In this edition of Design Dialogues, we are delighted to feature Galeria Gabinete, an architecture practice that seamlessly blends design, art, and multidisciplinary collaboration. Functioning as both an architectural studio and a dynamic creative space, Galeria Gabinete fosters an environment where architecture is not just about form and function but also about cultural engagement and artistic expression.

Through projects such as House Aadd, House DP, and Ponto C, the firm explores the delicate balance between tradition and modernity, openness and seclusion, and utility and artistic vision. Their approach is deeply rooted in contextual awareness—embracing pre-existing elements, integrating sustainable practices, and creating meaningful spaces that resonate with both users and the surrounding environment.

In this conversation, we delve into Galeria Gabinete’s design philosophy, their ability to navigate complex restoration and new-build projects, and how collaboration across different disciplines enriches their architectural approach. This interview offers valuable insights into the evolving role of architecture as a bridge between the past and the future, function and emotion, and individual creativity and collective experience.

Galeria Gabinete presents itself as both an architectural office and a gallery of events. How do you see the intersection of architecture, art, and creative collaboration shaping the way you design spaces?

Helder de Carvalho: First of all, Galeria Gabinete is a coworking space. It was created with the aim of bringing together several areas of work that can complement each other. Creating synergies and, of course, architecture and the various arts merge in many aspects. We can enjoy architecture like a painting or a photograph or even a song, among many other sensations. Architecture is also art.

The concept of House Aadd unfolds across two platforms—one engaging with the public square and the other fostering privacy. How did you navigate the challenge of designing a home that balances openness and seclusion while ensuring a seamless flow between the two levels?

Helder de Carvalho: This project is developed on two platforms because the terrain required it. I then realized that the higher platform would be connected to the street, where there is more movement and noise, and the lower platform would be connected to the silence of the countryside. So it was clear to me that the living area should be on this calmer and more secluded level. In any case, given the size of the house, I wanted there to be a constant relationship between the spaces and that through a central courtyard I could see the whole house. With large openings, the relationship between the spaces would also have a constant relationship with the outside. Everything is related to plenty of natural light.

You mention that the house emerges from a “generously sized field” and integrates existing elements like walls, staircases, and granite columns. How did these pre-existing features influence the architectural language and material choices of the final design?

Helder de Carvalho: These elements would be part of the imagination of another project idea. The use was not only related to the cost already incurred but also to the clear definition of the two platforms already mentioned. In this case, it was not a problem and the granite would be part of the entire exterior design, causing its integration in a natural way.

You describe your work as “shapes designed for you.” How do you balance personal client-driven design aspirations with the firm’s own architectural philosophy and vision?

Helder de Carvalho: A project is a constant dialogue between my vision and that of the client. For the result to be the best, I have to be involved and really like what I am proposing and the client has to see themselves and be equally satisfied. The good result will be the symbiosis between both sides.

The central courtyard plays a key role in the spatial experience of the House DP, not just for the residents but even for their pet. How did this design element shape the overall concept, and what were the key considerations in making it a functional yet intimate outdoor extension of the home?

Helder de Carvalho: A patio will always be an excellent way to functionally solve a house. In this case, the fact that there are animals that normally live in the house makes the patio an added value, so that the animals can be protected and have constant access to the outside without compromising the safety of the entire house. Of course there was a whole barbecue program and the relationship with the space for dogs was included on the same elevation and thus integrated in the best way, between niches for firewood, oven and barbecue preparation.

Smoked eucalyptus and lacquered copper bring a distinctive warmth and contrast to the design. How did these material choices contribute to the sensory experience of the space, and what inspired their selection in relation to the home’s environment?

Helder de Carvalho: All materials have an influence on the way spaces feel. In this case, the kitchen had to stand out in the open space, gaining strength through texture and color, and working alongside the dining room table. The aim was to achieve strength, just like the concrete cladding that the house provides.

Your approach embraces multidisciplinary interaction. How does integrating different fields of knowledge—such as business, art, and architecture—inform and elevate your design process?

Helder de Carvalho: Yes, absolutely. The ease of interacting with other areas in the same coworking space facilitates communication and knowledge. This social aspect is important in architecture. I have explored different points of view and realized that over the years I have grown as a person and as a professional. It is often said that we learn from our mistakes, but, beyond mistakes, I would say that we learn a lot from sharing knowledge. We need to be humble and know how to listen.

Ponto C seamlessly integrates culture, architecture, and sustainability in a dynamic community space. How did you approach balancing its historical restoration with the need for modern adaptability and functionality?

Helder de Carvalho: As with all restoration processes, it is necessary to assess what is important to keep and what is worth restoring in accordance with the new program. The final result will always be a balance between the old and the new, allowing this distinction to be perceived. In this case, not only was the old space restored, but it was given one of the most important functions of the Cultural Center, the second multifunctional room that is directly related to the foyer. It was given the importance it deserved.

The project is described as a ‘chameleon’ that blends into the landscape while remaining an impactful cultural hub. What design strategies did you implement to ensure this architectural duality—standing out while fitting in?

Helder de Carvalho: The building is indeed impressive due to its volume. I believe that if the building had a different color, it would have more impact. I chose a green tone with a manual application of projected cork that gives it an organic dynamic in the way we see the building, just like when we look at a tree full of leaves and that reminds us of different tones. It is not just one color. It depends on the light that falls on it. I am convinced that in a few years the building will be even more involved with the growth of some of the trees planted around it. It will certainly be even more interesting.

Looking back on your journey as an architecture firm, what have been the most defining moments that shaped your philosophy and approach to design? How has your perspective evolved over time, and what lessons have been the most valuable along the way?

Helder de Carvalho: I have learned a lot over the years and with all the projects, all the difficulties have strengthened the path I have taken thus far. Today I am prepared to listen and know how to coordinate with all the specialties involved in a project. A building and a project are so complex that they require a union between the parties and an awareness and anticipation of all the problems that may arise. I have learned to stop and reflect and look at many other examples, whether good or bad. I am concerned with functionality combined with form, but in most cases what prevails is the subjectivity of what is beautiful.