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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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