M a r t a La la n da Pr ist a
Cent ro em Rede de I nvest igação em Ant ropologia ( CRI A- FCSH/ NOVA) / Cent re for Research in Ant hropology, Lisbon, Port ugal
Abst r a ct
The nexus bet w een t radit ion and m odernit y is long- root ed in t he int ellect ual and polit ical discour ses about a Port uguese ar chit ect ur e ident it y, eit her as a dialogue const rued as a nat ional specificit y , or as a dichot om y t hat st r esses differ ent act ors' dist inct and even opposing cult ural underst andings and polit ical uses of cat egories of cult ur e and t im e. Recent ly, how ev er, t he hist or y and crit ique of m odernism in archit ect ure has overcom e t he m ainst r eam r eadings of it s corpus, m it igat ing it s ort hodoxy , and disclosing long- st anding relat ionships bet w een m odern archit ect ure proposals and v ernacular set t lings. Such rer eading has t rigger ed a r evision of Port uguese hist ory of archit ect ure, in part icular r egarding t he gat e- keeping concept ions of Port ugal as an isolat ed and peripheral count r y, and t he polit ical st ances of part icular archit ect ural pr oduct ions. This paper aim s t o discuss t he ext ent of t he t radit ion - m odernit y bindings in t he spacialisat ion of a Port uguese ident it y in archit ect ural discourses. I n t his scope, it w ill look int o t he survey on t he 20t h cent ury Port uguese ar chit ect ur e conduct ed by t he Port uguese archit ect s bet w een 2003 and 2006, as an expression of how Port uguese m oder n archit ect ur e is being em ically const r ued. Taking int o account it s process and out com es, and it s aut hors' purposes and reasoning, t he paper w ill exam ine it s m odes and hues, evaluat ing t he dynam ics beyond t he pr oduct ion of a hist ory of archit ect ure and it s relat ing t o broader pr ocesses of im agining t he past and cult ure in Port ugal.
Ke yw or ds: Survey, Hist or y of Archit ect ure, Herit age, Nat ional I dent it y.
The relat ion bet ween m odernit y and t radit ion is a concern long root ed in Port uguese discourses about an archit ect ural hist ory and ident it y oft en relat ed t o erudit e- v ernacular and urban- rural correlat ions. I t has been reasoned as a dialogue t hat const rues a nat ional fundam ent al and a dichot om y t hat em phasises opposing int erest s and powers in t he social product ion of space. The argum ent rest s on t he idea t hat int ernat ional m odels have been sensit ively int erpret ed by spat ial pract ices in- bet ween erudit ion and vernacular ism , bot h in t he product ion of hist oric ( e.g. Cost a, 1995) and m odern archit ect ure ( e.g. Ollero, 2001)1
1 For purposes of clearer reading, t he paper follows t he t erm s globally used by I AP20's
aut hors, using Modern t o refer t o t he Modern Movem ent product ion, using Modernist t o address previous aest het ics inspired by m odernit y, and using m odern w hen report ing indifferent ly t o t he cont em porary t im e, set roughly on t he 20t h cent ury.
pioneers ( e.g. Port as, 1978) , t he argum ent s of a geo- econom ic per iphery and ideological resist ance have st ressed t radit ion and m odernit y as opposing narrat ives of dist inct reasonings by conservat ive and progressive ideals. A key m om ent was set on t he fift ies, bet ween archit ect s' first nat ional congress ( 1948) and t heir de- obj ect ificat ion of t radit ion in t he Survey on Port uguese Regional Archit ect ure ( I ARP) ( SNA, 1961) . I t s underst anding of ver nacular was consider ed t o have disciplined t he revision of a conservat ive Modernism and grounded t radit ion- m odernit y bindings as a fundam ent al of Port uguese Modern archit ect ure ( Tost ões, 1997) .
Such ort hodox hist ory of Port uguese m odern archit ect ure has been challenged by crit ical analyses t hat quest ion t he grounds of t he periphery and resist ance argum ent s ( e.g. Alm eida 2008)2. I t s place in t he m ainst ream narrat ive of Port uguese archit ect ure seem s, however, t o have been on hold unt il recent ly, when t he int ernat ional hist ory and crit ique of m odernism reviewed it s relat ion t o regional vernacularism s beyond t he Anglo- Saxon hegem onic em phasis on universal rat ionalit y ( e.g. Lej eune and Sabat ino, 2010) . New research in Port ugal appears t o be follow ing up developm ent s, deconst ruct ing t enet s by unveiling Port uguese archit ect s' int eract ions w it h t he out side world and t he m eanders of t heir ideological and polit ical alignm ent s. The 20t h cent ury seem s nowadays t o represent a m at urat ion process of Port uguese archit ect ure ( e.g. Tost ões, 2002) . I n an effort t o underst and t he ext ent of t hese t radit ion- m odernit y bindings in t oday's spacialisat ion of a Por t uguese ident it y in ar chit ect ure, t his paper present s a prelim inary analysis of t he lat est em ic const ruct ion of an idea of Port uguese archit ect ure – t he Sur vey on 20t h Cent ury Archit ect ure in Port ugal ( I AP20) .
Th e Su r ve y on 2 0 t h Ce n t u r y Ar ch it e ct ur e in Por t u ga l ( I AP2 0 )
I n 2003, t he Port uguese Order of Archit ect s in consort ium w it h t he Minist ry of Cult ure and t he Fundació Mies van der Rohe was grant ed European funds t o conduct a nat ionw ide inquir y on archit ect ure built dur ing t he last cent ury.
Celebrat ing t he I ARP's 50t h anniversary, t he new inquir y focused on t he erudit e product ion, aim ing t o prom ot e t he social and polit ical recognit ion of m odern archit ect ure's values. I nspired by it s predecessor and carried out unt il 2006, I AP20 was m et hodologically built upon fieldwork, assem bling six t eam s of archit ect s t o operat e in six different regions of Port ugal3. Sign of t he t im es, t eam s set off equipped w it h georeference devices and com put ers t o build a digit al dat abase according t o a r ecord- sheet previously designed4
Three sem inars scheduled t he works of t he Survey. The first gat hered coordinat ors and int ernat ional expert s t o discuss concept s and m et hodologies; t he second reunit ed t he whole t eam t o present and t est inst rum ent s; and t he t hird was open t o t he public, present ing part ial result s
. Also different ly, t hey count ed on a list of reference buildings t o organise it inerar ies, assem bled by research in j ournals and m onographs, and added suggest ions of t he m unicipalit ies' t echnicians. Alike t heir pr edecessors, t eam s could adapt pr eparat ory guidelines according t o regional specificit ies. Nevert heless, a balance bet ween t im es, spaces, funct ional and aest het ic t ypes of 20t h cent ury Port uguese archit ect ure should be account ed for.
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. The collect ive work was aft erwards released in an on- line dat abase and published in pr int ( Afonso, 2006) and CD- Rom ( OA- CDN, 2006) form at s, in Apr il 20066
3 Scient ific coordinat or: Ana Tost ões; Nort h Region: Sérgio Fernandez ( coord.) , I nês Calor,
José Manuel Capela, José Miguel Brás Rodrigues, Paulo Mont eiro and Pedro Araúj o; Cent re Region: José Bandeirinha ( coord.) , Gonçalo Cant o Moniz, I sabel Bolas, José Manuel Oliveira and Susana Lobo; Lisbon and Tagus Valley Region: João Vieira Caldas and José Silva Carvalho ( coord.) , Conceição Cort e- Real, João Sant a- Rit a, João Alves da Cunha, Miguel Judas, Pedro Garcia da Fonseca and Sofia Curt o; Sout h Region: Michel Toussaint and Ricardo Carvalho ( coord.) , José Manuel Rodrigues, Pat rícia Bent o d'Alm eida, Rui Mendes and Vít or Mest re; Azores Region: João Maia Macedo ( coord.) , Manuela Braga and Mafalda Vicent e; Madeira Region: Luís Vilhena ( coord.) and Pilar Luz.
. These t ranslat e t he 120 t housand kilom et res
4 The record sheet includes fields such as: locat ion, aut horship, dat es, t ransform at ions,
conservat ion st at us, urban set t ing, funct ional t ype, cont em porary funct ion, legal prot ect ion, bibliographic references, and a space for observat ions on it s t echnical, social, cont ext ual, hist orical and cult ural feat ures. I t s digit al form also included t he possibilit y of at t aching pict ures and drawings, besides t he processual dat a ( num erat ion, region and aut hor of survey) . Dat abase is available at : ht t p: / / www.iap20.pt .
5 The first sem inar was held in Lisbon on February 20 04 wit h t he part icipat ion of Maurizio
Pla, Ant ónio Pizza, Luís Hornet , Nuno Gr ande, Xavier Cost a, Wilfried Wang and Vit t orio Lam pugnani. The second sem inar t ook place in Abrant es on July 2005. The final sem inar occurred in Coim bra on Novem ber 2005. Also, t o prom ot e I AP20 result s, t here was an exhibit ion held in I st anbul during t he UI A Congress ( 2005) .
6 There are significant differ ences bet ween dat abase, CD- Rom and book. The first t wo
t rodden, t he 299 count ies v isit ed, t he 82 t housand pict ures t ak en, and t he six t housand records creat ed. Team s acknowledge som e inaccuracies and gaps, consider ing it t o be an open work, a basis for fut ure research and updat es. I ndeed, I AP20 is not present ed, not represent ed as hist ory. I t is m ost ly seen as a dat abase which t he aut hors regret not having been given t he t im e t o reflect ively analyse before t he release of result s7
Nevert heless, I AP20's result s obj ect ify Port uguese archit ect ure built dur ing t he 20t h cent ury, enunciat ing an archit ect ural landscape of t he past . As t he post m odern epist em ology of sciences brought t he m at erial and social worlds t oget her, t he obj ect iv e- subj ect ive dichot om y was rev iewed and t he hist ory-m eory-m ory dist ance was narrowed. The past was reasoned as a social and int ellect ual const ruct , m eaning t hat herit age was no longer a m at t er of t rut h, but of int erpret at ion and proposit ion. I n t he st udy of archit ect ure, t his developm ent m eant an accept ance of it s m eanings t o be t he ent anglem ent of different hist or ies ( e.g. Whyt e, 2006) , writ t en by look ing at archit ect ure as represent at ion, as praxis, as product , and as a space for perform ance ( e.g. Lees, 2001) . Wit hin t his t heoret ical fram ework, I AP20 can be considered one expression of a " hist or ical cult ure" ( cf. Rüsen 1994) . I t is one m eans t hrough which one group produces and dissem inat es one past , put t ing int o pract ice an em ic narrat ive t hat inform s and is inform ed by societ y's collect ive hist orical conscience. Given t he form and cont ent s of t he published result s, I AP20 furt herm ore approaches a " landscape of m em ory" t hat leaves out t he cult ural processes t hat build space as place, t o t ake it as an inscr ibed surface in t im e ( cf. Küchler 1993) . What t his paper proposes is t herefore a reading of t his landscape as a const ruct of t he past , looking int o I AP20's out put s and it s aut hors' reasonings
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biographies, a 20t h cent ury chronology ( CD- Rom ) or essays about Port uguese m odern archit ect ure ( book) , but t hey are only a sam ple of 516 buildings of t he t ot al num ber of records in t he dat abase.
. I t will focus on t hree chief ideas repeat edly st ressed: ( 1) t he open work st at us; ( 2) t he pursuit of t im e- space- t ype represent at iveness; and ( 3) t he prom ot ion of public awareness of t he values of m odern herit age. This r eading m ust
7 The publicat ion of result s was speeded up t o m eet t he European funding condit ions. 8 These include t he dat abase, t he published m at erials and work papers, as well as int erview
nevert heless be underst ood as a prelim inary const ruct ion, on t he one hand result ing from a st ill ongoing research, on t he ot her hand because st ruct ured over t he part ial landscapes produced by t he I AP20 published m at erials9.
Th e pen w or k st a t u s
All over, I AP20 is st at ed m ore as a st art ing point t han as a finished product . The idea was t hat researchers would cont inue t o updat e t he Survey under supervision of a scient ific com m it t ee10. This exculpat es short com ings, but m ainly borrows a sense of hum ilit y t o a work in t he process of being int ellect ually dem ocrat icised. Whet her or not t he plan w ill m at erialise rem ains a quest ion. But regardless of t he fut ure, a part icular landscape was already produced due t o t he sym bolic power of it s enunciat ion. Two aspect s m ust be st ressed here. First , a sur vey is a m et hodological inst rum ent appropriat ed from posit iv ist fields of knowledge t hat lend a sense of obj ect ivit y t o research ( cf. Dehaene 2002) . Not ent ering epist em ological debat es, I AP20 is scient ifically confirm ed because it is a survey. Plus, it s unrem it t ing associat ion wit h I ARP, however sym bolic and affect ive it m ay be11
9 Nam ely, t he book, t he CD- Rom , t he brochures, t he out doors, and t he news on Bolet im Arquit ect os.
, guarant ees a line of cont inuit y w it h an ent erprise t hat is st r ongly and long root ed in Port uguese archit ect s' hist ory and ident it y as a class ( e.g. Port as 1978) . Not by chance, I AP20 was launched sim ult aneously t o I ARP's 3r d repr int and it s aut hors' at t ribut ion of honorary m em bership by t he Order. This was t he Nat ional Year of Archit ect ure, at t he eve of t he hom ologat ion of archit ect s' exclusiv it y t o pract ice archit ect ure. There is som e sort of corporat ive subt ext in I AP20 t hat it s prom ot ers do not forget t o recall ( cf. Afonso, 2006b) .
10 Aft er 2006, t he Order m ade som e init ial effort s t o com plet e records, norm alise fields, and
solve flaws. Now, arr angem ent s are being m ade in order t o cont inue t he dat abase in art iculat ion wit h Docom om o I beria.
11 According t o int erviewed aut hors and published m at erials, I ARP is an inspirat ion and a
A second aspect concerns t he aut horship of I AP20. On t he one hand, t here is t he form al and inst it ut ional fram e. I AP20 was prom ot ed by t he official represent at ives of t he Port uguese archit ect s, and support ed by a m aj or int ernat ional inst it ut ion of archit ect ure, t he nat ional governm ent and t he European com m unit y . There are no doubt s about t heir sym bolic power t o conduct t his survey. On t he ot her hand, I AP20 sum m ons a professional and int ellect ual aut hor it y on archit ect ure. From t he st art , t he scient ific head of t he survey is a renowned nam e in t he hist oriography of t he 20t h cent ury archit ect ure in Port ugal. Furt her, when assem bling t he t eam s, she inv it ed archit ect ural scholars set t led and w it h ack nowledged work on t he different regions of inquiry t o coordinat e t hem . Each of t hese, in t urn, select ed a t eam m ainly from t heir professional acquaint ances, bot h in t he academ ia and pract ice. And a significant part of t hese fieldwork m em bers were eit her developing, or cam e t o develop, doct orat e researches m ost ly relat ed t o t he Port uguese Modern Movem ent . Their aut horit y t o speak of m odern archit ect ure in Port ugal is hardly cont est able in a world where expert ise and specialisat ion organise labour and science.
Th e r e pr ese nt a t iven e ss a r gu m e nt
Assert ed t he legit im acy of I AP20's act ors t o propose an archit ect ural landscape, one m ay t ry t o underst and what t his landscape is. Docum ent s, published m at erials and aut hors st ressed I AP20's m et hodology t o be based on t he fundam ent al cr it erion of represent at iveness, regarding t im e, geographies, aut horships, funct ional t ypes and aest het ics. The subj ect ive and t rick y cr it er ion of qualit y would m ediat e such pluralit y12
12 Deliberat ely, t he " qualit y" fact or was left out of t his argum ent because of it s com plexit y of
analysis and t he paper's focus on t he enunciat ion of hist ory.
cont ext . Along wit h t he prevailing v isual present at ion of it em s, t his br ings I AP20 closer t o a cat alogue of buildings t hat obj ect ifies, if not aest het icises, archit ect ure. One t he ot her hand, in order t o est ablish an overall coherency, series of inquiry were defined a prior i by a correspondence bet ween seven periods of t im e and it s archit ect ural t ypes and aest het ics. This set t he t eam 's pace and, t hough it was not t o be followed t o t he let t er, st ill suggest s t he survey’s proxim it y w it h t he Port uguese ort hodox hist ory of archit ect ure. I n t his sense, I AP20 out put s resem ble a confirm ing st at em ent13
Not wit hst anding, t eam s availed t he given freedom of act ion. Their part ial inquir ies m anifest regional differences and part icular int er est s. Such subj ect iv it y was neit her a surprise nor a problem , as t he I ARP's experience had shown archit ect s t hat it was an inher ent drawback t hat sim ult aneously favoured t he pluralit y of insight s. Yet , t he part ial landscapes select ed t o publicise t he work dilut e t he regional subj ect iv it ies. For inst ance, sum m aries on regional findings highlight t hat : t he Nort h is heavily built in line wit h t he Oport o School; Lisbon concent rat es m odernit y's different experiences; t he Cent re echoes it s m arginal place in- bet ween poles; t he Sout h is div ided bet ween a t radit ionally st ruct ured inland and an urban, developed coast line; and t he archipelagos st and out by it s original archit ect ures, despit e or because of it s m arginalit y ( cf. Afonso, 2006a; Tost ões, 2006)
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A com parat ive analy sis of t he on- line and published records provides addit ional insight s. For exam ple, t he prevalence of t he Nort h, Cent re and Lisbon regions in t he book can be explained by t heir area and populat ion; j ust like t he proport ionally higher presence of t he archipelagos m ight be at t r ibut ed t o t he represent at iveness crit erion. St ill, t he second- place of Madeira's capit al count y in a m ost - quot ed rank ing is surpr ising. I n an effort t o highlight m ar ginal set t ings, Funchal r ises above it s represent at iveness in . These form ulat ions also t ell a st ory; but one whose t im eline is m easured by t he core cent res and t he m ainst ream narrat ives of hist ory .
13 Em phasis should be put on t he out put s, as int erview s wit h t he aut hors revealed insight s
and reflect ions not expressed by t he I AP20's published result s.
14 Synt hesis also grounded on t he regional coordinat ors' present at ion in t he Coim bra
t he count ry15. On t he cont rary, Sint ra's count y is highly underrepresent ed in t he publicat ion despit e it s significant present in t he dat abase16
Anot her observat ions can be m ade out of a com parat ive analy sis of t im es and spaces. The preponderance of records for t he early cent ury in Lisbon, followed by t he Nort h and Cent re records rising bet ween t he t went ies and t he sixt ies, when t he Sout h records gain weight , r ight before Madeira st anding out in t he sevent ies, designs som e sort of Port uguese urbanisat ion t im eline t hat is confir m ed by t he m ore nat ionally dist r ibut ed ent ries in t he last t wo decades. I ndeed, urban planning was t aken int o account , t hough it represent s a sm all part of I AP20's records. Exam ining t he funct ional t ypes of t he list ed buildings, it is possible t o infer t he St at e's preponderant int ervent ion in t he count ryside from t he predom inance of public equipm ent s in t he survey's records. Housing is m ost ly expressive in urban areas and less represent ed decades. But , despit e t his reflect ing an overall view, som e aut hors underlined how t his generat ed a m isrepresent at ion of t he regions' a- synchrony, nam ely because t hese buildings were cent rally pr oduced and t hus aligned w it h t he m ainst ream product ion.
. Represent at iveness does not seem t o have worked equally am ong t he different regions.
Two ot her findings m ay be pulled out of t his line of analy sis. The first addresses aest het ics. The hist ory of Port uguese spat ial planning m ay explain t he preponderance of t he ninet ies, sixt ies and fift ies in I AP20's published book, even balancing t he represent at iveness crit erion. But t he fact t hat it s form al aest het ic evokes t he m ost valued t radit ion- m odernit y bindings in t he Port uguese hist ory of archit ect ure should be not iced. On t he cont rary, t he Port uguese House t hat for so long generat ed cont roversy am ong t he Port uguese archit ect s is given poor v isibilit y com pared t o it s cont em porary eclect icism s and Modernism s. More not orious, t he Em igrant House t hat equally called archit ect s’ at t ent ion is alm ost absent , despit e it s acknowledged presence. I n fact , aut horship beyond archit ect s was
15 The book select ion included around half of Port uguese count ies, but Madeira region is
represent ed by 4/ 5 of it s count ies. Funchal is t he 7t h biggest cit y in t he count ry, but it s count y occupies t he 24t h place in t erm s of populat ion.
16 Sint ra has one single record in t he book, out of t he 53 records in t he dat abase. Ot her
com prised by I AP20, but anonym ous archit ect ure is m ainly accept ed in t he Sout h region17
Overall, t he part ial landscapes produced by I AP20 did not split from t he hegem onic hist ory of Port uguese archit ect ure, focused on obj ect s, aut horships and t he m ain cent res of product ion. Even when it s aut hors evoke I ARP t o parallel a rom ant ic discov ery, t hey seem less int erest ed in challenging t he m ainst ream narrat ive t han in discovering it s hidden pearls
. The second finding concerns t he idea of archit ect ure as building. Alt hough several of t he I AP20's aut hors find such definit ion t o curt ail archit ect ure's reasoning as t he const ruct ion of t errit ory , fabrics like belvederes deserve residual records and bridges, for inst ance, ent er t he cat egory of " work of art " .
18
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Th e m oder n h e r it a ge
One last chief idea is st ressed by I AP20's aut hors and docum ent al m at erials. The purpose was t o record t he 20t h cent ury archit ect ure in Port ugal on a public dat abase t o raise aw areness of it s values and urge it s prot ect ion. Thus t he regard for one last crit er ion of inquiry: t he st at e of conservat ion. For t he heads of t he survey, m odern herit age is a developm ent resource t hat operat es m at erially in spat ial planning, econom ically in t our ism , and sym bolically in cult ural policies ( cf. Roset a, 2006) . They also highlight t he sense of collect iveness and endangerm ent im plied in t he concept of herit age ( cf. Lowent hal, 1985) . The fir st is built on t he acknowledgem ent t hat hist ory last s unt il yest erday, t hence herit age rem it s t o a cont inuous t im e, not ant iquit y . The second refers t o t he risks of disaffect ion, as t he secularit y and perishable m at er ialit y of m odern archit ect ure are indict ed of m isinform ing societ y on it s value as herit age. What t he exist ence of I AP20 seem s also t o confirm is t hat archit ect s are not
17 Half of I AP20's records wit h no aut horship refer t o t he Sout h region. The part icipat ion of
Vict or Mest re in t his t eam should be underlined as his work is known t o have subst ant ially cont ribut ed t o t he st udy of vernacular archit ect ure in Port ugal.
18 The " discovery" of t he work of archit ect s like José Dias Pires Branco, around Fundão
only aware of t heir power in enunciat ing ar chit ect ural her it age, as t hey have realised it s effect iveness t o depend on a social and polit ical resonance. This explains why I AP20 set out t o sensit ise public opinion, local powers and econom ic agent s.
I t would be an overst at em ent t o speak of I AP20 as t he first effort t o t reasure t he 20t h cent ury archit ect ure in Port ugal. I n t he m id- cent ury, Port as ( 1961) had already pleaded in fav our of a m odern hist oriography t hat would help prevent it s dest ruct ion; and aft er t he Archit ect s Associat ion was creat ed ( 1978) , it s j ournals resum ed t he claim , publishing art icles on t he early- cent ury eclect icism s and Modernism s t hat or iginat ed a " Herit age in Danger" sect ion19. What is dist inct in I AP20 is it s form al and inst it ut ional invest m ent , t hough by 2003 legislat ion had already broadened t he concept of m onum ent t o include quot idian built space, and int ernat ional disposit ions had already ext ended herit age from hist ory t o m em ory, from nat ion t o com m unit y basis20
But t o be clear, t he r ole I AP20 t akes on in t he prot ect ion of t he 20t h cent ury archit ect ure falls int o t he cat egory of pedagogy, not conservat ion. I t aim ed t he educat ion of non- archit ect s on t he value of m odern archit ect ure t o prevent it s degeneracy. This purpose is part icular ly explicit in t he int ended art iculat ions wit h t he cit y councils. I ndeed, scrut inising t he records of t he Direct orat e- General of Cult ural Her it age dat abase, t he relat ions becam e m anifest . I n Lisbon region, for inst ance, around 1/ 5 of t he processes for herit age prot ect ion regard t he 20t h cent ury, t hough hom ologat ed cases are
. Furt herm ore, Docom om o I nt ernat ional had been creat ed ( 1988) t o dissem inat e know ledge and prom ot e prot ect ion of t he Modern Movem ent herit age, opening Chapt ers worldw ide, including t he Docom om o I beria ( 1993) . I t s relat ion w it h t he I AP20 is unsurpr isingly close: m ost buildings enrolled in Docom om o’s invent ory are list ed in t he I AP20; t he lat t er's general coordinat or is now t he chair of Docom om o I nt ernat ional; and a m em ber of Lisbon's t eam is now t he I beria Chapt er's vice- president .
19 Part icularly expressive are t he first years of Jornal Ar quit ect os ( 1981- 1987) and t he series
of art icles " For t he St udy of Modernist Archit ect ure in Port ugal" by José Manuel Fernandes in
Arquit ect ura, 132 ( 1979) t o 138 ( 1980) .
20 I n t his respect , t he Port uguese Law on Cult ural Herit age ( 1985) and t he Chart er of Cracow
scarcer, and m ost of t hem are enrolled in t he I AP20 invent ory. Half of t hese processes were init iat ed or reanim at ed aft er t he survey st art ed. I n less cent ral regions, t he num ber of processes dim inishes, but it s sim ult aneit y wit h I AP20 inquiry is higher, in Algar ve reaching ¾ . Significant is t he fact t hat , overall, legal prot ect ion of t he Modern Movem ent and it s cr it ical alt ernat ives' buildings was exclusively init iat ed aft er t he launch of I AP20. Unt il t hen, processes referred t o t he early - cent ury eclect icism s. So, I AP20 m ight be considered a st ep forward.
St ill, away from t he m ain urban cent r es, invest m ent s in t he Modern Movem ent herit age fell som ewhat short . I n fact , official agencies revoked m ot ions for prot ect ion on t he basis of degeneracy and lack of nat ional value, som et im es suggest ing a m unicipal classificat ion. Tensions around what is and is not herit age t hus require furt her research t hat t akes int o account t he social resonance of it s values in local com m unit ies.
Fin a l com m e n t
Not being hist ory, as repeat edly st at ed, I AP20 does not debat e on t he t radit ion- m odernit y bindings wit hin t his archit ect ural landscape, but t hat does not m ean t he fundam ent al dialogue is absent . Look ing int o t he buildings chosen t o celebrat e t he end of I AP20 in Bolet im Arquit ect os, n.159, for inst ance, t he space- t ype represent at iveness does not m at ch a t im e- aest het ics represent at iveness. Em phasis is put on archit ect ures which t he dat abase describes as expressive of t he Modern Movem ent pr inciples but deeply root ed in place and plast ically eloquent of vernacular and erudit e art . I t s aut horships include t he " discovered" archit ect s, but not t he st ar-syst em , im plicit ly suggest ing t he t radit ion- m odernit y dialogue t o be a cross-cut t ing way of doing archit ect ure in Port ugal. Quit e different ly, however, t he buildings chosen t o publicise I AP20 in nat ionally spread out doors included t he Port uguese House, Art Deco, Modernist and Modern archit ect ures, and even cont em poraneit y. Most ly signed by well known archit ect s, including t he Prit zker Siza and t he Brazilian Niem eyer, t hese buildings ar e closer t o t he ort hodox hist ory of Port uguese archit ect ure, perhaps because aim ing at a wider social resonance. Archit ect ure's landscape of m em ory t hus seem s t o depend not only on w ho produces it , but also on whom it is being produced for. I t is in t his ent anglem ent t hat her it age can be exam ined as a social and int ellect ual const ruct .
Ack n ow le dgm e n t s
This paper is funded by FCT – Fundação par a a Ciência e Tecnologia wit hin t he proj ect Popular, er udit e, m odern: ar chit ect ure, cult ure and ident it y ( SFRH/ BPD/ 75978/ 2011; PEst - OE/ SADG/ UI 4038/ 2014)
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Au t hor ide n t ifica t ion
M a r t a La la n d a Pr ist a. Mart a Lalanda Prist a gr aduat ed in Archit ect ur e from Faculdade de Arquit ect ura de Lisboa ( 2000) , and holds a Mast er ( 2005) and a Doct orat e ( 2011) in Ant hropology fr om Univ er sidade Nova de Lisboa. She is curr ent ly a Post - doct oral Resear ch Fellow at t he Cent r e for Resear ch in
