É com muita alegria que compartilhamos a notícia da escolha do projeto Walmart como vencedor do prêmio BUILDING OF THE YEAR AWARDS 2014 pelo site ArchDaily.

Parabéns aos envolvidos no projeto e agradecemos todos que curtiram e votaram no nosso projeto!

Estúdio Guto Requena is happy to invite for the exhibition of his collection “Once Upon a Time – Mint Special Edition” – at Mint Shop during London Design Festival 2013. 


The “Once Upon a Time” collection of glass vases is composed of pieces in different sizes, created from the recording of Guto Requena’s grandmother retelling the fables from his childhood. These stories were captured on a mobile phone in 2011 and used as the basis for the computer models of the vases. The forms generated by the interpretation of the audio files are the soul of these works, which express through their curves the narrative drama of the fables. The vases were manufactured by glass blowing artisans using recycled material. For Mint exhibition Guto developed a special edition in purple colour.

The collection reflects the interests of the Estudio Guto Requena in the design process, in designs inspired by emotional memory, in the rich Brazilian culture and history, and an appreciation for the artisanal. The objects represent a form of investigation of the creative process in design using the possibilities offered by new digital technologies and concepts arising from Digitalculture. Once Upon a Time Collection was developed upon invitation of Guardin Brazil.

An interview with Guto Requena was published at PIN-UP magazine, Spring Summer 2013:

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Unlike many of his Brazilian confreres, architect and designer Guto Requena does not ascribe to the time-tested vocabulary of Brazil’s mid-century golden age of architecture. Instead, the 33-year-old has his eyes firmly set on the future, or rather on how today’s digital age will affect future architecture. Since opening Estudio Guto Requena in 2008, he and his staff of seven have been working on a variety of projects, from research, design consulting, and exhibition design, to furniture pieces (such as 3D-altered Brazilian design classics by the likes of Lina Bo Bardi — see page 227) and two of São Paulo’s most iconic club interiors. Most recently his keen understanding of new technologies won him the commission to design the headquarters for Google Brazil. While he’s a hot ticket in architecture circles, many Brazilians know Guto simply from turning on their T.V. or opening the newspaper. For Requena has a column in Folha de São Paulo, Brazil’s largest circulation newspaper, and for over a year was the presenter of “Nos Trinques,” an acclaimed T.V. show for which he crisscrossed the country, mic in hand, to talk about architecture and design.

Felix Burrichter: What made you want to do a T.V. show on architecture and design?

Guto Requena: In Brazil, T.V. wields enormous influence. I remember in the 90s there was a soap opera, “A Indomada,” whose main character always wore leather. So all the girls in the north of Brazil — one of the hottest places on earth — were wearing head-to-toe black leather. T.V. still dictates the way many people live, and how they perceive architecture: Niemeyer, Mendes da Rocha, and all these big names of Brazilian architecture — 95 percent of the Brazilian population doesn’t know who they are. Or they’ll say that it’s just something for rich people. So that’s why we need to talk more about architecture and design on television, to democratize them.

FB: What does “nos trinques” mean?

GR: Literally it means “to the nines,” as in “dressed to the nines,” but it’s also an old-fashioned word for “cool.” When I was writing the pitch, I was looking for a title my grandmother would understand, because I didn’t want it to be elitist. But even though we tried to do it in very colloquial language and it got really good reviews, it wasn’t a commercial hit. It was still too sophisticated! [Laughs.]

FB: But undeterred, you’re working on a concept for a new show?

GR: Yes. I’m working on a reality show to look for the new, best designer in Brazil. We’ll be recording over one month in 2014. Each episode will be related to a Brazilian problem, because I want to show that design is about solving problems. It’s a reality show, so it’ll be funny and entertaining, but it’ll have some tough challenges so it becomes an educational tool too.

FB: What kind of Brazilian problems?

GR: One thing I find fascinating is the question of Brazilian identity. We still keep looking to Miami, to Paris, to New York, but how can we develop something contemporary, beautiful, amazing, but Brazilian? Another, more serious, problem in Brazil is crime. When I was still at university something really horrible happened to me: my father was killed. It was really violent, and we never found out why. I’m an only child, so I was devastated. But in the end it really opened up my mind because I realized that in Brazil people get killed all the time, everywhere, in the street, at home. You just grow up with it. The reason I’m telling you this is because that incident really defined who I am today. I realized that life is short, and that you really have to use what you’re given, because it might all be gone tomorrow. So that’s also why I want to do the reality show, because I want to be able to talk about the reality in Brazil on T.V., about the problems we have, the violence, but in the context of design, and to encourage people to get more educated — but all of that in a positive, entertaining way.

FB: Research is a big part of your work. What are you currently concentrating on?

GR: I’m really into interaction and interface, working with sensors and experimenting with surfaces that can talk to people, and relate to people, and that slowly change our cognition. Whether it’s a chair or an interior-design project, it comes down to behavioral patterns, and how we’ve changed the way we live over the past ten, 15 years, especially in Brazil. Then there’s the question of sustainability, of course. And I’m always interested in how to bring affective memory and story-telling into objects and projects — that’s the real future of architecture and design!



From August 15 to 18

Location: Ovo – Rua Gomes de Carvalho 830, Itaim.

Design: Estudio Guto Requena
Co-authors: Meta-D
Support: Metamáquina

For SPDW 2013, Estudio Guto Requena invited META-D to adapt the design process of the Nóize Chair to create a real-time experience. Visitors will witness the Nóize Chair being re-formed on a computer by the sounds picked up in a gallery environment. Each day, a Metamáquina 2 3D printer will produce miniature model chairs resulting from these hybrid files. In this design performance, we will witness the formal result of the blending of the iconic Giraffe Chair with the music, the poetry and the noise of the gallery space.

The Metamáquina 2 3D printer is 100% Brazilian made, free software and free hardware, and it will print these model chairs in biodegradable plastic.

Noize Chairs were developed in 2012 by Estudio Guto Requena in partnership with Galeria Coletivo Amor de Madre, São Paulo, Brazil. Faithful digital 3D models of iconic chairs made by Brazilian designers were merged with the recorded sound picked up by mobile phone on the streets of São Paulo. Fusion of these 3D models with digital sound files was accomplished through a process created by Estudio Guto Requena using the programing language Processing.

The Giraffe Chair, designed by Lina Bo Bardi, Marcelo Ferraz and Marcelo Suzuki in 1987, was mixed with the sounds of Rua Santa Iphigenia. The Oscar chair, 1956, by Sergio Rodrigues, was mixed with the sounds of the Grajaú neighborhood. The resulting files were sent via internet to a 3D printer where they were printed in ABS thermoplastic.

About META-D
The office Design Thinking and Architecture focuses on new design processes. META-D is Henrique Stabile + Thiago Mangialardo

About Metamáquina
Metamáquina has pioneered the domestic 3D printing free hardware and free software.


By Guto Requena

July 05, 2013

I have always been curious to meet Lebanon. I love the culture, the food, and I love my lebanese friends. In March, I was invited by a friend to spend four intense days there, discovering the architecture and the design of this fascinating city.

The similarities between the Lebanese capital and São Paulo are many: they are both concrete jungles with endless traffic jams, with interesting scenes of urban arts such as electronic music and graffiti, and abandoned historic buildings (many with reminiscing marks of the civil war which lasted from 1975 to 1990).

Foto: Guto Requena. Beirut, Lebanon. / Foto: Cristiano Mascaro. São Paulo, a Cidade Collection.

Foto: Guto Requena. Beirut, Lebanon. / Foto: Cristiano Mascaro. São Paulo, a Cidade Collection.

Foto: Guto Requena. Lebanon. / Foto: Gabriel Matarazzo. Brazil. Fonte:

Foto: Guto Requena. Lebanon. / Foto: Gabriel Matarazzo. Brazil. Fonte:

Foto: Guto Requena. Lebanon. / Foto: Iatã Cannabrava. Brazil.

Foto: Guto Requena. Lebanon. / Foto: Iatã Cannabrava. Brazil.

Beirut has a rich architectural inheritance, with buildings of ottoman and french influence, but with traces of an internationally acclaimed modernism; that had its golden years from 1950 to 1960 – which after its independence became the capital of the cultural vanguard in the arabic world.

Foto: Guto Requena. Beirut, Lebanon.

Foto: Guto Requena. Beirut, Lebanon.
Foto: Guto Requena. Beirut, Lebanon.
Foto: Guto Requena. Beirut, Lebanon.

However, the city is now suffering real estate speculation, and one of the consequences of this is that many genuine buildings and historical parts of the city are being torn apart to make room for new enterprises of doubtful taste.

Foto: Guto Requena. New enterprises in Beirut.

Foto: Guto Requena. New enterprises in Beirut.

Another similarity between Beirut and São Paulo is the fact that the day to day lives remind us that these are cities at war. During my first night in Beirut, my hostess explained to me how to proceed in case there was a bombing, or shooting due to the renunciation of the prime minister that had caused the country to enter a state of alert. I responded by saying that our routine in São Paulo was not that different. I tried to explain about the robberies in restaurants and buildings in my neighborhood, also about the boys who are addicted to crack and end up sleeping on the front door of my building, the kidnappings of various friends of mine, and my dad’s homicide. Yes, these are citizens and cities living in fear and violence.

In my last night, on my way to a bunker party, listening to the sounds of prayers coming from the mosques along with the war trucks, I understood that our similarities with the lebanese bring us closer than I had imagined. We love our respective cities, we support each other in the incredible things they have to offer us, searching for stability among the chaos. For it is, after all, our home.

Foto: Guto Requena. Beirut, Lebanon.

Foto: Guto Requena. Beirut, Lebanon.

Foto: Guto Requena. Beirut, Lebanon.

Foto: Guto Requena. Beirut, Lebanon.


The Noize Chair was published on the last month´s edition of the italian design magazine Interni:

“From Guto Requena, the Noize Chair brings together the form of a Lina Bo Bardi´s giraffe with captured sounds from the streets. It´s undulation and distortion were transmitted to the surface through to the 3d printer.”


Interni_Noise ampliada


Fonte: Interni Magazine ed. 632