Design em Lisboa: Do you remember your first project?

Roberto Migotto: I remember it perfectly. I wasn’t even a qualified architect yet. I always knew I wanted to pursue architecture, but being from a small town, my father preferred that I become a civil engineer. I insisted. The University of Taubaté offered a technical course in Building, with modules in electrical and hydraulic systems. I took that course and realised, without a doubt, that my path was not engineering, but architecture.
With that qualification, I could already sign off on projects up to 120 square metres. And so I did: houses in Ubatuba, Campos do Jordão, São José, Taubaté… My first project was a beach house in Ubatuba.

DL: And what was the most decisive moment in your professional career?

RM: When I finished my studies, I needed a job. I saw an advertisement in the newspaper looking for a young architect. I applied, and I was hired. But I knew that was not my place. Funnily enough, the vice-president of the company – an Italian gentleman – came by my office every day and said: “Son, this is not your place. You have talent.”
He repeated it so often that one day I decided to leave. Shortly after, João – a friend – invited me: “Shall we open a studio?” And that’s when everything started. That moment marked me deeply.

DL: Did aesthetics and design always play a part in your life?

RM: Always. I am often asked where a project begins. For me, it starts with proportion. Design, aesthetics, everything is interconnected – but it’s proportion that defines comfort. I do like distinctive design pieces, yes, but they can’t just be beautiful: they must have a function, they must serve the space and the people who inhabit it. What I value most is creating environments that express comfort and harmony.

DL: Where do you look for and find inspiration?

RM: From travelling, but also in the little things in daily life. A restaurant in Paris, a hotel lobby in New York, or even a scene in a movie. I recently saw a film set in Norway and I was fascinated by the décor in one of the houses. I rewound that scene several times to observe the details. But all of this must be filtered through a trained aesthetic eye. We are inspired by everything, but it’s our sensibility that selects.

DL: When you enter an empty space, what is the first thing you look for?

RM: I look for circulation. It’s the foundation of everything. I have a clinical eye, perhaps due to experience: I can immediately tell when a door is placed wrongly or when a structure interferes with the flow of a space. For me, circulation and proportion are the pillars of a good project.. I like the early stages of working out what works and what doesn’t. It’s almost a logic game.

DL: And you already have a trained eye for it, right? You look at something and immediately think it’s going to be a problem, right?

RM: Yes, exactly. For example, in this project we’re looking at right now, circulation is key: where does the person enter? Where do they exit? How do they move through space? That needs to be solved from the very beginning. And I return to the question of proportion – it’s unthinkable to see a project where the path forces you to dodge badly placed sofas or chairs. All of that compromises the experience of the space.

DL: What characteristics define a good interior design project?

RM: Listening. First and foremost, the architect must be a good listener. They need to understand how people live, their habits, and what they want. No project is the same as another – each family has its own rhythm, its own codes. A good project is born of dialogue.
Then, of course, the layout, the proportion of furniture, circulation, functionality… But everything starts with attentive listening. And ideally, with a good dose of empathy. That’s our job: to help you discover. To show you possibilities, but also to listen, interpret. The project must reflect those who will inhabit it. I can of course print my language, my signature, of course, but I can never impose it. There’s a balance between creative identity and respect for the client.

DL: You often work on the threshold between classic and contemporary. How does your creative process start?

RM: This dialogue between the classical and the contemporary is something that has already become part of my creative process.. And it requires a lot of research. In the Gutierrez 02 project, for instance, in Lisbon, we combined contemporary pieces with elements that recall Portuguese cultural heritage – from old paintings to a period chest of drawers. But it’s not a collage. There has to be balance and rigor. If you’re going for the classic, it must be true classic – no imitations. There are a lot of copies these days, but our clients value authenticity. Even if a piece comes from London or a hidden antique shop, it’s worth it if it’s the right one.

DL: What does it mean to create with elegance?

RM: For me, elegance isn’t about excess; it’s about precision. It’s not enough to use design pieces or luxury brands – elegance is revealed in the subtle details, in the way the woodwork is designed, in the fluidity of the spaces, in the silence of a well-considered gesture. The basis of a project – what’s in the walls, the structure, the carpentry – must be very well resolved. Forbes once referred to my work as the “tailoring of interior architecture.” I like that idea. I believe in finely tuned, functional, and naturally elegant design.

DL: Is there a piece or material you always return to – a safe place in your creation?

RM: Wood. Wood is present in almost all my projects. Whether in boiseries, in natural tones, or even in lacquering – joinery is essential in the composition of spaces. It provides warmth, structure, and sophistication.

DL: Art is almost always present in your projects; what role does it play when you envision a space?

RM: It is a fundamental presence. But, like everything else, it has to be well integrated. There are clients who are collectors and have significant works – we need to think from the start about where and how those pieces will live in the space.
Nowadays, many apartments are almost entirely made of glass, which makes it difficult to place art. But we always find solutions. For example, we can create internal panels that allow artworks to be hung while also functioning as architectural elements.

DL: What is the starting point of designing a house?

RM: The starting point is always to listen. Listening carefully. This particular project we’re currently developing started from that listening. The clients wanted a house in the countryside – not a conventional weekend house, but a refuge.

The location is Almaria, in the interior of São Paulo, a new generation of developments with large areas, almost like resorts. These are plots of over 20,000 square metres, that allow for a very direct connection with nature.

In this case, we bought a plot with a view of a protected forest, with a beautiful sunset. The clients – a couple whose children have already moved out – asked for a cozy house, with lots of wood, stone, and human warmth. A house welcome them, but also their children and grandchildren. And it’s with these premises that we begin: listening and translating desires into space.

DL: What excites about a project?

RM: What excites me is the feedback. It’s when the client says: “We’re so happy here. We feel a special energy. We wanted to thank you.” That recognition is priceless. We know it’s a technical and professional job, but when we feel we’ve truly touched someone’s life, that thrills me.

DL: What has been your most challenging project and what have you learned from it?

RM: There have been many challenges along the way, but I’d highlight one project in particular: Hara Sahara. A complex of nearly 12,000 square metres, in the interior of Minas Gerais. The client was familiar with one of our projects in Ponta do Corumbau, simpler in language but with generous proportions and unpretentious sophistication..

In Hara Sahara, they asked us for spaciousness, fluidity, and natural materials. The only requirement was the creation of a central courtyard with date palms. The rest was complete creative freedom.

It was a large-scale project, with models, in-depth discussions, many studies – and enormous satisfaction in the end. It’s in my book, and it’s one of the milestones in my career.

DL: What is the difference between working in Brazil and Portugal?

RM: In Brazil, despite all the challenges – political, economic, and social – we have a huge advantage: our workforce. Our carpentry is extraordinary, the teams are committed, and there’s flexibility. In Europe, the process is more rigid. For example, we’re developing a project in London: everything has to go through a local office, with lengthy approval processes. In Lisbon, it was different. We were lucky to find a local architect who gave us full support. The city has a very special human scale and energy.

DL:And how does the city influence the project?

RM: When we’re talking about cultural or public projects, the urban context has a significant weight. But even in residential projects, the place has an influence. The climate, the light, the local culture – all of this is reflectd in the choices we make.

DL: What do you think makes Lisbon unique?

RM: Lisbon has an unmatched light. That golden light that seems to extend the day… it’s magical. And then there’s the tradition, the culture, the gastronomy, the sound of church bells, the cobbled streets… Lisbon has a very unique soul.

I love conventional sweets – I’m a self-confessed fan of everything that contains egg whites! And I find the history behind this confectionery fascinating, the connection to the convents, and the tradition of the nuns.

There’s a quiet charm about Lisbon that seduces me. Whenever I can, I go into a church. I love the Estrela Basilica, with its beautiful round dome. And, honestly, I still regret not having bought an apartment in Lisbon. I chose Miami, but Lisbon stayed in my heart.

DL: Which artists, architects, or designers continue to inspire your work?

RM: I tend to avoid naming names because there are so many. But I deeply admire Álvaro Siza Vieira – his architecture is pure, poetic, with a very fine understanding of place. I have books of his in my office.

We’ve also worked with a Portuguese joinery company, LInE, which I really admire. They are extremely professional and have been growing in the Brazilian market. I like to value those who do things well and work with rigour.

DL: How did you discover Quarta Sala? Which brands have you included in your projects without hesitation?

RM: I discovered Quarta Sala through Pedro d’Orey, early on in a project in Lisbon. Nowadays, the world is so connected – I already knew them digitally, and the contact became natural. Since then, we’ve maintained a very productive partnership.
I really like the brands they represent – Minotti, Cassina, Re-vive Italy… They are names I often use. Quarta Sala has curatorship; they have standards. That makes all the difference.

DL: How do you imagine the future of the spaces we inhabit?

RM: I believe that, more than ever, people are seeking comfort. Emotional comfort, not just physical. The French philosopher Gaston Bachelard said “the house is our corner in the world” – and that idea has stayed with me.

Home is the place where we take refuge, where we recognise ourselves. It can be minimalist, it can be maximalist – as long as it has a soul. I, for example, can’t finish a project without a rug. It’s the finishing touch. If the client has a dog? We opt for washable materials. But the rug stays. Comfort must be present.

DL: What advice would you give to a young architect working on their first projects?

RM: Above all, you need passion. My generation still drew by hand, on the drawing board. Today, young people start straight away on computers. But technology cannot replace sensitivity.

It’s necessary to research, make mistakes, experiment, and keep learning. I’m very demanding of my team – Sílvio has been with me for 25 years, and I still demand from him as much as I did on the first day. It’s a continuous exercise of refinement.

It’s also important to know how to listen – to clients, staff, and the space. And to be patient: a solid career is built over time, not in a hurry.

DL: What still makes you dream?

RM: I’m always dreaming of the next project. We’re preparing the second book, and I’m already thinking about the third. I’ve just visited a historic farm in the interior of São Paulo, from the 18th century, where they want to launch a new housing concept. They mentioned my name as a local reference – and that touched me.

We are also starting a project in one of the most sought-after apartments in São Paulo. And maybe a new challenge in Lisbon…

The truth is, every project makes me dream. Each one is an opportunity to create something that didn’t exist before. And that, for me, is the most beautiful thing of all.