Tradição e Modernidade - as primeiras casas de Álvaro Siza

• Autor(a) principal: Joana Matias Leite
• Data de Publicação: 2009
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/149169
• topic: Artes; Arts

The initial period of professional work of Alvaro Siza Vieira as architect is noticeable to demonstrate his personal contribution for the development of the Portuguese Contemporary Architecture. Having initiated its activity following ideas of his teacher in the Oporto School, professor Fernando Távora and receiving international influences that arrived at the School through magazines and books, his workmanship was developed in the beginning with a low profile. The public and world-wide recognition was achieved later. Alvaro Siza Vieira developed his graduation during a crisis time that affected not only the international Modern Architecture, but also the national Portuguese Architecture supported, at that time, by the dictatorial regime of the New State. That time is seen to be the start up of new experiences that would lead to the development of the necessary synthesis, and not opposition, between modern and tradition. In Europe, many architects were involved in this challenge, trying to return back to origins where they found out updated ideas. Among them, Alvar Aalto, an architect from Finland, has to be referred as the most important influence in the first phase of Siza Vieira work. In Portugal, this movement was pushed by Fernando Távora, having a great deal in defining what he named the Thir Way, a new conceptual point of view that following new generation will take advantage of. Siza Vieira, harvesting those seeds sown by his Master, played important role in this task of redefinition of the National Architecture, studying in practice subjects, concepts and methods to give continuity to the culture and the Past - either through the study of the site, the use of materials and traditional constructive systems or a new thinking for the space, having in the use of courtyard an interesting example - and to be, simultaneously, expression of the Present - taking advantage of the technological development that allows to answer the needs claimed by new living spaces, or combining more abstract present languages with the expressivity given by the material influence of the vernacular architectures. The first passion of Siza Vieira for the art of sculpture would justify, in a certain way, his proximity and identification with an architecture that fits itself to the site and its constraints, which is conceived for its owner, taking into account his living habits and points of view and that, in its informality, guarantees the building a deep harmony. Therefore, it is not possible to classify the Siza Vieria workmanship as belonging to a specific style, because it escapes from any preconceived formal answers. The aesthetic, plastic and constructive expression of his architecture is, above all, fruit of the relationships between the substance and life and the diversity of influences suffered by the author critically applied in each work, which is unique and to which the architect will be linked forever.