In the lobby of Gaia City Council exposed to the public we can see two sculptures by Manuel Pereira da Silva, Maternity and Family.
These
sculptures will be on display during the Christmas period included in the
"Christmas with Art – Gaia 2011."
Showing posts with label Manuel Pereira da Silva. Show all posts
Showing posts with label Manuel Pereira da Silva. Show all posts
Sunday, December 18, 2011
Christmas with Art
In the lobby of Gaia City Council exposed to the public we can see two sculptures by Manuel Pereira da Silva, Maternity and Family.
Tuesday, December 13, 2011
Christmas with Art – Gaia 2011
In the lobby of Gaia City Council exposed to the
public we can see two sculptures by Manuel Pereira da Silva, Maternity and
Family.
These
sculptures will be on display during the Christmas period included in the
"Christmas with Art – Gaia 2011."
Monday, December 12, 2011
Gaia City Council
In the lobby of Gaia City Council exposed to the
public we can see two sculptures by Manuel Pereira da Silva, Maternity and
Family.
These
sculptures will be on display during the Christmas period included in the
"Christmas with Art - Gaia 2011."
Tuesday, August 09, 2011
Art Museum Exhibition
Opening of the exhibition by Manuel Pereira da Silva at the Casa-Museu Teixeira Lopes.
Tuesday, July 05, 2011
Photos of the Exhibition in Gaia Biological Park
Sculpture, Painting and Drawing Exhibition "surroundings ..." by Manuel Pereira da Silva, inaugurated on June 23, 2011, in Gaia Biological Park.
Thursday, June 23, 2011
Sculpture, Painting and Drawing Exhibition
Sculpture, Painting and Drawing Exhibition "surroundings ..." by Manuel Pereira da Silva, inaugurated on June 23, 2011, in Gaia Biological Park.
Monday, June 20, 2011
Friday, March 25, 2011
Sculpture exhibition "surroundings ..."
Virtual tour of the sculpture exhibition "surroundings ..." by Manuel Pereira da Silva, moments before being inaugurated on March 12, 2011 (Saturday), 15.30, at the Casa-Museu Teixeira Lopes. This exhibition will be held until April 23, 2011
Director of the Casa-Museu Teixeira Lopes
Video of the inaugural speech, by Dr. Delfim Sousa, in the sculpture exhibition "surroundings ..." of Manuel Pereira da Silva, which took place on March 12, 2011 (Saturday), 15.30, at the Casa-Museu Teixeira Lopes.
Tuesday, March 22, 2011
Time Out
The Time Out magazine, of March, says on page 56 as "Our choice for this week: Manuel Pereira da Silva, at Casa Museu Teixeira Lopes, on March 12 (Saturday), a sculpture exhibition of an author representative of the artistic trends of his time."
Sunday, March 13, 2011
Sculpture Exhibition "surroundings ..." Manuel Pereira da Silva
Sculpture Exhibition "surroundings ..." Manuel Pereira da Silva, inaugurated on March 12 (Saturday) and will be held until April 23, 2011, in Casa-Museu Teixeira Lopes.
Tuesday, 14:00 to 17:00
Wednesday to Friday from 10h00 to 17 h00
Saturday, Sunday and holidays from 10:00 to 17:00.
Closed on Monday.
Rua Teixeira Lopes, 32
4400-164 V.N. Gaia
Telefone: 22 375 12 24
Telemóvel: 91 103 18 13
Fax. 22 370 20 95
E-mail: cmteixeiralopes@gaianima.pt
Tuesday, 14:00 to 17:00
Wednesday to Friday from 10h00 to 17 h00
Saturday, Sunday and holidays from 10:00 to 17:00.
Closed on Monday.
Rua Teixeira Lopes, 32
4400-164 V.N. Gaia
Telefone: 22 375 12 24
Telemóvel: 91 103 18 13
Fax. 22 370 20 95
E-mail: cmteixeiralopes@gaianima.pt
Thursday, November 25, 2010
Video of two sculptures by Manuel Pereira da Silva
In this video we can see two sculptures by Manuel Pereira da Silva, "Volume I" 1961 and "Woman" of 2001.
Exhibition "Shared Art Millennium BCP - Abstraction"
Casa-Museu Teixeira Lopes, after a period of closure for major refurbishment supported by EU funds, opens its doors on November 16, 2010 with the inauguration, by 18 hours of the exhibition "Shared Art Millennium BCP - Abstraction".
In this exhibition will be on display some sculptures of Manuel Pereira da Silva.
This exhibition, sponsored by a prestigious bank institution, which aims to highlight the important national artistic heritage, as well as contribute to the cultural enrichment of the country, brings together a selection of 74 paintings representing the abstraction Portuguese and foreign.
Covered with great interest by the diversity of exhibited works, of which highlights a significant core of copyright Portuguese painter Maria Helena Vieira da Silva, with twelve paintings. Beyond this, we stress the presence of works by the following artists: Alfred Manessier, Andrew Lanskoy, Angelo de Sousa, António Areal, Antonio Palolo, Arpad Szenes, Bual Artur, Artur Rosa, Augusto Barros, Eduardo Batarda, Eduardo Nery, Fernando Aguiar, Fernando Lemos, Jorge Pinheiro, Júlio Pomar, Júlio Resende, Justin Alves, Luis Demée, Dourdil Luis Manuel Cargaleiro, Manuel D 'Assumpção, Cesariny, Menez, Nadir Afonso, Nikias Skapinakisl, Paula Rego, Peter Casqueiro, Serge Poliakoff Teresa Magalhães, Zao Wou-TOM-Ki.
The Art Shared Exhibition don’t leave out the youngsters. Millennium BCP, Casa-Museu Teixeira Lopes and Gaianima, EEM, launched a contest called "Discovering Collection Millennium BCP" which proposes the creation of creative works from the works on display at the exhibition. The top three entries will be awarded individual and team prize will be for the Class of school work to do in presenting creations of "Shared Art".
The show will be open to the public until January 30, 2011 and admission is free, and where the guided tours on Tuesdays, from 14:00 to 17:00, Wednesday to Friday, 10:00 to 17 h00 and Saturday Sunday and holidays from 10:00 to 17:00.
Monday, October 04, 2010
Geometric abstraction
The book Contemporary Art: Splendor and Agony; of Ilda Rodriguez Prampolini, was written for students of Art History and Contemporary Art at the Faculty of Philosophy and Literature at the Autonomous University of Mexico. With this text they would know the art history of the XX century. Starting, of course, to understand his development, with the Impressionists and the approach to historical problems, artistic, aesthetic and moral relevance.
When in 1916, the Dadaists launched his cry of defiance from the Cabaret Voltaire were probably not aware of the profound transformation that began in the artistic production of the western world
In this book, the author focuses on the history of Dadaism, as well as the different artistic movements that preceded and followed it. This work offers a critical appreciation of the evolution of art from the end of the XIX century (Impressionists and Expressionists) to the mid XX century (Surrealists and Abstractionists) in an exhaustive attempt to cover the “entire panorama of contemporary art”.
It is the Abstractionists that we will point out, since they relate to the content of this blog.
The line is a reference for understanding the drawing Manuel Pereira da Silva. You know it creates pure, simple, without flourishes, or waste analytical, full of substance, serious. Manuel Pereira da Silva has the power to simplify the synthesis features and shapes. Easily dominates the formal elements-building: stylistic symmetry, harmony, poetic, aesthetic balance, where the white paper is part of imaginary architecture.
The early modernist sculptures by Manuel Pereira da Silva emerged in the sculptural abstraction of the pioneers in Portugal, admittedly played from the late '40s, in Porto, by Arlindo Rocha, Fernando Fernandez and even a few years later by Aureliano Lima, after their removal to this city. These facts confer the production of abstract Manuel Pereira da Silva, held up with obvious stylistic analogy; in the same period and situation of those living with sculptors, unquestioned framework generation, must be credited.
In fact in the period immediately following World War II, in precisely that which started the career of Manuel Pereira da Silva, there were changes, important in the world of art controversies, including the two largest urban centers in Portugal: the quarrel " classical and modern, "added the debate between supporters of modernity - the neo-realists, surrealists and abstractionists - but was almost always in the studio that some modesty, very few, sculptors restless, rehearsed new avenues for his art, in productions sparsely that became public, and that, beyond a narrow elite, long ignored.
The Abstract Art
Geometric abstraction and constructive
The reconstruction of the world through painting has rarely been a problem so aware, confident and confessed to a series of artistic events that arose at the end of World War I.
No doubt the artists as they embark on the table abstraction, they were driven by a utopian need for spiritual life
Socrates had already stated these issues, the ideal of beauty through the representation of non-living beings, but of solid and plane figures created through the line, circle, etc..:
"Why should I maintain that these figures are not like other beautiful by comparison, but they are always beautiful in themselves and by their nature they seek certain pleasures that belong to them and have nothing in common with the pleasures produced by sensory stimuli."
It is through these signs of unchanging beauty that some artists try to rise above nature and themselves, to recover the art make it the expression in the service of higher ideals.
The 1930 and 1945 seem to be the triumph of geometric art with his Constructivist tendencies of abstract art trends lyrical and spontaneous. Numerous journals are created to disclose the geometric, continuous exposures at galleries welcome artists, exhibiting in legal proliferating, and the art of constructivism seems to oppose their closed forms or "concrete" composed in endless constellations to highbrow games subconscious screaming by the Surrealists absurd.
The Syndicate of Antique Dealers in Paris (1925), the exhibition also Circule et Carré in Paris, the publication of the single issue of Art Concrète performed by Van Doesburg, the group Abstraction-Creation and numerous magazines in various countries are evidence of the emergence of this new ideal language that comes with authentic validity. One of the pioneers of this art seeks to link up with the architecture is, without doubt, the wife and collaborator, the sculptor Jean Arp, painter Switzerland-Arp Sophie Trauner, whose simplified forms rigorous and fair voluntarily come to some niceties powerful proportions wisely experienced and highly intellectual.
In England, the emergence of The Circle, in 1937, organized by the sculptor Naum Gabo, the painter and architect Well Nicholson Leslie Martin marks the impact that the country, heir to the tradition of William Morris, had this constructive formalism, which addressed re-engage the work of art to life and enjoy the new language to speak universally. This crucial sense of communication through universal formulas (abstract and geometric) and not individuals is the impact of constructivist theory adopted by the same Gabo and his brother Antoine Pevsner in Russia 17 years earlier. The intention to establish an art of "pure" form goes beyond perfect aestheticism of "art for art" since the first case; it is the dynamic principle that moves the artist to "rebuild" the world and second to separate not at first, but the purpose of art that drowns itself.
We could hardly exhaust the review of all the artists that are somehow linked to the geometric art. One of the most extreme cases is the Felix de Marle, for whom art collective team and subordinate to architecture is the only position that justifies saving the artist, he shall be given by an art that must collaborate in the streets, cities, joy to live, not an elite, but all men.
Sunday, May 16, 2010
Africa Generation
Architecture and Cities in Angola and Mozambique, 1925-1975, Ed. Livros Horizonte, is an important book for several reasons. The trail iconography of Portuguese architecture in the overseas areas during the twentieth century, 'a new central colonial', conceives of a 'vision' and an ability to deliver on those territories that the 'Metropolis' hardly reproduced until very recently. Or rather, the 'recasting' of architectural territories overseas, said the former colonies of Angola and Mozambique, was an opportunity to expose the work of a lot of architects, whose number of outputs is, on the whole, a remarkable testimony to the heritage of the collective attitude towards the application of planning and deployment of 'African space', and 'empire'.
Cycle, the inevitability that history often plays, whether it is currently widely repeated, with a new lease that will surely also relevant results.
Jose Manuel Fernandes, architect and teacher in the School of Architecture at the Technical University of Lisbon, invited the seminarian course in architecture at the Autonomous University of Lisbon, is one of the few architects with a literary work that can be considered relevant, and has written about the Portuguese architecture (and world) in a consistent and systematic in the past twenty years (at least), either in book or in articles written for the press.
Has chronicles published in the weekly magazine Expresso, carried along with architect Manuel Graça Dias - another author of books on architecture - strangely discontinued in favor of a new profile of the magazine (s) - questionable, it is true the lack of space for these kinds of texts - have always been an epitome of quality and rigor, by reflecting on the genesis and architecture for a personal reading (nay), with particular attention to all forms, styles, trends (without exception) and a great respect for history and the facts.
'Africa Generation' is assumed as a demonstration of how the work of Portuguese architects in Angola towns, such as Lobito, Nova Lisboa (Huambo), Benguela and Malange, and cities in Mozambique, Lourenço Marques (now Maputo), Nampula , Beira and Quelimane. Registration of the text, between the use of historical fact, artistic and sometimes personal, architects involved, especially in the first part, is substantiated by the black and white photographs of various authors and the very José Manuel Fernandes, illustrating the leitmotif. In particular, some of these photographic reproductions are part of the private collection of Victor Pavoeiro Ferreira ('Victor Ferreira,' my father), who was always with a NIKON (NIKORMAT model) and a tripod in hand, even when he was at war overseas. And, indeed prescient, very well photographed architecture. He had a fondness for 'framework', which the extensive collection of slides just to confirm. We were then waiting for the second edition of this book, about to be published, perhaps in color.
This work starts from the notion that architecture and urbanism of Portuguese roots, affirmed throughout the twentieth century - and who have received extensive study in the Iberian and European area, in recent years - will only be fully and coherently explained if we studied the presence and parallel statement in overseas areas.
Choosing the territories of Angola and Mozambique - the most significant time considered, among several ex-colonial areas -, this essay seeks to provide a first contribution to that study, which are to come to be increasingly global.
It is also important to note what is meant here and interprets the "Twentieth Century" as having the Portuguese context, the real or actual beginning after World War I, about the dawn of the second quarter to nine hundred. Moreover, this study focuses on the historical stage by 1975 - that is, until the time of independence of the spaces considered Africans - because obviously we are concerned here to examine the urban-themed architectural roots, Portuguese influence and cultural context, something that becomes fully thereafter. Thus, speaking of architecture, urbanism theme at the "Portuguese Africa" is mostly talking about half a century situated between 1925 and 1975.
In this work it is the articulation of historical information, published or unpublished, with more recent data, and an audiovisual collection and oral testimonies direct result of trying to organize a discussion and an initial summary of this documentation and these testimonies. It is also necessary to mention that the understanding and justification of this study is to articulate the urban experience and urban planning with the work and architectural practice - especially since many of the professionals listed here and worked in both fields simultaneously - because we believe those two fields creation and knowledge as complementary and inseparable, in a sense interactive.
A generation of Portuguese architects left a vast work in Angola and Mozambique. Held in the third quarter of the century, this was an extremely avant-garde production of innovative and accomplished within colonial African who must now protect.
Little or nothing known, nor in his life nor in his work, were nevertheless applied builders Africa's century, in planning and urban design, architecture and arts. We speak of the "heroic generation" of Portuguese architects who, born mostly in years 10 and 20, formed in the postwar schools of Lisbon and Porto, have been living and working mainly in Angola and Mozambique over the decades of 40, 50 and 60.
Some have lived there, inserted in the middle colonies, and then came to the metropolis of completing their studies.
This was the case of Vasco Vieira da Costa (1911-1982), born in Aveiro, who studied and worked with Le Corbusier is a remarkable work in Luanda. Vasco Vieira da Costa set up in Luanda in 1960, having gone to Oporto in 1982, a few months before his death. With a small stake in the Exhibition-Fair of Angola in 1938, its kick-off with the draft Market Kinaxixi (1950-52) at Piazza Kinaxixi (1953), built by the firm "Castillos" a block for servants of the State, at Rua Amilcar Cabral (Set OBRES Modernes ... 1996), the whole pavilion, though incomplete Engineering Laboratory of Angola. As their own, the building's Diamang Rua Lopes Lima, the building of Versailles, at Avenida Rainha Ginga, an outstanding building of the Ministry of Public Works, commonly known as building Mutamba (1968-69), with a strong Corbusian mainly in the grids, the English School (Futungo Fine), Gedaliah (workshop and booth), Secil the tower and House of Brokers in the February 4, the Anangola and still factory Fabimor. There were many other works that he left here, the aesthetic quality and remarkable versatility in its functionality. Vieira da Costa deserves much more than these few words, and I think that with the growing number of architects Angolans, he will have the honor that has been repeatedly delayed.
But others, then recently graduated, went to Africa "to be free ', to get his professional life in a more open and modern, something simple and seemingly normal, but they felt they were somehow denied or impeded in the homeland Europe.
Was the case with talented José Pinto da Cunha, reputed author of numerous houses' for the rich "here, including the current residence of the ambassador of Portugal, designed the first duplex on Marginal, but above all creative works and bold Luanda innovative, between 63 and 67, as the modern Quarter Hold (a vast array type Olivais lisboetas 'in good'), the building of the National Radio of Angola (Built on land where there was an exhibition, "Overseas, whose halls participated some architects living in Luanda in the 60s). The great work of this architect, in association with the Costa Pereira Cyril was the building built in downtown Luanda, Rua Major Kanhangulo Opened in 1958, which is work still to take, within a certain period of architecture in colonial Africa.
José Pinto da Cunha was the son of one of the most repressive faculty of the School of Fine Arts in Lisbon, which came to lead an authentic "forced migration" of students, collectively leaded in 42, to complete the course in Porto.
It was also the case of Francisco Castro Rodrigues (1920), the remarkable 'architect of Lobito', which generously offered their talent and professional life to the time it became the second city of Angola. Although overseen by the PIDE, Roberts managed to establish himself in Lobito on 53 and there conducted a real 'global work', whereas a slight but active municipal official. Was planner, urban planner and architect, performing for the new urban expansion areas many of the best equipment (between 64-66), in characteristically light and modern design, such as school, market, the airport, the elegant terrace cine Flamingo.
Only since 1975, started working in the capital, Luanda has so few papers with your signature.
Robinson was an exceptional course in Angola, as 'was', by adhesion and taste, since independence, contributing to the organization's current architecture of the young Republic of Angola until 87. Their work, while teaching at the faculty of architecture at the University Agostinho Neto, was colossal importance.
When you leave Angola in 1988, leaves at Lobito "every corner of your risk and the dash.
Invited by the city of Lobito to the celebrations of the city, returned there in 1993, honored and touched.
Already the architect of natural Luanda, Jonathan Simões de Carvalho, who also tyrosine in the atelier of Le Corbusier, is a figure of more diversified business, with works in Luanda, but also in London and Brazil. Between 63 and 65, was author, with Pinto da Cunha, Hospital of Lubango (Sa da Bandeira former) and also with Alfredo Fernando Pereira, Barrio Hold Luanda. Intervention had a persistent and continuous training in municipal planning of Luanda.
Many other writers and works with modernity could be part of this list in Angola and Mozambique, a first search, can be grouped more than fifty names of architects there set.
In Angola, still refer to such names as Antonio Campino with the President or the Auto Hotel Avenue in Luanda, the Brothers Garcia de Castilho, pioneers of the '50s, which he built in Luanda Film Restoration or the grand building Mobil (1951), the Battle of Fernando (1908), who worked for the National Monuments in Angola, of the Pereira da Costa (with the Building Cyril, the 'cycle of coffee', 59), the Louis Taquelim (born Algarve, it seems the author of Moxico Hotel / Vila Luso).
And not forgetting the most fleeting passes, but marked by an uncompromising action, such as Francisco Silva Dias (1930), which earned her resignation from the Board of Luanda (dared publicly to advocate that the planning was led by local architects!) - yet the author of the draft technical school of Saurimo, in the remote Lunda, 59 (work discovered that there are days, surprised to have been built) or Teotonio Pereira and Nuno Bartolomeu Costa Cabral, authors of a small 'mini city industrial 'Modern Pulp Enterprise (High Catumbela, Benguela - 58-59).
In Mozambique there are also a number of authors and works of great quality. Besides Amancio Guedes Miranda (or Pancho Guedes, Lisbon, 1925), already better known and prized for its unique and diverse workforce Laurentian, and other newer (Jose Forjaz, Coimbra, 1936) - there is mention architects unfairly unknown or forgotten John Joseph Taylor (1983), author of notable modern works adapted to the climatic context (Terminal Nampula; seat of Government of Niassa, Lichinga, - 66-68); José Porto (1963), author of the wonderful Grand Hotel Beira and several buildings in the city center, the years 40-50, Francisco Castro (designer of the Beira railway station) or Garizo Carmo (Cinema S. Jorge, Beira). And not forgetting, again, the authors point passing through the territory, as José Bastos Gomes (1914-1991), author of the splendid and super decorated BNU Lourenço Marques (now the Bank of Mozambique in Maputo).
What is striking in all these works, the scale is innovative and modern, with no shame, fear or hesitation, although established in the middle of the colonial situation, and in many cases 'super provincial'. What we admire and esteem is the greatness of sights, cultural, and artistic techniques of a generation of "professional migrants", who, working often in contexts of the administration official was able to launch 'new towns', full of brand new modern architecture the various and vast areas of the territories then Luso-Africans. Especially between 1950 and 1975. Because it must be said, a quarter century after management ended with some objectivity, this architecture and urbanism have reached this size and quality higher than that practiced at the same time the 'Metropolis'.
And just a situation of complete confidence in the innovation of collective enthusiasm, despite the line of differences (between state, private developers, municipal action) and understanding and acceptance of a new scale geographic, economic and social development (with some ingenuity and a taste for discovery, which is beneficial in these cases) may explain this. In contrast to a metropolitan society, who resisted modernization in 'Portuguese Africa' in the third quarter of the century it was possible to try and even food and bring newness and modernity of spaces and architectures in a period of 25 years, in fact the only context Europe, since European countries (democracy in post-World War II) had almost entirely abandoned since the colonial territories in Africa to 60-61.
During this time, ironically, Portugal was thus the 'unique case' of a nation with retrograde political system at European level which had a production leading innovator in its space colonial Africa.
Now, looking at the possible future of this great legacy material, between cities and buildings, we must know the insert (what's left, and it is recoverable) in the new context of post-civil wars, new nations of Guinea-Bissau, Mozambique and hopefully soon in Angola. Knowing the value of what is, better able to recover, reuse and integrate.
Antonio Veloso, did the project for the plant Jomar, the road of Cuca (N'Gola Kiluange), and even some buildings in the avenue, on land divided between various owners from the north of Portugal, who gave these works to their "fellow countrymen "with a strong regionalist, since the architects chosen were all from the College of Fine Arts of Porto (Gennaro Godinho, Vieira da Costa, Adalberto Dias Pereira da Costa Pinto da Cunha and of course, Antonio Veloso).
The architect designed the George Clark Fosforeira Angola and a tube factory in 1958, and water treatment plant in Gika Commander.
The BCA, the work "flagship" in downtown, is authored by Gennaro Godinho, and a curiosity it should be noted that the design of Bank of Angola is the architect Vasco Regaleira, who like Paulo Cunha (who did the work zone Port of Luanda and wide front) cannot be considered "generation African" because he never lived or worked continuously in Angola.
There is still some work to architect Troufa Real, stressing among many, the project of a bank branch in Largo Maianga.
To end this tour by "African Generation" of Portuguese architects who have worked in Angola, it would be unfair to omit the architect Fernando Battle, the only one who at one time worked in heritage preservation, and his book "Architecture in Angola" will talk another time. This is a matter of utmost relevance come to be touched, any time soon, given the eagerness with which some vested interests are manifested by the "slaughter" of buildings, which are inseparable from the sustained growth history of the city, in certain periods of its history of centuries.
One day, Fernando Batalha, a nearly century architect and very lucid, will appear as a source of studies on the colonial era, having been the only one over 45 years in Angola, working on the property.
They say it was a lonely man who at the time, defended values discarded. Was writing these memories and continues to do so every day in an office where you can see the Tagus. He is the author of numerous publications on architecture, ethnography, history, and archeology.
It all began in January. º Cruise Vacation Students' Metropolis at Colonial, with a cultural director named Marcelo Caetano, who "told him to do many lectures and essays" during the trip. In the end, Fernando Battle let himself enchanted by Africa. He stayed. 1935: "There was only in Luanda century architecture. XVII, XVIII and XIX. From the century. XX, nothing! The city had no paved streets or sewage system. He took to bathing with a bucket of holes, from where he pulled a twine to leave yellow water. "
Had meetings marked. With the king of Congo, D. Peter VII, when, in 1942, showed him the debris of the first church of the Portuguese city of San Salvador (1491), now M'banza Congo. "It was old man, but nice and friendly, simple in dress," recalls Fernando Battle, who later learned of the site have turned airstrip.
Longevity has made it a living voice of history. He was among the first architects to step on the former colony, which led to immediate calls and work done. But the stop-start development takes young people to compete for South Africa in World War II, given the lack of technicians, called to combat. "The intelligence was operating in Angola, a bridge between Europe and Africa, and 'they' wanted to examine my condition. But when it comes to authorization, since the war ended, and the architects were in their posts."
He was grateful to fate. "I did not like, despite the South African cities are highly developed. When the Boers won the elections in 1948, lived in a guerrilla war without weapons, because the population was accustomed to the English, more lenient. There was open communication between ethnic. In Angola, the coexistence was different. “He walked a lot.”I visited the sites where there was the Portuguese presence. I confirmed ruins missing information gathered. I have a list of what there was." Was concerned with saving buildings, classifying all that way, restored what they could. Had problems because he wants to preserve centuries-old homes that were destroyed in Luanda. All documentation is on its enviable file.
The great work comes after the war. "The price of coffee has risen greatly. The Americans, who did the Vietnam War with stimulants, continued to drink coffee when they returned home. Europeans also. And Luanda begins to grow with private investment." And official. "Salazar did not want Angola to stay behind other colonies. He made the port of Luanda, roads, school buildings, finance with four floors, and opened up construction neighborhoods for whites and blacks."
Time to write, so do not miss. "At the time, not giving me work, but had an office in the palace with beautiful view to the garden of the governor. There were editors or readers, but took notes and wrote articles and short essays."
The interventions were in the hundreds. Engaged in land development plans, expansion of commerce and palaces of governors, launching offices in Angola. When age 75 came to Lisbon, he left the inventory of assets of the new country. A numerical palindrome of stay (1938-1983) in Angola did - you go through ancient times and continue, after independence, to transmit knowledge as a professor in the Faculty of Architecture of Luanda.
You have to edit the original seven. "I just wanted to live up to the launch of the forthcoming book, The Historical Populations of Angola." Frail but confident voice, he lives surrounded Battle of maps, old files and projects. He writes on yellow leaves, perhaps coming from Africa.
This "Africa" Generation are also included painters such as: Abel Manta, Almada Negreiros, António Quadros, Dórdio Gomes, Henry Medina, Isolino Vaz, Jaime Isidoro, John Hogan, Júlio Resende, Lourdes Castro, Manuel Pereira da Silva, among others; sculpture, highlight: Arlindo Rocha, Henrique Moreira, Leopoldo de Almeida, Manuel Pereira da Silva e Sousa Caldas.
In 1955, Manuel Pereira da Silva designed the statue of Ulysses S. Grant, 18th U.S. president won the tender launched for that purpose by the Ministry of Overseas, erected opposite the building of the Town Hall of Bolama, in Guinea-Bissau.
Ulysses Grant was an American general and statesman, born in 1822 and died in 1885. Walked in the Mexican War in 1847 and actively participated in the Civil War, fighting alongside the Northerners, having given the coup de grace in the Southern 1865. Candidate for U.S. president, won overwhelmingly, and ruled from 1868 to 1876, as 18th President. From 1877 to 1880 made a triumphal trip around the world, where he was always warmly received. "
"For it was this famous statesman who openly defended the possession of Guinea to Portugal. In memory of someone, being large, generously learned advocate a just cause, the Government commissioned the Portuguese Manuel Pereira da Silva their statue, despite the Guinean revolutionary winds of independence, is still in place. "
In 1960, Manuel Pereira da Silva performed, "Africa", this low-relief, polychrome faience, for the decoration of the facade of a building situated on the waterfront of the Bay of Luanda, Angola. To this end Manuel Pereira da Silva improvised studio in a vacant industrial collection, on the outskirts of Porto.
This with the bas-relief of the Palace of Justice had the same treatment bas-relief running to Angola where there are plenty of geometric shapes. Figures of the Gentiles, plants and animals are on the immense work in a modern design that Manuel Pereira da Silva sought to impose on their works.
Cycle, the inevitability that history often plays, whether it is currently widely repeated, with a new lease that will surely also relevant results.
Jose Manuel Fernandes, architect and teacher in the School of Architecture at the Technical University of Lisbon, invited the seminarian course in architecture at the Autonomous University of Lisbon, is one of the few architects with a literary work that can be considered relevant, and has written about the Portuguese architecture (and world) in a consistent and systematic in the past twenty years (at least), either in book or in articles written for the press.
Has chronicles published in the weekly magazine Expresso, carried along with architect Manuel Graça Dias - another author of books on architecture - strangely discontinued in favor of a new profile of the magazine (s) - questionable, it is true the lack of space for these kinds of texts - have always been an epitome of quality and rigor, by reflecting on the genesis and architecture for a personal reading (nay), with particular attention to all forms, styles, trends (without exception) and a great respect for history and the facts.
'Africa Generation' is assumed as a demonstration of how the work of Portuguese architects in Angola towns, such as Lobito, Nova Lisboa (Huambo), Benguela and Malange, and cities in Mozambique, Lourenço Marques (now Maputo), Nampula , Beira and Quelimane. Registration of the text, between the use of historical fact, artistic and sometimes personal, architects involved, especially in the first part, is substantiated by the black and white photographs of various authors and the very José Manuel Fernandes, illustrating the leitmotif. In particular, some of these photographic reproductions are part of the private collection of Victor Pavoeiro Ferreira ('Victor Ferreira,' my father), who was always with a NIKON (NIKORMAT model) and a tripod in hand, even when he was at war overseas. And, indeed prescient, very well photographed architecture. He had a fondness for 'framework', which the extensive collection of slides just to confirm. We were then waiting for the second edition of this book, about to be published, perhaps in color.
This work starts from the notion that architecture and urbanism of Portuguese roots, affirmed throughout the twentieth century - and who have received extensive study in the Iberian and European area, in recent years - will only be fully and coherently explained if we studied the presence and parallel statement in overseas areas.
Choosing the territories of Angola and Mozambique - the most significant time considered, among several ex-colonial areas -, this essay seeks to provide a first contribution to that study, which are to come to be increasingly global.
It is also important to note what is meant here and interprets the "Twentieth Century" as having the Portuguese context, the real or actual beginning after World War I, about the dawn of the second quarter to nine hundred. Moreover, this study focuses on the historical stage by 1975 - that is, until the time of independence of the spaces considered Africans - because obviously we are concerned here to examine the urban-themed architectural roots, Portuguese influence and cultural context, something that becomes fully thereafter. Thus, speaking of architecture, urbanism theme at the "Portuguese Africa" is mostly talking about half a century situated between 1925 and 1975.
In this work it is the articulation of historical information, published or unpublished, with more recent data, and an audiovisual collection and oral testimonies direct result of trying to organize a discussion and an initial summary of this documentation and these testimonies. It is also necessary to mention that the understanding and justification of this study is to articulate the urban experience and urban planning with the work and architectural practice - especially since many of the professionals listed here and worked in both fields simultaneously - because we believe those two fields creation and knowledge as complementary and inseparable, in a sense interactive.
A generation of Portuguese architects left a vast work in Angola and Mozambique. Held in the third quarter of the century, this was an extremely avant-garde production of innovative and accomplished within colonial African who must now protect.
Little or nothing known, nor in his life nor in his work, were nevertheless applied builders Africa's century, in planning and urban design, architecture and arts. We speak of the "heroic generation" of Portuguese architects who, born mostly in years 10 and 20, formed in the postwar schools of Lisbon and Porto, have been living and working mainly in Angola and Mozambique over the decades of 40, 50 and 60.
Some have lived there, inserted in the middle colonies, and then came to the metropolis of completing their studies.
This was the case of Vasco Vieira da Costa (1911-1982), born in Aveiro, who studied and worked with Le Corbusier is a remarkable work in Luanda. Vasco Vieira da Costa set up in Luanda in 1960, having gone to Oporto in 1982, a few months before his death. With a small stake in the Exhibition-Fair of Angola in 1938, its kick-off with the draft Market Kinaxixi (1950-52) at Piazza Kinaxixi (1953), built by the firm "Castillos" a block for servants of the State, at Rua Amilcar Cabral (Set OBRES Modernes ... 1996), the whole pavilion, though incomplete Engineering Laboratory of Angola. As their own, the building's Diamang Rua Lopes Lima, the building of Versailles, at Avenida Rainha Ginga, an outstanding building of the Ministry of Public Works, commonly known as building Mutamba (1968-69), with a strong Corbusian mainly in the grids, the English School (Futungo Fine), Gedaliah (workshop and booth), Secil the tower and House of Brokers in the February 4, the Anangola and still factory Fabimor. There were many other works that he left here, the aesthetic quality and remarkable versatility in its functionality. Vieira da Costa deserves much more than these few words, and I think that with the growing number of architects Angolans, he will have the honor that has been repeatedly delayed.
But others, then recently graduated, went to Africa "to be free ', to get his professional life in a more open and modern, something simple and seemingly normal, but they felt they were somehow denied or impeded in the homeland Europe.
Was the case with talented José Pinto da Cunha, reputed author of numerous houses' for the rich "here, including the current residence of the ambassador of Portugal, designed the first duplex on Marginal, but above all creative works and bold Luanda innovative, between 63 and 67, as the modern Quarter Hold (a vast array type Olivais lisboetas 'in good'), the building of the National Radio of Angola (Built on land where there was an exhibition, "Overseas, whose halls participated some architects living in Luanda in the 60s). The great work of this architect, in association with the Costa Pereira Cyril was the building built in downtown Luanda, Rua Major Kanhangulo Opened in 1958, which is work still to take, within a certain period of architecture in colonial Africa.
José Pinto da Cunha was the son of one of the most repressive faculty of the School of Fine Arts in Lisbon, which came to lead an authentic "forced migration" of students, collectively leaded in 42, to complete the course in Porto.
It was also the case of Francisco Castro Rodrigues (1920), the remarkable 'architect of Lobito', which generously offered their talent and professional life to the time it became the second city of Angola. Although overseen by the PIDE, Roberts managed to establish himself in Lobito on 53 and there conducted a real 'global work', whereas a slight but active municipal official. Was planner, urban planner and architect, performing for the new urban expansion areas many of the best equipment (between 64-66), in characteristically light and modern design, such as school, market, the airport, the elegant terrace cine Flamingo.
Only since 1975, started working in the capital, Luanda has so few papers with your signature.
Robinson was an exceptional course in Angola, as 'was', by adhesion and taste, since independence, contributing to the organization's current architecture of the young Republic of Angola until 87. Their work, while teaching at the faculty of architecture at the University Agostinho Neto, was colossal importance.
When you leave Angola in 1988, leaves at Lobito "every corner of your risk and the dash.
Invited by the city of Lobito to the celebrations of the city, returned there in 1993, honored and touched.
Already the architect of natural Luanda, Jonathan Simões de Carvalho, who also tyrosine in the atelier of Le Corbusier, is a figure of more diversified business, with works in Luanda, but also in London and Brazil. Between 63 and 65, was author, with Pinto da Cunha, Hospital of Lubango (Sa da Bandeira former) and also with Alfredo Fernando Pereira, Barrio Hold Luanda. Intervention had a persistent and continuous training in municipal planning of Luanda.
Many other writers and works with modernity could be part of this list in Angola and Mozambique, a first search, can be grouped more than fifty names of architects there set.
In Angola, still refer to such names as Antonio Campino with the President or the Auto Hotel Avenue in Luanda, the Brothers Garcia de Castilho, pioneers of the '50s, which he built in Luanda Film Restoration or the grand building Mobil (1951), the Battle of Fernando (1908), who worked for the National Monuments in Angola, of the Pereira da Costa (with the Building Cyril, the 'cycle of coffee', 59), the Louis Taquelim (born Algarve, it seems the author of Moxico Hotel / Vila Luso).
And not forgetting the most fleeting passes, but marked by an uncompromising action, such as Francisco Silva Dias (1930), which earned her resignation from the Board of Luanda (dared publicly to advocate that the planning was led by local architects!) - yet the author of the draft technical school of Saurimo, in the remote Lunda, 59 (work discovered that there are days, surprised to have been built) or Teotonio Pereira and Nuno Bartolomeu Costa Cabral, authors of a small 'mini city industrial 'Modern Pulp Enterprise (High Catumbela, Benguela - 58-59).
In Mozambique there are also a number of authors and works of great quality. Besides Amancio Guedes Miranda (or Pancho Guedes, Lisbon, 1925), already better known and prized for its unique and diverse workforce Laurentian, and other newer (Jose Forjaz, Coimbra, 1936) - there is mention architects unfairly unknown or forgotten John Joseph Taylor (1983), author of notable modern works adapted to the climatic context (Terminal Nampula; seat of Government of Niassa, Lichinga, - 66-68); José Porto (1963), author of the wonderful Grand Hotel Beira and several buildings in the city center, the years 40-50, Francisco Castro (designer of the Beira railway station) or Garizo Carmo (Cinema S. Jorge, Beira). And not forgetting, again, the authors point passing through the territory, as José Bastos Gomes (1914-1991), author of the splendid and super decorated BNU Lourenço Marques (now the Bank of Mozambique in Maputo).
What is striking in all these works, the scale is innovative and modern, with no shame, fear or hesitation, although established in the middle of the colonial situation, and in many cases 'super provincial'. What we admire and esteem is the greatness of sights, cultural, and artistic techniques of a generation of "professional migrants", who, working often in contexts of the administration official was able to launch 'new towns', full of brand new modern architecture the various and vast areas of the territories then Luso-Africans. Especially between 1950 and 1975. Because it must be said, a quarter century after management ended with some objectivity, this architecture and urbanism have reached this size and quality higher than that practiced at the same time the 'Metropolis'.
And just a situation of complete confidence in the innovation of collective enthusiasm, despite the line of differences (between state, private developers, municipal action) and understanding and acceptance of a new scale geographic, economic and social development (with some ingenuity and a taste for discovery, which is beneficial in these cases) may explain this. In contrast to a metropolitan society, who resisted modernization in 'Portuguese Africa' in the third quarter of the century it was possible to try and even food and bring newness and modernity of spaces and architectures in a period of 25 years, in fact the only context Europe, since European countries (democracy in post-World War II) had almost entirely abandoned since the colonial territories in Africa to 60-61.
During this time, ironically, Portugal was thus the 'unique case' of a nation with retrograde political system at European level which had a production leading innovator in its space colonial Africa.
Now, looking at the possible future of this great legacy material, between cities and buildings, we must know the insert (what's left, and it is recoverable) in the new context of post-civil wars, new nations of Guinea-Bissau, Mozambique and hopefully soon in Angola. Knowing the value of what is, better able to recover, reuse and integrate.
Antonio Veloso, did the project for the plant Jomar, the road of Cuca (N'Gola Kiluange), and even some buildings in the avenue, on land divided between various owners from the north of Portugal, who gave these works to their "fellow countrymen "with a strong regionalist, since the architects chosen were all from the College of Fine Arts of Porto (Gennaro Godinho, Vieira da Costa, Adalberto Dias Pereira da Costa Pinto da Cunha and of course, Antonio Veloso).
The architect designed the George Clark Fosforeira Angola and a tube factory in 1958, and water treatment plant in Gika Commander.
The BCA, the work "flagship" in downtown, is authored by Gennaro Godinho, and a curiosity it should be noted that the design of Bank of Angola is the architect Vasco Regaleira, who like Paulo Cunha (who did the work zone Port of Luanda and wide front) cannot be considered "generation African" because he never lived or worked continuously in Angola.
There is still some work to architect Troufa Real, stressing among many, the project of a bank branch in Largo Maianga.
To end this tour by "African Generation" of Portuguese architects who have worked in Angola, it would be unfair to omit the architect Fernando Battle, the only one who at one time worked in heritage preservation, and his book "Architecture in Angola" will talk another time. This is a matter of utmost relevance come to be touched, any time soon, given the eagerness with which some vested interests are manifested by the "slaughter" of buildings, which are inseparable from the sustained growth history of the city, in certain periods of its history of centuries.
One day, Fernando Batalha, a nearly century architect and very lucid, will appear as a source of studies on the colonial era, having been the only one over 45 years in Angola, working on the property.
They say it was a lonely man who at the time, defended values discarded. Was writing these memories and continues to do so every day in an office where you can see the Tagus. He is the author of numerous publications on architecture, ethnography, history, and archeology.
It all began in January. º Cruise Vacation Students' Metropolis at Colonial, with a cultural director named Marcelo Caetano, who "told him to do many lectures and essays" during the trip. In the end, Fernando Battle let himself enchanted by Africa. He stayed. 1935: "There was only in Luanda century architecture. XVII, XVIII and XIX. From the century. XX, nothing! The city had no paved streets or sewage system. He took to bathing with a bucket of holes, from where he pulled a twine to leave yellow water. "
Had meetings marked. With the king of Congo, D. Peter VII, when, in 1942, showed him the debris of the first church of the Portuguese city of San Salvador (1491), now M'banza Congo. "It was old man, but nice and friendly, simple in dress," recalls Fernando Battle, who later learned of the site have turned airstrip.
Longevity has made it a living voice of history. He was among the first architects to step on the former colony, which led to immediate calls and work done. But the stop-start development takes young people to compete for South Africa in World War II, given the lack of technicians, called to combat. "The intelligence was operating in Angola, a bridge between Europe and Africa, and 'they' wanted to examine my condition. But when it comes to authorization, since the war ended, and the architects were in their posts."
He was grateful to fate. "I did not like, despite the South African cities are highly developed. When the Boers won the elections in 1948, lived in a guerrilla war without weapons, because the population was accustomed to the English, more lenient. There was open communication between ethnic. In Angola, the coexistence was different. “He walked a lot.”I visited the sites where there was the Portuguese presence. I confirmed ruins missing information gathered. I have a list of what there was." Was concerned with saving buildings, classifying all that way, restored what they could. Had problems because he wants to preserve centuries-old homes that were destroyed in Luanda. All documentation is on its enviable file.
The great work comes after the war. "The price of coffee has risen greatly. The Americans, who did the Vietnam War with stimulants, continued to drink coffee when they returned home. Europeans also. And Luanda begins to grow with private investment." And official. "Salazar did not want Angola to stay behind other colonies. He made the port of Luanda, roads, school buildings, finance with four floors, and opened up construction neighborhoods for whites and blacks."
Time to write, so do not miss. "At the time, not giving me work, but had an office in the palace with beautiful view to the garden of the governor. There were editors or readers, but took notes and wrote articles and short essays."
The interventions were in the hundreds. Engaged in land development plans, expansion of commerce and palaces of governors, launching offices in Angola. When age 75 came to Lisbon, he left the inventory of assets of the new country. A numerical palindrome of stay (1938-1983) in Angola did - you go through ancient times and continue, after independence, to transmit knowledge as a professor in the Faculty of Architecture of Luanda.
You have to edit the original seven. "I just wanted to live up to the launch of the forthcoming book, The Historical Populations of Angola." Frail but confident voice, he lives surrounded Battle of maps, old files and projects. He writes on yellow leaves, perhaps coming from Africa.
This "Africa" Generation are also included painters such as: Abel Manta, Almada Negreiros, António Quadros, Dórdio Gomes, Henry Medina, Isolino Vaz, Jaime Isidoro, John Hogan, Júlio Resende, Lourdes Castro, Manuel Pereira da Silva, among others; sculpture, highlight: Arlindo Rocha, Henrique Moreira, Leopoldo de Almeida, Manuel Pereira da Silva e Sousa Caldas.
In 1955, Manuel Pereira da Silva designed the statue of Ulysses S. Grant, 18th U.S. president won the tender launched for that purpose by the Ministry of Overseas, erected opposite the building of the Town Hall of Bolama, in Guinea-Bissau.
Ulysses Grant was an American general and statesman, born in 1822 and died in 1885. Walked in the Mexican War in 1847 and actively participated in the Civil War, fighting alongside the Northerners, having given the coup de grace in the Southern 1865. Candidate for U.S. president, won overwhelmingly, and ruled from 1868 to 1876, as 18th President. From 1877 to 1880 made a triumphal trip around the world, where he was always warmly received. "
"For it was this famous statesman who openly defended the possession of Guinea to Portugal. In memory of someone, being large, generously learned advocate a just cause, the Government commissioned the Portuguese Manuel Pereira da Silva their statue, despite the Guinean revolutionary winds of independence, is still in place. "
In 1960, Manuel Pereira da Silva performed, "Africa", this low-relief, polychrome faience, for the decoration of the facade of a building situated on the waterfront of the Bay of Luanda, Angola. To this end Manuel Pereira da Silva improvised studio in a vacant industrial collection, on the outskirts of Porto.
This with the bas-relief of the Palace of Justice had the same treatment bas-relief running to Angola where there are plenty of geometric shapes. Figures of the Gentiles, plants and animals are on the immense work in a modern design that Manuel Pereira da Silva sought to impose on their works.
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