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· Architecture  · · T. Filomena Abreu · P. Rights Reserved/ Tiago Rebelo Andrade / João Guimarães / Studio Junqueira Fides

Luís Rebelo de Andrade

«We have to do things with great dignity and great respect»

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Muddled by the studio’s move, he welcomes us thinking we were other people. Once the mistake has been corrected, he laughs, asks for a few minutes, and when he returns, he sits relaxed in a room that has yet to be completed. The move of the architecture firm to an old winery in Carnide goes from strength to strength, and Luís Rebelo de Andrade is excited. We didn’t even notice the beginning of the interview, that it only ended because the people we were mistaken for were already waiting. In the lines that follow we meet an architect, who initially wanted to be a sculptor. An advocate of sustainability and doing good. Someone who thanks his wife and God for having been placed in the order of destiny that today makes him one of the best architects of his time.
You are an architect, but your dream didn’t start there, that was not what you initially had in mind as your plan for life...
No, at the age of 16 I wanted to get into sculpture. Then my family thought it wasn’t right for me and gave me a hard time, and I ended up giving in. And after living the high life, and making hay while the sun shone, or as I would say, practicing on the wrong one before discovering the right one, I asked my wife to marry me, and she would only accept if I went back to architecture. Because I had been in architecture before the revolution, before the school closed. She said she didn’t want to be married to some ‘good-for-nothing’... So, I went back to architecture and today I really like my profession. Sure enough, I learnt and understood what architecture was and what it was all about and today, with experience, I am satisfied. Therefore, I feel more and more like a fish in water in this profession. Although now I also feel like slowing down a little bit and taking care of a hobby or two, because my life is made of hobbies. 

What do you like to do?
I love painting watercolours. And I also like to paint in oil, but I don’t do it because I don’t have the space at home. I’m going to have here, in this new studio, a space that will be just for me. And so, maybe, I’ll be able to dedicate myself to it more. My eldest son is an architect and will be much better than me. And I also have my son-in-law, who is an architect. And now that we’re moving the premises here [an old winery in Rua Maria Brown, in Lisbon], I’m very excited. This will be more about passing on the baton and me slowing down my pace, starting to work more calmly, because it’s the natural law of life.

«I feel more and more like a fish in water»
You’ve done a lot of iconic things, regarded as exceptional. But what is the project you hold most dear?
I have a series of projects... As a matter of fact, I have a big problem as an architect, which is to think about the project and then think that I’m going to look at it, after time has passed, and find it all nonsense. In architecture, things are not for six days. Architecture is meant to last, to be maintained. So, I don’t complain too much about the journey I made on my own, alone, I don’t complain about the projects I have done. I really like all the projects I’ve done. I have a special liking for renovating heritage, and we have done a lot of renovations. Of churches, of built heritage and then we have a lot of hotels that I also like a lot. I don’t have any project that I can say is my favourite. I have several that I like.

 In your time, can you see that they value you?
I think so, because one of the things that strikes you the most is so-called copying. When you’re copied, you have to understand whether that’s good or bad (he laughs), if it means something. Obviously, when we did Pedras Salgadas we were building in wood, and in a way that brought wood into the construction industry. When we did Patrocínio, it brought vertical gardens into the construction industry. And I think people recognise this. But the recognition I like is from the team. Here, ideas are discussed, there’s a very fun atmosphere, there’s a lot of fun, a lot of joking about, and that’s what makes the projects we have happen. The selflessness. Of course, I have two or three projects that I’m not very happy with. I imagine that even Siza himself, who has extraordinary projects, has done some with his left hand. Because, with the amount of work we have, we can’t always get it right. And I’ve had them too. But I’ve also had the good fortune – God is great, God is my friend –, to be asked to work on exactly those buildings and I’ll have the opportunity to make amends (he laughs). Really! In the Douro I have one that we will probably work on becasuse I convinced my client to remove one floor, it is an aberration. The building is ugly. It’s bad. It didn’t go well.

«We try to find the best balance of it all, but we know that this balance is not perfect»
You have two great characteristics, sustainability and concern for the surroundings. When does that start, when does it come started?
I think the landscape has to be sustainable too. I have seen this since I graduated. I have always had this concern. It’s just that a few years ago people started talking about it, and everyone wanted it: «let's be sustainable!» But when they saw the bill they said: «wait, we’re going to get rid of the photovoltaic panels after all...» Casa Encarnada, for example, is, I would say, 95% self-sufficient. We as citizens have that obligation. Full stop, period. And we have to fight for it. We have to compel our clients. Things aren’t just about numbers, business, making millions. No, we have to do things with great dignity and respect, above all else for the weaker ones, because they are the ones who always pay the bill, not the strongest. And so, sustainability is something that concerns everything in our lives. I have had this since I was a little boy. My parents gave us all an education, a table, a bed, clean clothes. My father was born poor and died poor, but he managed to give everything to his 13 children. My mother, for example, when one got the measles, she put them all in the same room, the doctor was only called once (he laughs). And when she went to Badajoz, she dressed us all in two brands: Levi’s, which was a luxury product at the time, and Lacoste. Because those clothes were passed from one to the other. And you could wash Levi’s trousers less often, which also saved money at the laundrette.
We are in a construction boom of creating spaces and micro spaces and they are changing a little bit what may become future family environments, the pandemic did not slow down the tourism boom, nor will it, and we are all very focused on tourism and selling and the more money we can make...
We have two or three ‘oils’ in our country. One of them is tourism, but this can only be sustainable if we manage to safeguard the identity of the places, and the risk we run stems from vanity, and many architects are incapable of understanding how identities are built. Identities are built, obviously, with knowledge, they are built with the climate. It makes me very confused to see a series of housing towers being built all in glass, I don’t know how they can talk so much about sustainability and yet so much construction is being built completely in glass. The people who are going to live there are going to pay dearly for the energy they need to create a good living environment and air conditioning. Native materials, if we look at it, were the ones that really built identities. So, I’m afraid that now, making things pretty will destroy many identities. 

Are new architects prepared for that?
I have no idea, I make my own way, I follow my own path. Here in the studio, we believe in what we believe in, we play our part. We, and I, are no longer at the age where we have to go around trying to fix the world. Our obligation is for each one of us to do our role well, to fulfil our obligation.

«We are no longer at the age where we have to go around trying to fix the world»
I noticed that you have an image of Christ on your mobile phone’s display...
I love Machado de Castro Museum and I love the collection. This Christ, which is one and a half metres high, is from the 16th century. It’s a fantastic Christ. I’m not talking in spiritual terms, I’m talking about the piece, an extraordinary thing. I fell in love with this piece because I am a great believer. We are so tiny, really tiny, even in terms of civilisation. Look at the wars going on in the world; how is this possible? We are so small, so ignorant; for what purpose are we here? And I think there has to be another dimension. We, here, try to find the best balance of it all, but we know that this balance is not perfect. But we want to reach the balance, we want to work towards the balance, but there is always some little thing that fails, that then doesn’t happen. Alas. But we have a lot of fun in this profession.
Filomena Abreu
T. Filomena Abreu
P. Rights Reserved/ Tiago Rebelo Andrade / João Guimarães / Studio Junqueira Fides
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