Between memories and affections: meet Rafaella Manso, a highlight at CASACOR São Paulo 2026 traduzido por: OPENROUTER

Rafaella Manso took on the responsibility of designing a 74 m² circulation project for her debut at CASACOR São Paulo. The opportunity came 14 years after her first visit to the São Paulo show and just two years after the opening of her eponymous studio. With her sensitive and deeply affective reading of architecture, the professional transformed the space into one of the most talked-about of the edition — both for its welcoming atmosphere and for the creative choices of pieces that make up Notas em Linhas.

The architect traveled the world before arriving at CASACOR: she studied at Florence University of the Arts (Italy), University of the Arts (United Kingdom), and Copenhagen School of Design and Technology (Denmark). However, when she received the challenge of interpreting the theme Mind and Heart at the show, she turned to her most intimate source of learning, her family memories.

Rafaella Manso Arquitetura - Notas em Linhas. Projeto da CASACOR São Paulo 2026. (Fernando Crescenti/Divulgação)

She recalled the Sundays when she listened to her grandmother play the piano she had received as a teenager, in 1951. Sometimes, she even ventured to accompany her on the keys. The instrument was the highlight of Notas em Linhas, alongside a sculpture of apples made by Gisele Leal. The piece symbolizes abundance, prosperity, and protection.

The affective choices guide Rafaella Manso's work beyond CASACOR São Paulo 2026. After the event closed, we spoke with the newcomer to learn about her inspirations, opinions, and future plans. Check out the interview below!

Rafaella Manso Arquitetura - Notas em Linhas. Projeto da CASACOR São Paulo 2026. (Fernando Crescenti/Divulgação)

1. What were the main challenges of participating in CASACOR? And the main achievements?

Rafaella Manso: A debut is always a great challenge. It means entering a new universe and taking on the responsibility of designing a project, in which every choice needs to have an intention and tell a story. In my case, the challenge was even greater because it was a circulation project. I didn't want to create just a passageway, but a space of pause that invited people to slow down and connect with the proposal.

I received many compliments and had the project featured in different articles and publications (which was very special!), but the greatest achievement was witnessing the visitors' reactions, seeing people moved and engaged with the concept. Realizing that the space evoked emotions and created a genuine connection was, without a doubt, my greatest accomplishment.

Rafaella Manso Arquitetura - Notas em Linhas. Projeto da CASACOR São Paulo 2026. (Fernando Crescenti/Divulgação)

2. What was the most special element of your project at CASACOR São Paulo?

R.M.: The starting point of the project was very affective, my grandmother's 1951 piano and my grandfather's violin. More than objects, they carry part of my history and my family memories. Being able to bring these items into the project made the experience even more special, as a way of bringing my family into this moment. And, of course, the cascade with more than 300 apples also drew a lot of attention. It was an unexpected element that sparked visitors' curiosity and ended up becoming one of the hallmarks of the project.

3. What did you discover while doing CASACOR that people looking from the outside can't even imagine?

R.M.: What surprised me most was realizing everything that exists behind a project that, for the visitor, seems simply ready. There are many decisions, professionals, details, and stories involved in every choice. I also discovered that, in a show, architecture goes beyond aesthetics and functionality. Each element has a purpose and helps to build an experience. CASACOR allows you to explore the playful, the unexpected, and solutions that might not be part of a conventional residential project. It's an opportunity to provoke, awaken emotions, and present architecture in a different way.

4. How does your creative process work when designing a new project?

R.M.: My process begins with listening. Before thinking about shapes, colors, and materials, I try to understand who will live in that space, their history, personality, routine, and desires. From there, I look for a concept that guides the choices and gives identity to the project. I like each element to have a purpose and to converse with the whole. I also strongly believe in the balance between aesthetics and functionality. A project needs to be beautiful, but, above all, it needs to make sense for those who will use it. Often, inspiration comes from a memory, a work of art, a trip, a material, or even something simple from everyday life.

5. What does an architect need to stand out in the market today?

R.M.: I believe that, above all, one needs to have identity. In a market with so many references and information, having your own perspective and developing a language makes all the difference. But having an aesthetic repertoire is not enough. You need to be open to learning, keeping up with market transformations, getting to know new materials and technologies, and, above all, understanding the people for whom we are designing. For me, architecture is also about telling stories. A project with concept and purpose goes beyond a trend and manages to create a true connection with people.

(Divulgação)

6. What professional dream would you like to achieve?

R.M.: One of my greatest dreams is to increasingly achieve international recognition, taking my work to new audiences and markets. I really want to participate in an international edition of CASACOR and take my language, my perspective, and the way I believe in architecture to a global sphere.

(Divulgação)

7. Recommend a book, movie, or destination that shaped your creative perspective.

R.M.: Some destinations were very important in building my creative perspective. Copenhagen, for its architecture, its design, and the way the functional and the aesthetic coexist so naturally. Lisbon, for its history, its colors, its textures, and its ability to preserve its identity while reinventing itself.

And Alagoas, especially for the richness of the craftsmanship, the traditional techniques, and the natural materials. I really like the appreciation of handmade work and how the local culture is present in the details. A special example was the work of artist Fernanda Jatobá, a textile macramé sculpture created exclusively for my project. It was a piece that brought even more personality and meaning to the project.

traduzido por: OPENROUTER