Álvaro Siza Vieira’s architecture, renowned for its timeless authenticity and profound integration of tradition and modernism, epitomizes half a century of creative excellence. This interview explores the unique qualities behind his work on the Serralves Foundation and its global architectural significance. We have spoken with the architect António Chupina, representative of Álvaro Siza, and the Director of Architecture at the Serralves Foundation Museum, a project that won an International Architecture Award for 2025.
GDN: Can you please describe some key qualities of the project?
Antonio Choupina: The project is designed in a protective park. In a way, all the movements of the structure are the building running away from the trees in order not to destroy them. The intention here is to occupy the empty space in between the trees. Our ecological approach, so to speak, was to preserve the original trees on site by allowing the building to adapt its position accordingly. This technique resulted in slightly higher costs due to the necessity of vertical excavation rather than the more common diagonal digging method. Thus, the exact positions of the trees around the building are maintained. It’s almost as if the building was designed by the trees and not by the architects. The core aspect, given that the building is a museum where lighting is critical, is how to integrate the structure’s design with its surrounding trees to optimize natural light. The design features triangular windows of varying sizes, tailored for different users. By varying these openings, the environment is subtly changed, creating diverse experiences while the surrounding landscape remains the same.
GDN: What sets your architectural film apart from others in terms of design philosophy?
Antonio Choupina: I’m representing Álvaro Siza, who is 92, an international prize winner, and the building is now named after him, it’s the Álvaro Siza wing, an extension of a construction which holds his collection. It’s differentiated from others, because in a way, it’s the culmination of a career, and he’s been building in this park since the 80s until nowadays and even built a variety of structures. To a certain extent, one can observe the progression of architectural styles as they evolved through various decades. In this respect, the building reflects characteristics of modernist architecture from the 1950s and 1960s, evidenced by the wide finishes of the walls and the minimalist aesthetic. However, it simultaneously embodies a distinctly contemporary architectural expression, as he’s consciously considering how to technically resolve the design of the building in a manner that facilitates meaningful connection with people today.
GDN: Can you please tell us how receiving the award impacted your professional approach?
Antonio Choupina: The award is particularly meaningful because it represents both the project’s first recognition and constitutes an important honor. Besides being an architect, I’m the director of architecture in this museum. I believe it’s essential to engage a broader audience with contemporary art museums to learn about architecture and to initiate a dialogue with individuals outside the architectural profession, within an environment where they feel comfortable. In this respect, I think the initiative brings regular people closer to the architectural and urban discourse and highlights how these conversations influence long-term design outcomes.
GDN: Can you please share with us how do you envision the future of architecture in relation to urban development and technology?
Antonio Choupina: I consider that nowadays, mostly speaking about technology, everybody is talking about AI. We’ve always had different software over the years. I’m keeping in mind the studio in total and the project I won the award for, more specifically. It’s all mostly done by hand. While computers are utilized, the original concept was primarily developed by hand. Upon the building’s opening, an exhibition was held featuring 800 sketches of the project. I think it’s important to consider the potential of future technologies as valuable tools, but at the same time to preserve the foundational practices of architecture, such as traditional drawing. I believe this connection—with using hands, allows us more time to think, and with people—will influence how we relate to the urban sites we develop. This is, of course, a park, where the primal connection is with nature, but also with the people who visit the park. However, in other projects, there is a deeper intervention in the city. Each generation bears the responsibility to carefully consider the specific context in which they are building, understanding how their work integrates with the broader urban fabric and the country as a whole. We are living in quite difficult political circumstances all over the world. Therefore, architecture on an urban level should foster opportunities for people to connect, promoting a greater sense of belonging and reducing feelings of disconnection. The objective is to reduce disparities in wealth and quality of life, addressing both poverty and wealth. This commitment represents the fundamental focus of architects and urban planners for the future.
