The Perfect Periphery
Jorge Figueira
zee
seteme
Pa-9- 749343
Until the Revolution of 25 April, 1974, which by
Novo regime to an end and instituted democrac
t Portuguese architects viewed modern arc
pean civility they aimed
synonymous with the Eur
Bearing this reference in mind, generations of aris
the late 192
non to the circumstances, in accori
on started designing and building
modern ¢ nee
f the authoritarian
After the mid-1960s Portuguese architecture begin.
less explored territory. The crisis of modern archi
as totality and dogma, appears to free the ground for
trends and regional (not nece
In this context of growing di
Portuguese architects to n
odern architecture en}
the eme
with the modernist lew
particula
the International Style, as universally
into ruin, Portuguese architecture treads a rather sinula
nce of peculiar objects, In an on;
ity of the contemporary Portuz
Which is the expression of a small peripheral count
rerseas expansion began in the 1
eral continents
On the one hand, we may find the roots of such parti
‘im the approach to the site which the Survey i
Regional Architecture, published in 1961, held as
cultural programme. The study of the ‘popular ar
the different re
ns of Portugal allowed the prevailing
and taste to come closer to the logic of
Teas a non-traumatic encounter, which lesii
‘ationalist’ approach, The work of Fernando Tavora, i
and that from Nuno Teotonio Pereira’s Studio, in
to this matrix in the 1960s, showing an obvious af
‘concerns of erudite milieus of Bure
tectonics in search of local sociability
On the other hand, the pathos crisis of w
‘enables new experiences, both freer and
territories where the vigilance of the former
tight, as in Lourenco Marques (currently Maputo
and in Macau. The work of Pancho Guedes, in tl 5
Portuguese colony. and that of Manuel Vicente
temitory then und
for reinvention
‘non-Europe
der Portuguese adminis
well as
derision of the mo
an spaces,
Bithe tase of Tavora and Teotonio Pereira, we 0
An exploration within ‘neo-realy
em through an approach tothe ates, to
ogic, and to existing sn
‘ability models
the cate of Guedes and Vicente. we are
atealist approach, in that the artistry of
B expoved at the expense of any surviving
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