[Portugalska]

tudenti arhitekture
2 [Map] [Map of Portugal]
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4 [Timetable]
Thursday 17 Friday 18 Saturday 19 Sunday 20 Monday 21 Tuesday 22 Wednesday 23
08
09
10
11
12
13
14
15
16
17
18
19
20
21
Breakfast
Housing, Souto Moura
Sizas Studio
Porto Centre
Group lunch
Faculty of Architecture
FAUP, Siza
Serralves Museum,
Siza
Burgo Tower, Souto
de Moura
Bus to Braga
Bom Jesus de Braga
Mercado do Carand
Braga Stadium, Souto
de Moura
Faculty of Medicine
Leave Braga
Pousada de Santa
Maria do Bouro
Pousada de
Santa Marinha
Guimares (Tvora)
Breakfast
Bairro da Boua, Siza
Casa da Msica,
Koolhaas
Bus to Lea
Quinta da Conceio
Swimming Pool, Siza
Tea House, Siza
Porto Wine tasting
Group dinner
Breakfast
Apartments, Siza
Apartments, Dias
Sports Arena, Siza
Bus to Marco de
Canaveses
Igreja de Santa Maria,
Siza
Leave the hostel
Santa Maria da Feira
Bus to Coimbra
University of Coimbra
Students Dormitory (Dias)
Stud. Dormitory (Mateus)
City Centre
Bus to Alcobaa
Alcobaa Monestery
Bus to Lisbon
Lisbon (somewhere)
Leave the hostel
Portugal Pavilion
Knowledge Pavilion
Vodafone
Headquarters
Oriente Train Station
Bus to Sines
Arts Center, Aires
Mateus
Bus to vora
vora
Leave the hostel
vora city centre
Bairro da Malagueira
Leave vora
Lunch in Cascais
Santa
Maria
house
Light
house
museum
Leave Cascais
Lisbon
5
Thursday 17 Friday 18 Saturday 19 Sunday 20 Monday 21 Tuesday 22 Wednesday 23
08
09
10
11
12
13
14
15
16
17
18
19
20
21
Breakfast
Housing, Souto Moura
Sizas Studio
Porto Centre
Group lunch
Faculty of Architecture
FAUP, Siza
Serralves Museum,
Siza
Burgo Tower, Souto
de Moura
Bus to Braga
Bom Jesus de Braga
Mercado do Carand
Braga Stadium, Souto
de Moura
Faculty of Medicine
Leave Braga
Pousada de Santa
Maria do Bouro
Pousada de
Santa Marinha
Guimares (Tvora)
Breakfast
Bairro da Boua, Siza
Casa da Msica,
Koolhaas
Bus to Lea
Quinta da Conceio
Swimming Pool, Siza
Tea House, Siza
Porto Wine tasting
Group dinner
Breakfast
Apartments, Siza
Apartments, Dias
Sports Arena, Siza
Bus to Marco de
Canaveses
Igreja de Santa Maria,
Siza
Leave the hostel
Santa Maria da Feira
Bus to Coimbra
University of Coimbra
Students Dormitory (Dias)
Stud. Dormitory (Mateus)
City Centre
Bus to Alcobaa
Alcobaa Monestery
Bus to Lisbon
Lisbon (somewhere)
Leave the hostel
Portugal Pavilion
Knowledge Pavilion
Vodafone
Headquarters
Oriente Train Station
Bus to Sines
Arts Center, Aires
Mateus
Bus to vora
vora
Leave the hostel
vora city centre
Bairro da Malagueira
Leave vora
Lunch in Cascais
Santa
Maria
house
Light
house
museum
Leave Cascais
Lisbon
6
P
ortugal is a coastal nation in
southwestern Europe.
Mainland Portugal is roughly the
shape of a rectangle about 560 km
long and 220 km wide on the west
of the Iberian Peninsula. A 830-km
Atlantic coastline borders the country
on the west and south. In the north
and east Portugal borders to Spain.
Portugal also controls the Atlantic
islands of Azores and Madeira
Islands. In total, the country has an
area of 92,391 km of which 91,951
km is land and 440 km water.
The terrain of Portugal is mountainous
north of the Rio Tejo, rolling plains in
south. The river draws a line between
the countrys two parts which are
very different.
The soil systems of Portugal are
usually sandy, arid, and acid,
refecting the soils of the Iberian
Peninsula generally. Soil in the north
can be rocky.
About one-fourth of Portugal is
covered by forests (mainly pine and
deciduous oak); if such cultivated
tree as olives, cork oak, almonds,
chestnuts, and citrus are counted,
about one- third of the countrys
area is tree covered.
Climate: Portugal maritime
temperate; cool and rainy in north,
warmer and drier in south.
[Geography and
characteristics]
7
islands of Azores
cork oaks
river Rio Tejo
8 [History]
L
ooking back through Portuguese
history one can see that life has
not been easy for this small country
of only 10 million inhabitants, and
yet they have much to be proud of.
It was colonised by the Romans,
overrun by the Goths and Visigoths,
and then dominated by the Moorish
invasions, and you may be inclined to
believe life became less hectic once
the Moors had been driven out in the
late 12th century - not so. Constant
wranglings with the Spanish courts
over supreme rule of the whole
Iberian peninsula were to continue
for centuries, with continual invasions
by the Castilians. The Golden Era
of the 15th and 16th centuries saw
Portugal as world explorers and at
one point Spain and Portugal divided
the known world between them. The
19th was an expansionist period,
when the Empire took over African
colonies such as Angola, Mozambique,
and Cape Verde.
9
Important dates
1143-Portugal recognised as
a sovereign kingdom by Leon
and Castile 1267-Castile gives up
Algarve to Portugal and completes
its modern territory 1373-Anglo-
Portuguese Alliance (oldest in Europe
and still in existence) 1419-First
voyage of exploration (Madeira) on
behalf of Prince Henry the Navigator
1498-Vasco da Gama reached India
via the Cape of Good Hope 1500-
Alvares Cabral reached Brazil 1510-
Goa - seat of Portuguese vice-royalty
of India - occupied 1518-Canton,
frst Portuguese ship to China 1518-
45-East of India, New Guinea and
Japan 1580-1640-Spanish rule -
loss of some territories to the Dutch
1815-Brazil declared a kingdom
1822-Brazil became an independent
empire 1877-87 African colonies
established 1889 Brazil declared
a republic 1910 Portugal declared a
republic 1926 Military coup - state
of dictatorship 1961 India occupies
Goa/Angola guerilla war begins 1970
Salazar dies but regime continues
1974 25 April military coup.
Revolution of the Carnations (Cravos)
- bloodless 1986- Entry into EU
1998 Expo 98 - last big exposition of
the millennium.
10
T
he culture of Portugal is rooted
in the Latinculture of Ancient
Rome with a Celtiberian background.
A country with a long and rich
history was infuenced by various
civilizationes that have crossed the
Mediterranean sea and the European
continent. Portugal played an active
role during the Age of Discovery.
The Portuguese participate in many
cultural activities. Many towns have a
museum, many places have at least
a cinema, some venues to listen to
music and locations to see arts and
crafts. The importance of the arts,
specially in main cities, is enormous.
In 2001, Porto was European Capital
of Culture, in 2004 Portugal hosted
the European football fnals.
In smaller towns, cultural activity may
revolve around local folklore, with
musical groups -Ranchos Folclricos
- performing traditional dance and
songs. Local festivities are very
popular during the summer season
as well as beach holidays. There
are still some bullrings in Portugal,
although the passion for bullfghting
is not as widespread as in Spain.
[Culture]
11
carnival, calada portuguesa, port wine
12
R
eligion: 84% of the population
are Roman Catholic. Many
holidays, festivals and traditions
have a Christian origin.
Architecture: ancient & medieval
monuments and buildings, churches,
castles, museums... The azulejo
and the Portuguese pavement are
typical elements of Portuguese-style
architecture.
Festives & holidays: summer
musical: Sudoeste, Rock in Rio
Lisboa, Super Bock Super Rock,...
june: Santos Populares (Santo
Antnio, So Pedro, So Joo)
november: Vero de So Martinho
carnivals: Loul, Alcobaa, Mealhada,
Madeira, Ovar, Figueira da Foz
Sport: nacional sport is football.
Eusbio, Figo, Rui Costa, C. Ronaldo
os trs grandes - F.C. Porto, S.L.
Benfca, Sporting C.P.
jogo do pau - martial art using
wooden staves
Cousine: traditional dishes - various
kinds of meat, seafood, fresh fsh:
bachalau (1001 ways of making cod
fsh)
caldeirada (stew of various fsh/
shellfsh)
feijoada (beans with various beef/
pork )
cozido portuguesa (meat &
vegetables)
[Culture]
13
frango de churrasco (grill)
carne de porco alentejana
Wines: Vinho... Verde, Alvarinho,
do Douro,
sweet... Port Wine, Madeira,
Moscatel
traditional clothing
14
P
ortuguese literature has been
moulded by foreign infuences
since the 13th century, particularly
the styles and standards of Spain.
Nevertheless, it retains a distinct
temperament and individuality. Two
mayor styles dominate: lyric poetry
and realistic fction. Important fgures
are also:
Ameida Garret (1799-1854),
Jose Ea de Queirs (1845-1900),
Antero de Quental (1849-1891),
Alexandre Herculano (1810-1877)
Maria Velho da Costa (1938),
Jos Cardoso Pires (1925-1998)
Jorge Amado (1912-2001) - brazil,
Todays literary scene:
Antonio Lobo Antunes (1942),
Poetry
Portugal is a land of poets. This
statement is often made by the
Portuguese in books, scholarly
papers, and discussions of national
identity due to the rich past in poetry
literature the country has Hot names
today:
Pedro Tamen
Sophia de Mello Breyner
Ana Gusmao
Manuela Gonzaha
[Literature, Poetry]
15
Luis de Cames (c.1524-1580)
Portugals greatest poet, wrote
nearperfect sonnets and canzones,
but is best remembered for Os
Lusadas (sons of Lusas, i.e.
Portugal, 1572). an epic of national
identity. Amorous, quarrelsome and
unsuccessful in any wordly sense,
Cames lost an eye in Morocco,
served in India and was deported
from China, struggling back in 1570
to Lisbon, inf rm and penniless. But
throughout misfortune he worked
on the manuscript. Glorifying the
events in Vasca da Gamas voyages
and Portugals history, Os Lusadas
provided a vigorous and realistic
narrative by someone who knew the
countries at frst hand.
16
P
essoa, Fernando, 18881935,
Portuguese poet; his poetry moves
from saudosismo, or nostalgia for a
mythic past, to an increasing concern
with consciousness and sensation. He
is famous for inventing heteronyms,
a literary concept that refers to
imaginary characters created by a
poet to write in different style. He had
73 different hetornyms. Four of these
(his own, Alberto Caeiro, Ricardo
Reis, and lvaro de Campos) are
well known. Each of these personas
has its own biography, physical
characteristics, relationship to the
others, poetic voice, and outlook, and
in part ref ects Pessoas disbelief in
the idea of an integrated personality.
Jos Saramago (1922-) Portuguese
writer, who has combined in his
work myths, history of his own
country, and surrealistic imagination.
Saramago was awarded the Nobel
Prize in Literature, 1998. Saramagos
experimental style often features
long sentences, at times more than
a page long.
The possibility of the impossible,
dreams and illusions, are the subject
of my novels,
Saramago has said.
most famous works:
Blindness (Ensai sobre a Cegueira)
[Literature, Poetry]
...and some nice Quotes
17
The Gospel according to Jesus
Christ
Memorial of the Convent
In the end we discover the only condition
for living is to die.
Some people spend their entire lives
reading but never get beyond reading the
words on the page, they dont understand
that the words are merely stepping stones
placed across a fast-fowing river, and
the reason theyre there is so that we can
reach the farther shore, its the other side
that matters.
Words were not given to man in order to
conceal his thoughts.
What kind of world is this that can send
machines to Mars and does nothing to
stop the killing of a human being?
Inside us there is something that has no
name, that something is what we are.
all above by Jose Saramago
(Portuguese novelist, 1998 Nobel
Prize for Literature)
Second place is not a defeat. It is a
stimulation to get better. It makes you
even more determined.
Carlos Lopes (Portuguese Marathon
Runner Olympic-gold-1984)
The church says the earth is fat,
but I know that it is round, for I have
seen the shadow on the moon, and I
have more faith in a shadow than in the
church
Ferdinand Magellan (Portuguese
Navigator and Explorer, 1480-1521)
18
P
ortuguese musical traditions are
diverse and dynamic, they refect
multifarious historical, cultural, and
political processes with infuences
from non-European cultures from
both North and sub-Saharan Africa
and Brazil.
Polyphonic music, employing
multiple vocal parts in harmony, was
developed in the 15th century. The
Renaissance fostered a rich output of
compositions for solo instruments and
ensembles as well as for the voice.
The 1960s started a period of
expansion and innovation with
pop, rock and jazz introduced and
evolving, political song developed,
the fado of Lisbon and the Coimbra
were revitalized. Music from the
former African colonies and Brazil
occupied an increasingly important
place in the capitals musical life
and local styles of rap and hip hop
emerged.
The modern revival of academic
music was primarily work of Lus de
Freitas Branco, and continued by
Joly Braga Santos. Composers like
Antnio Victorino dAlmeida, Jorge
Peixinho, Miguel Azguime, Pedro
Amaral, and Joo Pedro Oliveira are
known internationally. Orchestras
[Music]
19
dancing and the traditional fado
remain the countrys fundamental
forms of musical expression.
FADO
Fado (translated as destiny or fate) is a
music genre which can be traced from the
1820s, but probably with much earlier
origins. It is characterized by mournful
tunes and lyrics, often about the sea or
the life of the poor. The music is usually
linked to the Portuguese word saudade, a
unique word with no accurate translation
in any other language . (Home-sickness
has an approximate meaning. It is a
kind of longing, and conveys a complex
mixture of mainly nostalgia, but also
sadness, pain, happiness and love).
include the Orquestra Sinfnica
Portuguesa and the Gulbenkian
Orchestra. Oporto has had its own
symphony orchestra since 1962,
when the Chamber Orchestra was
set up by the Gulbenkian Foundation.
Lisbon also has a metropolitan
orchestra, and the National Theatre
of So Carlos in Lisbon, which was
built in the late 18th century, has its
own orchestra and ballet company.
Among notable pianists, Maria Joo
Pires has won worldwide acclaim.
Madredeus is among the most
successful popular music groups.
Singer Dulce Pontes is also widely
admired, and Carlos Paredes is
considered by many to be Portugals
fnest guitarist. Folk music and
20
Portugal has a distinguished history
of flm making, though poor foreign
distribution has left the wold largely
ignorant of it. The only internationally
famous director is Manoel de Oliveira,
described by the British Guardian
newspaper as the most excentric
and the most inspired of cinemas
world masters. his more known
flms: The Convent and Im going
Home (Je Rentre a la Maison).
Other interesting movies:
O Crime do Padre Amaro, 2005
Ado e Eva, 1995
El Sueo de una noche de San
Juan (Midsummer Dream), 2005
Imortais, Os 2003;
Ossos, 1998;
Os Mutantes, 1999
Tarde Demais (Too Late), 2001
and also flms by Joo Csar
Monteiro
And not forget to mention an
interesting flm about Lisbon and
Madredeus by world famous director
Wim Wenders: Lisbon Story (1994).
[Cinema]
21
22
P
orto A Cidade Invicta is
Portugals second largest city. It
lies in the northern part of Portugal,
along the hills overlooking the Douro
river estuary. They shipped Port
wine across this river, one of the
most famous portugal products.
The country, city and wine were
named after the Latin name of this
city, Portus Cale. The citys center is
the Avenida dos Aliados, that ends
in the main city square, Praa de
Liberdade. The historical part of the
city (Riberia) was awarded World
Heritage status by Unesco. In 2001,
Porto was designated European
Culture Capital and is ranked nubmer
3 in the Portugese most livable cities
survey of living conditions (published
by portugese newspaper). Porto
is extremly rich city in cultural in
historical terms, however due to
political reasons there isnt any
maintenance and citys oldest
houses are at risk of collapsing.
The Porto Metro is an incredibly
advanced, state of the art light rail
/ subway system, it is the quickest
way to get around Porto. Porto has
around 265.000 inhabitants. The
climate is semi Mediterranean, but
its strongly affected by the Atlantic
ocean, that cooles the air.
[Porto]
[Porto]
23
P
orto A Cidade Invicta is
Portugals second largest city. It
lies in the northern part of Portugal,
along the hills overlooking the Douro
river estuary. They shipped Port
wine across this river, one of the
most famous portugal products.
The country, city and wine were
named after the Latin name of this
city, Portus Cale. The citys center is
the Avenida dos Aliados, that ends
in the main city square, Praa de
Liberdade. The historical part of the
city (Riberia) was awarded World
Heritage status by Unesco. In 2001,
Porto was designated European
Culture Capital and is ranked nubmer
3 in the Portugese most livable cities
survey of living conditions (published
by portugese newspaper). Porto
is extremly rich city in cultural in
historical terms, however due to
political reasons there isnt any
maintenance and citys oldest
houses are at risk of collapsing.
The Porto Metro is an incredibly
advanced, state of the art light rail
/ subway system, it is the quickest
way to get around Porto. Porto has
around 265.000 inhabitants. The
climate is semi Mediterranean, but
its strongly affected by the Atlantic
ocean, that cooles the air.
[Porto]
B - bus: - to hostel: 500 Matosinhos(day); 1M Matoshinhos mercado (to Fluvial)
- to city: 500 Loios(day); 1M Avenida Aliados
B
24
A
s the frst capital of Portugal
and birthplace of the nations
frst king, Guimaraes is one of the
countrys most historic cities, and its
World Heritage medieval streets with
well-preserved monuments make it
one of the most attractive places to
visit in Portugal.
The imposing medieval castle with
eight crenellated towers 28m (92ft)
high, was built in the 10th century to
protect the population from attacks
by the Moors and the Normans. It
was then extended to its present
size in the 12th century by Afonso
Henriques, the frst king of Portugal,
who was baptized in the small
Romanesque chapel next to the
castle.
Across from the chapel is the Palace
of the Dukes of Bragana, built in the
15th century as a medieval palace,
with 39 unusual brick chimneys
showing strong Northern European
infuence. Inside is an impressive
banqueting hall with a splendid
wooden ceiling,
and an extensive collection of
portraits, furniture, carpets, and
porcelain dating mainly from the
17th and 18th centuries.
Among the several churches
in Guimaraes, the fnest is Sao
Francisco Church on the south side
[Guimaraes]
25
of the city gardens. Built in 1400 in
Gothic style, it was restored in the
18th century and features a series
of magnifcent tiles and an elegant
Renaissance cloister and fountain.
From the castle, the beautiful cobbled
Rua de Santa Maria has remained
essentially unchanged for centuries,
and leads down into the heart of the
old town, where there are superbly
restored historic buildings. One of
those buildings is the former 16th-
century Baroque convent of Santa
Maria, now serving as the City Hall.
26
C
oimbra is a city and a municipality
in Portugal, former capital of
the country during the frst dinasty
period and home to the University
of Coimbra, the oldest academic
institution in the Portuguese-
speaking world. According to the
INEs census of 2001, the city proper
had a population of 101,069 and
the municipality had a population of
148,443 inhabitants in a 319.4 km
land area. Over 430,000 inhabitants
live in the Greater Metropolitan Area
of Coimbra made of 16 municipalities
comprising a 3,372 km territory. It
is the seat of the Centro region, as
well as of the District of Coimbra
and the Baixo Mondego subregion
which are both located within it. Like
most university cities, it comprises a
large number of dislocated students
from outside Coimbra among its
residents.
Coimbra is one of the most important
urban centers of Portugal after the
much larger Lisbon Metropolitan
Area and Porto Metropolitan Area
conurbations, and plays a role as
the chief urban centre of the central
part of the country. The city contains
important archeological remains of
structures dating from the time when
it was the Roman town of Aeminium,
such as its well-preserved aqueduct
[Coimbra]
27
and cryptoporticus, as well as from
the period when it served as the
capital of Portugal (from 1139 to
about 1260). In the Late Middle-Ages,
declining as the political centre of the
Kingdom of Portugal, Coimbra began
to evolve into a major cultural centre
with the foundation of the University
of Coimbra in 1290. The university,
one of the oldest in Europe, attracts
visitors from around the world due
to its monumental buildings and
history, making the city an important
touristic destination.
28
L
isbon is the capital and largest
city of Portugal. It is located
in the west of the country, on the
Atlantic coast. The city occupies an
area of 84.6 km and has 535.740
inhabitants (1999).
The historic centre of Lisbon is built
on seven hills, The western side of
the city is mainly occupied by the
Monsanto Natural Park, one of the
largest urban parks in the world.
As the archeological ruins recently
found in the area demonstrate,
Lisbons history dates back to 300,000
years ago, however it emerged as a
nation state in the early 12th century.
As the legend tells, it is a city founded
and named by Ulysses
Early history of Lisbon was a
battlefeld for Phoenicians, Greeks
and Carthaginians, but it was Romans
who started their two-century reign
in Lisbon in 205 BC. During Romans
period, Lisbon became one of the
most signifcant cities in Iberian
Peninsula and renamed Felicitas
Julia.
In 714, the Moors arrived to peninsula
and resisted against Christian attacks
for 400 years. When the Christians
fnally recaptured the city, it took one
more century to repel all the Moors
from the peninsula.
The 15th century was the point
[Lisbon]
29
of departure for the Portuguese
Discoveries, an era during which
Portugal enjoyed abundant wealth
and prosperity through its newly
discovered off shore colonies in
Atlantic islands, the shores of Africa,
the Americas and Asia. Lisbon now
was worlds most prosperous trading
centre.
This era didnt take long: the
earthquake of 1755 destroyed nearly
entire city. The city was rebuilt by the
Marqus de Pombal, who thus created
the Baixa Pombalina, a commercial
area that still attains attraction.
In the 19th and 20th centuries, the
city has spread progressively to the
North and areas such as the Avenidas
Novas (New Avenues) were added.
30

vora is a city and a municipality
in Portugal. The city proper
has 41,159 inhabitants, and the
municipality has a total area of
1,307.0 km. It is the seat of the
district of vora and capital of the
Alentejo region.
The many monuments erected by
major artists of each period now
testify to voras lively cultural and
rich artistic and historical heritage.
The variety of architectural styles
(Romanesque, Gothic, Manueline,
Renaissance, Baroque), the palaces
and the picturesque labyrinth of
squares and narrow streets of the
city centre are all part of the rich
heritage of this museum-city.
Monuments:
- gua de Prata Aqueduct
- Cathedral of vora
- Saint Francis Church
- Palace of Vasco da Gama
- Palace of the Counts of Basto
- Palace of the Dukes of Cadaval
- Roman Temple of vora
- University of vora
- Renaissance fountain at Largo das
- Portas de Moura
- Giraldo Square
[vora]
31
32
S
iza was born in the town of
Matosinhos, near Oporto,
Portugal, in 1933. He studied
architecture at the Escola de Belas
Artes in Oporto from 1949 to 1955,
and his frst design was built in 1954.
From 1955 to 1958, he worked with
architect Fernando Tavora. In 1966,
Siza joined the faculty at the School
of Architecture in Oporto (ESBAP),
and in 1976 he was appointed
Assistant Professor of Construction.
He has been a visiting professor at
the Ecole Polytechnique of Lausanne,
the University of Pennsylvania, the
Los Andes School, the University of
Bogota, and Harvard Universitys
Graduate School of Design as Kenzo
Tange Visiting Professor.
He continues to teach at the Oporto
School of Architecture.
Major projects: Swimming pools, Leca
de Palmeira; School of Architecture,
Porto; Pavillion of Portugal, Lisbon;
Sports Arena, Gondomar; Boa Nova
Tea House, Matosinhos; Santa
Maria Church, Marco De Canaveses;
Malagueira Housing, vora; Serralves
Museum, Porto; University of
Coimbra-Campus II, Coimbra
...he got many awards.
[lvaro Siza Vieira]
lvaro Joaquim de Melo
Siza Vieira
33
Alvaro Siza is considered Portugals
greatest living architect and possibly the
best that country has ever produced. His
works are internationally renowned for
their coherence, clarity, and what Siza
calls simplism - a quality that recognizes
the complexity and contradictions of a
project without trying to impose artifcial
control over them.
34
E
duardo Elisio Machado Souto de
Moura was born on July 25th
1952 in Porto, Portugal.
Moura currently lives and works
in Porto where he has built several
internationally acclaimed buildings.
He studied architecture at the School
of Fine Arts of the University of
Porto, receiving his degree in 1980.
From 1974 to 1979 he worked with
lvaro Siza Vieira at his architectural
practice.
From 1981 to 1990, Souto Moura was
assistant professor at his alma mater,
and was later appointed Professor
at the Faculty of Architecture of the
University of Porto.
He has been visiting professor at
the architectural schools of Geneva,
Paris-Belleville, Harvard University,
Dublin, ETH Zurich and Lausanne,
and has participated in numerous
seminars and given many lectures
both in Portugal and abroad. His work
has appeared in various publications
and exhibitions. He has been awarded
many times.
Work
A neo-Miesian who continually strives
for originality, he is making a name
for himself particularly through his
exquisite use of materials granite,
marble, brick, steel, architectural
[Eduardo Souto de
Moura]
35
concrete, wood combined with
unexpected colors and a masterful
control of light to produce
extraordinary impressions.
In addition to his many residential
buildings, schools, and infrastructure
projects, Eduardo Souto de Moura
designed the spectacular stadium of
Braga, gracing the European soccer
championships in Portugal with an
architectural masterpiece.
For me architecture is a global issue.
There is no ecological architecture,
no intelligent architecture, no fascist
architecture, no sustainable architecture
there is only good and bad architecture.
There are always problems we must not
neglect; for example energy, resources,
costs, social aspects one must always
pay attention to all these!
36
B
orn in Oporto in 1923. He
graduated in Architecture by the
Escola Superior de Belas Artes do
Porto in 1952. He would later become
a teacher at that school, which,
directed by Carlos Ramos, would
become known as Escola do Porto.
He passed away in Matosinhos on
the 3rd September 2005.
Fernando Tavoras most prestigious
disciple lvaro Siza stated that his
pedagogy was practiced not just
inside the institutional walls: it has
nothing to do with models, with
systematic answers, with know
how. It doesnt exclude tools. But
it has to do with human condition,
being open, prudent, understanding,
sometimes permissive, doubtful,
wilful, and intransigent. A range of
contradictions where 180 degrees is
not enough, from which Architectural
lessons are born.
He was granted a scholarship by
the Calouste Gulbenkian Foundation
and the Institute for Culture in the
United States and Japan in 1960.
He took part in the Survey on
Portuguese Architecture and was
the author of several essays, namely
O Problema da Casa Portuguesa
(Lisbon, 1947) and Da Organizao
[Fernando Tavora]
1923-2005
37
do Espao (Porto, 1962 and 1982).
Besides his academic career, he
worked as an architect for Porto
Town Council, consultant to Vila
Nova de Gaia Town Council,
consultant in the Commissariat on
the Urban Renovation of the Ribeira/
Barredo (Porto) project, consultant
in the Technical Bureau of the
Northern Planning Commission, and
consultant in the Local Technical
Bureau of Guimares Town Council.
His work was exhibited at exhibitions
around the world, including the
Smithsonian Institution, Washington;
Artes Plsticas I and II at the
Calouste Gulbenkian Foundation,
Lisbon; Eleven Architects from
Oporto, Lisbon; Architectures
Porto, Clemont Ferrand; Europlia
1991, Brussels; and the Venice
Biennial.
He was awarded several prizes in
architecture, as well as the Golden
Medal of the city of Porto and the
Comenda da Ordem Militar de
Santiago da Espada.
38 [Aires Mateus]
Manuel and Francisco
Aires de Mateus
M
ost of their projects reminiscent
of archtypal shapes, an overall
shape inside which there are
smaller parts. However, this is not
a general principle of their works,
but the result of a long process of
comprehending people and their way
of life. As Alvaro Siza they think that
through the history of mankind, our
way of life hasnt changed much.
That is why they try to avoid going
along the ow that tries to nd out
new ways of designing. They try to
work independently of time. In many
cases they work with two kinds of
surfaces, old and new, as they often
build houses on old ruins. They
envolve ruins in their projects, they
become central and interesting. Two
different structures are connected
into one and its relation to the
possibility of performance in time is
gained. They try to create complex
limits between inside and outside.
They design uid spaces with gradual
transition from open, through
half-closed into closed spaces. To
form the primary space they use
secondary ones. With them they
emphasize thickness and depth as
two major characteristics of primary
space. Without using a repertoire of
tradicional architecture, their houses
are more solid than the traditional
39 [Aires Mateus]
Manuel and Francisco
Aires de Mateus
M
ost of their projects reminiscent
of archtypal shapes, an overall
shape inside which there are
smaller parts. However, this is not
a general principle of their works,
but the result of a long process of
comprehending people and their way
of life. As Alvaro Siza they think that
through the history of mankind, our
way of life hasnt changed much.
That is why they try to avoid going
along the ow that tries to nd out
new ways of designing. They try to
work independently of time. In many
cases they work with two kinds of
surfaces, old and new, as they often
build houses on old ruins. They
envolve ruins in their projects, they
become central and interesting. Two
different structures are connected
into one and its relation to the
possibility of performance in time is
gained. They try to create complex
limits between inside and outside.
They design uid spaces with gradual
transition from open, through
half-closed into closed spaces. To
form the primary space they use
secondary ones. With them they
emphasize thickness and depth as
two major characteristics of primary
space. Without using a repertoire of
tradicional architecture, their houses
are more solid than the traditional
ones. With consideration of hierarchy
in the project, they determine priority
goals for architecture. They try to
emphasize this idea with the use of
space or structure.
S
tudio Aires Mateus was set
up by brothers Manuel and
Francisco Aires de Mateus. They both
graduated from the Universidade
Tcnica de Lisbon. They lecture
on several faculties: Harvard
University, Academia di Architettura
in Mendrizio, Lisbon Universidade
Lusada, Universidade Autnoma.
They have participated in numerous
exhibitions, conferences and seminars
in Argentina, Brazil, Chile, Slovenia,
Spain, the USA, Italy, Japan, Mexico,
Norway, Portugal and Switzerland.
I want to know what I can isolate from
my own life and experiences through
architecture.
I work on a project as long as its
possible, and when its not, I stop.
Architecture has already been pushed
to the limit. Its not possble to go further
than Mies, so were blocked and we have
to go in the other direction.
For me the quality of architecture is very
connected to the idea of being true.
40
T
his housing block situated on the
western part of Porto, in front of
the Atlantic ocean is a conceptual
reinvention of the traditional urban
houses of the XVIII century. Instead
of a stone structure, here the
structure is in steel but is completely
visible and separated from the other
elements. But at the same time there
are traditional materials that were
used on the faades, transposing the
modern architecture into a more site
related project.
[Housing block]
Souto de Moura, Porto
41
42
T
he building is on U shaped plan
with a southerly aspect facing
towards the mouth of the Douro
River. The ground foor, eventually
to be used for commercial purposes,
is partially buried and covers
almost entire site. The vertical
communications unit, containing lift
and stairs, is on the northern side of
the building, and provides access to
all levels and the terrace. The service
facilities are grouped alongside this
unit on each foor. Illumination and
ventilation for the building is via
pivoting windows which face east
and are sheltered by horizontal
eaves. The building consists of 20cm
thick reinforced concrete walls which
are either set directly on the ground
or on reinforced concrete pillars. The
outer walls are insulated and covered
with an application of ash coloured
mortar. There are three offces in
the building, 1st foor is used by
Tavora, 2nd by Siza and 3rd by
Soto de Moura.
[Architectural Office]
Alvaro Siza, Porto
43
44
Baroque church with its high Torre
dos Clerigos tower, that can be seen
from various points of the city and
is one of its most characteristic
symbols.
It was built by an Italian architect
Nicolau Nasoni, who left an extense
work in the north of Portugal during
the 18th century.
The church, built between 1732-
1750, was one of the f rst baroque
churches in Portugal to adopt a typical
baroque elliptic foorplan, what
the lateral faades also reveal. The
main faade of the church is heavily
decorated with baroque motifs (such
as garlands and shells). This shows
infuence from the Roman Baroque.
The monumental tower of the church,
located at the back of the building,
was only built between 1754 and
1763. With its baroque decoration
and hight of 75.6 meters, it has
became the symbol of the city.
[Igreja dos Clerigos]
Nicolau Nasoni, Porto
45
46
T
he imposing Avenida dos Aliados
is the heart of the city, a sloping
boulevard lined with grand buildings
and a central promenade. Most of
the buildings are major branches of
the main banks or hotels.
At the top of the avenue stands the
Town Hall, a palatial building with a
tall bell tower (70m high). Made of
granite and marble, its design was
infuenced by municipal architecture
of Flanders and France.
In front of the building is a
modernist statue of Portuguese
writer Almeida Garrett.
At the other end of the avenue is
Praa da Liberdade, a square adorned
with a statue of King Pedro IV
on a horse.
There are several cafes down the
avenue. Sit at one of the tables on
the pavement outside to watch the
world go by.
[Avenue of Allies]
Porto
47
48
C
af do Cais sits on the right
bank of the Douro River in the
Ribeira district of Oporto. It aims to
continue the logic of those provisional
elements Kiosks on the street side
and boats anchored in the quays.
The notion of precariousness is
accentuated by the way the pavilion
sits on the pavement a raised pre-
fabricated platform of 40x10 not only
limits but levels the intervention with
the pavilion also gently foating on
it. As a counterpoint to its strong
enviromental historical weight, the
building allows for both omission and
absence.
Calm bar is one of the three
modules that were built parallel to
the Douro riverbank. The guiding
idea for these structures is to rely on
two containers with clear functions,
linked by a fexible and adjustable
membrane. Each volume has its own
constructional logic: one deals with
an 18 m clear span open on its sides,
the other, thinner and much more
enclosed, is treated like the interior
of a roulette, a sailing boat,... and
consists of a sandwich panel system
that wraps the structure. The
actual idea of mobility is one of the
conceptual premises of the project.
[Caf do Cais, Calm bar]
Cristina Guedes & Francisco
Vieira de Campos, Porto
49
50
T
he frst train arrived here in 1896,
but the building (designed with a
French Renaissance touch) opened
in 1903.
Around 20,000 magnifcent tiles
alluding to the history of transport
and of Portugal cover most of the
atrium. The most remarkable panels
are those showing King Joao I and
Queen Philippa of Lancaster by
the citys cathedral in 1387, and a
representation of the Battle of Arcos
de Valdevez.
[Estacao de Sao Bento]
Train station, Porto
51
52 [Ponte D. Luis]
Gustave Eiffel s office,
Porto
T
his bridge is one of several that
connect Porto and Gaia but is
perhaps the most famous one. It
goes back to 1886 and was designed
by a student of Eifel and has the
same iron appearance as does the
Parisian tower. Cars cross on a lower
level close to the Douro river. The
new metro crosses on a much higher
level. Pedestrians can cross on either
level. On the bottom level walk
across from the old Ribiera area of
Porto to the port wine houses of Gaia
on he other side. Cross on the top
for fantastic views and you can be on
the higher ground on the two banks.
In addition, near the lower level on
the Porto side is the famous elevator
which takes you back up and near
the old Cathedral and a few minutes
from the central area of town.
The Dom Lus 1st Bridge is an arch
bridge that spans the Douro River
between the cities of Porto and
Vila Nova de Gaia. At the time of
construction its span of 172 m was
the longest of its type in the world.

The Government held a competition
for the construction of a metallic
bridge on the Douro River on a site
that was more conveniently located
than the existing suspension bridge
53
and which would replace it. Teflo
Seyrig had already engineered the
D. Maria Pia Bridge project, whilst
working as a partner of Eiffel. He
now took sole responsibility for the
new, major Luis 1st Bridge. The
construction was begun in 1881 and
the bridge opened on 1886-10-31.
54
T
he buildings of the Porto
architecture school are set
on a terraced site high above the
estuary of the Douro River. This
area is bordered on three sides by
highway exits and by Campo Alegre
street, and on the east by the former
estate of Quinta da Povoa - the site
of the architecture school before its
expansion, which houses an earlier
project by Siza - the frst-year Carlos
Ramos Pavilion.
Adjacent to the rusticated stone
wall of the estate, the new faculty
buildings stretch out along two
vertices of a triangular site, enclosing
between them a courtyard and
central meeting space.
The materials used in the interior
of the more recent addition include
exotic wood for the foors and
wainscots, marble in the foyers and
stairs, specially-designed furniture
for the classrooms, auditorium and
library, and skylights which draw
natural light into the main spaces.
[Faculty of
Architecture]
Alvaro Siza, Porto
55
56
T
he new Museum of Contemporary
Art is in the Quinta de Serralves,
a property comprising a large house
surrounded by gardens, woods and
meadows, commissioned in the 1930s
to serve as a private residence and
later used as an exhibition space.A
roughly north-south longitudinal
axis serves as the framework for
the project. Two asymmetrical wings
branch off to the south from the
main body of the museum, creating
a courtyard between them, while
another courtyard is formed at the
northern end between the L-shaped
volume of the auditorium and the
public entrance atrium. The volume
of the main building is divided
between exhibition spaces, ofces
and storage, an art library and a
restaurant with adjoining terrace.
The auditorium and bookstore have
independent entrances and may be
used when the museum itself is closed.
The exhibition area is composed of
several rooms, connected by a large
U-shaped gallery - it occupies most
of the entrance level, extending to
the lower oor in one of the wings.
The large doors that separate the
different exhibition spaces and
partition walls can be used to create
different routes or organize separate
exhibitions simultaneously.
[Serralves Museum]
Alvaro Siza, Porto
57
T
he new Museum of Contemporary
Art is in the Quinta de Serralves,
a property comprising a large house
surrounded by gardens, woods and
meadows, commissioned in the 1930s
to serve as a private residence and
later used as an exhibition space.A
roughly north-south longitudinal
axis serves as the framework for
the project. Two asymmetrical wings
branch off to the south from the
main body of the museum, creating
a courtyard between them, while
another courtyard is formed at the
northern end between the L-shaped
volume of the auditorium and the
public entrance atrium. The volume
of the main building is divided
between exhibition spaces, ofces
and storage, an art library and a
restaurant with adjoining terrace.
The auditorium and bookstore have
independent entrances and may be
used when the museum itself is closed.
The exhibition area is composed of
several rooms, connected by a large
U-shaped gallery - it occupies most
of the entrance level, extending to
the lower oor in one of the wings.
The large doors that separate the
different exhibition spaces and
partition walls can be used to create
different routes or organize separate
exhibitions simultaneously.
[Serralves Museum]
Alvaro Siza, Porto
58
T
his ofce complex is located in the
Avenida da Boavista, the biggest
straight line avenue in Portugal that
extends from Casa da Msica
till the Sea in West. This complex
opens a large square between the
two buildings, one horizontal and
the other vertical. The square is
occupied by a big sculpture by the
Porto architect/sculptor Nadir de
Afonso. The buildings were drawn
with very simple shapes, following
the inuences of Mies and the
Chicago buildings. The main interest
about the building is its faade. Its
skin is composed out of a single
module that wraps all the volumes.
That module was studied so it could
t on 2 different ways creating a
glass faade and an opaque faade.

year of completion: 2006
area: 34976 m2
[Burgo tower]
Eduardo Souto de
Moura, Porto
year of completion: 2006
area: 34976 m2
[Burgo tower]
Souto de Moura, Porto
59
60
W
ell known pilgrimage site in
surroundings of Braga, which
name means Good Jesus of the
mountain.
Main characteristic of the sanctuary
is its monumental baroque stairway
that climbs 116 meters to the top,
where stands a Neoclassic church,
built between 1784-1834, by an
architect Carlos Amarante.
The frst indication of a chapel over
the hill dates from 1373. This chapel
was rebuilt in every century untill its
fnal form in 1834.
The stairway with its several
fountains has a symbolic meaning of
purifcation of the faithful, who climbs
to the temple of God, the church on
the top of the hill.
[Bom Jesus do
Monte]
Carlos Amarante, Braga
61
62
A
t the beginning of the 1980s,
Souto de Moura was in charge
of designing and building the city
market of Braga. The concept
serving an basis for the design is
that of creating a covered street,
a fragment of the town capable of
adding its own contribution to the
whole urban weave. Over the course
of the years, the surroundings
have been greatly altered due to
uncontrolled speculation and the
appearance of features without the
least relation to the commercial
activities natural to a market of this
type, like discotheques or schools.
Consequently, the local authorities
took the decision of dismantling
the market. It was Souto de Moura
who was given the job of converting
the space into a cultural center that
would slot different functions of the
neighbourhood. The restructing
included recuperating the original
idea of the street as the element
that would relate different buildings
and public spaces. The existing
covering material was removed and
the passageways that had previously
linked the stands now form part of
the open-air aisles. These go in and
out of a park and join the spaces
where the new cultural activities are
foreseen.
[Municipal market]
Souto de Moura, Braga
63
64
T
he stadium was carved off a quarry
(Monte Castro) that overlooks the
city of Braga. Stands run only along
both sides of the pitch. Behind the
goal at one end are the rock walls
of the quarry and at the other is an
open view over the city sprawling in
the distance. Each stand is covered
with a canopy-style roof, and both
are connected to each other across
the pitch by dozens of steel strings,
a design inspired by ancient South
American Inca bridges.
One tribune has been literally inserted
and placed against the hill, while the other
tribune stands free along the mountains
declivity. On the other side, the rocks
have been excavated and there are no
tribunes that hide the beautiful scenery
of the valley. Accordingly, the stadium
becomes part of the mountain.
[Braga Stadium]
Souto de Moura, Braga
65
66
T
he School of Health Sciences
- University of Minho is four
foors high and has a plan shape of
a square 100x100 m. There are two
opened areas inside the square -
courtyards, which bring daylight into
the classrooms and laboratories.

The whole structure is made of
concrete. The building presents the
particularity of the facade - two
sides of facade are made of white
concrete. The area of construction
is 23 500 m2.
Jose Soalheiro and Teresa Castro are
two architects of the new architectural
wave in Portugal. They work together
since 1986 under the name JSTCAPC
Arquietectos. Mostly they design
public buildings - hospitals, schools,
faculties, hotels, ...
photos:
http://www.ultimasreportagens.com/
ultimas/176.swf
[School of Health
Sciences]
Soalheiro, Castro; Braga
67
68
I
n the late 1980s Santa Maria do
Bouro, a half-destroyed 12th-
century Cistercian monastery, was
handed over to the Portuguese
architect Eduardo Souto de Moura. He
spent eight years on the restoration;
the pousada was inaugurated in
1997. In keeping with the Cistercians
tradition of settling on the most
rugged fringes of the European
continent, the monastery is rough
and almost surrealistically plain. In
the process of converting it into a
hotel, Eduardo Souto Moura sought to
[Pousada de Santa
Maria do Bouro]
Souto de Moura, Amares
fnd the lucidity that exists between
form and function. For him, the ruins
were more important than the actual
monastery since they represented
material that could be manipulated to
more challenging effect, just as the
building itself had been throughout
the course of history. Many of the
rough stone columns and arches of
the old structure are preserved, but
that which had disappeared over
time was not simply reconstructed in
imitation.
The architect noted as he worked, I
am not restoring a monastery; I am
building a pousada from the stones
of a monastery.
69
70
E
verything began in IXth century,
when a monastery was made out
of a small basilica. In XVth century,
a University of Theology was
established here. During the Liberal
Revolution (1834), the building was
transformed into a private residence.
The complex was renovated into
Pousada by Fernando Tavora,
the founding father of Portuguese
modern architecture. He was
awarded for this building by National
Architecture Award in 1985. Tavora
preserved all the beauty and the
atmosphere of monastic ambience,
peaceful monastic gardens, monastic
hall with a fountain at the end and
tract with monks rooms, which
were rearranged into hotel rooms
with great amount of sensitivity
and caution. The new tract with
rooms is located inside the monastic
garden so that it is seen only as a
straight red roof among greenery if
you look at it from the old part of
the monastery. The new tract frames
the old part of the monastery in a
beautiful and fne way and creates
with it new congruent composition.
The hotel itself is known as a luxury
hotel located near the old city center
of Guimaraes. It is an example of
how to inspire new life into an old
historical ambience.
[Pousada de santha
Marinha]
Tavora, Guimaraes
71
72
T
his project, from 1973, was
integrated in the program SAAL in
Porto to create social housing for poor
people. And even though it was made
through highly controlled costs, Siza
Vieira managed to create a housing
complex that is worth studying and
visiting. In 1977 there where only
two blocks completed. Nowadays, in
2004, all the blocks were concluded
and a new life was given to this
complex. Instead of having only poor
people living here, the low prices and
high quality living attracted artists,
architects and young couples to
settle in. With four levels, each block
present an articulation in terms of
passages that connect the whole
complex. Together with the housing
units there is also commercial spaces
and green open spaces.
[Bairro da Boua]
Alvaro Siza, Porto
73
T
his project, from 1973, was
integrated in the program SAAL in
Porto to create social housing for poor
people. And even though it was made
through highly controlled costs, Siza
Vieira managed to create a housing
complex that is worth studying and
visiting. In 1977 there where only
two blocks completed. Nowadays, in
2004, all the blocks were concluded
and a new life was given to this
complex. Instead of having only poor
people living here, the low prices and
high quality living attracted artists,
architects and young couples to
settle in. With four levels, each block
present an articulation in terms of
passages that connect the whole
complex. Together with the housing
units there is also commercial spaces
and green open spaces.
[Bairro da Boua]
Alvaro Siza, Porto
74
T
he Casa da Musica is situated on
a travertine plaza, between the
citys historic quarter and a working-
class neighborhood, adjacent to the
Rotunda da Boavista.
The square is no longer a mere hinge
between the old and the new Porto,
but becomes a positive encounter of
two different models of the city.
OMA addressed the relationship
between the Concert Hall and the
public inside as well as outside the
building by considering the building
as a solid mass from which were
eliminated the two shoe-box-
shaped concert halls and all other
public program creating a hollowed
out block. The building reveals its
contents to the city without being
didactic; at the same time the city is
exposed to the public inside in a way
that has never happened before.
The chiselled sculptural form of the
white concrete shell houses the main
1,300 seat concert hall, a small
350 seat hall, rehearsal rooms, and
recording studios for the Oporto
National Orchestra.
A terrace carved out of the sloping
roofine and huge cut-out in the
concrete skin connects the building
to city.
[Casa da Musica]
Rem Koolhaas, Porto
75
76 [Quinta da Conceio]
Tavora, Matosinhos
T
his is the main public park in
Matosinhos. In 1481, the Nossa
Senhora da Conceio da Ordem de
S. Francisco Convent was set here.
Primitively established, since 1392,
at the Oratrio de S. Clemente das
Penhas (next to the current chapel
of Boa Nova), in a wild seascape:
the most incult, sharp and barren
(place) as mentioned by Fr. Manoel
da Esperana, in 1666.
In the XXth century, Quinta da
Conceio, by the river-side of the
Lea, came into possession of the
Administrao dos Portos de Douro
e Leixes (Port Authority for Douro
and Leixes), to build Leixes
Harbour 2nd dock. In 1956, the
remaining property was rent by
Comisso de Turismo da Cmara
Municipal de Matosinhos (Tourism
Board, of Matosinhos Town Hall), in
order to create the City Park; during
the sixties it was vastly improved,
under the supervision of the architect
Fernando Tvora.
One should visit the tennis court,
as well as the swimming-pool, by
architect Siza Vieira.
77
78
T
he project is situated along the
vcoastal avenue, the mass of
the building set below the road level
to allow an uninterrupted view to
the sea. The program includes two
swimming pools, changing facilities
and a cafe.
Because of the need to preserve the
landscape, the project had to make
a minimal intrusion into the existing
terrain. Since a topographical survey
was not available at the time,
the architect spent days marking
the location of the existing rock
formations, to arrive at a design which
would require the least blasting.
The large adults pool is bound by low
concrete walls that extend into the
sea and are complemented on three
sides by the natural rock formations.
The continuity of these walls with the
existing topography and the level of
the water in the pool which appears
to be contiguous with the sea, create
the illusion of a seamless transition
between the man-made and natural.
The childrens pool is enclosed by
a curvilinear wall on one side and
sheltered from the rest of the site by
massive rocks and a concrete bridge
at its entrance. Bridge is set just low
enough to discourage adults from
passing under it.
[Swimming pools
complex]
Alvaro Siza, Lea
79
80
T
he Boa Nova Tea House was
designed following a competition
held in 1956 won by Fernando
Tavora, who turned the project over
to his collaborator, Alvaro Siza. This
was one of Sizas frst built projects,
signifcantly not far from the
architects hometown of Matosinhos
where he grew up, and set in a
landscape that he was intimately
familiar with. He worked in close
contact with the site, analysing
the weather and tides, existing
plant life and rock formations, the
relationship to the avenue and city
behind. Building is accessed from a
nearby parking, through a system of
platforms and stairs. The restaurants
west-facing dining room and tea
room are set just above the rocks.
The kitchen, storage and employee
areas are half-sunken in the back
of the building. These two primary
spaces open gently around the sea
cove, with exterior walls following the
natural topography of the site. As in
other early works of the architect, a
diversity of materials come into play;
wood, copper, concrete, terracotta,
stone, ...
[Tea House]
Alvaro Siza, Boa Nova
81
82
T
he blocks of dwellings that
comprise the Boavista complex
are set at the northern end of
the allotment, alongside the Aviz
housing estate, while the buildings
to be used for shops and services
are sited to the south, defning a
large public square between them.
This square, a key element in
the composition of the unit, will be
formed by two spaces situated at
different levels: the lower level,
linked directly to Boavista Avenue, is
open and tree-lined, while the upper
zone, which covers two underground
car parks, is closed to the north and
the west by the tertiary buildings.
The two levels will be connected by
pedestrian ramps and stairs. The
gentle south-north incline of the land
and the interior slope facing Boavista
Avenue permits the exclusive use of
mezzanine basements as roofed car
parks. Access to the entire complex
will basically be via thoroughfares
in the southern part in order to
prevent excessive traffc on Boavista
Avenue. At present there is only
one constructed block of dwellings,
a rectangular building measuring
104x18 metres, with nine storeys
and an east-west orientation. The
ground foor is used for shops.
[Siza s apartments
building]
Alvaro Siza, Aviz-Porto
83
84
T
his building is situated between
the Avenue of Boavista and
Campo Alegre.
The existent partial plan proposed for
this plot a building with only one part,
compact a 5 faces prism, located in
the centre of a big commercial area.
Not altering the imposed geometry,
it proposed a building with 2 parts
with a unique access system that
articulates and links the design rules
of the partial plan.
This new building fts to the west
limit and to the tension point of the
site, where everything borns the
entrance and accesses, creating a V
with an interior courtyard.
The ground foor is all given for the
commercial area. The room system
is always designed by a module
and all the building is built in white
concrete.
[Housing Porto]
Adalberto Dias, Porto
85
86
T
he current architectural design
includes the following intervention
areas: Freixo Palace and Surrounding
Areas; Surrounding areas and
exterior spaces in the Freixo Area;
Alternative route to National Road no.
108 in the Freixo Area; Discoveries
Pavilion and Car Park.
Attraction in Freixo Palace and
surrounding Areas is not only the
palaces location and physical form
but the meaning of its cultural value
as well. The palace is a work of art
designed by Nicolau Nasoni, baroque
architect from the 18th century.
Rehabilitation of the interior of the
Palace demonstrates the intention
of enhancing and emphasising
(as far as possible and necessary)
the existing spatial values, by
maintaining the clearness of its routes
and the variation of its volumes and
promoting the indispensable but
non-invasive introduction of essential
modern equipment. The result was
the reinvention of a stately and
dignifed edifce, whose past helps
serve its present purposes.
[Freixo Palace]
Tavora, Porto
87
88
O
ne of the recent projects from
the Portuguese architect lvaro
Siza Vieira. This Sports Arena is
a big complex with two sports
pavilions. It is located in Gondomar.
Very infuenced by Louis Khans
platonic works and with some Oscar
Niemeyers sensuality, this work is
all made out of concrete and steel
as the exterior faades are covered
with bricks.
[Sports Arena]
Alvaro Siza, Gondomar
89
90
E
ntering the city, the rst sight of
the building is of its north-east
facade, lighter and more pliable than
the main facade due to its curvilinear
forms and the different height of
its several volumes. On the other
hand, the main facade leads to a
passage zone, a residential quarter,
an institute, a playground, and soon
to a parish center. Another two
facades complete the set: on the
south-east, an enormous wall, white
and rectangular, with a narrow and
horizontal opening at the bottom;
the north-west facade exhibits ve
enormous windows through which
the sunlight at its zenith enters. It
is a controled ilumination, ltered
by its own direction, so as to avoid
the nave being ooded by too much
light.
[Igreja de Santa
k Maria]
Alvaro Siza, Marco de
Canaveses
Ground oor
[Igreja de Santa Maria]
Alvaro Siza, Marco de
Canaveses
91
E
ntering the city, the rst sight of
the building is of its north-east
facade, lighter and more pliable than
the main facade due to its curvilinear
forms and the different height of
its several volumes. On the other
hand, the main facade leads to a
passage zone, a residential quarter,
an institute, a playground, and soon
to a parish center. Another two
facades complete the set: on the
south-east, an enormous wall, white
and rectangular, with a narrow and
horizontal opening at the bottom;
the north-west facade exhibits ve
enormous windows through which
the sunlight at its zenith enters. It
is a controled ilumination, ltered
by its own direction, so as to avoid
the nave being ooded by too much
light.
[Igreja de Santa
k Maria]
Alvaro Siza, Marco de
Canaveses
Ground oor
92
M
arket was being built from 1953
to 1959. It is located in a square
lot of 50x50 meters. One modul,
also square, of one by one meter
commands the composition and
introduces in it its geometry.
Several bodies with a protective
sense, distribute themselves
becoming courtyard. Not only a place
for trading things, but for trading
ideas, in a invitation for man to
meet.
While referring to this building
Aldo Van Eyck in Otterlo Congress,
suggested that current notion of
time and space should be replaced
by more vital concept of place and
occasion.
[Santa Maria da
Feira Market]
Tavora, Aveiro
93
94
T
he University of Coimbra is one
of the oldest universities in
continuous operation in Europe and
the world, the oldest university of
Portugal, and one of its largest higher
education and research institutions.
It is organized into eight different
faculties according to a wide range
of felds, granting all the highest
academic degrees in architecture,
education, engineering, humanities,
law, mathematics, medicine, natural
sciences, psychology, social sciences
and sports.
Since the 1980s, the University
of Coimbra has been adding new
buildings to the existing ones. They
house the various Departments of
Engineering, which in addition to
the central building of the Faculty
of Sciences and Technology,
the Restaurant, and University
Residences. Campus II is located in
Boavista, on the riverside.
[University of
Coimbra-campus II]
Aires Mateus, Coimbra
95
96
T
he R3 Student Lodgings lie on
a narrow and arboreous site.
The programme demanded fve
independent modules meant to
lodge a total of 190 students. The
design is based on two scales of
intervention: the scale originated
with the bedroom unit and the desire
to create a domestic atmosphere;
and a wider scale relating to site.
Next to the spontaneous reference
to a derailed train, the illusion of
a single and complex body that
accompanies the slope is created.
This body meanders between the
trees, creating crossing paths and
differentiated exterior areas. Colour
strengthens the unity of the object
and emphasizes the neutrality of the
sections on the top of each module.
The contribution of artist Joo Louro
joins these intentions and takes on
a particular presence at the common
room entrance portico. On the blades,
screenprinted metal sheets serve as
an information exchange support
and signal the utilitarian character of
the artistic intervention.
[R3 student
lodgings]
Goncalo Dias, Coimbra
97
98
T
wo streets defne the geometry
of this site at the centre of the
new campus of Coimbra University.
New student housing and a campus
canteen are located between a
sloped vehicular street to the north
and a horizontal pedestrian street
to the south. Together they defne a
tilted triangular space, on a beautiful
topography. The triangular sloped
morphology of the site is refected in
the organization of the lower levels
of the building. The program consists
of student bedrooms, grouped in
pairs with shared living rooms. In
the tower, bedrooms face east to
take advantage of the view; on the
ground foor they are placed on the
south, looking over the canteen; in
the lower levels, they are organized
around a courtyard. Walls are of two
types: the blind ones are made of
split concrete blocks with a precise
measure that defnes the height of
the construction; walls with windows
are clad in wood panels that integrate
window portals in its metric. In
contrast with other white buildings
on the campus, this building blends
with the surrounding pine forest.
[Students Dormitory]
Aires Mateus, Coimbra
99
100
I
t was founded by the frst
Portuguese King, Afonso Henriques,
in 1153. The church and monastery
were the frst Gothic buildings in
Portugal. It was listed by UNESCO as
a World Heritage Site in 1989. The
church and other main buildings were
constructed from 1178 until the end
of the 13th century. Following the
precepts of the Order of Cistercians,
the original monastic buildings were
built under clean architectonic lines,
without any decoration apart from
some sculpture and a statue of the
Virgin Mary.
The main faade of the Monastery
has two baroque-style wings with
the church in the middle. The faade
of the church is a mix of styles: the
portal and the rose window above
were part of the original church,
while the statues and the two fanking
towers were added in the beginning
of the 18th century by architect Joo
Turriano.
[Alcobaa Monastery]
Alcobaca
101
102
S
izas Portugal pavilion was the
centerpiece of the 1998 Lisbon
EXPO. The pavilion features two
large, concrete, partly tiled buildings
connected by a large plaza that is
covered by a vast, curved concrete
roof. The structure is poetic and
breathtaking in its simplicity.
This monumental pavilion was
intended for use as a government
building when EXPO ended, but it
has remained empty apart from
occasional exhibitions and launched
events. There are now plans to
establish Portugals rst international
Architecture Museum on the site.Siza
included a small grove of olive trees
in one of the buildings courtyards in
reference to Olivas, the name of the
city district that is home to EXPO.
As a result, the Portugal Pavilion
complements the rest of the area,
while also keeping in touch with
EXPO theme. The view of the river
through the pavilion frames the river
vista into a gargantuan photograph,
a giant entrance to the river and the
city at one and the same time.
[Portugal Pavilion]
lvaro Siza, Lisboa
[Portugal Pavilion]
Alvaro Siza, Lisbon
103
S
izas Portugal pavilion was the
centerpiece of the 1998 Lisbon
EXPO. The pavilion features two
large, concrete, partly tiled buildings
connected by a large plaza that is
covered by a vast, curved concrete
roof. The structure is poetic and
breathtaking in its simplicity.
This monumental pavilion was
intended for use as a government
building when EXPO ended, but it
has remained empty apart from
occasional exhibitions and launched
events. There are now plans to
establish Portugals rst international
Architecture Museum on the site.Siza
included a small grove of olive trees
in one of the buildings courtyards in
reference to Olivas, the name of the
city district that is home to EXPO.
As a result, the Portugal Pavilion
complements the rest of the area,
while also keeping in touch with
EXPO theme. The view of the river
through the pavilion frames the river
vista into a gargantuan photograph,
a giant entrance to the river and the
city at one and the same time.
[Portugal Pavilion]
lvaro Siza, Lisboa
104
T
his pavillion was a part of the
Expo 1998 in Lisbon and won
the Grand Prize of FAD Architecture
Awards in 1999. It looks like a
minimalistic sailing ship, presenting
the human discovery of the oceans
through exhibits, models and
audiovisual displays.
The design is basic, very often
minimalistic, true to the rationalistic
tradition of architecture. Building is
an abstract geometric composition
of two rectangles, one horizontal
(which is lifted above the ground
on two L-shaped legs to allow the
public space to pass beneath) and
the other vertical (which turns out
to be a single volume), intersecting
perpendicular to each other. The
ground plane further develops into
a series of ramps circumscribing an
open courtyard leading up into the
building. This courtyard is treated
like a respite, with limestone paving,
water, and vegetation on the walls,
all of which complicates and softens
the buildings otherwise abstract
composition.
[Knowledge of the
seas pavillion]
Carrilho da Graca, Lisbon
105
106
I
t constitutes an intervention of
reasonably big impact in that area
not only because of its dimension
but also due to its undeniable
architectural value and to the
technological challenges involved.

Building is composed by a structural
body that includes three fundamental
volumes. In the underground its
constituted by a unique rectangular
space. The basement has 4 levels in
the East side and 3 levels in the West
side due to the land bend. Above
the ground there are two signifcant
volumes on the North and South ends.
These two volumes are connected
by a bridge on the 7th, 8th, and 9th
foors (the Administration bridge
with panoramic offces) and a white
concrete wall beam, oriented to west
that constitutes the main faade of
the building, both with a free span.
All the building is designed without
defnitive expansion joints.
[Vodafone headquarters]
Alexandre Burmester,
Lisbon
107
108
T
he Oriente station by Santiago
Calatrava was commissioned by
the city of Lisbon in 1993, after an
invited competition. Its immediate
goal was to serve the great number
of visitors expected for the World
Expo in 1998.
The Oriente station is an inter-
modal terminal: Its facilities serve
and interconnect several forms
of transport. Passengers can
change between metropolitan,
long- and medium-haul regional
and international trains. There are
connections into the underground
system, national and metropolitan
buses or taxis. There is also an
airport link and check-in facilities.
The station is made out of three self-
contained parts and is divided into
two levels. The raised level holds
the platforms for the national train
network; the lower level connects to
the underground and emerges at the
surface to serve as an entrance to
the Expo grounds and also to connect
with the third element of the project,
a major bus terminal for the city.
[Oriente Train Station]
Santiago Calatrava,
Lisbon
109
110
T
he building is situated at the start
of the main street linking the town
to the sea and marking the traditional
entrance to the historic nucleus. The
Centre subsumes diverse activities
capable of generating an exceptional
building: exhibition rooms, a
library, cinema-cum-theatre and a
documentation centre. The wide-
raging program calls for the whole
plot to be occupied, enveloping the
street below mean ground level and
adapting its exterior volumetry to
the monumental scale of the castle
walls. The four modules are set out
on the upper foors in parallel bands
intercalated with patios. The decks
were hung from a bridge-like structure
supported on the perimetral walls
alone. This system allows a spatial
confguration on the basement level
that is adapted to the dimensions of
the common areas; at street level it
guarantees an unbroken view right
across the inside of the building,
including the activity of the Centre in
the daily life of the town.
[Arts center]
Aires Mateus, Sines
111
Tloris 1. nadstropja
112
T
he government of Evora, in
1977 following the revolution
in Portugal, commissioned Siza to
plan a housing project in the rural
outskirts of the ancient city of Evora.
It was to be one of several that he
would do for SAAL. The morphology
of the original Roman settlement
is continued through the design of
single family units, with arcades to
the public areas The national housing
association, consisting of 1200 low-
cost, single family row house units,
some one-story and some two-story
units, all with courtyards.
Architectural forms typical of the
Alentejo, square houses painted a
blinding white with broad chimneys
and few windows. Conferring on this
part of the city a uniformity that is,
however, subtly disrupted by a modern
version of an aqueduct consisting of
above-ground supply lines.
[Malagueira
Housing]
Alvaro Siza, Evora
113
114
T
he Lighthouse Museum of Santa
Marta borns from a renewal
operation to the lighthouse and the
surrounding buildings that were until
now abandoned. The construction
started in 2001 fnishing in 2007,
being the client the City Hall of Cascais.
This new equipment is composed by
an exposition area created in the old
housing of the lighthouse workers,
by two big platforms with perfect sea
view, reception areas, documentation
center and cafeteria. The concept
of this building is about living
inside a fortifed wall, enjoying the
living inside it. [Lighthouse
Museum]
Aires Mateus, Cascais
115
116
Hello Ol
Goodbye Adeus
Good morning Bom dia
Good night Boa Noite
Good / Bad Bom / Mau
Yes / No Sim / No
Please Por favor
Thank you Obrigado (men) / Obrigada (women)
Sorry Desculpa (informal) Desculpe (formal) / Perdo
Help me Ajuda-me (auda-me)
I dont have money Nao tenho dinheiro
My name is Chamo-me (amo-me)
What is your name? Como (komu) te chamas (amas)?
How are you? Tudo bem? (informal)
I like you Gosto de ti
I love you Amo-te
[Let s learn
Portuguese!]
117
I am in love with you Estou apaixonado (apaionado) por ti
You are very preety s muito bonita / gira (ira) - to boys
s muito bonito / giro (iro) - to girls
I like your eyes Gosto muito dos teus olhos (olju)
You have a nice body Tens bom corpo
I am sleepy Tenho sono
I am crazy Sou louco (louku) / maluco (maluko)
I dont understand No entendo
I dont speak Portuguese No falo portugus
Super Fixe (f)
Where is? Onde ?
I want to go to Quero (keru) ir para
1,2,3,4,5,6,7,8,9,10 um, dois, trs, quatro, cinco (sinko), seis, sete, oito, nove, dez
White Branco (branku)
Black Preto
Blue Azul
Yellow Amarelo
Red Vermelho
Pink Cor de rosa
Orange Cor de laranja (larana)
118
Eyes Olhos
Hair Cabelo (kabelu)
Nose Nariz
Mouth Boca (boka)
Boobs Mamas
Arms Braos (brasos)
Stomach Barriga
Legs Pernas
Feet Ps
Mister Senhor
Mrs Senhora
Men Homem
Woman Mulher
Boy / Boys Rapaz / Rapazes
Girl / Girls Rapariga / Raparigas
Street Rua
Avenue Avenida
City Cidade
Building Edifcio
Sweat-shirt Camisola (kamisola)
Pants Calas (kalsas)
Panties Cuecas (kuekas)
Jacket Casaco (kasako)
One beer please Uma cerveja
(cervea) por favor
In Porto:
Small fno
Medium pricipe
Jar caneca (kaneka)
In Lisbon:
Beer imperial
[Let s learn
Portuguese!]
119
Cheers! Sade!
I am drunk Estou bbado / bbada
Buy me a drink Oferece-me (oferese-m) um copo
Can I buy you a drink Posso pagar-te um copo (kopu)
Shut up cala-te (kala-te)
And n slovene spelling:
I se u Toma ker ser k da malta
Tein de beber este kopu at au fm, at
au fm
I vai asima
I vai abaio
I vai au sentru
I vai pra dentru
I vai pra dentru
I vai pra dentru ...
Drinking song:
E se o (name) quer ser c da malta
Tem de beber este copo at ao fm,
at ao fm
E vai acima
E vai abaixo
E vai ao centro
E vai pra dentro
E vai pra dentro
E vai pra dentro
120 [Attendants]
Joana Alzina 040 543 563
Sara Badovinac 041 923 446
Milena Beber 031 722 481
Urka Bertok 040 616 434
Nina Bobinac 031 307 484
Tine Brinc 031 727 534
Sandro Ferreira 00351 91 820 6175
Staa Filipi 031 357 116
Domen Fuka 041 922 603
Miha Fujs 070 385 742
Jernej Girandon 051 359 729
Bla Gorian 031 646 418
Tamara Gosar 041 667 148
Cilka Hosta 041 375 707
Nina Humar 051 213 274
Jasmina Kraigher 040 658 628
Jernej Markelj 040 539 835
Vesna Mihelj 031 368 230
Jurij Nemec 041 913 027
Primo Pavi 040 798 341
Ana Pezdirc 031 636 196
Urban Petranovi 041 839 522
Denis Plahuta 040 830 575
Katja Pogaar 031 533 091
iga Roer 031 501 544
Eva Sunik 031 287 888
Marko Sssinger 040 796 735
Barbara kraba 041 684 735
Anja uler, 041 533 886
Urka Torkar 041 350 412
Brina Vizjak 031 486 714
Saa Vojska 031 867 230
Matev Zalar 041 438 334
Maja ust 041 897 736
Students:
121
Ale Vodopivec
Toma Kruec 041 365 373
Anja Planiek 031 672 276
Benjamin Hafner 040 429 126
Mentors:
Thank you!
Special thanks to Sandro for organising
everything!
Seminar Vodopivec
april 2008
Mentors:
Ale Vodopivec
Toma Kruec
Anja Planiek
Benjamin Hafner
Organization: Sandro Ferreira
Assistant: Urka Bertok
Finances: Nina Humar
Design: Anja uler
Material for the book: students
Sponsors:
id:doma
pkb Stavbenik
Xella
Gorenje