Toward the Adaptive Reuse of Vernacular Architecture Practices From the School of PortoHeritage

heritage
Article
Toward the Adaptive Reuse of Vernacular Architecture: Practices
from the School of Porto
David Ordóñez-Castañón 1, * and Teresa Cunha Ferreira 2
1 Departamento de Proyectos Arquitectónicos, Escuela Técnica Superior de Arquitectura, Universidad de

Sevilla, 41012 Sevilla, Spain
2 Center for Studies in Architecture and Urbanism (CEAU), Faculty of Architecture, University of Porto (FAUP),
4150-564 Porto, Portugal; tferreira@arq.up.pt
* Correspondence: dordonez@us.es
Abstract: Strategies for the adaptive reuse of vernacular architecture are of utmost importance in
the current context of social, economic, and environmental vulnerability. This article examines the
design strategies of adaptive reuse in three cases of renowned architects of the so-called School
of Porto developed across the second half of the 20th century, specifically between 1956 and 1991.
The paper aims to introduce a new and deeper knowledge of the selected practices by critically
documenting the whole process of the intervention (before, during, after) and not only the final
result, as is common practice in specialized publications. The research methodology combines the
bibliographical and archival research and interpretation of diverse graphic, photographic, and textual
documentation with the production of analytical drawings. The demolitions/additions color code
(black/yellow/red) is applied to plans, sections, and elevations as an essential tool for understanding
and communicating the transformations undertaken. The selected case studies are Além House
(1956–1967) by Fernando Távora, Alcino Cardoso House (1971–1973; 1988–1991) by Álvaro Siza, and
the House in Gerês (1980–1982) by Eduardo Souto de Moura. These projects show different strategies
of intervention in built heritage, providing lessons on the reactivation of obsolete or abandoned rural
constructions with new functions that are compatible with the preservation of their values (historical,
landscape, constructive, social, and aesthetic) and guidelines for sustainable reuse.
Citation: Ordóñez-Castañón, D.;
Cunha Ferreira, T. Toward the Keywords: adaptive reuse; design practices; built heritage; vernacular architecture; school of Porto;
Adaptive Reuse of Vernacular Fernando Távora; Álvaro Siza; Eduardo Souto de Moura
Architecture: Practices from the
School of Porto. Heritage 2024, 7,
1826–1849. https://doi.org/10.3390/
heritage7030087 1. Introduction and Objectives
Academic Editor: Maria The reuse and transformation of existing structures is a common practice in archi-
Beatrice Andreucci tecture, undertaken both by anonymous users and builders in common construction as
well as by prestigious authors in erudite architecture [1]. However, the adaptive reuse of
Received: 22 February 2024
buildings has received much attention recently owing to the current concern for sustain-
Revised: 13 March 2024
ability in architecture, as evidenced by the increasing number and impact of studies and
Accepted: 15 March 2024
publications on the topic [2–7], among others. Thus, in the context of the present global
Published: 21 March 2024
environmental and societal challenges, the reuse of existing infrastructures, as opposed to
new construction, represents a crucial step in mitigating the overconsumption of resources.
The reactivation of abandoned, neglected, or obsolete buildings for new purposes
Copyright: © 2024 by the authors. goes beyond economic and environmental issues to include broader social and cultural
Licensee MDPI, Basel, Switzerland. dimensions, so that intervention in the build faces the challenge of balancing all factors
This article is an open access article throughout the design process [8–13]. However, there is a lack of in-depth analysis of real
distributed under the terms and case studies with supporting technical documentation for both students and practition-
conditions of the Creative Commons ers. Thus, this paper aims to provide critical reflection and detailed documentation of
Attribution (CC BY) license (https:// best practices that show a balance between preservation and transformation, combining
creativecommons.org/licenses/by/ the implementation of contemporary requirements (aesthetic, functional, spatial, comfort,
4.0/).
Heritage 2024, 7, 1826–1849. https://doi.org/10.3390/heritage7030087 https://www.mdpi.com/journal/heritage

Heritage 2024, 7 1827
technological, etc.) while respecting the essential identity and values of the existing struc-
ture (historical, constructive, landscape integration, etc.). Namely, this paper focuses on
three exploratory and initial works by renowned architects of the School of Porto, providing
unpublished documents and critical reflection on these designs, which represent relevant
laboratories for the future practice of these architects.
2. Context
2.1. Research Context
This work is framed within the broader context of the Atlas of Architectural Heritage
Design research project (hosted by the UNESCO Chair at the Faculty of Architecture of the
University of Porto), which seeks to systematically compile, analyze, and disseminate best
cases of contemporary design in built heritage. This research initiative aims to serve as
both a pedagogical tool for the teaching of Architecture and the practical application of
design principles and strategies in professional contexts.
The research initially focused on the Contributions of the School of Porto (Exploratory
Project funded by FCT), with the aim of identifying, documenting, and sharing the best
examples by architects trained at the Fine Arts School of Porto (ESBAP), from which the
current Faculty of Architecture of the University of Porto was separated in 1986. This
community practice is recognized for its solid pedagogy and consistency with regard
to non-specialistic intervention in built heritage in Portugal, characterized by a critical
approach—integrating tradition and modernity—in the face of the long-standing hegemony
of the ideological doctrine advocated by the General Directorate of Portuguese Buildings
and Monuments (DGEMN) during the Estado Novo (1933–1974) [14–16]. This research
involved the compilation of ca. 150 works into a geo-referenced inventory, in-depth analysis
of 22 works through diachronic documentation of the entire transformation process (before,
during, and after), and dissemination of the results through various means [17–20].
2.2. Architectural Context

Among the works collected and studied, projects for the renovation of vernacular con-
structions are particularly representative of the design principles of the School of Porto, since
they strongly manifest the desire to symbiotically combine tradition and modernity. This
concern arose in the middle of the twentieth century. In 1945, Fernando Távora (1923–2005)
launched the manifesto O problema da casa portuguesa (reedited in 1947 [21]), in which he
advocated the third way, that is, “an evolution of modern architecture with the capacity to
identify with tradition” [22]. Távora encouraged research into vernacular buildings, as they
embodied modern principles such as functionality, formal clarity, material sincerity, and
social engagement. He then co-directed an extensive study on vernacular architecture, titled
Inquérito à Arquitectura Popular em Portugal [Survey on Popular Architecture in Portugal]
(1955–1961) [23]. Moreover, Távora’s attendance at the International Congresses of Modern
Architecture (CIAM) between 1951 and 1959 made him aware of a change of direction in the
European architectural avant-garde, noting Team 10’s criticism of the orthodox postulates
of the rationalism and their call for greater attention to the specific circumstances of places,
traditions, and local communities [24–30], among others.
All of the above, together with the influence of Brazilian architecture received through
the book Brazil Builds [31,32], stimulated a growing interest in vernacular architecture
within the ESBAP [33], as well as a new approach to the history of architecture as an
operative tool for contemporary design [34]. Moreover, the period after the 1964 Venice
Charter was marked by progressive consideration of new heritage values, including the
dimension of landscape and architectural ensembles, which extended cultural appreciation
beyond exceptional monuments, as reflected in Fernando Távora’s theoretical essay Teoria
Geral da organização do espaço [General theory of the organization of space] (1962) [35]
and stated in the Estudo de Renovação Urbana de Barredo [Barredo Urban Renewal Study]
(1969) [36]. Likewise, projects such as the conversion of the Santa Marinha Convent into
a Pousada (1972–1985) confirmed a new paradigm of heritage intervention. The general
Heritage 2024, 7 1828
criterion adopted was “to ‘continue innovating’ or, in other words, to continue contributing
to the long life of the building, highlighting the affinities and the continuity rather than the
differences and the break from the past” [37].
The new cultural context in Porto following the Inquérito strongly influenced young
architects and students, such as Álvaro Siza (1933), who also admired the architecture of
Frank Lloyd Wright and Alvar Aalto. Moreover, Siza worked in Távora’s studio between
1955 and 1958, establishing a very close personal relationship and assimilating the concerns
and interests of his mentor. Thus, the reinterpretation of traditional Portuguese architecture
is evident in his early works. Siza found an autonomous path of development, linked to
the original essence of rationalism, moving toward figurative abstraction. However, in his
approach to building on the built, Siza is similar to Távora, integrating his work into the
constants of the place and the building.
Eduardo Souto de Moura (1952), who was also a student of Távora at the ESBAP,
worked in Álvaro Siza’s studio at the time of SAAL’s operation, right after the 1974 Carna-
tion Revolution. Encouraged by Siza to pursue an independent career, he initially focused
on achieving a local expression with international grammar. This intention was linked to
that of his mentors and also framed within the debate of critical regionalism [38], but his
proposals diverged from the architecture of his masters, finding inspiration in different
references: “Everything drove me towards Mies van der Rohe, the De Stijl movement,
industrial construction as the future, and the permanence of the ‘classic’ with modern
materials” [39]. Although his architecture drew from international sources, it required
strong anchoring. To this end, he appropriated the memory of the preexistence—inventing
it if it did not exist—and resorted to the Portuguese constructive tradition of granite in
order to “affirm the own identity in a globalized world” [40]. Thus, the reflection on ruins
and the sensitivity to stone are transversal in his early works [41].
These three architects developed autonomous research and practice with different
formal results. According to various authors [42–45], the common denominator of the
so-called School of Porto is not the transmission of a particular formal language, or even
of a design method, but the sense of collectivity and existence of some common concerns,
including the use of history and drawing as design tools, as well as the search for a synthesis
between the autochthonous and universal conditions of architecture: tension and balance
between being local and global [40].
When building on the built, the architects of the School of Porto rejected a clear
differentiation between design and conservation. For Távora, any architectural project
involved “a problem of creation” [22], whether it was an existing structure or an empty
space since there is always a context with which to establish relationships. Therefore,
heritage intervention cannot be considered a different discipline from architecture. Similarly,
according to Siza, “conservation is not a specialization; it is simply about architecture. It
has a strong historical and scientific basis, but it also has something that any architectural
intervention has” [46]. For his part, Souto de Moura used the existing constructions as
available material for the new project, as “it is new construction, not restoration” [47].
However, despite the different approaches of these three architects, they proceeded to
transform only after acquiring a deep knowledge of existing values, proceeding thereafter
with full awareness.
3. Materials and Methods

3.1. Case Studies
This article discusses different design strategies by architects from the School of Porto
in the adaptive reuse of vernacular constructions. These are projects for the adaptation
of a rural building or ensemble as holiday homes. They are all located in the historical
province of Entre-Douro e Minho in the north of Portugal, which is traditionally character-
ized by a dispersed population based on small single-family polyculture farms, with a
predominance of maize and vineyards complemented by sheep, swine, and cattle rearing
for self-consumption. The traditional architecture met the needs of agricultural production
Heritage 2024, 7 1829
through specialized spaces and elements for each process (stables, sheds, storehouses,
granaries, cellars, etc.), combined with residential areas (the house itself). However, the
transition from traditional to industrialized agriculture and the rural exodus since the mid-
20th century have led to the neglect of many vernacular buildings, which are sometimes
converted into second homes for city dwellers.
The three proposed case studies are the works of architects of the School of Porto
with the greatest national and international impact: Fernando Távora (1923–2005), who is
considered the initial driving force of this community of practice, and Álvaro Siza (1933) and
Eduardo Souto de Moura (1952), both winners of the Pritzker Prize in 1992 and 2011. The
selected works are, respectively, Além House (Lousada, 1956–1967), Alcino Cardoso House
(Caminha, 1971–1973; 1988–1991), and the House in Gerês (Vieira do Minho, 1980–1982).
The period under study (between 1956 and 1982) coincides with a key moment in the
regeneration of Portuguese architecture, marked by the critical reception of the Modern
Movement and a new sensitivity toward vernacular architecture. Moreover, the selected
cases were designed at an early stage in the architects’ careers, when they were experi-
menting and validating ideas, thus expressing with resounding clarity the principles and
strategies that would be matured and spread in their later works.
3.2. Methodology
This research adopts the methodology of case study analysis developed for the creation
of an Atlas of Architectural Heritage Design in Portugal [17], which was also used within the
New/Old editorial and research initiative [48,49] and other studies by the authors related to
this research topic [50–52]. This research aims to reveal design principles and operational
methods through a diachronic analysis of the transformation process (before, during, and
after), seeking to dissect the steps of the intervention and not just the final result, as is often
the case in architectural publications (with some exceptions [53–55]).
The analytic methodology conducts a textual and visual narrative, structured in
four interrelated thematic axes, as follows:
1. Landscape, place, and preexistence: Characterization of the existing structure in relation
to its cultural context (social, historical, geographical, etc.), morpho-typology, spatial
layout, construction systems, state of conservation, and the landscape and genius loci
of the site (referring to the identity or character that defines a place) [56].
2. Design strategy: Study of the design principles and decisions regarding the adaptation
of existing spaces and structures to new functions, conservation, and transformation
operations, and the relationship between the old and the new (contrast, mimesis,
analogy, etc. [57]).
3. Tectonics, materiality, and detail: Concerning the constructive features and tectonic
culture [58], the choice of materials and techniques, finishing details, execution of
works, etc.
4. Critical reception: Significance of the work in the architect’s career, impact on the
architectural panorama of the time, and repercussions in specialized literature.
These thematic axes also serve as a framework for the subsequent comparative analysis
of the case studies and discussion of results.
The research on the case studies is based on a cross-methodology analysis coupled
with the interpretation of multiple sources (graphic, written, oral), including:
• Literature review: Compilation and analysis of publications, including journal articles,
books and chapters, master’s or PhD theses, websites, exhibitions, etc.
• Archival research: Compilation of information currently scattered in the archives of
different institutions, including the Marques da Silva Foundation (holds the Fernando
Távora Archive), the Casa da Arquitectura (holds part of Eduardo Souto de Moura’s
collections), and the Serralves Foundation, the Calouste Gulbenkian Foundation, and
the Canadian Centre for Architecture (hold Álvaro Siza’s separate collections).
• Oral history: Interviews with different actors involved in the projects (architects, collab-
orators, clients, and workers) who provide unpublished oral information.
Moura’s collections), and the Serralves Foundation, the Calouste Gulbenkian Founda-
tion, and the Canadian Centre for Architecture (hold Álvaro Siza’s separate collections).
Heritage 2024, 7
• Oral history: Interviews with different actors involved in the projects (architects, col-
1830
laborators, clients, and workers) who provide unpublished oral information.
• Drawings: Redrawing of plans, sections, and elevations, including before and after
the intervention, as well as alterations using the black/yellow/red color code (used
• Drawings: Redrawing of plans, sections, and elevations, including before and after the
for licensing the transformation of preexisting buildings in the Municipalities in
intervention, as well as alterations using the black/yellow/red color code (used for
countries such as France and Portugal) as an essential tool for understanding and
licensing the transformation of preexisting buildings in the Municipalities in countries
communicating the transformations undertaken (black for remaining elements, yel-
such as France and Portugal) as an essential tool for understanding and communicating
low for demolished elements, and red for newly built elements).
the transformations undertaken (black for remaining elements, yellow for demolished
• Photographs: Up-to-date photographic surveys and compilation of images of the initial
elements, and red for newly built elements).
• situation
Photographs: to determine
Up-to-date the transformations
photographic surveys andthrough comparison
compilation withofthe
of images thefinal state.
initial
situation to determine the transformations through comparison with the final state.
4. Fernando Távora: Além House (ca. 1956)
4. Fernando Távora: Além
4.1. Landscape, Place,House (ca. 1956)
Preexistence
4.1. Landscape, Place,
Casa Preexistence
de Além is a small agricultural complex located in the municipality of Lousada,
Casa de Além is
consisting ofaasmall
house, agricultural
a yard, and complex
annexeslocated in the municipality
(the granary, of Lousada,
the caretaker’s house, and the
consisting of a house,
stables). The housea yard,is aand annexes
compact and(the granary,
robust the caretaker’s
volume, built with house, and the granite
large, exposed
stables).blocks
The house
with fewis aopenings.
compact and The robust volume,
lower floor built
houses thewith large,
cellar exposed
or the stables.granite
The dwelling
blocks with few openings.
occupies The lower
the upper floor, whichfloor houses the
is accessed by acellar
porchorattached
the stables. The
to the dwelling
east.
occupies theThe upper floor, which
wooden ceilingis ofaccessed
the room, bythe
a porch
carvedattached
woodentofurniture,
the east. the façade of the yard,
The wooden ceiling of the room, the carved wooden
the ornate hardware, and the slightly decorated porch columns are furniture, thesigns
façade of the distinc-
of social
yard, the
tion of a humble rural gentry [23] (p. 43). Even if the original construction social
ornate hardware, and the slightly decorated porch columns are signs of dates back to
distinction
1527of[59],
a humble rurallandlords
different gentry [23]have(p. undertaken
43). Even if the original construction
enlargement dates back
and refurbishment works, as
to 1527 the
[59],preserved
different landlords
epigraphichave undertaken
remains enlargement
testify (Figure andThus,
1a) [60]. refurbishment works, of the
a simple reading
as the preserved epigraphic
walls reveals different remains testifyphases
constructive (Figure(Figure
1a) [60].1b).
Thus, a simple reading of the
walls reveals different constructive phases (Figure 1b).
(a) (b)
Figure 1.Figure 1. Fernando

Fernando Távora. Távora. Além(1956).
Além House HouseHistorical
(1956). Historical
analysisanalysis of the(a)
of the house: house: (a) Epigraphs
Epigraphs on on
the walls of the house and yard (source: [53]); (b) hypothetic construction phases (source:
the walls of the house and yard (source: [53]); (b) hypothetic construction phases (source: authors). authors).
In the mid-20th
In the mid-20th century,century,
the housethebelonged
house belonged to the maternal
to the maternal family offamily
MariaofLuísa
Maria Luísa
Menéres, Menéres, who married
who married the architect
the architect FernandoFernando
Távora Távora
in 1954.inShortly
1954. Shortly after,
after, her her mother
mother
(Luísa) out
(Luísa) carried carried out the renovation,
the renovation, entrustingentrusting her son-in-law
her son-in-law withAtthe
with the task. task.
that Atthe
time, that time,
house wasthe quite
house was quite deteriorated,
deteriorated, particularly
particularly the the roof.
roof. However, However,
the walls, floors,the
andwalls, floors, and
wooden
ceilingswooden
were in ceilings were
acceptable in acceptable
condition, condition,
so they could beso they could
preserved. Thebe house
preserved.
lackedThea house
bathroom and kitchen, as well as an electrical installation and running water. In addition, it
was considered necessary to renovate the surrounding space, since the yard was degraded
due to the presence of cattle and other agricultural activities.
greatest transformations took place (Figures 2 and 3). On the one hand, the upper floor reveals
a desire for continuity, which is manifested in the preservation and emphasis of the traditional
atmosphere of the noble house. The original elements (the floors and wooden ceilings, the
character of the space, and the baroque furniture) were preserved and the changes made in-
Heritage 2024, 7 troduced the language of the existing, seeking integration through materiality and color. 1831
On the other hand, the ground floor has been renovated to accommodate a domestic
space suitable for occasional and seasonal use and the lifestyle of a new era. This transfor-
4.2. Design
mation Strategy
is evident both in the spatial configuration and the architectural language. Indeed, the
modern open space
The exterior form provides
of theahouse
greaterremained
sense of amplitude in this reduced
mainly unchanged, and itroom, suggesting
was inside that
fragmentation of the living, dining, and kitchen areas through the topographical
the greatest transformations took place (Figures 2 and 3). On the one hand, the upper treatment of
the floor
floor and aarrangement
reveals of the furniture,
desire for continuity, which or
is their delimitation
manifested in the by low walls. In
preservation this
and context,
emphasis
thethe
of oldtraditional
materials (masonry
atmospherewalls,
of ceiling beams,
the noble house.doors,
Theand wooden
original shutters)
elements contrast
(the floors with
and
some new
wooden elements
ceilings, theofcharacter
modern expression (such
of the space, andas thebaroque
the white and smoothwere
furniture) volumes that define
preserved and
sofa or delimit
the changes made the kitchen).the
introduced Thelanguage
unexecuted fireplace
of the would
existing, also attempt
seeking this through
integration counter-
point, as depicted
materiality in various sketches where the architect explores several options (Figure 4).
and color.
(a) (b)
Figure 2.
Figure 2. Fernando
Fernando Távora:
Távora: Além House (ca.
Além House (ca. 1956).
1956). Interpretation
Interpretation of transformations (plans
of transformations (plans and
and
elevations): (a) Analysis of alterations by means of color code (black/yellow/red; i.e., remaining/de-
elevations): (a) Analysis of alterations by means of color code (black/yellow/red; i.e., remain-
molished/newly built); (b) after intervention. (source: survey and drawings by David Ordóñez-
ing/demolished/newly built); (b) after intervention. (source: survey and drawings by David
Castañón and Beatriz Filipe).
Ordóñez-Castañón and Beatriz Filipe).
On the other hand, the ground floor has been renovated to accommodate a domes-
tic space suitable for occasional and seasonal use and the lifestyle of a new era. This
transformation is evident both in the spatial configuration and the architectural language.
Indeed, the modern open space provides a greater sense of amplitude in this reduced room,
suggesting fragmentation of the living, dining, and kitchen areas through the topographi-
cal treatment of the floor and arrangement of the furniture, or their delimitation by low
walls. In this context, the old materials (masonry walls, ceiling beams, doors, and wooden
shutters) contrast with some new elements of modern expression (such as the white and
smooth volumes that define the sofa or delimit the kitchen). The unexecuted fireplace
would also attempt this counterpoint, as depicted in various sketches where the architect
explores several options (Figure 4).
Heritage 2024,77
Heritage2024, 1832
1832
(a)
(b)
Heritage 2024, 7 Figure 3. Fernando Távora: Além House (c. 1956). Photographic report after the intervention (2020):
1833
Figure 3. Fernando Távora: Além House (c. 1956). Photographic report after the intervention (2020):
(a) Exterior; (b) Interior, upstairs room and downstairs room. (Source: David Ordóñez-Castañón).
(a) Exterior; (b) Interior, upstairs room and downstairs room. (Source: David Ordóñez-Castañón).
This experimental approach to a modern vernacular is reminiscent of some houses
designed by Le Corbusier in the early 1930s, such as Maison Mandrot (1929–1932) or Mai-
son Errazuriz (1930), which combined the roughness of traditional materials with the so-
phistication of modern construction systems, the transparency of glazed spans, and the
rationalist compositional grammar. This reference can also be traced through Alfredo Vi-
ana de Lima (the architect of Porto closest to Le Corbusier), whose works in rural settings
during this period, such as Casa Dr. Olívio França (Vila Verde, 1952) or Casa das Marinhas
(Esposende, 1953–1957), further reflect this rationalist inspiration. The influence of Lima
may also underlie the design of the new windows (overlapped by the old doors and shut-
ters), which provide a strikingly modern counterpoint to the strict preservation of the fa-
çades. Similarly, there is a relaxed mixture of antique furniture (cupboard, chest, and
chairs) with various pieces of avant-garde design (such as two chairs of the Diamond se-
ries, designed
Figure in 1953
4. Fernando by Harry
Távora. Bertoia),
Além House as well
(1956). as a new
Sketches for asculptural spiral
new fireplace oninterior staircase
the ground floor:
Figure 4. Fernando Távora. Além House (1956). Sketches for a new fireplace on the ground
that connects
elevation the two floors.
and perspective (source: Marques da Silva Foundation, Fernando Távora Archive:
floor: elevation and perspective (source: Marques da Silva Foundation, Fernando Távora Archive:
PT/FIMS/FT/0065-pd0001, PT/FIMS/FT/0065-pd0002).
4.3. Tectonics, Materiality, approach
This experimental Detail to a modern vernacular is reminiscent of some houses
The renovation
designed was carried
by Le Corbusier out early
in the by local workers
1930s, suchwithout any formal
as Maison Mandrot design on paper.or
(1929–1932)
This artisanal
Maison approach
Errazuriz to which
(1930), construction was the
combined of great importance
roughness to the architect,
of traditional materialswho
withrec-
the
ognized in the stonemason an authentic know-how inherited from his ancestors:
sophistication of modern construction systems, the transparency of glazed spans, and the “It was
made by a builder
rationalist namedgrammar.
compositional Monteiro,This
who I used to
reference say
can was
also be the great-great-grandson
traced through Alfredo Viana of
the
debuilder whoarchitect
Lima (the had madeof the house.
Porto […]toSoLe
closest there is continuity,
Corbusier), whose and it’s interesting
works when
in rural settings
that happens, isn’t it?” [61]. Indeed, the preservation of many original elements (structure,
ceilings, floors, furniture, woodwork) was only possible thanks to handcrafted repairs.
The intervention combined major operations (replacement of the roof, repositioning of the
floor) with delicate repairs (introduction of structural reinforcements, replacement of de-
teriorated rafters, grafts on the old doors and shutters).
Heritage 2024, 7 1833
during this period, such as Casa Dr. Olívio França (Vila Verde, 1952) or Casa das Marinhas
(Esposende, 1953–1957), further reflect this rationalist inspiration. The influence of Lima
may also underlie the design of the new windows (overlapped by the old doors and
shutters), which provide a strikingly modern counterpoint to the strict preservation of the
façades. Similarly, there is a relaxed mixture of antique furniture (cupboard, chest, and
Figure
chairs)4.with
Fernando Távora.
various Além
pieces House (1956).
of avant-garde Sketches
design for as
(such a new
two fireplace
chairs ofon theDiamond
the ground floor:
series,
elevation and perspective (source: Marques da Silva Foundation, Fernando Távora Archive:
designed in 1953 by Harry Bertoia), as well as a new sculptural spiral interior staircase that
connects the two floors.
4.3.
4.3. Tectonics,
Tectonics,Materiality,
Materiality,Detail
Detail
The
The renovation was carriedout
renovation was carried outbybylocal
localworkers
workers without
without any
anyformal
formal design
design onon
paper.
paper.
This
This artisanal
artisanalapproach
approachtoto construction
construction waswas of great importance
of great importance to thetoarchitect, who rec-
the architect, who
ognized
recognized in the stonemason
in the stonemason an an
authentic
authentic know-how
know-how inherited
inherited from
fromhishisancestors:
ancestors: “It“It
waswas
made by a builder named Monteiro, who I used to say was
made by a builder named Monteiro, who I used to say was the great-great-grandson of the great-great-grandson of
the
the builder
builderwho whohad hadmade
madethe thehouse.
house.[…][. . .]SoSothere
thereis is
continuity,
continuity, and
and it’s interesting
it’s interesting when
when
that happens, isn’t it?” [61]. Indeed, the preservation of many original
that happens, isn’t it?” [61]. Indeed, the preservation of many original elements (structure, elements (structure,
ceilings,
ceilings, floors, furniture, woodwork)
floors, furniture, woodwork)was wasonly onlypossible
possiblethanksthankstoto handcrafted
handcrafted repairs.
repairs. The
The intervention combined major operations (replacement of
intervention combined major operations (replacement of the roof, repositioning of thethe roof, repositioning of floor)
the
floor) with delicate
with delicate repairsrepairs (introduction
(introduction of structural
of structural reinforcements,
reinforcements, replacement
replacement of de-
of deteriorated
teriorated rafters,
rafters, grafts grafts
on the oldon the old
doors anddoors and shutters).
shutters).
The
The renovation
renovationthus thusreflects
reflectsaadualdualapproach,
approach,ranging
rangingbetween
betweenmeticulous
meticulous respect
respect
for the old matter and the introduction of contemporary construction
for the old matter and the introduction of contemporary construction systems, such systems, such asas
thethe
windows superimposed on the wooden doors (Figure 5).
windows superimposed on the wooden doors (Figure 5). The house had no glass in the The house had no glass in the
past, so this
past, so this solution
solutionprotects
protectsthe theoriginal
originalshutters
shutters while
while allowing
allowing light
light to enter.
to enter. These
These large
large
panes of glass, with striking red and white metal frames, bring some freshness to thetoimage
panes of glass, with striking red and white metal frames, bring some freshness the
image
of the of the building,
building, but atbut atsame
the the same
timetime establish
establish a dialogue
a dialogue withthe
with theadjacent
adjacent granary,
granary, inin a
achromatic
chromaticreinterpretation
reinterpretation of of the
the iron
iron oxide-based
oxide-basedpaint paintthatthatwaswasused
usedtotocoat coatthe
theexterior
exterior
woodwork
woodworkofoftraditional
traditionalbuildings
buildings as as
a protection
a protection fromfromrainrain
and and
windwind
erosion [61]. [61].
erosion
(a) (b)
Figure
Figure 5.
5. Fernando
FernandoTávora:
Távora:Além
AlémHouse
House(c.(c.1956).
1956).Door
Doorand
andwindow
window frames: (a)(a)
frames: Original colors
Original colors
(painted red and white), August 1972 (source: Marques da Silva Foundation, Fernando Távora Ar-
(painted red and white), August 1972 (source: Marques da Silva Foundation, Fernando Távora
chive, PT/FIMS/FT/0065-foto0001); (b) preservation of the old doors and ironwork, with delicate
Archive, PT/FIMS/FT/0065-foto0001); (b) preservation of the old doors and ironwork, with delicate
grafting and repairs, protected by new exterior glazed doors (source: David Ordóñez-Castañón).
grafting and repairs, protected by new exterior glazed doors (source: David Ordóñez-Castañón).
4.4. Critical Reception

This work embodies some key reflections from Távora’s mid-20th century period,
coinciding with his attendance at the CIAM and the realization of the Survey on Popular
Architecture in Portugal (1956–1961). At that time, he sought a synthesis of modernism
and tradition, which he finally achieved in several masterpieces of the so-called third way
that represent an adaptation of the Modern Movement to local circumstances [22]. In
This work embodies some key reflections from Távora’s mid-20th century period,
coinciding with his attendance at the CIAM and the realization of the Survey on Popular
Heritage 2024, 7 Architecture in Portugal (1956–1961). At that time, he sought a synthesis of modernism
1834
and tradition, which he finally achieved in several masterpieces of the so-called third way
that represent an adaptation of the Modern Movement to local circumstances [22]. In this
context, the renovation of Além House can be considered a bold experience, halfway be-
this context, the renovation of Além House can be considered a bold experience, halfway
tween philological conservation and formal innovation. Despite its undoubted interest,
between philological conservation and formal innovation. Despite its undoubted interest,
thiswork
this workhas
hasnot
not been
been discussed
discussed in monographs
in monographs about
about the architect
the architect (except
(except forauthor’s
for the the au-
thor’s studies [50,62]), nor has he sought to spread it
studies [50,62]), nor has he sought to spread it himself.himself.
5.5.Álvaro
Álvaro Siza:
Siza: Alcino
Alcino Cardoso
Cardoso House
House (1971–1973;
(1971–1973; 1988–1991)
1988–1991)
5.1.Landscape,
5.1. Landscape,Place,
Place,and
andPreexistence
Preexistence
AlcinoCardoso
Alcino CardosoHouse
Houseisislocated
located
inin Lugar
Lugar da da Gateira,
Gateira, a small
a small village
village withinwithin
the the mu-
munici-
nicipality of Moledo in the northern Portuguese region of Alto Minho. It
pality of Moledo in the northern Portuguese region of Alto Minho. It is located halfway is located halfway
upaahillside,
up hillside,in
inaatangled
tangledterritory
territoryof
ofnarrow
narrowpaths
pathsbetween
betweenhouses,
houses,vineyards,
vineyards,and andsmall
small
agriculturalfields
agricultural fields(minifúndios).
(minifúndios).The
The Cardoso
Cardoso family
family bought
bought thisthis m2 m
1780
1780 2 countryside es-
countryside estate
tate attracted
attracted by thebycharm
the charm
of twoofplum
two plum treesjuicy
trees with withfruits
juicy they
fruitshad
they had while
found foundexploring
while ex-
ploring
this this semi-abandoned
semi-abandoned and overgrown
and overgrown property
property [63]. [63].toAttached
Attached to itswalls,
its perimeter perimeter
two
walls,buildings
small two smallcircumscribed
buildings circumscribed a patio
a patio on the mainon the main
entrance entrance
(Figure 6). (Figure 6).
Figure 6. Álvaro Siza: Alcino Cardoso House (1st phase, 1971–1973). Survey of existing buildings
Figure 6. Álvaro Siza: Alcino Cardoso House (1st phase, 1971–1973). Survey of existing buildings
(plans and sections): Uma propriedade no Lugar da Gateira, Moledo do Minho; edificações existentes (A
(plans Lugar daUma
andinsections):
property propriedade
Gateira, Moledo nodoLugar
Minho;daexisting
Gateira, buildings).
Moledo do Minho;
(source:edificações
Serralvesexistentes (A
Foundation,
property in Lugar da Gateira, Moledo do Minho;
Álvaro Siza Archive, PT/FS/ASV/12-3-4-0010). existing buildings). (source: Serralves Foundation,
Álvaro Siza Archive, PT/FS/ASV/12-3-4-0010).
A few years later, they also bought the adjoining estate to the west, now known as
A few years later, they also bought the adjoining estate to the west, now known as
Casa da Eira. There were three buildings arranged around a courtyard next to the entrance
Casa da Eira. There were three buildings arranged around a courtyard next to the entrance
gate, and two espigueiros (raised granaries).
gate, and two espigueiros (raised granaries).
The construction systems of these traditional ensembles were simple and involved
The construction systems of these traditional ensembles were simple and involved
few materials, as described in the Survey on Popular Architecture in Portugal (1956–1961):
few materials, as described in the Survey on Popular Architecture in Portugal (1956–1961):
“walls, pillars and lintels of stone [granite]. Tile roof, placed on a wooden frame. The in-
“walls, pillars and lintels of stone [granite]. Tile roof, placed on a wooden frame. The
ternal framework, floors, partitions and doors are also made of wood” [23]. Before inter-
internal framework, floors, partitions and doors are also made of wood” [23]. Before
vention, the constructive and typological consistency was still legible, despite the ad-
intervention, the constructive and typological consistency was still legible, despite the
vanced state of material decay (Figure 7).
advanced state of material decay (Figure 7).
5.2. Design Strategy

Alcino Cardoso, an employee at the Pinto & Sotto Mayor bank office in Oliveira de
Azeméis (also designed by Álvaro Siza, 1971–1974), and his wife Zilda Cardoso commis-
sioned the renovation and extension of the existing buildings to accommodate a holiday
house for their family. Siza completely altered the interior layout of the old house, trans-
forming the space into a large living room and kitchen, separated by a light partition panel.
However, the stone walls were maintained and the roofs were renovated, thus preserving
the volumetry and character of the preexistences (Figure 8).
Heritage 2024,
Heritage 2024, 77 1835
1835
Figure 7. Álvaro Siza: Alcino Cardoso House (2nd phase, 1988–1991): Casa da Eira at the beginning
of the renovation works (source: Zilda Cardoso).

Alcino Cardoso, an employee at the Pinto & Sotto Mayor bank office in Oliveira de
forming the space into a large living room and kitchen, separated by a light partition
panel. However,
Figure 7.
Figure 7. Álvaro theAlcino
Álvaro Siza: stone walls
Cardoso
Cardosowere maintained
House
House (2nd and
(2ndphase,
phase, the roofsCasa
1988–1991):
1988–1991): were
Casadadarenovated,
Eira
Eiraatatthe thus pre-
beginning
the of
beginning
serving
of
thethe the volumetry
renovation
renovation works
works and character
(source:
(source: Zilda
Zilda of the
Cardoso).
Cardoso). preexistences (Figure 8).

Alcino Cardoso, an employee at the Pinto & Sotto Mayor bank office in Oliveira de
forming the space into a large living room and kitchen, separated by a light partition
panel. However, the stone walls were maintained and the roofs were renovated, thus pre-
serving the volumetry and character of the preexistences (Figure 8).
(a) (b)
Figure
Figure 8.
8. Álvaro
Álvaro Siza:
Siza:Alcino
AlcinoCardoso
Cardoso House
House (1st
(1st phase,
phase, 1971–1973).
1971–1973). Sketches:
Sketches: (a)
(a) Source:
Source: Serralves
Serralves
Foundation, Álvaro Siza Arquive, PT-FS-ASV-12-1-1-0002; (b) source: Álvaro Siza Archive.
Five
Five bedrooms
bedrooms and and bathrooms
bathrooms were
were incorporated
incorporated intointo aa triangular-shaped
triangular-shaped annex,annex,
connected
connected toto the
the old
old construction
construction byby means
means of of sharp
sharp geometry
geometry (Figure
(Figure 9).
9). Following
Following the the
concern
concern “to
“to keep
keep the
the alien
alien novelty
novelty to
to aa minimum”
minimum” [64],[64], this
this new
new volume
volume is is semi-buried
semi-buried
and has aaflat
and flatroof so so
roof as not to disturb
as not the scale
to disturb the and
scalepredominance
and predominance of the previous building.
of the previous
This annex is laid out in parallel to the walls of the property and placed on a sort of plinth,
as a new terrace in the (a) landscape. The new partitioning is adapted (b) to a regular grid that
forms a 45◦ angle, embedded in a triangular plan that recalls the geometries of the Ocean
Figure 8. Álvaro Siza: Alcino Cardoso House (1st phase, 1971–1973). Sketches: (a) Source: Serralves
Swimming Pool in Leça da Palmeira or Frank Lloyd Wright’s Taliesin West. Unlike the
rough and heavy masonry walls of the old building, this volume has a light structure and a
largeFive
curtain wall facing
bedrooms and the vineyardwere
bathrooms so that the glass façade
incorporated into adematerializes
triangular-shaped as it reflects
annex,
the vegetation. However, although Siza himself referred to a contrast, the materiality and
connected to the old construction by means of sharp geometry (Figure 9). Following the
design solutions inspired by traditional carpentry, as well as the geometric alignment with
concern “to keep the alien novelty to a minimum” [64], this new volume is semi-buried
the vineyards, provide a strong sense of continuity between the old and new (Figure 10).
and has a flat roof so as not to disturb the scale and predominance of the previous
the Ocean Swimming Pool in Leça da Palmeira or Frank Lloyd Wright’s Taliesin West.
Unlike the rough and heavy masonry walls of the old building, this volume has a light
structure and a large curtain wall facing the vineyard so that the glass façade dematerial-
izes as it reflects the vegetation. However, although Siza himself referred to a contrast, the
Heritage 2024, 7 1836
materiality and design solutions inspired by traditional carpentry, as well as the geometric
alignment with the vineyards, provide a strong sense of continuity between the old and
new (Figure 10). On the opposite side of the entrance patio, the other building in ruins
On the opposite side of the entrance patio, the other building in ruins was transformed into
was transformed into an autonomous two-story dwelling. A few years later, Álvaro Siza
Heritage 2024, 7 an autonomous two-story dwelling. A few years later, Álvaro Siza designed a swimming 1836
designed a swimming pool for the garden, taking advantage of an old irrigation tank.
pool for the garden, taking advantage of an old irrigation tank.
building. This annex is laid out in parallel to the walls of the property and placed on a sort
of plinth, as a new terrace in the landscape. The new partitioning is adapted to a regular
grid that forms a 45° angle, embedded in a triangular plan that recalls the geometries of
the Ocean Swimming Pool in Leça da Palmeira or Frank Lloyd Wright’s Taliesin West.
Unlike the rough and heavy masonry walls of the old building, this volume has a light
structure and a large curtain wall facing the vineyard so that the glass façade dematerial-
izes as it reflects the vegetation. However, although Siza himself referred to a contrast, the
materiality and design solutions inspired by traditional carpentry, as well as the geometric
alignment with the vineyards, provide a strong sense of continuity between the old and
new (Figure 10). On the opposite side of the entrance patio, the other building in ruins
was transformed into an autonomous two-story dwelling. A few years later, Álvaro Siza
designed a swimming pool for the garden, taking advantage of an old irrigation tank.
(a) (b) (c)
Figure
Figure9.9.
Álvaro
ÁlvaroSiza: Alcino
Siza: Cardoso
Alcino House
Cardoso (1st phase,
House 1971–1973).
(1st phase, Transformation
1971–1973). sequence
Transformation (plan,
sequence
elevation): (a) Before intervention; (b) analysis of alterations by means of color code (black/yel-
(plan, elevation): (a) Before intervention; (b) analysis of alterations by means of color code
low/red; i.e., remaining/demolished/newly built); (c) after intervention (source: drawings by Eleo-
(black/yellow/red; i.e., remaining/demolished/newly built); (c) after intervention (source: drawings
nora Fantini based on project drawings by Álvaro Siza).
by Eleonora Fantini based on project drawings by Álvaro Siza).
In 1986, Álvaro Siza was again invited to Moledo to design the conservation and
renovation of the constructions in the adjacent plot with the intention of establishing a
rural accommodation business (Figure 11). Thus, the buildings were transformed into three
independent houses (A: 178 m2 ; B: 59 m2 ; C: 29 m2 ). Unlike the first phase, Siza developed
a very surgical intervention, without extending the limits of the preexisting buildings with
new additions (Figure 12). It involved the preservation of the structures and roofs and
the redesign of the traditional window frames following the existing models. Some new
(a) features (windows, floors, coverings,
(b) and furniture), faithfully inspired (c) by tradition, were
introduced without being clearly distinguishable from the preexisting features in order to
Figure 9. Álvaro Siza: Alcino Cardoso House (1st phase, 1971–1973). Transformation sequence (plan,
maintain
elevation):the
(a) ambiance of the site(b)
Before intervention; (Figure 13).ofHowever,
analysis alterationsother subtlyofinnovative
by means color code actions also
(black/yel-
took place
low/red; i.e.,to ensure contemporary living
remaining/demolished/newly standards.
built); Thus, the(source:
(c) after intervention most significant
drawings bychanges
Eleo-
included
nora Fantinithe addition
based of new
on project partition
drawings walls Siza).
by Álvaro and some excavation works.
(a)
(a)
Figure 10. Cont.

Heritage 2024,77
Heritage2024, 1837
1837
(b)
Figure 10. Álvaro Siza: Alcino Cardoso House (1st phase, 1971–1973). Photographic report after the
intervention: (a) Exterior (source: Inês d’Orey); (b) Interior (source: Inês d’Orey).
In 1986, Álvaro Siza was again invited to Moledo to design the conservation and ren-
ovation of the constructions in the adjacent plot with the intention of establishing a rural
accommodation business (Figure 11). Thus, the buildings were transformed into three in-
dependent houses (A: 178 m2; B: 59 m2; C: 29 m2). Unlike the first phase, Siza developed a
very surgical intervention, without extending the limits of the preexisting buildings with
new additions (Figure 12). It involved the preservation of the structures and roofs and the
redesign of the traditional window frames following the existing models. Some new fea-
tures (windows, floors, coverings, and furniture), faithfully inspired by tradition, were
introduced without being clearly(b) distinguishable from the preexisting features in order to
maintain the ambiance of the site (Figure 13). However, other subtly innovative actions
Figure 10.
10. Álvaro
also took
Figure placeSiza:
Álvaro Siza:Alcino
AlcinoCardoso
to ensure Cardoso House
House(1st
contemporary phase,
living
(1st 1971–1973).
standards.
phase, 1971–1973). Photographic
Thus, report
the most
Photographic after thethe
significant
report after
intervention: (a) Exterior (source: Inês d’Orey); (b) Interior (source: Inês d’Orey).
changes included
intervention: the addition
(a) Exterior of new
(source: Inês partition
d’Orey); walls and
(b) Interior some
(source: excavation
Inês d’Orey). works.
In 1986, Álvaro Siza was again invited to Moledo to design the conservation and ren-
ovation of the constructions in the adjacent plot with the intention of establishing a rural
accommodation business (Figure 11). Thus, the buildings were transformed into three in-
dependent houses (A: 178 m2; B: 59 m2; C: 29 m2). Unlike the first phase, Siza developed a
very surgical intervention, without extending the limits of the preexisting buildings with
new additions (Figure 12). It involved the preservation of the structures and roofs and the
redesign of the traditional window frames following the existing models. Some new fea-
tures (windows, floors, coverings, and furniture), faithfully inspired by tradition, were
introduced without being clearly distinguishable from the preexisting features in order to
maintain the ambiance of the site (Figure 13). However, other subtly innovative actions
also took place to ensure contemporary living standards. Thus, the most significant
changes included the addition of new partition walls and some excavation works.
Figure 11. Plan of the entire estate, including the area of intervention in phase 1 (1971–1973), colored
Heritage 2024, 7
in red, and the area of intervention in phase 2 (1988–1991), colored in blue (source: colored by the
1838 by the
in red, and the area of intervention in phase 2 (1988–1991), colored in blue (source: colored
authors on project drawings by Álvaro Siza; Serralves Foundation, Álvaro Siza Archive, donation
2015, PT-FS-ASV-22-2-2-0002).
2015, PT-FS-ASV-22-2-2-0002).
in red, and the area of intervention in phase 2 (1988–1991), colored in blue (source: colored by the
2015, PT-FS-ASV-22-2-2-0002).
(a) (b) (c)

Figure 12. Álvaro Siza: Alcino Cardoso House (2nd phase, 1988–1991). Transformation sequence
(plan, elevation): (a)i.e.,
(black/yellow/red; Before intervention; (b) analysis
remaining/demolished/newly of (c)
built); alterations by means
after intervention of color
(source: code (black/
drawings
by Eleonora Fantini based on project drawings by Álvaro Siza).
Heritage 2024, 7 (a) (b) (c) 1838
yellow/red; i.e., remaining/demolished/newly
(black/yellow/red; i.e., remaining/demolished/newlybuilt); (c) (c)
built); after intervention
after (source:
intervention (source:drawings
drawingsby
by Eleonora
Eleonora Fantini
Fantini based
based on on project
project drawings
drawings byby Álvaro
Álvaro Siza).
Siza).
Figure 13. Álvaro Siza: Alcino Cardoso House (2nd phase, 1988–1991). Photographic report after the
Figure 13. Álvaro Siza: Alcino Cardoso House (2nd phase, 1988–1991). Photographic report after the
intervention (source: Inês d’Orey).
5.3. Tectonics,
5.3. Tectonics, Materiality,
Materiality, and
and Detail
Detail
Heritage 2024, 7 1839
Due
Due to to the
theremote
remotelocation
locationofof thetheproperty
propertyandandthethe
unavailability
unavailability of experienced
of experienced la-
bor, Álvaro Siza made use of common materials (stone and
labor, Álvaro Siza made use of common materials (stone and wood) and the traditionalwood) and the traditional
construction techniques
construction techniques knownknown to tolocal
localworkers.
workers.TheTheflat
flatzinc
zincroof
roofmakes
makesa aclear
cleardistinction
distinc-
between the old and the new. Moreover, the glass curtain wall also constitutes aamodern
tion
glazed between
and has the old
movable and the new.
sections. Moreover,
These the
elements glass curtain
emphasize wall
the also
almost constitutes
provisional mod-
char-
ern
acter feature. Nevertheless,
of theNevertheless,
feature. new buildingitand it is said that
introduce
is said that the the preexisting
modernity
preexisting wooden
to awooden structure
rural house was taken
by providing
structure was taken totothe
spatialthe
workshop
fluidity,
workshop and
and used
greater as
as aa reference
luminosity,
used for
for designing
transparency,
reference and
andconstructing
and sensory
designing tectonics. the
constructing A new
newcurtain
thetension wall
is conse-
curtain wall
(Figurecreated
quently
(Figure 14). The
14). The westernthe
between
western extremity
stereotomy
extremity ofofthe
the
andthick masonrywall
fragmentation
thick masonry wall ofthe
thenew
new
ofoftraditional volume
domestic
volume started
spaces
started out
outathe
and
as as alight
parapet
parapet andand
and later
permeable
later progressed
condition
progressed toofsupporting
the new the
to supporting the light
arrangements
light frame
frame in before ultimately
accordance
before sink-
withsinking
ultimately more
ing further
dynamic
further andeastward
changing
eastward tolifestyles.
to becomebecome an indented
an indented hollow
hollow patio.
patio.
In the interior, the combination of wood with textiles in reddish tones gives rise to a
warm and intimate environment. Another important contemporary resource stems from
the division of spaces by means of either light wooden panels or even curtains, which
provide a strong sense of continuity and express a possible Japanese influence. Thus, the
separation between the living room and the kitchen is only suggested by a light wooden
panel, similar to a folding screen (which does not reach the ceiling), which is partially
(a) (b)
Figure
Figure14.14.Álvaro
ÁlvaroSiza: Alcino
Siza: Cardoso
Alcino House
Cardoso (1st (1st
House phase, 1971–1973).
phase, Constructive
1971–1973). detailing:
Constructive (a)
detailing:
Glass wall system drawings (source: Serralves Foundation: Álvaro Siza Archive, PT/FS/ASV/12-3-4-
(a) Glass wall system drawings (source: Serralves Foundation: Álvaro Siza Archive, PT/FS/ASV/12-
0023); (b) intersection of the new annex and the existing building (source: Inês d’Oray).
3-4-0023); (b) intersection of the new annex and the existing building (source: Inês d’Oray).
5.4. Critical
In theReception
interior, the combination of wood with textiles in reddish tones gives rise to a
warmAlcino
and Cardoso
intimate House was internationally
environment. published
Another important in the late 1970s
contemporary and during
resource the
stems from
1980s in important editions such as Lotus international (1979) [65], Architecture d’Ajourd’hui
the division of spaces by means of either light wooden panels or even curtains, which
(1980) [66], Quaderns d’arquitectura i urbanisme (1983) [67], and Professione Poetica (1986)
[68]. The transformation of this rural complex (Figure 15) was also featured in a vast set
of monographs on Álvaro Siza, which intensified after he received the Pritzker Prize in
1992, with publications on his work proliferating substantially in the following decades
[69–76]. Alcino Cardoso House is included among the 18 works selected for the “Ensemble
Heritage 2024, 7 1839
provide a strong sense of continuity and express a possible Japanese influence. Thus, the
separation between the living room and the kitchen is only suggested by a light wooden
panel, similar to a folding screen (which does not reach the ceiling), which is partially glazed
and has movable sections. These elements emphasize the almost provisional character of
the new building
(a) and introduce modernity to a rural house by providing (b) spatial fluidity,
greater luminosity, transparency, and sensory tectonics. A tension is consequently created
Figure
between 14.the
Álvaro Siza: Alcino
stereotomy andCardoso House (1st
fragmentation of phase, 1971–1973).
traditional Constructive
domestic detailing:
spaces and (a)
the light
Glass wall system drawings (source: Serralves Foundation: Álvaro Siza Archive, PT/FS/ASV/12-3-4-
and permeable condition of the new arrangements in accordance with more dynamic and
0023); (b) intersection of the new annex and the existing building (source: Inês d’Oray).
changing lifestyles.
5.4.
5.4. Critical
Critical Reception
Reception
Alcino
Alcino Cardoso
Cardoso House
House was was internationally published in
internationally published in the
the late
late 1970s
1970s and
and during
during the
the
1980s in
1980s in important
important editions
editions such
such as as Lotus
Lotus international
international (1979)
(1979) [65],
[65], Architecture
Architecture d’Ajourd’hui
d’Ajourd’hui
(1980) [66], Quaderns
(1980) [66], Quadernsd’arquitectura
d’arquitecturai urbanisme
i urbanisme (1983)
(1983) [67],
[67], andand Professione
Professione Poetica
Poetica (1986)
(1986) [68].
[68].
The transformation of this rural complex (Figure 15) was also featured in a vast setset
The transformation of this rural complex (Figure 15) was also featured in a vast of
of monographs
monographs on on Álvaro
Álvaro Siza,Siza,
whichwhich intensified
intensified afterafter he received
he received the Pritzker
the Pritzker PrizePrize in
in 1992,
1992,publications
with with publications
on his on
workhisproliferating
work proliferating substantially
substantially in the following
in the following decadesdecades
[69–76].
[69–76].Cardoso
Alcino Alcino Cardoso
House House is included
is included among among
the 18the 18 works
works selected
selected for for
the the “Ensemble
“Ensemble of
of Alvaro
Alvaro Siza’s
Siza’s Architectural
Architectural Works
Works in Portugal”,
in Portugal”, submitted
submitted to the
to the UNESCO
UNESCO WorldWorld Her-
Heritage
itage Tentative
Tentative List inList in 2017.
2017.
(a) (b)
Figure
Figure 15.
15. Álvaro
Álvaro Siza:
Siza: Alcino
Alcino Cardoso
Cardoso House
House (2nd phase, 1988–1991).
(2nd phase, 1988–1991). Photographic
Photographic comparison:
comparison:
(a) Before intervention, ca. 1980 (source: Caminha Municipal Archive, file 55/88); (b) after
(a) Before intervention, ca. 1980 (source: Caminha Municipal Archive, file 55/88); (b) after interven-
tion (source: Inês d’Orey).
6. Eduardo Souto de Moura: House in Gerês (1980–1982)

6.1. Landscape, Place, and Preexistence
In the early 1980s, the young architect Eduardo Souto de Moura was invited to build a
small house in Gerês, using an agricultural construction in Soengas, in the Valley of the
Cávado River. The wooden silo rose a few meters above the Caniçada Dam, with the back
façade bordering a winding rural road and the frontal façade facing a landscape of great
natural beauty. The building had an approximately rectangular plan and was divided into
two floors: the ground floor, with thick granite walls and blind (non-perforated) elevation—
with the exception of the door –was probably used as a stable; the upper floor had large
openings enclosed by perforated wooden panels to facilitate crop ventilation. The building
was covered by a gable roof with barrel tiles, following the traditional model of agricultural
buildings in northern Portugal (Figure 16).
natural beauty. The building had an approximately rectangular plan and was divided into
two floors: the ground floor, with thick granite walls and blind (non-perforated) eleva-
tion—with the exception of the door –was probably used as a stable; the upper floor had
large openings enclosed by perforated wooden panels to facilitate crop ventilation. The
Heritage 2024, 7
building was covered by a gable roof with barrel tiles, following the traditional model1840
of
agricultural buildings in northern Portugal (Figure 16).
Figure 16. Eduardo Souto de Moura: House in Gerês (1980–1982). Images of the barn before the
Figure 16. Eduardo Souto de Moura: House in Gerês (1980–1982). Images of the barn before the
intervention (source: Eduardo Souto de Moura).
intervention (source: Eduardo Souto de Moura).
6.2.
6.2.Design
DesignStrategy
Strategy
The
The purpose of
purpose ofthe
thecommission
commission was wasto tobuild
buildaaminimum
minimumhouse,
house,conceived
conceivedas asaasimple
simple
refuge
refuge in nature, by taking advantage of the existing building and the views overthe
in nature, by taking advantage of the existing building and the views over thedam.
dam.
Photographs
Photographstakentakenbefore
beforethe the intervention
interventionshow showthe the barn
barn was
was fairly
fairly well
well preserved,
preserved, but but
the
thearchitect
architect says
says he
hefound
foundititabandoned,
abandoned, with with the
theroof
roof already
already collapsed
collapsed [77].
[77]. The
Thegranite
granite
walls
walls were
were used
usedas asaaphysical
physicallimit,
limit,hiding
hidingthe theintroduction
introduction of ofaanew
newdwelling,
dwelling,which
whichgoesgoes
unnoticed from the access road
unnoticed from the access road outside. outside.
Although
Although development
developmentof ofthe
thehouse
houseinto into two
two floors
floors was
was considered
considered inin the
the process
process
drawings
drawings (Figure
(Figure 17),
17), the
thefinal
finalsolution
solutionconcentrates
concentratesall allthe
therooms
roomson onthe
theground
groundfloor.floor.
Measuring
Measuring only
only 30 m22, ,the
30 m thehouse
houseconsists
consistsof ofaakitchen–living
kitchen–livingroom,
room,aabedroom,
bedroom,and andaasmall
small
bathroom.
bathroom. To rear,“all
To the rear, “allthe
thesame
samebut butwith
witha anew
new door”
door” [77];
[77]; however,
however, thethe
wallwall facing
facing the
the landscape
landscape waswas
brokenbroken to open
to open a large
a large glassglass
windowwindowthat that allows
allows contemplation
contemplation of theofview.
the
Heritage 2024, 7 1841
view.
The newTheroof,
new flat
roof,andflatatand at a lower
a lower levelthe
level than thantopthe
of top of the can
the walls, walls,
be can
usedbeasused as a
a terrace
“for everyone”
terrace [77]. [77].
“for everyone”
Figure17.
Figure 17. Eduardo
Eduardo Souto
Soutode
deMoura:
Moura: House
Housein
inGerês
Gerês (1980–1982).
(1980–1982). Sketches
Sketches (source:
(source: Eduardo
Eduardo Souto
Souto
de Moura).
de Moura).
Despiteits
Despite itssmall
smalldimensions,
dimensions,the theinterior
interiorconfiguration
configurationachieves
achieves remarkable
remarkable versatil-
versatility
ity and
and spatial
spatial complexity
complexity via compositional
via compositional mechanisms
mechanisms thatthat
referrefer to neoplasticism
to neoplasticism and and
the
architecture of Mies
the architecture van van
of Mies der der
Rohe [78].[78].
Rohe TheThe
living room
living andand
room bedroom
bedroomcancan
be connected
be connectedor
separated by means of a sliding door perpendicular to the glazed wall.
or separated by means of a sliding door perpendicular to the glazed wall. This large win-This large window
suggests the dissolution
dow suggests of theofboundary
the dissolution the boundarybetween interior
between and and
interior exterior, promoting
exterior, the
promoting
visual incorporation
the visual incorporationof the
of landscape
the landscapeas an
asextension
an extension of the domestic
of the domesticspace. TheThe
space. point of
point
convergence
of convergence of the different
of the different spaces and
spaces planes
and planesof of
thethe
house
house is expressively
is expressively occupied byby
occupied a
cylindrical
a cylindricalpillar, which
pillar, which also aids
also in in
aids supporting
supporting thethe
roof slab
roof (Figure
slab 18).18).
(Figure
the architecture of Mies van der Rohe [78]. The living room and bedroom can be connected
or separated by means of a sliding door perpendicular to the glazed wall. This large win-
dow suggests the dissolution of the boundary between interior and exterior, promoting
the visual incorporation of the landscape as an extension of the domestic space. The point
Heritage 2024, 7 of convergence of the different spaces and planes of the house is expressively occupied by
1841
a cylindrical pillar, which also aids in supporting the roof slab (Figure 18).
(a) (b) (c)

Figure
Figure18.18.
Eduardo Souto
Eduardo de Moura:
Souto House
de Moura: in Gerês
House (1980–1982).
in Gerês Transformation
(1980–1982). sequencesequence
Transformation (plan,
elevation, section): (a) Before intervention; (b) analysis of alterations by means of color code
(plan, elevation, section): (a) Before intervention; (b) analysis of alterations by means of color
(black/yellow/red; i.e., remaining/demolished/newly built); (c) after intervention (source: drawings
code (black/yellow/red; i.e., remaining/demolished/newly built); (c) after intervention (source:
by Hugo Mendonça based on project drawings by Eduardo Souto de Moura).
drawings by Hugo Mendonça based on project drawings by Eduardo Souto de Moura).
Heritage 2024, 7 On first reading, the discreet insertion of the new object appears to be a delicate ex- 1842
On first reading, the discreet insertion of the new object appears to be a delicate
ercise in reusing a collapsed structure. A closer interpretation reveals a suggestive rhetoric
exercise in reusing a collapsed structure. A closer interpretation reveals a suggestive
on the action of time in architecture. It matters not if the ruin has been found or provoked;
rhetoric on the action of time in architecture. It matters not if the ruin has been found or
provoked;
the the deliberately
architect architect deliberately seeks to aesthetically
seeks to aesthetically exalt theexalt the walls
ruined ruinedtowalls to stimulate
stimulate a play
of tensions between ancient matter and contemporary addition (Figure 19). 19).
a play of tensions between ancient matter and contemporary addition (Figure
(a)
Figure 19. Cont.
Heritage 2024, 7 1842
(a)
(b)
Figure 19. Eduardo Souto de Moura: House in Gerês (1980–1982). Photographic report after the in-
Figure 19. Eduardo Souto de Moura: House in Gerês (1980–1982). Photographic report after the
tervention: (a) ca. 1982 (source: Manuel Magalhães); (b) 2015 (source: Luís Ferreira Alves).
intervention: (a) ca. 1982 (source: Manuel Magalhães); (b) 2015 (source: Luís Ferreira Alves).
“The
“The purpose
purpose of ofbuildings
buildingsisistotobecome
becomegoodgoodruins, asas
ruins, Perret wrote”,
Perret says
wrote”, Souto
says de
Souto
Moura. Indeed, the Gerês House appeals to the romantic notion of ruin
de Moura. Indeed, the Gerês House appeals to the romantic notion of ruin [79]. The[79]. The degra-
dation of theofwalls,
degradation the loss
the walls, the of material,
loss and and
of material, the surrounding vegetation
the surrounding are are
vegetation presented as
presented
aasmetaphor for the ephemeral and transience of human works in the face of the relentless
a metaphor for the ephemeral and transience of human works in the face of the relentless
and
and destructive
destructive forces of nature
forces of nature and
and time
time [77]
[77] (p.
(p. 41).
41).
6.3. Tectonics, Materiality, and Detail

In its
its material
materialand andconstructive
constructivedesign,
design,the theinsertion
insertion of of
thethe
new newdwelling
dwelling in the
in en-
the
enclosure
closure of of
thethe
barnbarn promotes
promotes an an interpellation
interpellation between
between the the “opposite”
“opposite” identities
identities of
of the
the artifact
artifact and and the preexistence.
the preexistence. If theIfarchitecture
the architecture
of theofcontinuous
the continuouswalls walls
of theof theisruin
ruin as-
is associated
sociated with with the qualities
the qualities of stereotomic
of stereotomic construction
construction (primitive,
(primitive, massive, massive,
opaque,opaque,
heavy,
heavy, and durable), the introduction of a tectonic object conveys antagonistic
and durable), the introduction of a tectonic object conveys antagonistic sensations (con- sensations
(contemporary,
temporary, light,
light, transparent,
transparent, andand changeable)
changeable) [80].
[80]. Indeed,
Indeed, thethe housing
housing insertion/graft
insertion/graft is
is formed
formed by by
thethe articulation
articulation of discontinuous
of discontinuous elements
elements (partitions,
(partitions, pillar,pillar,
sliding sliding door,
door, large
large window,
window, and roofing
and roofing slab) slab) that allow
that allow the creation
the creation of open
of open and bright
and bright spaces. spaces.
The attention
The attention paid
paid to
to the
the large
large window
window is is patent
patent inin the
the constructive
constructive details
details that
that reveal
reveal
careful study and dimensioning of the metal profiles that make up the
careful study and dimensioning of the metal profiles that make up the frames (Figure 20). frames (Figure 20).
The refined detailing, which is reminiscent of Mies van der Rohe, helps
The refined detailing, which is reminiscent of Mies van der Rohe, helps to emphasize the to emphasize the
conceptual approach to the project. Thus, the positioning of the new frame, set slightly back
from the wall, emphasizes its autonomy from preexistence, while the large glass surface
reflects the forest, camouflaging the presence of the new object and enhancing the romantic
vision of a ruin surrounded by nature.

This first independent work by the architect was an opportunity to explore the evoca-
tive potential of the ruin, a strategy that he further explored and matured in subsequent
works. This design resource—by inducing a tension between destruction and creation,
permanence, and transformation—is part of Eduardo Souto de Moura’s reflection at the
beginning of his professional career, at a time when the theoretical influence of Aldo Rossi
and the practical experiences of Álvaro Siza were very present.
conceptual approach to the project. Thus, the positioning of the new frame, set slig
back from the wall, emphasizes its autonomy from preexistence, while the large glass
Heritage 2024, 7 1843
face reflects the forest, camouflaging the presence of the new object and enhancing
romantic vision of a ruin surrounded by nature.
(a) (b)
Figure
Figure 20. Eduardo 20.de
Souto Eduardo
Moura: Souto
HousedeinMoura: House in Gerês
Gerês (1980–1982). (1980–1982).
Constructive Constructive
detailing: detailing: (a) d
(a) drawing
of the window frames (source: Eduardo Souto de Moura); (b) view of the encounter between the betwee
ing of the window frames (source: Eduardo Souto de Moura); (b) view of the encounter
stone wall and the glazing profile (source: Luís Ferreira Alves).
stone wall and the glazing profile (source: Luís Ferreira Alves).
6.4. Critical
The relationship Reception
between architecture, nature, time, and memory appears in the
competition of A HouseThisfor
first independent
Karl work by
Friedrich Schinkel the architect
(1979), becoming wastheancentral
opportunity
themetoinexplore
the the e
House in Gerês, ative potential
as well of the ruin,
as a leitmotif a strategy that
of subsequent he further
works, such asexplored and matured
the Municipal Marketin subseq
works. This
of Braga (1980–1984), design resource—by
the Market Café (1982–1984), inducing a tension
the House between
of Arts destruction
(1981–1988), theand crea
permanence,
House in Nevogilde and transformation—is
II (1983–1988), the House in Baião part of Eduardo
(1990–1993), orSouto de Moura’s
the House in Moledo reflection a
beginning
(1991–1996), among others,of his professional
in addition career,
to the at a timeofwhen
Conversion Santathe theoretical
Maria influence
do Bouro (1989–of Aldo R
and the
1997), which earned thepractical
architectexperiences of ÁlvaroInSiza
wide recognition. were
these very he
works, present.
explored different
mechanisms of forming The relationship between
a relationship architecture,
between the new nature,
objecttime,
andandthememory
matter appears
found in the c
(existing or invented), either for its operational reuse or as an element of contemplation [41],theme in
petition of A House for Karl Friedrich Schinkel (1979), becoming the central
House
thus articulating in Gerês,
a poetic as well as
combination a leitmotif of
of binomials: subsequent
ancient works, such as
and contemporary, the Municipal
classic and Ma
of Braga
modern, local and (1980–1984),
universal, the erudite,
archaic and Market Caféheavy(1982–1984), the House
and light, opaque of Arts (1981–1988)
and transparent,
House in Nevogilde II (1983–1988), the House in Baião (1990–1993), or the House in
or reality and abstraction.
ledothe
Furthermore, (1991–1996), among
House in Gerês others,ainsingular
features addition to the Conversion
paradox, since it wasof Santa Maria do B
abandoned
shortly before (1989–1997),
the completion which earned
of the workthe andarchitect
was neverwideinhabited
recognition.on In these works,
a regular basis. heIn explored
any case, givenferent mechanisms
its pioneering of forming
nature, this work a relationship betweenin
has been included the new object
several and the matter fo
monographs
on Eduardo Souto(existing
de Mouraor invented),
[77,81–84], either for itsinoperational
analyzed academic worksreuse[85–87],
or as anand
element of contempla
discussed
in other studies[41], thus articulating
[41,88–90]. However, a poetic combination
only recently haveofsome
binomials: ancient
previously and contemporary,
unpublished
materials beensic and modern,
published local and photographs
[91], including universal, archaic and erudite,
that show heavystate
the original andoflight,
the opaque
barn (Figures 16transparent,
and 21), thus or reality and abstraction.
reinforcing the interest in this intervention approach.
Furthermore, the House in Gerês features a singular paradox, since it was abando
shortly before the completion of the work and was never inhabited on a regular basi
any case, given its pioneering nature, this work has been included in several monogra
on Eduardo Souto de Moura [77,81–84], analyzed in academic works [85–87], and discussed
in other studies [41,88–90]. However, only recently have some previously unpublished mate-
Heritage 2024, 7 1844
rials been published [91], including photographs that show the original state of the barn (Fig-
ures 16 and 21), thus reinforcing the interest in this intervention approach.
(a) (b)
Figure
Figure 21.
21. Eduardo
EduardoSouto
SoutodedeMoura:
Moura:House in in
House Gerês (1980–1982).
Gerês Photographic
(1980–1982). comparison:
Photographic (a)
comparison:
Before intervention, ca. 1980 (source: Eduardo Souto de Moura); (b) after intervention (source:
(a) Before intervention, ca. 1980 (source: Eduardo Souto de Moura); (b) after intervention (source:
Joaquim Portela).
Joaquim Portela).
7.
7. Discussion
Discussion
Landscape, Place,
7.1. Landscape, Place, and
and Preexistence
This topic discusses how the preexisting landscapes, sites, and constructions have
determined the
determined thethree
threeanalyzed
analyzedworks worksinin thethe framework
framework of the
of the contextualist
contextualist approach
approach en-
endorsed
dorsed by bythethe architects
architects of of
thethe School
School of of Porto.
Porto. Fernando
Fernando Távora’s
Távora’s interventions
interventions are are
al-
always
ways preceded
preceded byby a holistic
a holistic understanding
understanding ofof
thethe building
building totobebe transformed,
transformed, through
through a
a careful interpretation of both the landscape and the building itself.
careful interpretation of both the landscape and the building itself. The analysis includes The analysis in-
cludes careful
careful observationobservation and insights
and insights from historical
from historical documents, documents, and it is supported
and it is supported by his ex-
by his extensive
tensive knowledge knowledge
of Portugueseof Portuguese
architecture architecture
and history.andInhistory.
this way, In Távora
this way, Távora
sought to
sought to
identify identify
those thosefeatures
distinctive distinctive
“that features
mark the “that mark of
evolution thethe
evolution
building,of the building,
something that
something
we that we
must respect must
[...]: respect of
questions [. .scale,
.]: questions
questions of scale, questions
of a certain of aquestions
ritual, certain ritual, ques-
of atmos-
tions of atmosphere” [22]. Thus, the typological, spatial, and constructive
phere” [22]. Thus, the typological, spatial, and constructive comprehension of the building comprehension
of the building
would provide wouldhim with provide him to
the keys with the keys to contemporary
contemporary intervention, distin-
intervention, distinguishing those
spaces and elements that should be preserved from those that could bethose
guishing those spaces and elements that should be preserved from thatmodified.
carefully could be
carefully
In themodified.
case of Alcino Cardoso House, the design is also based on the premise of pre-
In the
serving as much case asof possible
Alcino Cardoso House,
of the existing the design
farmhouse, is also
thus based on
confirming thethe premise
statement of
that
preserving as much as possible of the existing farmhouse, thus confirming
“it is not necessary to destroy to transform” [64]. Indeed, the architect struggles to under- the statement
that “itthe
stand is place
not necessary to destroy to
before intervening, transform”
identifying the[64]. Indeed,
values the architect
that have struggles
to be preserved andto
understand the place before intervening, identifying the values
enhanced by the contemporary intervention: the scale, volumes, materials, colors, con-that have to be preserved
and enhanced by the contemporary intervention: the scale, volumes, materials, colors,
structive know-how, and vegetation, among other qualities that comprise the genius loci
constructive know-how, and vegetation, among other qualities that comprise the genius
of the place. This confirms other aphorisms of the architect, such as “the idea is in the
loci of the place. This confirms other aphorisms of the architect, such as “the idea is in the
place” [92] and “architecture has no meaning unless in relation to nature” [93].
place” [92] and “architecture has no meaning unless in relation to nature” [93].
In contrast, Souto de Moura approaches the intervention free of compromises with
In contrast, Souto de Moura approaches the intervention free of compromises with the
the preexistence, using the building as available material for a new solution without seek-
preexistence, using the building as available material for a new solution without seeking to
ing to consolidate or restore a previous state. In fact, the architect removes the roof and
consolidate or restore a previous state. In fact, the architect removes the roof and makes a
makes a large opening in the wall to suggest the perception of a ruin found in the land-
large opening in the wall to suggest the perception of a ruin found in the landscape. In this
scape. In this way, the architect manipulates the existing walls to foster the evocative ca-
way, the architect manipulates the existing walls to foster the evocative capacity of the ruin
pacity of the ruin and its potential for integration into nature: “I was fascinated by the
and its potential for integration into nature: “I was fascinated by the near-identification of
near-identification of architecture—an artificial material—with nature, because the ruin
architecture—an artificial material—with nature, because the ruin ceases to be architecture
and becomes nature. And I kept the ruin to maintain this pretension of being almost a
natural, anonymous work” [94].
Heritage 2024, 7 1845

The renovation of Casa de Além clearly reflects the desire to embrace modernity and
revelation against pastiche is reflected in the extensive renovation of the ground floor and
the design of the new joinery, seeking greater luminosity and flexibility of the space for
contemporary uses. However, a great sensitivity to the “spirit” of the existing building is
reflected in the rigorous preservation of the typology, the facades, and the traditional do-
mestic atmosphere of the upper floor. Indeed, the intervention displays a dual approach or
counterpoint that Fernando Távora further matured toward a more integrated relationship
of continuity between the new and the old, thus attempting to overcome the traditional
division between creation and conservation.
Similarly, Álvaro Siza combines respect for the type-morphology of the existing farm-
house with the imbrication of a new volume to meet the new functional needs. The
extension, with its sharp corners, large curtain wall, and flat roof, is clearly recognizable
as a contemporary addition. However, it refers to the vernacular constructions of north-
western Portugal through the materials used (wood and stone) and the reinterpretation of
the traditional carpentry, thus creating a dialectic relationship between the new and old in a
sense of continuity. As he states, “architects don’t invent anything; they transform reality”.
Indeed, the client highlighted “the ease with which he harmonized the modern with the
traditional. [. . .] Without ostentatious inventions, he transformed what he had found taking
the course of history into account in an excellent architecture–nature relationship” [63].
Both Távora and Siza analyze the history and qualities of the site to reveal key principles
for contemporary design without disturbing the main features of the preexistences.
In contrast, Souto de Moura explores an opposing relationship between the existing
barn and the contemporary artifact, fostering the image of an “inhabited ruin”. The architect
considered the previous life of the building as concluded, highlighting the passive character
of the ruin, and taking advantage of the evocative capacity of the granite walls as cover
for the modern insertion. Contemporary functions and requirements are pragmatically
addressed through the new artifact.
The three works reflect, through different design strategies from contrast to anal-
ogy [57], a common concern to adapt old spaces to new functions, combining modern
international references with a strong sense of local identity and a close relationship with
the landscape.
7.3. Tectonics, Materiality, and Detail

In terms of construction, Casa de Além also reflects a dual approach between the rigor-
ous respect for traditional construction through anonymous interventions and delicate re-
pairs (the doorways, roof, wooden flooring, furniture, etc.) and the introduction of modern
language, materials, and systems in this sixteenth-century house. In the development of the
third way, Távora accommodated this resounding avant-garde affirmation toward a more
subtle reinterpretation of the constructive tradition, as in the case of Alcino Cardoso House,
designed by Álvaro Siza fifteen years later. Both works foresaw a contemporary approach
to sustainability in terms of recycling existing structures, using local labor, reinterpreting
ancient know-how, and using common materials (stone, wood, tile) that were readily
available in the area.
Souto de Moura, on the other hand, recalls the ancestral tectonics through the ruined
masonry wall, suggesting the decadence of tradition. The insertion, as an autonomous
artifact, does not seek to reinterpret vernacular construction systems, but rather expresses
the rise of a decidedly modern technological culture, with high sensibility in the design of
details, namely in the points of contact between old and new. Even in this case, the architect
designed simple and inexpensive solutions, executed by local workers.

These works had an unequal impact on the specialized bibliography of recent decades.
While Além House is almost an unpublished work, both Alcino Cardoso House and the
Heritage 2024, 7 1846
Gerês House have had great impacts on architectural literature, especially since the 1980s,
when Álvaro Siza and Eduardo Souto de Moura became world-renowned architects. Since
then, several retrospective publications have appreciated the importance of these early
works as revealing pieces of their authors’ design principles. However, with a few recent
exceptions, their study and dissemination have not been approached from the perspective
of adaptive reuse.
8. Conclusions
This article presents three approaches to adaptive reuse of built vernacular heritage
with different design strategies, framed within the modern contextualism of the School
of Porto. While in Casa do Além and Alcino Cardoso the preexisting forms, character,
and identity (including the pitched roofs with ceramic tiles) are maintained, the existing
building in Casa no Gerês is manipulated to include a flat roof. Thus, in this case, new
elements explore the contrast with the ruin, affirming a new contemporary identity by
exploring the contrast between old and new. In the other cases, the vernacular elements
are preserved, and modernity is inserted in a more ambiguous approach, namely, in the
window frames or additions, as well as in more fluid and open interior spaces.
Thus, these case studies show different approaches to intervention in built heritage—
from contrast to analogy—but are characterized by a prior in-depth knowledge of the
existing buildings, high cultural standards, and extreme sensibility in the design of details.
Hence, these works express a coherence between the conceptual and tectonic approach that
is characterized by exceptional construction technology and details.
These three cases, designed by the most nationally and internationally recognized
architects of the School of Porto, provide relevant pedagogy and dissemination among
students and architects. Moreover, being among the first interventions in preexisting
buildings designed by the architects, they represent a laboratory of experimentation for
their future practice, which gradually evolved toward more subtle modernity and strong
preservation of the identity and construction features of each site. Through their contextual
and humanistic approach, they provide lessons for the sustainable reuse of built heritage,
respecting and responding to the social, cultural, and environmental attributes of the sites.
Author Contributions: Conceptualization, T.C.F. and D.O.-C.; methodology, T.C.F. and D.O.-C.;
investigation, D.O.-C. and T.C.F.; resources, T.C.F. and D.O.-C.; writing—original draft preparation,
D.O.-C.; writing—review and editing, D.O.-C. and T.C.F.; visualization, D.O.-C.; supervision, T.C.F.;
project administration, T.C.F.; funding acquisition, T.C.F. All authors have read and agreed to the
published version of the manuscript.
Funding: This research is framed within the H-Atlas.Porto Exploratory Project, funded by the Por-
tuguese Foundation for Science and Technology (FCT), reference number EXPL/ART-DAQ/1551/2021.
This study is also co-financed by the European Regional Development Fund (ERDF) through
COMPETE 2020—Operational Programme for Competitiveness and Internationalisation (OPCI)
and by national funds through FCT, under the scope of the POCI-01-0145-FEDER-007744 project,
2020.01980.CEECIND. This research is framed within the scope of the UNESCO Chair “Heritage,
Cities and Landscapes. Sustainable Management, Conservation, Planning and Design”. This paper is
also supported by grant JDC2022-049918-I, funded by MCIN/AEI/10.13039/501100011033 and by
the European Union “NextGenerationEU/PRTR”.
Data Availability Statement: Data are contained within the article.
Acknowledgments: The authors acknowledge the support and collaboration of the following indi-
viduals and institutions: Eleonora Fantini, Miguel Frias Coutinho, and Tiago Trindade Cruz, who
participated in the research for the case study of Alcino Cardoso House [95–97]; Beatriz Filipe,
Eleonora Fantini, Hugo Mendonça, and Daniel Duarte Pereira, for the production and artwork of
the analytical drawings; the Atelier of Eduardo Souto de Moura and Luís Ferreira Alves, for pro-
viding drawings and photographs; the Marques da Silva Foundation, Casa da Arquitectura, the
Serralves Foundation, and the Canadian Center for Architecture, for providing access to their archives
and graphic materials; to the owners of the buildings (especially Clemente Menéres Semide, Sofia
Thenaisie, and Zilda Cardoso) for allowing us access and providing us with valuable information.
Heritage 2024, 7 1847
Conflicts of Interest: The authors declare no conflicts of interest.
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heritage

1 Departamento de Proyectos Arquitectónicos, Escuela Técnica Superior de Arquitectura, Universidad de

Heritage 2024, 7, 1826–1849. https://doi.org/10.3390/heritage7030087 https://www.mdpi.com/journal/heritage

2.2. Architectural Context

3. Materials and Methods

Figure 1.Figure 1. Fernando

4.4. Critical Reception

5.2. Design Strategy

5.2. Design Strategy

5.2. Design Strategy

Figure 10. Cont.

(a) (b) (c)

6. Eduardo Souto de Moura: House in Gerês (1980–1982)

(a) (b) (c)

6.3. Tectonics, Materiality, and Detail

6.4. Critical Reception

7.2. Design Strategy

7.3. Tectonics, Materiality, and Detail

7.4. Critical Reception

Conflicts of Interest: The authors declare no conflicts of interest.

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