Sustainability: thinking about local materials, reducing economic and environmental impact, and ensuring that the building “leaves as small a footprint as possible.” This is the concept that the Utopia studio, founded by architect Susana Barros Vilela and architect Ricardo Cruz, has brought to all of its projects since day one. Now a recent and growing trend in luxury real estate, this has in fact been their core philosophy for almost 20 years.
Susana Barros Vilela speaks in a soft and discreet tone, exactly like the architecture she believes in: “It is a dialogue between those who design, those who live there, and what surrounds them. When that dialogue is harmonious, the space speaks for itself and ages well.”
In her conversation with idealista/news, the architect shares what she has learned throughout her journey, from the enthusiasm of the first projects to the desire to continue designing for entire communities. Susana Barros Vilela shows us that the true utopia lies in building with respect: for the territory, for the client, and for time itself — and in creating stories that know how to live alongside the passage of time. A “luxury” that takes shape in the creation of spaces that continue to make those who built them and those who live in them proud.
House in the Douro
House in the Douro — Utopia
What is the first memory that made you realise architecture could be your path?
That was a long time ago (laughs). I think having experiences with interesting spaces always helps guide one’s path. But more than that, it was the desire to face challenges. This profession constantly puts us to the test. Getting into a renowned university was already, in itself, a challenge, and the day-to-day of architecture is made up of them. Each project is unique, a true puzzle. We have a brief, a set of client needs, and we have to respond to them in the best possible way.
And where does that challenge begin?
The site is essential. It dictates many of the decisions. We have to resolve the brief, respect the place, and ensure that the result ages well. Ten years from now, we cannot look at a house and think, “this went wrong.” The project has to continue to make us proud, because it is there, right in front of our eyes.
Do you remember your first project?
Perfectly. Our first house was an earth-sheltered house in Provisende, in the Douro region. It was a ruin; we reused the stones from the site and reorganised them. It was a very small project, a two-bedroom house, but with a major concern: integrating it into the landscape without damaging it. We wanted to create something sustainable, with the lowest possible cost, but that would last and have a reduced impact.
Exposed Concrete House in Mortágua
Exposed Concrete House in Mortágua — Utopia
Does the concept of sustainability go far beyond materials?
Exactly. Sustainability is not just about using ecological materials; it is also an economic issue. Things have to be feasible. There is sustainability at the moment of construction and sustainability throughout the building’s life cycle. Ideally, we should leave the smallest footprint possible, integrating the building into its environment and respecting its surroundings.
Carregal do Sal
Carregal do Sal — Utopia
Nowadays, some people associate sustainability with more expensive projects or clients with greater purchasing power. Do you agree?
It is true that some sustainable materials are more expensive. For example, cork thermal insulation has a higher cost, but it offers acoustic advantages and greater fire resistance. Still, it is not only the material that matters. With creativity, it is possible to find economical and sustainable solutions. Window orientation, repetition of elements, volume design — all of this influences comfort and energy efficiency. A good porch, for example, creates shade and regulates temperatures naturally.
How do you manage the relationship between aesthetics and thermal comfort?
Glass is wonderful for the relationship it creates with the outside, but it requires care. In our climate, especially with increasingly hot summers, a fully glazed south-facing façade can turn into an aquarium. Traditional architecture in the south of the country already took solar orientation into account. Today, with better materials, we should remain attentive and intelligently balance heat and cold.
Bioclimatic House in Carregal do Sal
Bioclimatic House in Carregal do Sal — Utopia
Even with limited budgets, is it possible to build efficiently?
Having a lot of money makes things easier, but it is not a mandatory condition. With attention and common sense, we can achieve excellent results. Small details, such as a well-positioned overhang or a recessed window, can make all the difference. The secret lies in observation and simplicity.
Among so many projects, is there one you consider particularly striking?
All of them are special, because each one represents a relationship with the client. Our work always begins with listening — understanding how that family wants to live or how that company wants to function. In the end, we become part of their lives. If something goes wrong, the client will remember the architect. That is why we want them to look at us with a smile and like the result. Each project is personalised, tailor-made for those who inhabit it.
And regarding the role of women in architecture, do you feel inequality?
No. At least in my experience, at university we were almost half women and half men. And on construction sites, the treatment is the same. There are many female site managers and engineers on site, and I have never felt a lack of respect. Respect is earned through competence and work.
Museum – Archaeology Centre, Torres Novas
Museum – Archaeology Centre, Torres Novas — Utopia
What would you like to do next?
Museums. We have already done one, in Torres Novas, and it was a fantastic experience. It was the former Alvarenga building, an abandoned structure that the municipality wanted to recover. We kept the adobe walls as a shell and built a new building behind them. We took advantage of the natural slope of the land and created an outdoor amphitheatre. It was not part of the original brief, but we felt it made sense for the space and for the community.
That relationship with the community is a different challenge.
Completely. When the client is a local authority, the challenge is collective — we are creating for an entire community. It is necessary to understand the spirit of the place and what people expect. In the case of the Alvarenga building, we presented the project at a public assembly and it was very well received. People felt that we respected the original building, but without trapping it in the past. The aim was not to carry out a “museum-style” rehabilitation, but to give it a new life and function. And when we feel that recognition, we realise that the effort was worth it.