Designing with History: Intervention in Preexisting Buildings by Fernando Távora at the Dawn of the Third Way (1945-1962)

102 Designing wi h His o y: In e en ion in P eexis ing Buildings by Fe nando Tá o a a he Dawn o he Thi d Way (1945-1962) The pe iod be ween 1945 and 1962 was ex ao dina ily p oduc- i e o Fe nando Tá o a, bo h in e ms o heo e ical e lec ion and a chi ec u al p oduc ion. I is ma ked by he o mula ion and p og essi e p ac ical implemen a ion o he so-called hi d way. Despi e he nume ous s udies on Tá o a’s ole in he Po uguese a chi ec u al scene du ing his pe iod, he genesis o his hough and i s expe iences o a chi ec u al he i age in e en ion ha e no been ho oughly explo ed. The e o e, his pape aims o in es- iga e a se o buil and unbuil wo ks ha we e o e looked by p e ious publica ions, p o iding new pe spec i es on his ea ly p o essional s ages: Casa de Ca apeços (1948), Casa das Fidal- gas (1948-1954), Casa da Foz (Tá o a’s own house, 1954), Casa de Além (1956), he p ojec o he Con en o de Monchique (1957), and he eno a ion o he Casa da Ig eja (1958-1961). These lesse -known seminal designs illus a e he e olu ion o he new design p inciples and me hodological guidelines ha we e ma u ed and enhanced in subsequen eno a ion wo ks, which gained g ea e a en ion and pedagogical alue. These wo ks also e eal he in luence o o he con empo a y a chi ec s, echo he heo ies o ele an philosophe s and demons a e an a emp o apply he concep s a icula ed in Fe nando Tá o a’s own essays. Fe nando Tá o a, Po uguese A chi ec u e, Adap i e Reuse, He i age Buildings, A chi ec u al Design 4.0 h ps://doi.o g/10.6092/issn.2611-0075/16269 | ISSN 2611-0075 Copy igh © 2022 Da id O dóñez-Cas añón, Te esa Cunha Fe ei a /Abs ac /Au ho s Da id O dóñez Cas añón is an a chi ec (Uni e si y o Valladolid, 2015), holds a Mas e ’s deg ee in Conse a ion and Managemen o Buil He i age (Uni e si y o he Basque Coun y UPV/EHU, 2016) and an In e na ional PhD (UPV/EHU, 2022). He is cu en ly pos - doc o al esea che a he Uni e si y o Se ille, de eloping eaching and esea ch ac i i ies a he Labo a o y o He i age Tou ism Land- scapes Ne wo k (Lab HTL-NET). He p e iously held a pos doc o al esea che posi ion a he Facul y o A chi ec u e o he Uni e si y o Po o (FAUP), being membe o he Cen e o S udies in A chi- ec u e and U banism (CEAU). His PhD hesis ocuses on Fe nando Tá o a’s design p inciples o he eno a ion o adi ional a chi ec- u e. Te esa Cunha Fe ei a holds a deg ee a he Facul y o A chi ec- u e o he Uni e si y o Po o (FAUP) and an Eu opean PhD a he Poly echnic o Milan, concluded in 2009. Since 2003, she has p o- essional expe ience in he i age public o ices in Po o and Milan, among o he design, managemen o consul ancy wo ks. Since 2007, she has been de eloping didac ic ac i i y a he Poly echnic o Milan (2007-2008), Uni e si y o Minho (2009-2017) and FAUP (since 2012-p esen ). In 2009, she joined he Cen e o S udies in A chi ec u e and U banism (CEAU) o FAUP, whe e she is a P incipal In es iga o (since 2021) and coo dina es se e al unded esea ch p ojec s.Since 2019, she is he Chai Holde o he UNESCO Chai He i age, Ci ies and Landscapes. Sus ainable Managemen , Con- se a ion, Planning and Design. Da id O dóñez-Cas añón, Depa amen o de P oyec os A qui ec ónicos – ETS de A qui ec u a, Uni e sidad de Se illa [email p o ec ed] Te esa Cunha Fe ei a Cen e o S udies in A chi ec u e and U banism (CEAU) – Facul y o A chi ec u e o he Uni e si y o Po o (FAUP) e ei a@a q.up.p Da id O dóñez-Cas añón, Te esa Cunha Fe ei a 103 HPA 11 | 2022 | 5 1. INTRODUCTION 1.1. Con ex The pe iod be ween 1945 and 1962 was inc edibly ui ul o Fe nando Tá o a, bo h in e ms o heo e ical e lec ion and a chi ec u al p oduc ion, due o his ecep i i y and abili y o syn hesise a wide ange o s imuli and in luences ha con ibu ed o his in ellec ual ma u i y and p o essional de elopmen . As is well known, du ing his ime he published he bookle O p oblema da casa po uguesa (1945 and 1947); he s udied on his own h ough coun less and a ied eadings; he pa icipa ed in ol ed in he dissemina ion o he Mode n Mo emen and a ended he I Cong esso Nacional de A qui ec u a (1948); he also a ended he CIAM (1951-1959) and o he mode n a chi ec u e con e - ences (UIA, WoDeCo...); he me and was in con ac wi h membe s o Team X and o he ele an a chi ec s (E nes o Roge s, Lúcio Cos a, José A. Code ch, among o he s); he led one o he g oups o he Inqué i o à a qui ec u a popula em Po ugal (1956-1961); he a elled h oughou Po ugal and Eu ope and e en he wo ld (1960); sho ly a e g adua ing as an a chi ec om he Po o School o Fine A s (1952), he began eaching a he same ins i u ion unde he guid- ance o Ca los Ramos, suppo ing pedagogical enewal, p omo ing deba e and encou aging his own e lec ion in ex s such as A lição das cons an es (1952) and Da o ganização do espaço (1962). All his con ibu ed o he heo e ical ounda ion and, p ac ical ealisa ion o he so-called hi d way, ha is, “an e olu ion o mode n a chi ec u e wi h he capaci y o iden i y wi h he adi ion; a posi ion ha implied a ce ain dis us o some pa hs o mode n a chi ec u e”1, in o he wo ds, “a new di ec ion in Po uguese A chi ec u e, qui e di e en om he ‘ a ionalis ’ and ‘ou moded’ pa hs being deba ed”.2 This ambi ion was exp essed in highly in luen ial wo ks such as he Casa de O i (1957-1958), he pa k and ennis pa ilion a Quin a da Conceição (1956-1960) o he Escola P imá ia de Ced o (1957-1959). In sho , his s age encompasses a se ies o i al, academic and p o essional miles ones o he u mos ele ance on he Po uguese scene, which ha e been s udied and dissemina ed in nume ous publica ions on he a chi ec , especially a e his dea h in 2005. Howe e , he e a e s ill some aspec s o his mul i ace ed pe sonali y ha could be explo ed in g ea e dep h, namely he de elopmen o an app oach o buil he i age in e en ion. The balance be ween he desi e o inno a ion and he sensi i i y o adi ion is e lec ed in pa adigma ic new buildings such as hose men ioned abo e, bu also in he eno a ion o old cons uc ions. I is p ecisely in in e en ion The s udy is co- inanced by he Eu opean Regional De elopmen Fund (ERDF) h ough COMPETE 2020 – Ope a ional P og amme o Compe i i eness and In e na ionalisa ion (OPCI) and by na ional unds h ough FCT, unde he scope o he POCI-01-0145-FEDER-007744 p ojec , 2020.01980.CEECIND and FCT P o- jec EXPL/ART-DAQ/1551/2021. This wo k is also suppo ed by g an JDC2022-049918-I, unded by MCIN/ AEI/10.13039/501100011033 and by he Eu opean Union “Nex Gene a ionEU/PRTR”. 1 Ja ie F echilla, “Fe nando Tá o a. Con e saciones en Opo o”, A qui ec u a, no. 261 (July-Augus 1986): 22-28. 2  Fe nando Tá o a, “Memó ia de an e-p ojec o. Escola P imá ia de Ced o”, in José An ónio Bandei inha, Fe nan- do Tá o a. Mode nidade pe manen e (Guima ães: Associação Casa da A qui ec u a, 2012), 232. 104 designs ha he sea ch o a syn hesis be ween appa en ly an agonis ic con- cep s – pas and p esen , adi ion and a an -ga de, local and global – akes on g ea e o ce and exp essi eness. The ex-no o p ojec s add ess hese issues by e oking adi ion h ough ma e ials, spaces and o ms eminiscen o e nacula a chi ec u e. In he eno a ion p ojec s, howe e , his coun e - poin mo es om he allego ical le el o he conc e e expe ience o manipu- la ing his o ical ma e ial. The e o e, he p oblem is no longe o build mode n a chi ec u e sensi i e o adi ion, bu o adap old buildings o new aes he ics, unc ions and equi emen s, while p ese ing cul u al iden i y. Tá o a’s aim was o c ea e a dialec ical in e wea ing o he old and he new, b eak away om he dicho omy be ween Roman ic p inciples and s ylis ic es- o a ion, bu also om he o hodox pos ula es o mode nism. His in en ion was o imb ica e con empo a y c ea ion in he a chi ec u al p e-exis ence, wi h he suppo o a p o ound knowledge o his o y. In ac , Tá o a was ne e in e es ed in he deba e on he i age in e en ion in he e ms in which i was being de el- oped. Al hough he was amilia wi h he heo ies o a chi ec u al conse a ion (Ruskin, Violle -le-Duc, Gio anonni, Boi o, e c.) he ne e el commi ed o one posi ion o ano he , no he did unc i ically accep in e na ional cha e s and ec- ommenda ions. He chose a he e odox pa h, pe haps because hese posi ions we e based on he no ion o he i age managemen as a kind o au onomous ield o a chi ec u e, which p e en ed, di ec ed, o limi ed he new c ea ion. Fo him, any design, whe he o a new building o a eno a ion, in ol ed a ans- o ma ion o a p e-exis ing con ex (be i an objec o a space). I was he e o e always a p oblem o c ea ion, ha had o be add essed on a case-by-case basis. As he s a ed, “ he de ence o he i age alues is ne e a passi e ac o ecei ing and conse ing, bu a c ea i e ac o concei ing”.3 Fo his eason, he e should no be an a chi ec u e o he i age, hence his c i icism o specialisms – pa a- ph asing O ega y Gasse 4 – and his i m de ence o he a chi ec as a “gene al- is specialis in a chi ec u e”,5 wi h a b oad and in eg a i e ision. His inno a i e app oach o a chi ec u al he i age design has had an eno - mous impac in Po ugal. Wo ks such as he es o a ion and con e sion o he San a Ma inha da Cos a Con en in o a Pousada (1972-1985), he e u bish- men o he Casa da Rua No a (1983-1985), he eno a ion and ex ension o he Museu Nacional Soa es dos Reis (1987-2001) o he es o a ion o he Palácio do F eixo (1996-2003), among o he s, a e now conside ed as undispu ed benchma ks. These wo ks a e guided by solid p inciples and modus ope andi ounded on heo e ical e lec ion and expe imen al p ac ices de eloped in he 1950s. Be o e he wo ks wi h g ea e ecogni ion and dissemina ion, he e a e a numbe o li le-known seminal designs o g ea in e es , as hey show he 3  Fe nando Tá o a, “Memó ia desc i i a”, 1982, Plano ge al de u banizão de Guima ães, A qui o Fe nando Tá o- a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0207. 4  Tá o a in oked he Spanish philosophe José O ega y Gasse , who, in chap e XII o his amous wo k The Rebol o he Masses (1930), called “The Ba ba ism o Specialism”, also c i icised he na owness o he special- is ’s ield o ision, “who only knows well he small po ion in which he is an ac i e esea che ”. 5  Fe nando Tá o a, “Encon o ‘Pa a a Edi ícios’, en e is a po Manuel Mendes”, in Fe nando Tá o a, “Minha casa”. Uma po a pode se um omance, edi ed by Manuel Mendes (Po o: FIMS/FAUP, 2013), [C]1-24. 105 HPA 11 | 2022 | 5 de elopmen o new p inciples and me hodological guidelines ha we e la e ma u ed and enhanced. 1.2. Aims and Me hodology This pape aims o de elop in es iga ion on a se o buil and unbuil wo ks designed by Fe nando Tá o a ha we e o e looked by he p e ious s udies, in o de o p o ide new in e p e a ions on he signi icance on his app oach o a chi ec u al eno a ion. These a e ba ely published o e en unpublished p o- jec s, which indi idually may no be o he g ea es ele ance, bu aken oge he hey e eal he oo s o his ideas abou design in he i age buildings. This a icle in ends o p o ide new pe spec i es on his ea ly p o essional pe iod in he mid- 20 h cen u y, when he concep s o he hi d way eme ged. I also seeks o high- ligh he in luence o o he con empo a y a chi ec s (such as Le Co busie , Lúcio Cos a, E nes o N. Roge s), o show he impac o some philosophe s (O ega y Gasse , Benede o C oce, An ónio Sa dinha), and o examine how hese wo ks e lec he ideas con ained in his own w i ings. The pe iod s udied is he e o e limi ed by he publica ion da es o he man- i es o O p oblema da casa po uguesa (1945)6 and he essay Da o ganização do espaço (1962)7. I was du ing his pe iod ha Tá o a was able o esol e his deep c isis o iden i y and c ea i i y, gi e angible o m o his p oposal o a hi d way (as an open solu ion o he c isis) and de elop p inciples o in e en ion in p e-exis ing buildings. The selec ed case s udies, p esen ed in ch onological o de , a e conside ed by he au ho s o be he mos ep esen a i e and illus a- i e o his e olu ion. The me hodology equi ed a e iew o he li e a u e on he subjec , as well as ex ensi e a chi al esea ch in he a chi ec ’s p o essional collec ion a he José Ma ques da Sil a Founda ion Ins i u e (FIMS), complemen ed in o he public a chi es. One o he main limi a ions is he sca ci y o documen a ion on hese ea ly p ojec s. This gap is illed by he collec ion o o he sou ces, such as he o al es imonies o Tá o a’s amily, iends and collabo a o s who wo ked in his s udio, which p o ide unique and o iginal insigh s. In he case o comple ed p o- jec s, he buildings hemsel es cons i u e a undamen al esou ce, isi ed and exhaus i ely documen ed h ough a chi ec u al su eys, d awings and ex en- si e pho og aphic epo s. The ollowing case s udies a e loca ed in he b oad geog aphical a ea o he Dou o Li o al and Minho egions – wi h he excep ion he Casa das Fidalgas – and we e de eloped wi hin he ime span be ween 1948 and 1961. The ana- lisys is based on a chi al documen a ion and on he in e p e a ion o he design 6  Fe nando Tá o a, “O p oblema da casa po uguesa”, Aléo, no. 9 (No embe 1945). This mani es o was la e e ised in Cade nos de A qui ec u a, no. 1 (1947). 7 Tá o a submi ed he essay Da O ganização do Espaço o he exams o Associa e P o esso in 1962. I was published in 1982, becoming a mus - ead ex o incoming s uden s a he FAUP. In his esea ch, he consul ed e - sion was he Spanish edi ion: Sob e la o ganización del espacio (Uni e si a Poli ècnica de València / FIMS, 2014). 106 p inciples, amed wi hin he wide con ex o Fe nando Tá o a’s pe sonal esea ch and ca ee de elopmen . The design p ocess is p esen ed in ch ono- logical o de , s a ing wi h he cha ac e isa ion o he p e-exis ence, he in e p e- a ion o he design s a egy, he examina ion o some ele an ec onic aspec s and, inally, a b ie allusion o c i ical epe cussions. 2. INTERVENTIONS IN PRE-EXISTING BUILDINGS AT THE DAWN OF THE THIRD WAY 2.1. Hesi a ion and Oscilla ion in Tá o a’s Fi s Designs Fe nando Tá o a’s las yea s a he School o A chi ec u e (ESBAP), in he mid-1940s, we e ma ked by he disco e y o mode n a , Picasso and Pessoa, bu especially Le Co busie , who eme ged as a dazzling igu e o his pe sonal- i y and ex ao dina y c ea i e capaci y. Bu he in e es in he a an -ga de g ew jus as s ongly as a con lic be ween his an agonis ic iden i ies: a solid home cul u e (classical a , his o ical a chi ec u e, he alue o pe manence in a is oc- acy, u ali y...) and mode n cul u e ( unc ionalism, echnology, he b eak wi h he pas ...). In Tá o a’s own wo ds, i was, “a c isis caused by a ce ain incom- pa ibili y be ween a a ionalis o ma ion and a amilia , ambien one; and also, in a ce ain way, wi h a empe amen ha did no adap o ha o ma ion”.8 To soo he his con lic o iden i y, he u ned o books, looking o answe s o he heo e ical conce ns ha he EBAP neglec ed. i was no un il some yea s la e ha his a emp o in eg a e mode nism in o ancien buildings was e ec i ely achie ed “an inabili y o exp ess g aphically, in e ms o space, o A chi ec u e”.9 Mo eo e , he mul iplici y o e e ences and languages p o ided by he eclec ic aining a he EBAP – wi h a solid academicis base, o which was added Ge man and I alian ascis a chi ec u e, bu also Eu opean a ion- alism and B azilian mode nism – caused g ea diso ien a ion.10 He himsel s a ed ha mode nism in his educa ion was p esen ed om a s ylis ic poin o iew.11 All his is e lec ed in he ambigui y o his beginnings as a designe , wi h a succession o p ojec s o e y di e en na u e and unequal in e es . The ascina ion he el o Le Co ubise is clea ly e lec ed in his i s unbuil p oposals, such as he Casa da Rua do Vila (o Casa de Alcinda Guima ães, 1946) o he C eche de Toma (1947), which a e closely ela ed o he classical p inciples o he Mode n Mo emen . The p elimina y u ban plan o Campo Aleg e (1949) and he Unidade Residencial de Ramalde (1952-1960), de el- oped a he Planning Depa men o he Ci y Council, ollowed he A hens Cha e as well. O he in e es ing buil p ojec s, such as he G upo Residencial 8  Fe nando Tá o a, “En e is a”, A qui ec u a, no. 123 (1971): 150-154. 9  Tá o a, “En e is a”. See ansla ion: Fe nando Tá o a, “O meu caso” [dia is ic ex , 23/12/1944], in Fe nando Tá o a, “Minha Casa” | P ólogo, edi ed by Manuel Mendes (Po o: FIMS, 2013), [C3]_16‐17. 10  Tá o a, “En e is a”, 150-154. 11  Tá o a, “En e is a”, Jo nal de Le as (24/5/1988) a Be na do José Fe ão, “T adição e mode nidade na ob a de Fe nando Tá o a 1947/1987”, in Luis T iguei os, ed., Fe nando Tá o a (Lisboa: Blau, 1993), 23-46. 107 HPA 11 | 2022 | 5 dos A mazenis as de Me cea ias (1952- 1953), he Bloco de habi ações na A enida de B asil (1952-1954) also show a s ong a achmen o he Mode n Mo emen . Commi ed o enewing Po uguese a chi ec u e, Tá o a began o e lec on he applica ion o mode n design in p e-exis - ing buildings. This was sugges ed, albei expe imen ally, in he ske ches o he Casa Be na do Tá o a (1951) in Anadia. Acco ding o F ancesco dal Con e, his un ealised p ojec consis ed o he in e io emodelling and he econs uc ion o a açade o an exis ing house. In addi ion o he simplici y o he o ms and olumes, Fe nando Tá o a eso ed o egula - ing lines o de ine he p opo ions o he new açade.12 This design app oach – as well as he d awing i sel – is s ongly in luenced by he cubis expe iences o Le Co busie .13 Howe e , i was no un il some yea s la e ha his a emp o in e- g a e mode nism in o ancien buildings was e ec i ely achie ed. [Fig. 1, 2]. A he same ime as hese a an -ga de p ojec s, he also designed o he modes wo ks, wi hou any appa en inno a i e o mal p e ensions, using con en ional sys ems and ma e ials om Tá o a’s i s documen ed p ojec in he FIMS a chi e is he Casa de Diogo Tá o a (1946-1947),14 a new house o which he himsel admi ed ha i s ex e nal appea ance “do no ha e any s ylis ic in en- ion”.15 I ce ainly does no show any ele an aspec s beyond he con en ions o he momen . Sho ly a e wa ds, he was commissioned o eno a e and ex end a a m- house in Ca apeços (1948), nea Ba celos. The sca ce documen a ion shows ha he addi ions ep oduce he o ms and ma e ials o he old house (buil wi h mason y walls, imbe - amed oo , adi ional cu ed oo iles, wooden joine y, adi ional plas e ing, e c.). No only did he young a chi ec ejec any 12  F ancesco Dal Con e, “L’a chi io Tá o a”, in An onio Espósi o, Gio anni Leoni, Fe nando Tá o a, ope a comple- a (Milano: Elec a, 2005), 337-339. 13  Despi e some d awings o his p ojec being published in he a o emen ioned book, no in o ma ion has been ound in he a chi ec ’s a chi e. 14  Al hough Fe nando Tá o a ook on he ole o designe , his i s p ojec s we e de eloped unde he esponsi- bili y o his elde b o he , he ci il enginee Be na do Fe ão. 15  Fe nando Tá o a, “Memó ia desc i i a” da Casa Diogo Tá o a, 1946, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0001-pe, l.2. 1 Fig. 1, 2 Casa Be na do Tá o a. S udy d awings by Fe nando Tá o a, 1951, published in: An onio Espósi o and Gio anni Leoni, Fe nando Tá o a, ope a comple- a (Milano: Elec a, 2005): 290. 2 108 con empo a y ges u e, bu he also in ended he ex ension o mimic he p e-ex- is ence, as s ipula ed in he con ac documen s (special condi ions o he mason): … he walls and ounda ions will be buil wi h he dimensions and appea - ance o he exis ing ones, so ha he new pa canno be dis inguished om he exis ing cons uc ion. The g ea es ca e mus be aken in he ex- ecu ion o his clause, especially wi h ega d o co ne s, h esholds, lin els and openings in exis ing walls.16 2.2. Pe manence in Classicism: Casa das Fidalgas (1948-1954) The p ojec ha pe haps bes ep esen s his conse a i e ace o Fe nando Tá o a’s ea ly ca ee is he addi ion o a new e anda o he Casa das Fidalgas. The eno a ion o his 17 h and 18 h cen u y mano house was his i s signi i- can in e en ion in his o ic a chi ec u e. Howe e , he was al eady e y used o his ype o building, as his amily owned se e al s a ely homes and he had been in e es ed in disco e ing hei his o y and o ms since childhood.17 Much o he documen a ion on his wo k consis s o he co espondence be ween he young Tá o a and he owne o he house, he enginee Ped o B um da Sil ei a Pin o, who was p obably a iend o he amily. The le e s e eal a sha ed in e es in Po uguese his o y, a and a chi ec u e,18 as well as p o iding in o ma ion on he ch onol- ogy and ci cums ances o he design p o- cess. Tá o a isi ed he house o a ew days in ea ly 1948 o make a schema ic su ey, and o e he cou se o se e al yea s Ped o da Sil ei a asked him o suc- cessi e designs and al e a ions, which he a chi ec ollowed up by le e [Fig. 3]. The wo k was ex ensi e: he oo was eplaced, some o he in e io s we e en- o a ed, and a e anda was added o he açade acing he ga den. 16  Fe nando Tá o a, “Cade no de enca gos (condições ge ais e condições especiais)”, 1948, Casa de Ca a- peços, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0005-pe, l. 1-5. 17  “…my mo he had h ee o ou old houses, (...) when I was 12 yea s old, I used o go o a house in Minho ha had a owe , bu he e was also a house in he sou h ha no had no owe and was a ho izon al house. Ou house was ho izon al. All o ha go me hooked on [wonde ing abou ] he eason o hings”. Fe nando Ag asa , “En e is a con Fe nando Tá o a”, in Ana Domínguez Laíño (ed.), Fe nando Tá o a (Co uña: C.O.A.G., 2002), 12-13. See also: Fe nando Tá o a, “Encon o pa a a Edi ícios; en e is a po Manuel Mendes”, in Fe nando Tá o a, “Minha casa”. Uma po a pode se um omance, edi ed by Manuel Mendes (Po o: FIMS, 2013), [C]1-24. The a chi ec ’s ecen ly published ex s and d awings e lec ha he a chi ec u e o mano houses was a cons an heme o esea ch and d awing in he 1940s. Tá o a ske ched ypological classi ica ions o he wide a ie y o solu ions acco ding o mo phological schemes and based on he composi ion, deco a ion and cha ac e is ics o hei elemen s. See: Fe nando Tá o a, As aízes e os u os, pala a, desenho, ob a (1937-2001). ‘O meu caso’ A qui ec u a, impe a i o é ico do se 1937‐1947, edi ed by Manuel Mendes, omo I.I, (Po o: FIMS/FAUP, 2020). 18  Fo example, in one o he le e s he sen o Tá o a, Sil ei a included some d awings o a e y speci ic mould- ed hand ail and a sculp u al inial o a 17 h cen u y s ai case o he Paço dos Condes-Duques de Ba celos, which he wan ed o ep oduce in he house. See: “Co espondence sen by Ped o da Sil ei a o Fe nando Tá o a”, Casa das Fidalgas, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0058-pe. 3 Fig. 3 Casa das Fidalgas. S udy d awings o he new e anda, ca. 1948 (FIMS/AFT, e . 0058- 0006). 109 HPA 11 | 2022 | 5 The co espondence sugges s ha he owne played a e y ac i e ole in he design, as e idenced by successi e co ec ions o he ske ches: “…I would p e- e [ he e anda] wi h only wo a ches, wo side doo s, six aul s, se en col- umns and he cen al ailing eplaced by s one”.19 Bo h Tá o a’s d awings and he clien ’s app aisals e lec ha hey in ended a design inspi ed by he exis ing e andas in he a ea, which hey had isi ed and e en su eyed.20 Indeed, hese open-ai galle ies a e ound in many 17 h and 18 h cen u y Ba oque palaces in no he n Po ugal, so his addi ion would “comple e” and “pe ec ” he exis - ing building, app oaching an ideal model and also seeking a dialogue wi h he e anda o he neighbou ing Palácio de San a . The wo k was s ill in p og ess in 1954, when Sil ei a asked he a chi ec o de ailed solu ions, ques ioning o he exac dimensions and p opo ions o he colonnade wi h e e ence o he classical models (“I you ha e he Vignola he e, please see he e a-e igie o he Tuscan O de ”21). In his wo k, Fe nando Tá o a adop ed a adi ionalis posi ion, con a y o he ideas he had ecen ly exp essed in he essay O p oblema da casa po uguesa (1945 and 1947). He in eg a ed he e anda in o he manne is aes he ic, e us- ing o in oduce any a chi ec u al exp ession associa ed wi h Mode nism. I is no clea whe he his choice was due o he hesi a ion a he beginning o his ca ee , o whe he i was a delibe a e a emp o achie e a homogeneous old image o he building.22 I is impo an o bea in mind ha he in e en ion o he owne could also ha e a s ong in luence on he design and he esul . I should no be igno ed ha Tá o a g ew up in he con ex o a is oc a ic socie y and was he e o e ma ked by a kind o cul o he pas . Wha e e he case, he young Tá o a assumed he ole o a Ba oque a chi ec . In a way, his exe cise in e i alism an icipa es he Violle ian app oach he would la e adop in some wo ks p ac ised la e , which consis ed o ec ea ing he o ms and a mosphe es o his o ical a chi ec u e. The a chi ec himsel joked wi h his colleagues a he Con en o da Cos a when he decided o ebuild an old s ai case: “we will be be e Ba oque a chi ec s han he Ba oque a chi ec s”;23 he also said i onically ha “ he people who buil i didn’ know how, and I did i much 19  Casa das Fidalgas, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0058-pe, 4 July 1948, l. 67-68. 20  “We wen o see he e andas a ound he e and he beau i ul e anda o he Mise ico dia o Mangualde, whose spans ange om 1.55, 1.82 and 2.15m. I mus he e o e ask you o please send me ano he ske ch as soon as possible, wi h se en columns and six spans o 2.5m each”. Casa das Fidalgas, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0058-pe, 22 July 1948, l. 64. 21  Casa das Fidalgas, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0058-pe, 16 Augus 1954, l. 10-11. 22 The econs uc ion o he Palácio da Bacalhôa (nea Se úbal), which Fe nando Tá o a isi ed in 1944, may ha e been a poin o e e ence o his commission. This isi ga e him g ea pleasu e: “My imp essions a e he bes . When [M s. Sco ille] bough i , he house was in a mise able s a e. The main e anda had allen down, he low a ches we e b oken and sca e ed, he oo s and ceilings we e all uined and su e ing he a acks o ime. (...) The cu en owne has done a ema kable job he e, u nishing he house wi h g ea as e, and always aking ca e o espec wha was done by he p imi i e lo ds o Bacalhoa. The eno a ion o he h ee ba h ooms – which he house ce ainly ne e had –, he spi al s ai cases, he ki chens, he o a o y, has been e y success ul”. Fe nando Tá o a, dia is ic ex , 2/1/1944 (AP2‐p. No as/ l. 52 ), in Tá o a , As aízes e os u os, pala a, 369. 23  Ca los Mou a Ma ins, in con e sa ion wi h he au ho s (Po o, 3 Sep embe 2019). See: Da id O dóñez- Cas añón, Eleono a Fan ini, “Con e sa com Ca los Ma ins”, in Te esa Fe ei a, Da id O dóñez Cas añón, Eleono a Fan ini, ed., No o/An igo. Fe nando Tá o a: con e sas (Po o: FAUP/FIMS/A on amen o, 2023), 84-105. 110 be e ”.24 His iend Sé gio Fe nandez ells ano he simila anecdo e, which hap- pened a e isi ing he palaces o San a (se e al yea s a e he p ojec ). When Fe nandez la e me Tá o a, he said o him: “I wen o see a e y beau i ul mano house, ha had a an as ic e anda...”; o which Tá o a eplied: “I app ecia e you wo ds e y much! Tha 17 h cen u y e anda was made by me!”.25 This abili y o design new classical a chi ec u e demons a es a deep knowl- edge o his o y o a and cons uc ion. When he began designing he San a e anda, a he age o 24, he was al eady an expe on Po uguese a and a chi- ec u e. A he ime, he had a a ied and ex ensi e collec ion o books ha he had ca e ully ead, and he had also acqui ed i s -hand knowledge o his o ical build- ings hanks o a elling since childhood wi h amily iends and his a he (an a en husias who ook him o isi chu ches and palaces all o e he coun y).26 This wo k is ce ainly no he mos ep esen a i e o Fe nando Tá o a’s bes known a chi ec u e, as he a oided inno a ion and designed he new elemen as i could ha e been made in he 17 h cen u y. Pe haps o ha eason his p ojec has no been included in any o he main publica ions on he a chi ec . I is, how- e e , a g ea example o his abili y o ge on wi h he a chi ec u al languages o he pas , a skill he would con inue o exe cise occasionally a e wa ds.27 Ped o da Sil ei a, a s aunch mona chis , died wi hou issue in 1978 and le he Casa das Fidalgas o he head o he Po uguese oyal house. Dom Dua e de B agança, Duke o Viseu, li ed in he house o many yea s un il he ga e i o he San a Vila Ja dim p ojec . The building has ecen ly unde gone a majo e u bishmen o become a luxu y ho el and spa. 2.3. A B idge be ween Pas and Fu u e: Casa Fe nando Tá o a (1954) In he abo e cases, he commi men o mode ni y and he con inui y in adi ion ollowed sepa a e and unconnec ed pa hs. Hence he eno a ion o he house in Rua Senho a da Luz ep esen s a s ep o wa d in achie ing a hi d way, a success- ul a emp o combine in he same building he p ese a ion o he cha ac e o he old esidence wi h he in oduc ion o a mo e con empo a y exp ession. Wha had o be made anew is nei he mimicked in he old o ms, no is i concei ed as a mode n mask alien o wha exis ed be o e. Mode n design was palpable, bu howe e limi ed o small, almos su gical ope a ions, since he p io i y was o main ain he ype-mo phological ma ix o he exis ing building. This house, loca ed a he seaside in Foz do Dou o, wi h p i a e access o he beach, was one o he illas buil a he end o he 19 h cen u y o accommoda e 24  Sé gio Fe nandez, in con e sa ion wi h he au ho s (Po o, 5 Augus 2019). See: Da id O dóñez-Cas añón, “Con e sa com Sé gio Fe nandez”, in Te esa Fe ei a, Da id O dóñez Cas añón, Eleono a Fan ini, ed., No o/An igo. Fe nando Tá o a: con e sas (Po o: FAUP/FIMS/A on amen o, 2023), 42-59. 25  O dóñez-Cas añón, “Con e sa com Sé gio Fe nandez”. 26  Nume ous you h ul d awings and w i ings on Po ugal’s his o ical a chi ec u e ha e been published in Tá o- a, As aízes e os u os, pala a, desenho, ob a ( omo I.I). 27  Ano he ep esen a i e example is he neoclassical ga e in Rua da Rainha Dona Es e ânia, Po o, designed in 1970-71. 117 HPA 11 | 2022 | 5 wi h whi e ims). This p ac ical solu ion enables he in e io o be illumina ed, p o ec ing he o iginal ca pen y om he wea he , e aining hea and b inging some eshness o he image o he building. Wi h his eye-ca ching onali y, Tá o a manages o highligh he mode ni y o he in e en ion [Fig. 15]. In his app oach o a “mode n e nacula ” he e e ence o Le Co busie seems o be p esen again. Recall he se o houses designed in he ea ly 1930s, such as he Maison Mand o (1929-1932) o he Maison E azu iz (1930), in which he ough aspec o adi ional ma e ials is combined wi h he sophis ica ion o mode n cons uc ion sys ems, he anspa ency o he glazed spans and he a ionalis composi ional g amma . This e e ence can also be il e ed by Al edo Viana de Lima, he mos co busian o he a chi ec s o Po o (wi h whom Tá o a wen o he CIAM) and who also ca - ied ou in his pe iod some in e en ion wo ks in a u al con ex , such as he Casa D . Olí io F ança (São Ped o, Vila Ve de, 1952) o he Casa das Ma inhas (Ma inhas, Esposende, 1953-1957). In ac , he o iginal wo- one ea men o he ca pen ies o he Casa de Além can be ela ed o he play o colou s in Viana de Lima’s house. Despi e he in oduc ion o con empo a y sys ems and ma e ials, his wo k displays ca e ul epai o p e-exis ing elemen s, as shown by he delica e g a s pe o med on he old doo s, he in oduc ion o s uc u al ein o cemen s o he eplacemen o de e io a ed a e s. Thus, his wo k is hal way be ween he phil- ological conse a ion o p e-exis ence and o mal inno a ion. Tá o a ehea ses he e a c ea i e ela ionship be ween he new and he old, combining he inse - ion o mode n elemen s wi h he p ese a ion o he house’s iden i y so as o o e come he adi ional sepa a ion be ween new cons uc ion and es o a ion. No wi hs anding he undoub ed in e es o his eno a ion, i was no e iewed in o he publica ions abou he a chi ec , no did he himsel endea ou ed o dis- semina e i . Fig. 15 Casa de Além. Pho og aph aken in Augus 1972, showing he o iginal colou s o he window ames, pain ed whi e and ed (FIMS/AFT, e . 0065- o o0002). 15 118 2.5. Supe imposed Mode nism: Con en o de Monchique (1957) The bold ges u es made in he Casa de Além an icipa e o he in e en ion p o- jec s in which mode ni y was in oduced in a much mo e asse i e manne , bu no wi hou p o ound espec o he spi i o he p e-exis ence. A he beginning o 1957, Fe nando Tá o a d ew up a p elimina y p ojec o he econs uc ion o a uined con en in Po o. The Con en o da Mad e de Deus de Monchique was made up o a se ies o cons uc ions da ing om he 15 h, 16 h and 17 h cen u y,37 dis ibu ed a ound a cen al cou ya d, wi h some ema kable pieces, such as he chapel po al, a Manueline po al and he main body o he con en , which held he e ec o y and he monks’ cells. Despi e i s g ea he i age alue, he whole complex was in a poo s a e o epai and had been con e ed o indus ial use. The p ojec in ol ed he ans o ma ion o he main wing in o a g oup o dwell- ings o wo ke s o di e en ypes and sizes. Tá o a was aced he e wi h he issue o adap i e euse o buildings o high signi icance, a challenge he me wi h g ea sensi i i y a a ime when he i age p ese a ion was no a majo p io i y. The a chi- ec himsel conside ed his commission as emp ing as i was di icul : “ emp ing because i is, i can be said, an inno a i e wo k in a building ha is wo hy o he g ea es in e es ; di icul , because i is a ma e o adap ing an old building, wi h e y speci ic cha ac e is ics ha should be p ese ed, o a new unc ion”.38 The apa men s would be a anged ans e sely, se ed by ex e nal conc e e galle ies suppo ed on co bels ancho ed o he exis ing walls. The sani a y acil- i ies would be concen a ed along he o me cen al co ido o he building, eeing up he ex e nal space o acili a e ligh and iews o he ou side [Fig. 16, 17]. In his way, mos o he exis ing openings would be p ese ed, and he ew new ones would co espond o old buil -in cupboa ds, (whe e he e we e al eady niches in he wall), wi h “dimensions ha do no in any way de ac om he spi i o he exis ing layou ”.39 Indeed, his p ojec o esees he impo ance ha he comp ehensi e s udy o he pas o he buildings would ha e in Fe nando Tá o a’s subsequen wo ks. In he p ojec epo , he a chi ec s a es ha knowledge o he en i e his o y o he con en was”.40 This in e es ing documen also e lec s his conce n o es o e he ypological cla i y o he building complex, emo ing, i necessa y, any spu ious cons uc- ion ha p e en a p ope app ecia ion o he whole and he unde s anding o he his o ical p ocesses. In his case, he gene al plan sugges ed “a d eam ha he au ho s could no hide: he econs uc ion o he old cou ya d o he Con en , 37  Tiago T indade C uz, “Pa imónio e Desenho Digi al Me odologias e abo dagens aplicadas ao con en o de Monchique no Po o (a uína, o demolido e o ans o mado)” (PhD Thesis, Faculdade de Le as da Uni e sidade do Po o, 2022). 38  Fe nando Tá o a, “Memó ia desc i i a”, 1957, An ep ojec o de ecupe ação e adap ação do Con en o de Monchique, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0039-pe, l. 9-13. 39  Tá o a, “Memó ia desc i i a”. 40  Tá o a, “Memó ia desc i i a”. 119 HPA 11 | 2022 | 5 wi h he Chapel in he backg ound and a oun ain in he cen e, a econs uc ion ha poses he main di icul y, bu is pe ec ly sol able, o demolishing he wa e- houses ha cu en ly occupy he su ace o he same cou ya d”. 41 Thus, he a chi ec a gues ha his choices a e aimed a es o ing he cohe - ence o he monas ic complex wi h he g ea es espec o he exis ing s uc- u e, bu a he same ime, he p oposed solu ions espond o a language o s ong mode n a ilia ion. This is clea ly isible in he no heas açade, which is supe imposed by he new, ma kedly ho izon al ex e nal co ido . In addi- ion,, he openings ha we e o me ly co e ed by squa e windows would be enclosed by la ge panes o glass [Fig. 18] . Mo eo e , while he spa ial in eg i y o he old e ec o y was o be p ese ed, he uppe loo s – whe e, he old cells had al eady been los – we e o be deeply eno a ed. The wo k was o be ex ensi e due o he s a e o conse a- ion and he equi emen s o he new unc ion. This mean ha only he ou e walls and some o he inne walls could be p ese ed. Al hough his p ojec was ne e comple ed and has no been included in any ele an publica ion on he a chi ec , i ep esen s an in e es ing p eceden o o he cases o adap i e euse o monas ic buildings by Fe nando Tá o a, some 41  Tá o a, “Memó ia desc i i a”. Fig. 16, 17 Con en o de Monchique. Plan and ele a ion o he p elimina y p ojec , 1957 (FIMS/AFT, e . 0039-pd0003 and 0039- pd0007). 16 17 120 o hem wi h such impac and impo ance and signi icance as he Pousada da Cos a (1972-1989) and he Escola Ag ícola de Re óios de Lima (1986-1993). 2.6. “A Heal hy Res o a ion C i e ion”: Casa da Ig eja (1958-1961) Following a simila app oach, he eno a ion o he Casa da Ig eja, in Mondim de Bas o, b ings oge he a se o design p inciples ou lined in he p e ious wo ks. This wo k, con empo a y wi h o he pa adigma ic p ojec s by he a chi ec such as he O i House and he Ced o School, ep esen s a i m s ep owa ds he ma e ialisa ion o he sough -a e hi d way, which aims o econcile seemingly opposing concep s. In addi ion o his, Tá o a has sough o s ike a balance be ween espec o he iden i y and main ea u es o he old building wi h new equi emen s and an upda ed image. E en hough his wo k has no been widely dissemina ed,42 i ep esen s a aluable expe ience om an impo an pe iod in he ca ee o he a chi ec . The Casa da Ig eja [House o he Chu ch] is a mano ial es a e om he las qua e o he eigh een h cen u y, on he si e o a p e ious cons uc ion da ing back o 1575. The building is o ganized in an “L” shape, on a sloping plo . I has a pa ially bu ied loo and a noble, esiden ial loo , accessible by a s ai case om he on ga den. In he main açade, he hy hmic a angemen o he spans 42  This wo k has ecei ed li le a en ion in a chi ec u al publica ions, excep o a b ie publica ion in a mono- g aphic issue edi ed by Nuno Po as, “A qui ec o Fe nando Tá o a: 12 anos de ac i idade p o essional”, A qui ec- u a, no. 71 (July 1961): 31. The au ho s ha e ecen ly published se e al s udies on his p ojec : Da id O dóñez- Cas añón, Te esa Cunha Fe ei a and San iago Sánchez-Bei ia, “Towa ds a new app oach o a chi ec u al he i age in e en ion in Po ugal: Fe nando Tá o a and he e u bishmen o he Casa da Ig eja o Mondim de Bas o (1958- 1961)”, WIT T ansac ions on he Buil En i onmen , no.191 (2019): 187-198. h ps://doi.o g/10.2495/STR190161 See also Da id O dóñez-Cas añón, Te esa Cunha Fe ei a, San iago Sánchez-Bei ia, “Adap i e euse o mano houses: mode nism and adi ion in Fe nando Tá o a’s app oach o he i age eno a ion”, In e na ional Jou nal o Sus ainable De elopmen and Planning, no. 3 (2021): 569-578 h ps://doi.o g/10.18280/ijsdp.160318. Fig. 18 Con en o de Monchique. Sec ion o he p elimina y p ojec , 1957 (FIMS/AFT, e . 0039-pd0004). 18 121 HPA 11 | 2022 | 5 and he ho izon ali y o he ele a ion (emphasized by he ea es) a e in e up ed o he cen e by he a ch o he po al o whe e he doo s o access he h ee pa s in which he esidence is di ided open: he chapel ( o he cen e ), he main house ( o he sou h) and he auxilia y o gues house ( o he no h). In on o he main ele a ion he e is a small opia y ga den, ea u ing se e al deco a i e o ms ca ed in boxwood and camellias [Fig. 19]. This echnique was popula - ized in he noble ga dens o he Te as de Bas o in he mid-nine een h cen u y h ough he in luence o he Pin o Bas o sis e s, aised in England, who in o- duced he s yle o ege able sculp u es ypical o he English ga dens.43 In con- as , he backya d was a unc ional space, in which se e al asks o domes ic se ice and o he ag icul u al wo ks we e ca ied ou . Tá o a was well acquain ed wi h he mano ial a chi ec u e o he a ea, ha - ing spen some seasons he e du ing his you h 44 , since his amily main ained mul iple bonds o kinship and iendship. In ac , he e is a pho og aph om he 1940s showing a young Tá o a d awing he house. Yea s la e , in 1958 – pe - haps hanks o hese bonds –, he was commissioned o eno a e i . The a chi ec acknowledges ha ing explo ed a model o in e en ion dis inc om he usual, “a heal hy c i e ion: nei he denying he pas no in ending o con- inue i by copying i s o ms”.45 This s a emen exp esses a esounding ejec ion o he s ylis ic es o a ion, which was s ill a common p ac ice by he Gene al Di ec o a e o Buildings and Na ional Monumen s (which he himsel p ac iced in p e ious wo ks as shown in he Casa das Fidalgas). This sen ence also ecalls he claims exp essed in he mani es o O p oblema da Casa Po uguesa, which e used he banal imi a ion o he pas ( he so-called “ alse a chi ec u e”). In his 43  Ilídio Al es de A aújo, “Ja dins de Bas o”, in Guia de Po ugal, ol. IV. En e Dou o e Minho (Lisboa: Fundação Calous e Gulbenkian, 1964). 44  In Oc obe 1944 Fe nando Tá o a s ayed o se e al days a he Casa da Boa is a in Celo ico de Bas o (owned by Manuel Osó io de A agão), whe e he spen ime eading and isi ing he a ea ( aking no es and ske ch- es o he ances al homes in he egion). 45  Fe nando Tá o a, “Mondim de Bas o: econs ução da Casa da Ig eja (1959-1961)”, A qui ec u a, no. 71 (July 1961): 31. Fig. 19 Casa da Ig eja. Main açade and opia y on ga den (pho o by Da id O dóñez-Cas añón). 19 122 sense, wha was buil ex no o should exp ess i s con empo anei y, while seek- ing he bes possible ela ionship wi h he p e-exis ing pa s: “A dialogue was ehea sed in ou cu en language o ob ain om his syn hesis a esh and joy ul wo k in which, e iden ly, he ‘ oman icism’ o he p esence o he ancien legacy is no lacking, which was p ese ed and enhanced”.46 In his way, mode n design ca pen ies (doo s and windows wi h clean lines, pain ed in whi e, obus ames and unique glasses) coexis wi h o he s om he Ba oque e a ( eco e ed and eused) and e en wi h elemen s o his o icis design (such as he ki chen and he dining oom cabine s) [Fig. 20]. The eno a ion o he ea açade is ano he clea e lec ion o his app oach. Tá o a was awa e ha he addi ions o he nine een h cen u y had de o med he physi- ognomy o he house.47 His in en ion was o eco e he o iginal p o ile, emphasizing he body o he chapel as he hea o he build- ing and endowing his ele a ion wi h uni y and a s ong iden i y. Thus, he new galle y adi- cally mani es s he desi e o a an -ga de by displaying mode n composi ional p inciples (ho izon ali y, o mal abs ac ion, geome ic simplici y, spa ial luidi y, ec onic hones y, ligh and shadow cons as s...) [Fig. 21]. Despi e i s s ong mode n exp ession, he in luence o he Inqué i o also ma ked he solu ion o he new po ch, which e okes he ypological scheme o adi ional Minho po icoed spaces. Indeed, in a sub le way, he e e ence o e - nacula models was al eady p esen in coe al wo ks such as he Casa em O i , he Vila da Fei a Ma ke o he Quin a da Conceição ennis pa ilion. In hose p ojec s he a chi ec c ea i ely ein e p e ed he unc ional and ec onic concep o adi- ion a he ligh o a mode n g amma and ma e iali y, o igina ing ully up- o-da e 46  Tá o a, “Mondim de Bas o: econs ução da Casa da Ig eja (1959-1961)”. 47  Fe nando Tá o a, “Memó ia desc i i a e jus i ica i a”, 1958, An e-p ojec o da Casa da Ig eja de Mondim de Bas o, A qui o Fe nando Tá o a, Fundação Ins i u o Ma ques da Sil a, FIMS/FT/0103-pe. Fig. 21 Casa da Ig eja. Back açade wi h a new e anda closed by sliding wooden la ices (pho o by Da id O dóñez-Cas añón). Fig. 20 Casa da Ig eja. Execu ion p ojec (june 1959): ele a ions and sec ions (FIMS/AFT, e . 0103-pd0028). 21 20 123 HPA 11 | 2022 | 5 buildings al hough i mly oo ed in ances al cul u e. I is wo h examining he sys em o mo able panels ha cha ac e izes he new açade. The design o hese la ices could be unde s ood as a mode n ein e p e a ion o he ligh wooden s uc- u es p esen in popula a chi ec u e (g ana ies and cu e s). Howe e , his solu- ion could also e e o he la ices ha , coming om Islamic cul u e (muxa abi o mash abiya), emained in Po uguese a chi ec u e a e he Ch is ian econ- ques , and o which some examples ha e su i ed, such as he Casa dos C i os, in B aga, o he Casa das Ró ulas, in Guima ães. Po uguese builde s ook hese elemen s wi h hem o B azil, in colonial imes, whe e hey we e success ully applied hanks o hei unc ionali y as sunsc eens and as p i acy il e s. La e , in he wen ie h cen u y, mode n B azilian a chi ec s ein e p e ed and adap ed hem o hei a an -ga de g amma in buildings such as he G ande Ho el de Ou o P e o (1940), by Osca Niemeye , o he Casa Ba ão de Saa ed a (1942), by Lúcio Cos a, among o he s. These e e ences we e widely dissemina ed in Po ugal ollowing he publica ion o he book/ca alog B azil Builds,48 o which a chi ec s such as Keil do Ama al, Januá io Godinho o Nuno Teo ónio Pe ei a we e sensi i e. This ame o e e ences has an impac on Fe nando Tá o a’s in e en ion in he Casa da Ig eja h ough he new la ice, which is he symbol o he cul u al e u n-jou ney and sync e ism be ween Po uguese e nacula a chi ec u e and mode n B azilian-inspi ed design.49 In addi ion o he e o mula ion o he ea açade, o he deep s uc u al ans o ma ions ook place which a ec ed he s uc u e o he loo s ( ebuil in ein o ced conc e e) and he oo (wi h a new wooden s uc u e and ile co - e ing). Also signi ican ly emodelled was he dis ibu ion o he in e io in o de o achie e a mo e egula layou wi h new echnical in as uc u es (mo e ba h- ooms, elec ici y, elephone, hea ing, sani a y ho wa e ), in acco dance wi h he call o a con empo a y domes ic space s a ed in he essay O p oblema da casa po uguesa [Fig. 22]. 48 Philip L. Goodwin, B azil builds: a chi ec u e new and old, 1652-1942 (New Yo k: The Museum o Mode n A , 1943). 49  To del e deepe in o his issue, see he s udy by he au ho s: Da id O dóñez-Cas añón, Te esa Cunha Fe ei a, Jesús de los Ojos Mo al, “De la adición a la mode nidad: la ein e p e ación de la celosía de made a. In luencias ecíp ocas en e B asil y Po ugal”, in Anais do 3º Cong esso In e nacional de His ó ia da Cons ução Luso-B asilei- a (Sal ado da Bahia: Núcleo de Tecnologia da P ese ação e da Res au ação da UFBA, 2019), 899-913. Fig. 22 Casa da Ig eja. Execu ion p ojec (june 1959): plan o he main loo (FIMS/AFT, e . 0103-pd0026). 22 124 On he o he hand, ano he p ima y p emise was he “conse a ion and app e- cia ion o i s en i e cha ac e ”.50 Al hough p o ound changes we e made, Tá o a sough o p ese e he undamen al a chi ec u al alues o he p e-exis ence. In his sense, he ba oque acades we e ully p ese ed and highligh ed, as well as he singula disposi ion o he house a ound he chapel. Likewise, he noble deco a i e en i onmen o he ep esen a i e ooms, especially he main hall and he mas e bed oom, we e p ese ed; hese we e he only ooms ha s ill kep he old o na e wooden ceilings. 3. CREATION ON EXISTING BUILDINGS: NEXUS BETWEEN PRACTICE AND THEORETICAL REFLECTION The selec ed cases e lec a p og essi e p ac ical implemen a ion o he he- o e ical in en ions i s s a ed in O p oblema da casa po uguesa (1945, 1947). Al hough his mani es o does no p o ide a speci ic e lec ion on he eno a ion o he buil en i onmen , i e lec s he heo e ical impac o some ele an w i - e s and philosophe s. Hence, ideas on he compa ibili y o he inhe i ance om he pas wi h he need o p og ess a e glimpsed in he abo emen ioned ex and may ha e in luenced his app oach o he i age in e en ion. In sho , Tá o a lea ned om Oswald Spengle ha e e y hing in he p esen mus be in e p e ed based on he es ablishmen o innume able ela ionships be ween ac ions and hough s o he mos a a ied na u e h oughou his o- y.51 F om Benede o C oce, he unde s ood he impo ance o in e p e ing pas e en s – howe e dis an hey may seem – in e ms o he needs and si ua ion o he p esen .52 O ega y Gasse ’s philosophy was also a undamen al pilla o he young Tá o a,53 especially he ejec ion o ei he he excess o he absence o he ‘pas ’ (agains o e - echnicali y and his o icism), as well as his ideas on memo y and obli ion, p imi i ism and mode n a , uni y and mul iplici y, among o he s. In addi ion, he Po uguese a chi ec emb aced Gasse ’s no ion o ci - cums ance and suppo ed he demand o “ he igh o con inui y”, ad oca ing o a “good ela ionship wi h he pas ”, which in ol ed le e aging cen u ies o acqui ed knowledge o sol e cu en p oblems and be e ace he u u e.54 In his con ex , i is wo h no ing how, as ea ly as 1940s, Tá o a conside ed his o ical esea ch o be a undamen al ool o in e ening in exis ing build- ings. This app oach, howe e , was no aimed a copying old o ms bu a be e 50  Tá o a, “Memó ia desc i i a e jus i ica i a”, 1958, An e-p ojec o da Casa da Ig eja de Mondim de Bas o. 51  Fe nando Tá o a, “A qui ec u a, cul u a e his ó ia”, Re is a Pós, Nume o especial: O es udo da his ó ia na o mação do a qui ec o (1994): 18-21. 52  Benede o C oce, La s o ia come pensie o e come azione (Ba i: La e za, 1966 [1938]), 183. 53  Fo a deepe analysis on José O ega y Gasse ’s ideas unde lying O p oblema da casa po uguesa, see Pa í- cia Miguel, “Mapa-mundo é o epe ó io das nossas possibilidades i ais. In es igações a pa i do es udo da bib- lio eca de Fe nando Tá o a enquan o jo em”, in Manuel Mendes, ed., Sob e o ‘p oje o‐de‐a qui e u a’ de Fe nando Tá o a (Po o: FIMS/FAUP, 2015), 346‐377. See also: Nelson Mo a, “Fe nando Tá o a e a ebelião das massas. À p ocu a de uma a qui ec u a en e memó ia e esquecimen o”, Manuel Mendes, ed., Sob e o ‘p oje o‐de‐a qui e u a’ de Fe nando Tá o a (Po o: FIMS/FAUP, 2015), 378-399. 54  These ideas a e exp essed in he mos in luen ial wo k o José O ega y Gasse , La ebelión de las masas (Mad id: Alianza Edi o ial, 1992 [1930]), bu also in ¿Qué es iloso ía? Unas lecciones de me a ísica (México D.F.: Po úa, 2004), 143. 125 HPA 11 | 2022 | 5 unde s anding inhe i ed a chi ec u e as a igge o sol ing p esen -day p ob- lems wi h con empo a y esou ces. A ew yea s la e , he a chi ec himsel de ended a sense o “pe manen mode ni y”, ha is, he disco e y o design p inciples in he lessons and cons an s o his o y.55 In line wi h he concep s o he mona chis essayis An ónio Sa dinha ( o whom being a adi ionalis did no mean “ e u ning o a dead pas , ine in i s c ys allised o m”, bu he capaci y o ake om his o y “a dynamic impulse”), he a chi ec de ended a concep o adi ion as “pe manence in de elopmen ” o o “pe manence in con inui y”.56 Ne e heless, his concep ual app oach is no ye e lec ed in he p ojec s o he 1940s, which p esen exclusi e app oaches in he ela ion be ween adi ion and mode ni y. On he one hand, he p oposal o he Be na do Tá o a’s House, which was inspi ed by Le Co busie ’s pu ism. On he o he hand, he p ojec o Ca apeços and he Casa das Fidalgas, which emula ed old o ms, con adic ed his 1945 mani es o. A he ime, Tá o a e lec ed on he sepa a ion o he old a chi ec u e om he mode n c ea ion, s a ing ha “e e y hing in i s place and he pas canno coexis wi h he p esen ”.57 This hough , mus be seen in he con ex o his ip o Eu ope in he pos -wa pe iod (1947),58 in which mode n a chi ec- u e and u ban planning we e seen as undamen al ools o imp o ing he li ing condi ions, while he monumen s o he pas , al hough beau i ul, did no espond u gen needs. He emba ked on a jou ney ac oss Eu ope in sea ch o answe s o o e come he us a ion caused by his own con adic ions and his inabili y o ansla e in ellec ual ambi ions in o p ac ice. In his desc ip ions he eco ded his deep deligh in his o ical monumen s, bu also in exci ing mode n a chi ec u e. Howe e , his admi a ion o Mode nism should no be misin e p e ed, as he also exp esses his i i a ion when, in Genoa, he obse ed how some ascis la ge build- ings had eplaced he medie al plo s in he cen e o he ci y.59 The p oblema ic balance be ween ancien and mode n a chi ec u e (bo h in I aly and Po ugal) os e ed his dis us o he A hens Cha e , which did no p omo e a ha monious and dialec ical ela ionship be ween he his o ic and he con empo a y ci y. These e lec ions con ibu e o shaping Tá o a’s concep ual amewo k in he 1950s conce ning he ela ionship be ween he new and he old. He was com- mi ed o exp essing he in eg a ion o mode n c ea ion in o p e-exis ences, as can be seen, in his own house in Foz do Dou o, whe e some delica e ges u es 55  Fe nando Tá o a, “A qui ec u a e U banismo – a lição das cons an es”, Lusíada, Re is a Ilus ada de Cul u a, no. 2 (1952). 56  An ónio Sa dinha, “Do alo da adição”, Na Fei a dos Mi os (Lisboa: Gama, 1942), 11-16. 57  “Museums, ca hed als, palaces, a e e y beau i ul hings, bu hey a e admi ed p ecisely because hey a e inished, de ini i e wo ks, wi hou he g ea in e es , wi hou he li e o hose o he s which a e bo n by us and o us, which we ou sel es will ha e o execu e and o which we a e so a ached ha ou sepa a ion will also be ou dea h. Tha is why I am now much mo e conce ned wi h he appea ance o ci ies and he way in which hei inhab- i an s li e (…). I am mo e a ached o all his han o any old pain ing o any g and s ai case which can only o e me p oblems o o m o sensibili y, bu which a ely b ing me ace o ace wi h he ha sh eali ies o he momen, which by hei na u e should in e es us mos . E e y hing in i s place and he pas canno coexis wi h he p esen ” (30-IX-1947). Fe nando Tá o a, “Es eio 2: Viagem pela Eu opa, 1947”, in Fe nando Tá o a, “Minha Casa” | Uma po a pode se um omance, edi ed by Manuel Mendes (Po o: FIMS, 2013), H 23-24. 58  He a elled h ough Spain, F ance, I aly, Swi ze land, Ge many, he Ne he lands and Belgium be o e e u ning o Po o, w i ing down his imp essions almos daily. 59  Dia is ic ex in Genoa, 30/9/1947. Tá o a, “Viagem pela Eu opa, 1947”, H_23. 126 a i m i s con empo anei y wi hou unde mining he iden i y o he bou geois house. In ac , in he essay A lição das cons an es (1952) he a chi ec de ends a mode ni y ha is no alien o his o y. Acco ding o him, mode ni y is no de ined by a o mal language, bu by he app op ia e solu ion o p oblems in cohe ence wi h he ci cums ances.60 In his essay Tá o a a gues ha con em- po a y a chi ec u e should a i m i s mode ni y bu also be in eg a ed in o he in e nal logics ha go e n he p e-exis ing buildings. Thus, his espec ul in e- g a ion would con ibu e o a collec i e and in e empo al p ocess o c ea ion, in which he spi i o in e gene a ional collabo a ion p e ails o e he indi idual con ibu ion o a speci ic a chi ec .61 The e o e, any ac ion on a his o ic build- ing mus espec and p olong he cons an s ha come om he pas , in o de o p ese e i s spi i and hus con ibu e o his long and collec i e p ocess h ough a con empo a y esponse.62 In 1955, Tá o a d a ed a book, ne e comple ed, o be called A habi ação po uguesa (The Po uguese Home), which was o o m pa o he educa ional collec ion o he Campanha Nacional de Educação de Adul os.63 The aim was o o e he guidelines o people o ollow when building hei houses, acco d- ing o ce ain unc ional and aes he ic p inciples linked o adi ion. Al hough in ended as a pedagogical manual – wi h an indoc ina ing p e ension – he handw i en no es schema ically exp ess he undamen al ideas o his concep o he hi d way. He de ends he need o combine he alo isa ion o popula Po uguese a chi ec u e (“ he u h o i s simplici y, u ili y and cla i y”) wi h he need o assimila e mode n de elopmen s (which, “in a gene al way, lead o he ele a ion o he people”64), wa ning ha “ o ollow adi ion is nei he o copy no o use i ”.65 Bu in hese no es he also s ands “in de ence o an iqui ies”, calling o he conse a ion o monumen s, old houses, coun y house u ni u e, al a - pieces, e c. – “ he e a e many examples o hese houses ha once eco e ed a e ans o med in o wonde ul houses” – and he u ges no o des oy “ he ees, he pe manen symphony o he wa e s, no he old u ni u e...”.66 The 1950s we e also ma ked by his a endance a he CIAM mee ings, whe e he wi nessed he decline o o hodox mode nism, which was c i icised by a g oup o young a chi ec s – membe s o Team X – who we e mo e conce ned wi h social issues and adi ion.67 Howe e , his his new sensi i i y was no uni o m. Tá o a el a s ong a ini y wi h I alian a chi ec s, such as E nes o Roge s. His ideas on 60  “Mode ni y means he pe ec in eg a ion o all he elemen s ha can in luence he execu ion o any wo k, using all he means ha bes lead o he ealisa ion o a ce ain end [...]. G ea wo ks o a chi ec u e and u banism ha e always been mode n in he sense ha hey ha e accu a ely e lec ed, in o he wo ds, acco ding o a pe ec ela ionship, he condi ions o hei en i onmen ”. Tá o a, “A qui ec u a e U banismo – a lição das cons an es”. 61  Tá o a, “A qui ec u a e U banismo – a lição das cons an es”. 62  Tá o a, “A qui ec u a e U banismo – a lição das cons an es”. 63  Fe nando Tá o a, “Es eio 3: ‘A habi ação po uguesa, 1955”, in Fe nando Tá o a, “Minha Casa” | Uma po a pode se um omance, edi ed by Manuel Mendes (Po o: FIMS, 2013), L 1-56. 64  Tá o a, “Es eio 3: ‘A habi ação po uguesa, 1955”, L_18. 65  Tá o a, “Es eio 3: ‘A habi ação po uguesa, 1955”, L_46. 66  Tá o a, “Es eio 3: ‘A habi ação po uguesa, 1955”, L_41. 67  Fo u he in o ma ion on he impac o he ideas de eloped by Team 10 on he Po uguese a chi ec u al con ex , see: Ped o Baía, A ecepção do Team 10 em Po ugal (Po o: Ci co de ideias, 2020).