leave the comfort zone, as part of what makes the work interesting are also the different solutions.
DL: What layer has this experience added to your work? How has the city transformed you?
GB: The immersive experience in another culture, the walks looking for interesting objects for composition and the morning runs that happened to introduce me to new places to return to were very stimulating. I was able to find pieces and spaces. It was almost like a clue, to stay curious.
Gabriel Bordin
Architect and urban planner, graduated from the University of Southern Santa Catarina. He studied at the Universita’ degli Stufi di Firenze Facolta’ – Architettura and at the University of Illinois in Chicago.
