As an architect and member of the Order, how do you see the presence of women in the leadership of studios today?

The visibility of women in architecture has been growing. In the current term of the Order of Architects, one of our priorities is precisely to work towards gender equity. It is true that there may still be some quantitative difference between men and women in the profession, but I believe that female leadership is increasingly present. There are many women leading studios with recognized work. It is essential to continue giving visibility to this path and ensure equal opportunities in the sector.

Besides the issue of equity, what other urgencies do you consider a priority for the profession at this moment?

The issue of fees is, without a doubt, one of the greatest concerns of the profession. It is a common pain shared by all architects. We have made efforts to raise awareness among our colleagues and are working to find solutions, but we know it is a complex issue. European competition law prevents the existence of binding price tables, which makes regulation difficult. I believe there should be greater sensitivity, also from a political standpoint, to compensate for these legal limitations and guarantee fairer and more dignified remuneration for architects.

Is it more difficult to establish a studio outside the major urban centers?

Yes, it is a challenge. Opening a studio in Entroncamento was a deliberate choice, but it required some effort. Despite being in the center of the country, it is considered the interior, and the job market is still highly concentrated in Lisbon and Porto. However, I found here what I was looking for: a place with serenity, where it is possible to work with more focus and quality. Lisbon has a very fast-paced rhythm – time seems to move quicker – and here we can breathe and focus on projects with greater depth.

Your work has a very recognizable language. Is there an intention to create your own visual identity?

It is an honor to hear that the work conveys its own language, but that is not an intentional goal. Each project is designed based on the client, the location, and the context. Of course, the methodologies we use and the concepts we adopt end up creating a certain register, perhaps a coherence that is recognizable, but we do not work with the purpose of creating a signature. We try to adapt each proposal to the specific circumstances and, from there, perhaps this identity emerges, which is more connected to the way we approach modernity and contemporaneity.

And when there is an unlimited budget? Does that bring more freedom or more responsibility?

An unlimited budget is an idealized scenario. But the most important thing, for us, is to find the balance between the client’s expectations and the available resources. It is not about doing a lot with little or little with a lot – the essential thing is being aware of what can be achieved within the budget. We accompany the client from the beginning, explaining what can be accomplished with the means they have. A more generous budget allows us to think about more sustainable materials or lower-maintenance solutions in the long run. These materials may have a higher initial cost, but they compensate over time because they require fewer future interventions. It’s the old saying: cheap turns out expensive, and expensive can turn out cheap.

What other differences are there when working with larger budgets?

Mid-high or high-segment projects allow for more detail, greater creative freedom, and more sophisticated technical solutions. However, the degree of legal requirements remains the same, even in controlled-cost housing. We always comply with the same standards. The issue of sustainability, for example, may increase initial costs, but it is an investment that brings returns in the long run. We always try to use materials with low maintenance needs that withstand the test of time. It is in this logic of balance between initial investment and durability that we seek to work.

What, in your view, is the main difference between designing a house and a public facility such as a library?

In single-family housing, the relationship with the client is closer. There is more room to interpret their expectations and work in a personalized way. In a public facility, however, we must comply with regulations, standards, and deal with external entities that condition the project. Even so, there is room for creativity. The library we designed, for example, was a very interesting exercise. It managed to break away from what was expected, not only in geometry but also in functionality. It was a different program that required more than just a book repository. And we had the openness to develop the project with some freedom, which resulted in good work.

Over the course of these 15 years of your career, has there been any project that particularly marked you?

It is difficult to highlight just one. Perhaps the most frustrating thing is when projects drag on for too long. Sometimes we reach the end and realize that it is no longer the original idea we would have liked to implement. That happens. But I feel that the latest projects we have developed managed to convey a more contemporary line, more connected to identity creation and also to public service. Architecture has this role of contributing to the quality of life in cities and communities.

And photography? What is its role in the course of architecture?

Photography is fundamental. It helps us record moments of light, of experience, of spatiality. It enhances architecture and reinforces its presence. I myself often rely on photography as a tool of memory and research. I like looking at old images or photos of other works, which often serve as references or starting points for new projects. Good photography not only documents but also inspires.

And what is still left to do? Is there a dream you would like to fulfill?

There is no single objective, but I would like to share more Portuguese architecture with the world. I have particular curiosity about Japanese architecture and the way the Japanese approach space, culture, and materials. It would be very interesting to be able to develop a project in the East, perhaps in Japan. It would be a way to immerse myself in another architectural reality and learn from it. I am fascinated by this way of working and would like to explore it more closely.