CONTENTSSIMPLY ORIGINALSUPERIOR SCHOOLTHE WORK OF ALVARO SIZA6OF EDUCATION简约淳朴108SETUBAL,PORTUQAL,1986-93阿尔瓦罗·西扎作品高等教育学院塞图巴尔，葡萄牙，1986-93EINFACH UNVERWECHSELBARALVARO SIZA UND SEIN WERK16生活中的简约FACULTY OF ARCHITECTUREUNIVERSITY OF PORTO河尔瓦罗·西扎工作室122PORTO,PORTUGAL,1987-93波尔图大学筑学院SIMPLEMENT ORIGINALEL'CEUVRE D'ALVARO SIZA波尔图，葡萄牙，1987-9328简单原创阿尔瓦罗·西扎作品LIBRARY OF THEUNIVERSITY OF AVEIROCASA DE CHA TEAHOUSE-136AVEIRO,PORTUGAL,1988-95BOA NOVA RESTAURANT阿威罗大学新图书馆38 LECA DA PALMEIRA,PORTUQAL,1958-03阿威罗，葡萄牙，1988-95宝儿新星茶庄莱萨·帕尔梅拉，葡萄牙，1958-63GALICIAN CENTEROF CONTEMPORARY ARTSWIMMING POOL48SANTIAGO DE COMPOSTELA,SPAIN,1988-93LECA DA PALMEIRA.加利西亚当代艺术中心1二46PORU0AL,1981-86與圣地亚哥德乳+波斯特拉，西班牙，1988-93游泳池莱萨·帕尔梅拉，葡萄牙，1961-66METEOROLOGICAL CENTEROF THE OLYMPIC VILLAGEBOUCA II SOCIAL HOUSING164BARCELONA,SPAIN,1990-92PORTO,PORTUGAL,1975-7758奥运村气象中心Bouca社区住宅巴塞罗那，西班牙，1990-92波尔图，葡萄牙1975-77SOCIAL HOUSINGSANTA MARIA CHURCHQUINTA DA MALAGUEIRA,EVORA,PORTUGAL,1977-95AND PARISH CENTER72社区住宅174MARCO DE CANAVESES,PORTUGAL,1990-96圣玛丽亚教堂和教区中心马拉盖拉，埃武拉，葡萄牙，1977-95MARCO DE CANAVESES,葡萄牙，1990-96BORGES IRMAO BANKVILA DO CONDE,PORTUGAL,1978-86SERRALVES FOUNDATION82PORTO,PORTUGAL,1991-09博格斯·伊尔玛奥银行188塞拉维斯基金会维拉多康德，葡萄牙，1978-86波尔图，葡萄牙，1991-99BONJOUR TRISTESSEAPARTMENT BUILDINGBRAGANCA TERRACE92SCHLESISCHES TOR,BERLIN,APARTMENTS AND STORESQE月MANY,t9B0-84202LISBON,PORTUGAL,1992-2004卓悦Tristesse公寓大楼布拉干萨露台公寓和商店西里西亚门，柏林，德国，1980-84里斯本，葡萄牙，1992-2004SOCIAL HOUSING,PUNKTEN DE KOMMA,SCHILDERSWIJKFACULTY OFTHE HAGUE,THE HERLANDS,1983-88INFORMATION SCIENCES98社区住宅，PUNKT EN DE KOMMA,214SCHILDERSWIJK信息科学学院海牙，荷兰，1983-88圣地亚哥·德孔·波斯特拉，加利西亚，西班牙，1993-2000理明Z.Z心.ET PORTUGUESE PAVILIONHOUSE ON MAJORCAEXPO'98,LISBON,PORTUGAL,1995-98BALEARIC ISLANDS,SPAIN,2002-08228葡萄牙馆376马略卡岛别墅98年世博会，里斯本，葡萄牙，1995-98巴利阿里群岛，西班牙，2002-08CHANCELLERY OF THECENTER FOR THE DEVELOPMENTUNIVERSITY OF ALICANTEOF NEW ENTERPRISES (ISQ)242ALICANTE,SPAIN,1995-98390TAGUS PARK,OEIRAS,PORTUGAL,2002-08阿利坎特大学学区办公楼1SQ产业孵化中心阿利坎特，西班牙，1995-98塔霍河公园，欧利亚斯，葡葡牙，2002-08HOUSE IN OUDENBURGOUDENBURG,BELGIUM,1995-2001ADEGA MAYOR WINERY256奥登堡住宅402奥登堡，比利时，1995-2001ADEGA酒庄argamassasestate,坎普马约尔，葡萄牙，2003-06HOMBROICH MUSEUMNEUSS,GERMANY,1995-2008270AUDITORIUM,BASQUE塞尔Hombroich博物馆PUBLIC UNIVERSITY,UPV-EHU诺伊斯，德国，1995-2008414BILBAO,SPAIN,2005-10巴斯克大学报告厅UPV-EHUCERAMIQUE TERREIN毕尔巴鄂，西班牙，2005-10APARTMENTS AND OFFICES282MAASTRICHT,THE HERLANDS,1997-2001MIMESIS MUSEUMCERAMIQUETERREIN公寓和办公楼PAJU BOOK CITY.SOUTH KOREA,2006-10马斯特里赫特，荷兰，1997-2001424拟态博物馆坡州出版城，韩国，2006-10ZAIDA BUILDING292o品Pu凭GRANADA,SPAIN,1008-2006ZABORATORY ANDOFFICE BUILDING赛达筑及庭院式房屋440NOVARTIS CAMPUS,BASEL,SWITZERLAND,2006-11格拉纳达，西班牙，1998-2006办公楼与实验室工作室IBERE CAMARGO诺华校园，巴塞尔，瑞士，2006-11FOUNDATION MUSEUM306PORTO ALEGRE,BRAZIL,1998-2008AMORE PACIFICIBERECAMRGO伊贝拉基金会展示馆R&D LABORATORYYONGIN-SI,GYEONGGI-DO,阿雷格里港，巴西，1998-2008452SOUTH KOREA,2007-10爱茉莉太平洋研发中心MULTIPURPOSE PAVILION龙仁市，京畿道，韩国，2007-10GONDOMAR,PORTUGAL,2000-07324多功能馆HOUSE IN SOUTH KOREA贡多马尔，葡萄牙，2000-07SOUTH KOREA,2007-11470韩国公寓VIANA DO CASTELOPUBLIC LIBRARY韩国，2007-11336VIANA DO CASTELO,PORTUGAL,2000-08维亚纳堡公共图书馆ALHAMBRA ATRIUM,维亚纳堡，葡萄牙，2000-08VISITOR CENTER480ALHAMBRA,GRANADA,SPAIN,2010-阿尔罕布拉宫游客中心RIBERA SERRALLOSPORTS COMPLEX阿尔罕布拉，格拉纳达，西班牙，2010-至今350CORLA DE LLOBREGAT,BARCELONA,SPAIN,2000-06RIBERASERRALLO综合体育馆490 BUILT WORKS科内拉德罗布雷加，巴塞罗那，西班牙，2000-06HOUSE IN PEGO496 LIFE AND WORKLUGAR DO RODIZIO,SINTRA,362PORTUGAL,2002-07佩戈别墅LugardoRodizio,辛特拉，葡萄牙，2002-07500 CREDITS罚素前网Z.ZC SIMPLY ORIGINALTHE WORK OF ALVARO SIZA简约淳朴阿尔瓦罗·西扎作品Winner of the Mies van der Rohe Prize (1988).the Pritzker Prize (1992).wait-so I ask,'what is going on?'and,invariably,they say.'it's very heavy.'But Ithe Praemium Imperiale(1998).and,most recently.the 2011 UIA Gold Medal,Alvarodon't feel that computers have taken something away from us as architects.I don'tSiza Vieira is one of the most significant living architects.Born in 1933 in Matosinhos.think that the computer itself can provoke such change,but people using the comon the outskirts of Porto,he has remained faithful to Portugal in the sense that thisputer can.I tell the young architects I work with:'Don't stop sketching.'It keeps youris where his roots are.His very personal blend of modernist influences and directmind alert.In a way computers are good and in a way they are bad.On a computerresponses to projects has given him an international stature that extends far beyonda design is always a final one,even if it is a first'sketch.'It is natural when you seethe relatively limited number of buildings he has designed outside Portugal.And yetsomething that looks finished that you may stop searching.Now when we create anthe first contact with this unassuming chain-smoker belies the image of the"star"'avant-projet'we have the execution drawings already."Though obliged to havearchitect one might expect to encounter.Until 1998.Siza worked in old,crampedyounger architects working at computer screens in his office.Siza still insists on aoffices on the Rua da Alegria in Porto:he sat wherever there was any free spacework method elaborated long before machines became so important."I make a lotbetween piles of drawings and models,stacked one on top of another.Although heof sketches,"he says,"and we also make models.Sometimes we make them bigmoved to more spacious purpose-built quarters on the Rua do Aleixo near the banksenough so that I can enter them,and check the ceilings for example.In the museumof the Douro in 1998.the old offices speak volumes about the style and method ofin Brazil,there is an angle where the interior ramp becomes an exterior ramp.WeAlvaro Siza.made a large model out of cardboard.We make models for everything.but,at myIndeed,the atmosphere in the Rua da Alegria offices was more like aage,it is not easy to travel to Brazil or to Korea.so in those cases we make largerbusy artist's atelier than most intemnational architectural practices.When asked inmodels."1998 if he considered himself an artist,Siza responded bluntly:"I would say thatarchitecture is an art."This affirmation,tinged with a provocative touch,was quicklyEPHEMERAL THINGS ARE NOT DEADrationalized:"Architecture is becoming so hard.There are so many problems.It isnot accepted as an art.It is almost to aythacheianart.TodayIn his built work,the artistic bent of Alvaro Siza appears not only in thequality in architecture often provokes anegative reachon.And so I have the negd tooccasional porsonal drawings ihnt omamentwail,but also in his remarkable atten-stop sometimes and make drawings.I am also dangerously interosted in sculpture.tion to details-door handles,stair railings,window closures,and a large variety ofI know that Richard Meier sculpts.Others do as well.They probably feel the need tofurniture.Why this emphasis on elements which can in good part be consideredexpress themselves more freely than they can in architecture."short-lived?"Ephemeral things are not dead,"maintains the architect."They stay inthe memory.or they influence somebody else.The destruction of something doesn'tTO BUILD IS MOREmean that it didn't exist:if we thought like that we would never make architecture.THAN MAKING DRAWINGSbecause we know very well that it will be altered and degraded with time."Perhapsthe control which Siza exercises over his own office is reflected in this attention toIn a more recent interview that he granted in August 2011 for this book.detail.It would seem that he wishes to control everything in his buildings,down toSiza continued,still lamenting that architecture is no longer what it used to be."Itthe ashtrays."When we make a project,"he says,"it seems obvious that the peopleused to be that I could talk to workers and discuss details with them,"he states.who are going to live in it will probably be in another frame of mind.Of course we"Architects and builders used to be able to work together,speaking the same lan-can give up or say it is crazy to want to go further.I do not think so.In this meetingguage.That is lost.Now you have a project director who sometimes has more powerof different opportunities,and different cultural approaches,there is something forthan the architect.I think that explains the mediocrity of most of architecture today.both sides.It is good for me too.I do not place myself in the position of saying thatTo build a building is more than making drawings.This trend has become significantI am right and the others are wrong.I just try to meet them,to work together.In thein Portugal in the past five years or so."case of the Portuguese Pavilion.I chose my colleague Eduardo Souto de Moura toThe artistic aspect of Alvaro Siza's work is evident in works such asdo a part of the interiors.My preoccupation is not to make everything.It is to findthe Portuguese Pavilion at Expo'98 in Lisbon.where he used his own drawingsthe way for the work to be born from a great variety of factors,some of which are inas decor.for instance in the dining rooms."Since I was a boy,"he explains,"I havemy mind-and others which are not."made drawings.I wanted to be a sculptor,but for my family that was not realistic.Idecided to enter the Beaux Arts school,where there were three courses-painting.A SWIMMING POOL AND A TEAHOUSEsculpture and architecture-taught simultaneously in the first two years.My intentionwas to switch without discussing the matter with my family.but then I became deeplyFrom the outset,Alvaro Siza shared the Rua do Aleixo office buildinginterested in architecture.Drawing-landscapes,portraits and trip sketches-haswith a number of other Porto architects,including Eduardo Souto de Moura andalways kept me busy.I don't think that it has a direct relation with the architectureFernando Tavora,who passed away in 2005.Born in 1923.Tavora was a significantbut it is a good way to develop the acuity of vision.There are two different words infigure in Portuguese architecture beginning in the earty 1950s.teaching at the PortoPortuguese that mean'to look'and 'to see and understand.'The tool of the architectSchool of Architecture (1953-93).where he pioneered an atmosphere of informalis to be able to see.I remember reading a text by Alvar Aalto where he wrote thatdiscussion in the classrooms.Having worked on such projects as the plan for thewhenever a project came to a halt,he would stop and just make drawings without acity conter of Aveiro (1962-65).Tavora was known for his desire to integrate tradi-specific intention.Sometimes.from this exercise,ideas would come to help movetional or local elements into a modernist scheme.From 1955 to 1958,Siza workedthe project forward.There is a relation which is not direct."with him,and it was Tavora who chose the site on the Atlantic coast at Matosinhos,Today.Alvaro Siza describes his work method with reference to thenear Porto,where Siza was to build his first major project,the Boa Nova Teahouseubiquitous presence of computers in architects'offices."am not able to work withand Restaurant(Leca da Palmeira,Portugal,1958-63:see page 38).Rostored bycomputers,"he says."I don't think I am completely stupid,but I have no patience.Siza in 1991.this remarkable building is carefully integrated into an outcropping ofSometimes I sit near the architects who work with computers and I find what theyrocks which at some points seem almost about to invade the interior space.A seriesdo very slow.I am used to expressing architectural ideas very quickly through myof straight walls defines the space around the structure,leading the visitor to enterskotches.I like experimenting with forms,so I say.'try this'-and then you have tothrough a stairway.which offers an uninterrupted view of the sea.Although the site理Z.Z心.E町 "THE IMPORTANT THING IS HOW THIS GEOMETRYENCOUNTERS THE NATURAL ELEMENTS,AND HOWTHE LANDSCAPE IS TRANSFORMED.of the restaurant,now called the Casa de Cha.has an indisputable natural beauty.Although there were numerous protests against the walled nature ofthe increasingly urban environment on its inland side is quickly forgotten as oneSiza's project in its early days,he pointed out himself that the city of Evora is itselfpenetrates into the dark wood interior.A stairway leads down to the tearoom andwalled.When asked today in this context if his view of traditional Portuguese archi-restaurant,and,in a gesture later seen to be typical of Siza's architecture,a windowtecture and its influence on his own work has changed,he replies:"In my opinion itframes a view of the rocks.Another signature characteristic of Siza's work,his care-is not right to emphasize this vernacular influence in the design.With the economicful attention to interior design and furniture is here in full evidence.Although he mayconstraints and the conditions in that area of Portugal that is one of the lesser devel-well have been influenced by Tavora in this building,the Boa Nova Restaurant alsooped,you have to use traditional basic aspects for reasons of comfort.The whitebrings to mind the designs of Frank Lloyd Wright.In both the Boa Nova Restaurantwalls are there not only for aesthetic reasons related to the architecture of the south.and the nearby swimming pool (Leca da Palmeira,Portugal,1961-66:see page 46)but also to reflect the sun and give some thermal protection.The walls also exist inSiza made use of existing rock formations,a feature seen again in his Vieira de Cas-order to create a microclimate between the interior and the exterior,and not reallytro House(Famalicao,1984-98).yet he sees a distinct evolution in these two designsas a vernacular image of a patio house.I read that there is a 'Neo-Rationalist'ele-As Alvaro Siza says,his approach to nature depends on circumstances."What isment to my architecture,or a Bauhaus influence,but things don't work that way.Imade by men is not natural,"he says."More and more I think that there must be amade the houses with cement-block walls because it was the material I could usecertain distance between the natural and the man-made.But there must also be athere.I made terraces not only because of this image of Arab or Mediterranean hous-dialogue between the two.Architecture comes from natural forms,but it also trans-ing but also because there was a lack of roofing tiles.The project was begun imme-forms nature.If you look at the small restaurant I designed immediately before thediately after the revolution,and,at the time,there was a boom in construction andswimming pool,there is a profile of rocks,and the building almost follows that out-materials could not be found.We also had difficulty finding builders.Local buildersline.Of course the swimming pool involved a longer,more horizontal space,but Ihad trouble with a program of 1200 houses.This also explains why the inner towntried to do a critique of my own approach in the restaurant.I thought the restaurantof Evora is so well preserved.These issues are important and architectural criticismwas too mimetical-it seems to be apart of the rocks in a way tn the swimming poolarely deals.with them已I designed five or six walls that r to someofockThe mt ng78O NEhow this geometry encounters the natural elementsgand how the landscape is trans-PRUDENTLY WHITEformed.I did not touch the rocks,I only added something recognizable as not natu-ral.I put those things together;that is the way I see the relation between nature andSiza does,indeed,seem to use the color white a good deal in his archi-architecture.If you look at the work of Frank Lloyd Wright,in his first phase,he workstecture,but,as he explains,this is for rather complicated reasons that usually havewith nature,but later on,he works with the landscape.He transforms the naturallittle to do with"vernacular"architecture or local traditions."My buildings are actu-environment.There is an atfirmation of the built without ignoring the basic aspectsally not that often white,"he says."Most of my work has been built in the south.of topography or the typology of the landscape."Buildings in the south of Portugal are traditionally white,as is the case along theLike a number of modern architects,the work of Alvaro Siza cannotMediterranean,in Greece for example.Even there,the reason for using white goesnecessarily be well understood through photographs.There is a subtlety in the effectsbeyond tradition and architectural context.A white surface is obviously appropriateof light that he orchestrates in the disposition of his architecture in its environmentin warm climates.On some occasions I have used white because of limited budgets.which the visitor feels but which cannot be readily rendered by the camera.Thus,inThis gesture is sometimes interpreted as being related to vernacular language,butthe case of his swimming pool,the dark-wood interiors of the changing rooms con-it is not only that.In Holland(Schilderswijk.The Hague,1983-88,see page 98).oftrast with the band of bright daylight that he disposes at eye lovel.Outside,bycourse I did not use white,nor in Berlin(Bonjour Tristesse Apartment Building.integrating existing rocks into the forms of pools themselves,he makes the visitor1980-84.see page92).In Korea,the Mimesis Museum is white,but not the Amorequestion his own sense of what is natural and what is built.In another remarkablePacific R&D Laboratory.In a museum of contemporary art,you do not know whatgesture,he designs the main elevation of the changing areas,visible from the seaside,works will occupy the space.I used white or a very light gray that is almost white soto look much like the cement retaining walls that run along the coast here.In a way.that different exhibitions can be seen well in the museum space."The issue of colorwithout adopting too"mimetical"a posture,he creates a modern design that blendsclearly matters to Alvaro Siza.When asked why he made the walls of the Serralvesinto both its natural and its urban context.Foundation in Porto white,he replies:"I did not have the money required to use amore durable cladding as I did in Santiago (Galician Center of Contemporary ArtBUILDING A WALLED CITY1988-93)with the stone.For the Serralves Foundation,I did create a base in gran-ite-it is horizontal [and)thus of different heights according to the sloping topogra-One of the most ambitious projects of Alvaro Siza was the Quinta daphy.I was afraid to use a color with all the articulations in this building.If it is aMalagueira Housing located on the outskirts of Evora,110 kilometers southeast offacade in the street,it is not difficult to choose a color.You have houses around it.Lisbon(1977-95;see page 72).An important military post under the Romans,EvoraSerralves is isolated in a park and has so many articulations-it was more prudentwas held by the Moors from 712 to 1166.Still an agricultural trading center.it has ato use white here-but I have no general predilection for white."population of fewer than 40 000 people,but boasts a walled inner city which hasAlthough he was well known in Portugal many years ago,Alvaro Siza'sbeen carefully preserved and includes the so-called Temple of Diana.a Romanjump to international recognition,especially after 1998,is in some ways related tostructure dating from the 1st century AD.Set to the west,outside the city walls,thethe history of Portugal.As he has said:"It is natural that a typical case such as mineQuinta da Malagueira includes 1200 units of housing set on a site of 27 hectares builtoccurs in Portugal,which is a country that has traditionally been very isolated,evenbetween 1977 and 1995.The parcels,separated by large green spaces,are definedafter World War ll.Leaving the country was severely controlled,information wasby lots 11 x 8 meters in size.The variety of configurations in the housing units givesregulated,there was a lot of censorship;opening up began in the 1960s,and accel-the whole an ordered yet varied appearance.As Siza recalls today,because of earlyerated after the Revolucao dos Cravos [Carnation Revolution]in 1974.bringing aboutprojects like those of Evora,he was long considered to be essentially an architectgreat curiosity and an imperious need for contact.The condition of distance was aof social housing,an image that he actively sought to broaden.stimulus to learn and construct an architecture capable of exiting from the strictlylocal scene,of becoming more universal..."As Siza says:"Universality is not equiv-罚素前网J亿.ZC.ET 40alent to noutrality:it is not the Esperanto of architectural expression:it is the capac-fought hard to come up to 40%.I did not succeed,and that is a big mistake.A schoolity to create from the roots.My sense of universality has more to do with the vocationneeds open spaces for meetings and communication.I understand that there areof cities,arising from centuries of intervention,of crossbreeding,of superpositionproblems with money,but the money spent on education reproduces itself a thousandand mixing of the most opposed influences,creating.however.an unmistakabletimes."identity."A second major university project by Alvaro Siza is his Superior Schoolof Education in Setubal (Portugal,1986-93:see page 108).Located on the northernIN PORTUGAL,THE SITUATIONshore of the estuary formed by the Sado,Marateca,and Sao Martinho Rivers,SetubalTODAY IS A DISASTERis Portugal's third largest port.Siza's own unexpected description gives some ideaof the slight impression of unease which seems to permeate a basically quite clas-It was a bloodless military coup on May 28,1926,that instituted whatsical layout."This is an intriguing work,"he says,"because of its extreme beautywas to become Western Europe's most long-lived authoritarian system.At first namedalbeit a beauty in which disorder shows through,beyond and beneath the calm.minister of finance by General Antonio Oscar de Fragoso Carmona,Antonio de OliveiraBecause of the confusion its very existence unleashes...In stark contrast to theSalazar.previously a professor of economics at the University of Coimbra,becamewhiteness,number,and reason,forms emerge that are negative.threatening:aprime minister of Portugal in July 1932.a post which he held until 1968.Six yearssomber face anthropomorphically designed on the facade of a projecting staircase:later,a group of about 250 military officers headed by Francisco da Costa Gomesa slowly uncurling sea creature that might at any moment retreat back into its shellplanned and implemented the coup of April 25.1974,which came to be known asclosing off access to the interior:a structural collapse,freeze-framed in a giventhe Camnation Revolution because it occurred during the week that red camationsmoment of its fall;the inescapable presence in the background of two toweringappeared in the flower shops.stacks,factory chimneys vomiting forth their black,soon-to-be-breathed smoke.TheThe decolonization of the former Portuguese colonies in Africa(Mozam-contorted,knotted branches of a cork tree rising to meet the sky."2 It has been sug-bique.Angola,and Guinea-Bissau)led to the repatriation of nearly a million peopleested that Siza conscientiously planned the design of the Setubal structure aroundand,after that time,Portugal workmhof an项aig the very te he mentong in this description.but,here again,his own words moreeconomic growth rate,low inflation,and relatively low unemploymemt.This situatiooaccuratery describe the actual chain of events:"That site was full of trees,but wehas unfortunately changed for the worse in recent years.In 2011.Alvaro Siza stated:had to cut some of them to build the structure.I said that the trees that could be"Now in Portugal,the situation is a disaster.Many businesses are going bankruptsaved should be.They finished cutting and I saw that this tree was exactly in theevery month.The towns have no money so there is no construction,and no payment.center of the space.I said that this was a miracle.I probably would have put a newYoung architects are emigrating to Japan,China.and Thailand,where there is work.one there if the old one did not exist.Everybody thinks that I designed the buildingSome went to Switzerland,some to Finland,but it is difficult.At the moment,I haveto maintain that tree in the center.No,it was just lucky that it was there."no work in Portugal."LOOKING FOR LOOS AND AALTOFOR UNIVERSITIE PORTO,SETUBAL,AND AVEIROThe question of the architectural influences that have formed the styleof Alvaro Siza is ofton speculated on.In the case of a building like that in Setubal,Three university projects designed and completed by Alvaro Sizathe inffuence of Adolf Loos or Luis Barragan is frequently evoked.Another universitybetween the late 1980s and the mid-1990s do much to cast light on the richness andbuilding by Siza brings to mind an even more explicit reference.His Library of thecomplexity of his design work.The first of these to be completed,the Faculty ofUniversity of Aveiro(Portugal,1988-95;see page 136)is one of his most completeArchitecture at the University of Porto(1987-93;see page 122)is in a sense the mostand successful works.Located in the midst of a modern university.the buildingsignificant,if only because it involves Siza's own alma mater and the school whereadopts a brick cladding and limestone trim that were dictated by the building codeshe has taught.Set high above the estuary of the Douro River that crosses Porto,theof the institution.Here,almost every detail,from the handrails in the stairs to thefaculty is divided into a number of pavilions that are interconnected both above and.counters that are cantilevered forward,and every light fixture in the building.isfor a number of them,below ground.The largest structure,the north wing.forms thedesigned by Siza himself.Windows offer carefully framed views onto the neighbor-inner limit of the internal triangular courtyard and contains offices,auditoriums,aing marshland,recalling early work of Siza's such as the Boa Nova Restaurant,butsemicircular exhibition space.and a library with a surprising hanging skylight thatalso more recent designs such as his church in Marco de Canaveses (Portugalpierces its roof.The pavilions on the side of the Douro are each different and contain1990-96;see page 174).On the west side of the building facing the marshes,anclassrooms.The outer facades of these structures have decidedly anthropomorphicundulating brick wall definitely brings to mind the House of Culture by Alvar Aaltofeatures,a recurrent element of many but not all of Siza's designs.Some,including(Helsinki,Finland,1952-58).while the interior space might recall the same architect'smembers of the Porto faculty,criticize Siza for the relatively small size of the class-dining hall and lounge in Baker House,a dormitory at MIT(Cambridge.Massachu-rooms and the pavilions of this facility.accusing him of wishing to impose his ideasetts,USA,1946-49).or his Mount Angel Abbey Library(St.Benedict,Oregon,USA.of restricted class groups.Siza replies to this critique in typically straightforward1964-70).fashion:"The design of the four towers takes into account the idea that the studentsWhen asked to comment on the importance of Aalto for his work,Sizashould have different views out of the windows in each classroom.There are manyreplies:"In the 1950s in Italy.Spain,and Portugal,Aalto had great influence.Thereother reasons for the pavilions.I wanted to open the school toward the river.I alsoare two reasons for this.In the ambiance of postwar architecture,the reconstructionwanted to create a clear central space,but also to relate the buildings to the exist-of Europe was handled in an industrial manner in France,Germany,and Holland.ing houses near the site.I was given a program that was prepared by the ministryCountries on the periphery.such as Portugal,were not as industrialized.In PortugalIt provided for 500 students and 15 groups of 15 students.I could not change this.or Spain,there were common points with Finland.In Finland,it was difficult to obtainI was obliged to work exactly on the number of square meters provided for in thecement,but artisans able to work wood,for example,were available.Alvar Aaltoprogram.I questioned the lack of flexibility.but I was told it would be like that.Theybecame a very important reference.Aalto came many times to Spain,North Africa.also imposed a maximum area of 30%for corridors,and other gathering places.Iand Greece,and also a bit to Portugal.He took many of the elements of the archi-理罚Z.Z心.ET
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