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Cultural Identity in Portuguese Architecture

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Cultural Identity in Portuguese Architecture University of Salford School of Construction and Property Management Faculty of Business and Informatics "Letter to Raul Lino" Cultural Identityin PortugueseArchitecture The "Inqudrito" and the Architecture of its Protagonists in the 1960's Appendix I Testimonies RodrigoOllaro °'_1 Universidade Lusiada - 2001 "Letter to Raul Lino" The Cultural Identity in the PortugueseArcMtecture The "Inquirito" and the Architecture of its Protagonists in the 1960's Acknowledgements When someonebegins an investigation, with the objectives that it is proposed to, it seemed indispensable, besides examining the usual information sources, also intellectuals performing direct contacts with acaden-&S, and artists, who, due to their specializationhave establishedsome relation with the subject concerning the centre of the theme. Effectively, the set of personalitiesthat had graciously agreed to concede a statement about the "The Cultural Identity: The Importance of the Identity in the Portuguese Architecture", in form of interview, the intellectual profile of these personalities is admittedly of the highest standard, this provided that remarkable reflections were collected on this subject. in have The conceptsand ideasthat are present them come not only to guaranteethat the in way that was to be opened has made sense the whole cultural moment, but also to indicate changes and emphasize certain aspects particularly significant of this Problematic. help Due to the generous availability, enrichment, and that these personalities have is hereby. brought to this work, profound gratitude expressed Salford, 2001 Rodrigo Ollero "Letter to Raul Lino" Cultural Identity in the PortugueseArchitecture The "Inquirito" and the Architecture of its Protagonists in the 1960's TESTIMONIES Contents I d 1 ntro ucti on ..................................................................................... Introduction text 2 Interview ................................................................................................ Sculptor Virgilio Domingues 3 ...................................................................................... Prof' Arq. to Michel Toussaint . ............................................................................................7 Prof' Arq-to Pedro Vieira de Almeida 10 " ............................................................................. Prof` Jos6 Augusto FranVa 12 " .................................................................................................. Prof' Maria Calado 23 " .............................................................................................................. Prof' Arq. to Manuel Tainha 28 " .............................................................................................. Prof' MArio Vieira de Carvalho 40 " ................... .................... ................................................. Prof' Arq. toFrancisco Siva Dias so " ....................................................................................... Prof' Arq. to Fernando Tivora 59 " .......................................................................................... Profo Arq. to Alexandre Alves Costa 73 " .............................................................................. Architetc Nuno Teot6nio, Pereira 83 " ..................................................................................... Architetc Pires Martins 91 " ...................................................................................................... Architetc Alfredo M. Mata Antunes 96 " .............................................................................. Architetc Celestino de Castro 102 " ......................................................................................... Art critics and historians: Alexandre Alves Costa (architect), Josd Augusto Franga, Maria Calado, Michel Toussaint(architect), Pedro Vieira de Almeida(architect); Sculptors: Virgilio Domingues; Musicologists: Wrio Vieira de Carvalho; Architects involved in the INQUtRITO: FernandoTdvora (Zone 1), Nuno Teot6nio Pereira, Silva Dias (Zone 4), Alfredo Margalo Mata.Antunes (Zone 5), Pires Martins and Celestino de Castro (Zone 6); Architects connectedto the SNA (Sindicato Nacional.dos Arquitectos) at the time of the INQUtRITO: Manuel Mendes Tainha. "Letter to Raul Lino" Cultural Identity in the PortugueseArchitecture The INQUtRITO and the Architecture of its Protagonists in the 1960's TESTIMONIES Introduction (Chapter 1, section 1.3-The Importance of Cultural Identity versusArchitecture) The treatment of any subject can be seenindependently of its relevanceand may justify itself purely in terms of disciplinary coherence.However the subject proposed for this research evolves around a subject matter - the cultural identity of Portuguese architecture - which constitutes not only a part of its object but also engulfs the very environment in the larger picture upon which it depends, whether it be in the past, presentor future. The discussionof the core subject from which the theme of this work is projected, while stressingits relevance,is indeed essentialfor its developmentand consolidation. On the other hand, if the ulterior motive of this work is related to architecture,the fact that the latter is in itself a fusion of different cultural elements entails the need for becoming acquainted with many related areas. As a result, as far as the theoretical model is concerned,the discussionmust not be restricted to the discipline alone. With this in mind, a host of personalities(referenced in the contents), who are particularlyrelevant to the cultural life of Portugalwere contacted.They were asked questionswhich would help contextualizeand clarify this researchand its relevance both from the culturaland the disciplinarypoint of view. The areasin which theseacademics and intellectualsoperate are, besidesthe architects involved in the INQLJtRITO and architecturecritics, from History, Sculptureand Music.A scriptwas prepared for the interview(see pg 2) enumeratinga set of questions focusingon the object of this research.Therefore, these testimonies are collect in this AppendixI, having been fisted accordingthe date they were done. It also must be underlinedthat in somecases, the contentgoes beyond the centraltheme of this thesis. For that reason it is consideredthat each testimonyconstitutes an important and interestingsource for otherresearch. "Letter to Raul Lino" The Identity of the PortugueseArchitecture: The Inquiry and the 60's Interview Introduction Text . THE CULTURAL IDENTITY The following questionsintend, mainly, to give the dimensionof the proposed issuethat is Die Cultural Identity, to understandthrough their possible demonstrationsin the field interviews. of arts, in order to furnish as a first approachfor the senseof the In this way, it was not formulated a questionnaireto be answered,although the thoughts about that subjectcan also appearas answersto the questionsasked. 1. Does it make senseto look for a specialidentity in the field of arts? 2. If, in your life activity, you have ever thought about that sort of question, in what terms have you used it. 3. Have you ever felt any kind of influence in your work resulting from other cultural fields? Could you explainthat clearly? 4. Do you consider that this kind of concerning in the past years has had the same influencethat it has nowadays? 5. Can you point out some names that are, or have been, close to that particular concern? 6. According to the architectural field, do you realize that, in this field, it can be found that sort of manifestation,and, in the affirmative case,is it obvious or not? 7. Assuming that you do not agree with the questions formulated, would you please make any comments about this matter in order to give a better picture of your own understandingabout it? 8. Completing your point of view, please, indicate some bibliography, which you considerthat dealswith the subjectin an accurateway. 1996, September24th Rodrigo Ollero UNIVERSITY OF SAIXORD. ResearebCentre for Built and Human Environment DEPARTMENT OF SURVEYING 2 Interview Virgilio Domingues . with the sculptor October 25,1996 R. O. - This subject of this interview is cultural identity in the domain of arts and in particular architecture. The entire question, as aligned in the introductory text, does not propose to constitute a questionnaire,but to give some idea of the extensionof the theme we intend to focus in this conversation. The speaker is therefore totally free to expresshis point of view on the given subject matter. The first point runs as follows: 1. Does it make any senseto seek the special identity of a country or region in terms of the arts? V. D. - It does, provided the likes of false regionalism,chauvinism are avoided. R.O. - Could you be more specific about ideas such as 'false regionalism' and 'chauvinism'? V. D. -I meanthe characteristicsthat can identify a certain work, that have to do with a certain area,and n-dghtdisplay a more localised nature, with no national dimensions. On the other hand, 'chauvinism' can enlarge in a distorted way the senseof the things without clarifying the real meaningof what is in question. R.O. - So you consideran approachof this natureto be acceptableprovided it is treated with the enunciatedprecautions. Any way, haveyou at any time consideredthis issuein your professionalactivity, and if so, is it manifestedin your work? V. D. - No, in my professionalactivity, in the creative act, I have not been consciously concerned,with the particularities of the Portuguese
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