Portuguese architecture
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Clockwise: Pena Palace in Sintra, Praça da Liberdade in Porto, Monserrate Palace in Sintra, MAAT Museum of Art, Architecture, and Technology in Lisbon, Banco de Portugal in Funchal, Belém Tower in Lisbon. |
Portuguese architecture refers to both the architecture of Portugal's modern-day territory in Continental Portugal, the Azores and Madeira, as well as the architectural heritage/patrimony of Portuguese architects and styles throughout the world, particularly in countries formerly part of the Portuguese Empire.
Like all aspects of
Various artistic styles or movements have dominated Portuguese architecture throughout the ages, including
History
Megalithic period
The earliest examples of architectural activity in Portugal date from the
Celtic period
Starting around the 6th century BC, Northern Portugal, as well as neighbouring
Roman period
Architecture developed significantly in the 2nd century BC with the arrival of the Romans, who called the Iberian Peninsula Hispania. Conquered settlements and villages were often modernised following Roman models, with the building of a forum, streets, theatres, temples, baths, aqueducts and other public buildings. An efficient array of roads and bridges was built to link the cities and other settlements.
The best-preserved remains of a Roman village are those of
In the hinterland, wealthy Romans established
Pre-Romanesque and Visigoth period
Roman domination in Hispania was ended with the invasions by Germanic peoples (especially
After 711, in the period of dominance of the Iberian Peninsula by the
Other pre-Romanesque churches broadly attributed to a mixture of Asturian and Mozarabic features are
Moorish period
The invasion of the Iberian Peninsula in the year 711 by Moors from the Maghreb put an end to Visigoth rule in Hispania, called Al-Andalus by the newcomers. Moorish presence influenced art and architecture, especially in Southern Portugal, where the Reconquista was completed in 1249. Buildings during that period were often constructed with rammed earth (taipa) and adobe techniques, followed by whitewashing. Traditional houses in cities and villages in Portugal may have simple, white façades evoking Islamic influence. Some Southern neighbourhoods like the old Alfama district in Lisbon, have retained the street layouts from Muslim times. Contrasting with neighbouring Spain however, very few Islamic buildings in Portugal have survived intact to this day.
- Castles
Although many originated during the Islamic period, most Portuguese castles were extensively remodelled after the Christian reconquest.
The best-preserved is
Another notable Islamic castle in the Algarve is
- Mosques
Many
Portuguese Romanesque style
The Romanesque style was introduced in Portugal between the end of the 11th and the beginning of the 12th century. The most influential of the first Portuguese Romanesque monuments were Braga Cathedral and the Monastery of Rates. The Cathedral of Braga was rebuilt in the 1070s by bishop Pedro and consecrated in 1089, although only the apse was finished at the time. The bishop's ambitious plan was to create a pilgrimage church, with a three aisled nave, an ambulatory and a large transept. A relic of this early project may be a small Eastern chapel located nowadays outside the church itself.
Building activity gained pace after 1095, when
The worships of Braga and Rates were very influential in Northern Portugal. Extant 12th-century Romanesque monastic churches are found in Manhente (near
The spread of Romanesque in Portugal followed the north–south path of the
.All Portuguese Romanesque cathedrals were later extensively modified with the exception of the
A remarkable religious Romanesque building is the Round Church (Rotunda) in the
- Castles
The troubled times of the Portuguese
Gothic period
After the foundation of Alcobaça, the Gothic style was chiefly disseminated by
Many of the Romanesque cathedrals were modernised with Gothic elements. Thus, the Romanesque nave of
An important transitional building is
Several Gothic
In the early 15th century, the building of the
Another Gothic variant was the so-called Mudéjar-Gothic, a fashion which developed in Portugal towards the end of the 15th century, particularly in the southern region of Alentejo. The name Mudéjar refers to the influence of Islamic art in the Christian kingdoms of the Iberian Peninsula, specially in the Middle Ages. In the Alentejo, Mudéjar influence in several buildings is evident in the profile of windows and portals, often with horseshoe arches and a mullion, circular turrets with conical pinnacles, Islamic merlons etc., as well as tile (azulejo) decoration. Examples include the portico of St Francis Church of Évora, the courtyard of the Sintra Royal Palace and several churches and palaces in Évora, Elvas, Arraiolos, Beja, etc. Múdejar eventually gave in to the Manueline style in the early 16th century.
- Castles & palaces
During the Gothic era, several castles had to be either built or reinforced, especially along the border with the
Starting in the 14th century, keep towers became larger and more sophisticated, with rib vaulting roofs and facilities like fireplaces. Keep towers with improved residential characteristics can be found in the castles of
Manueline style
The Manueline style, or Portuguese late Gothic, is the flamboyant, composite Portuguese style of architectural ornamentation of the first decades of the 16th century, incorporating maritime elements and representations of the discoveries brought from the voyages of Vasco da Gama and Pedro Álvares Cabral. This innovative style synthesizes aspects of Late Gothic architecture with influences of the Spanish Plateresque style, Mudéjar, Italian urban architecture, and Flemish elements. It marks the transition from Late Gothic to Renaissance architecture. The construction of churches and monasteries in Manueline, especially in Lioz, or royal stone, was largely financed by proceeds of the lucrative spice trade with Africa and India.
Although the period of this style did not last long (from 1490 to 1520), it played an important part in the development of Portuguese art. The influence of the style outlived the king. Celebrating the newly maritime power, it manifested itself in architecture (churches, monasteries, palaces, castles) and extended into other arts such as sculpture, painting, works of art made of precious metals, faience and furniture.
The first known building in Manueline style is the
The nave of the Setúbal Monastery is supported by spiralling columns, a typical Manueline feature that is also found in the nave of
Portuguese Renaissance
The adoption of the austere Renaissance style did not catch on well in Portugal. Introduced by a French architect in 1517, it was mainly practiced from the 1530s on by foreign architects and was therefore called estrangeirada (foreign-influenced). In later years this style slowly evolved into Mannerism. The painter and architect Francisco de Holanda, writer of the book Diálogos da Pintura Antiga ("Dialogues on Ancient Painting"), disseminated in this treatise the fundamentals of this new style.
The basilica of Nossa Senhora da Conceição in Tomar was one of the earliest churches in pure Renaissance style. It was begun by the Castilian architect Diogo de Torralva in the period 1532–1540. Its beautiful and clear architecture turns it into one of the best early Renaissance buildings in Portugal. The small church of Bom Jesus de Valverde, south of Évora, attributed to both Manuel Pires and Diogo de Torralva, is another early example.
The most eminent example of this style is the Claustro de D. João III (Cloister of John III) in the
However, the best known Portuguese architect in this period was
This last church was completed by the
In his wake came several Portuguese architects:
- Miguel de Arruda: Church of Our Lady of Grace (in Évora)
- Baltasar Álvares, best known for the Sé Nova in Coimbra and the Igreja de São Lourenço in Porto.
- Francisco Velasquez: Cathedral of Mirando do Douro and the designs for the monastery of S. Salvador (Grijó)
- the military architect Manuel Pires: St. Anton's church in Évora.
Mannerism
During the union of Portugal and Spain, the period between 1580 and 1640, a new style developed called "Arquitecture chã" (plain architecture) by George Kubler.[1] Basically mannerist, this style also marked by a clear structure, a sturdy appearance with smooth, flat surfaces and a moderate arrangement of space, lacking excessive decorations. It is a radical break with the decorative Manueline style. This simplified style, caused by limited financial resources, expresses itself in the construction of hall churches and less impressive buildings. In resistance to the Baroque style that was already the standard in Spain, the Portuguese continued to apply the plain style to express their separate identity as a people.
When king
One of the most spectacular undertaking was however the building in Rome of the St John the Baptist chapel with the single purpose of obtaining the blessing of the pope Benedict XIV for this chapel. The chapel was designed by Luigi Vanvitelli in 1742 and built by Nicola Salvi in the church S. Antonio dei Portoghesi. After the benediction, the chapel was disassembled and transported to Lisbon. It was assembled again in 1747 in the S Roque church. It is opulently decorated with porphyry, the rarest marbles and precious stones. Its design already foreshadows the classical revival.
José Fernandes Pereira[3] identified the first period from 1651 to 1690 as a period of experimentation. This period saw the rise of the combination of azulejos and the use of carved gilded wood (talha dourada) on altars and ceilings.
Other works in this period include :
- Baltasar Alvares built some of the most impressive examples in this style : the Sé Nova of Coimbra (1598–1640), the S Lourenço or Grilos church in Porto (begun 1614) and the church S Antão in Lisbon (1613–1656; now destroyed)..
- Other examples are the several Benedictine constructions in this period, such as the renovation by Monastery of Tibães and the Monastery of São Bento (now the Portuguese Parliament).
- Francisco de Mora designed the convent of Nossa Senhora dos Remédios (Évora) for the order of the Discalced Carmelites (1601–1614)
- The Church of Senhor da Cruz in Barcelos, built by João Antunes in 1701–1704 is an unusual experiment because of its four-leaf clover plan.
- Pedro Nunes Tinoco designed in 1616 the church of S Marta (Lisbon) for the Order of the Poor Clares.
Baroque period
Baroque architecture in Portugal enjoys a very special situation and a different timeline from the rest of Europe. It is conditioned by several political, artistic and economic factors, that originate several phases, and different kinds of outside influences, resulting in a unique blend.
The year 1697 is an important year for Portuguese architecture. In that year gold, gems and later diamonds were found in Minas Gerais, Brazil. Mining exploration was strongly controlled by the Portuguese Crown, which imposed heavy taxes on everything extracted (one fifth of all gold would go to the Crown). These enormous proceeds caused Portugal to prosper and become the richest country of Europe in the 18th century.
In the reign of King
The
This design was in line with the king's desire to imitate
One of these was the Patriarchal palace in Lisbon. The Piedmontese architect Filippo Juvarra was brought to Lisbon to draw up the plans. But this project was also toned down because Juvarra only stayed for a few months and left – breaking his contract – for London.
Other important constructions were :
- 1729–1748 : the Águas Livres aqueduct in Lisbon (by Manuel da Maia, Antonio Canevari and Custódio Vieira), described by contemporaries as the ‘greatest work since the Romans’. It provided Lisbon with water, but also the many new monumental fountains built by the Hungarian Carlos Mardel
- 1728–1732 : the Quinta de S Antão do Tojal (by the Italian architect Antonio Canevari)
- 1755 (completed) : the Ópera do Tejo (destroyed later that year) (by Giovanni Carlo Sicinio-Bibiena)
- (completed in 1750) Palace of Necessidades (by Eugénio dos Santos, Custodio Vieira, Manuel da Costa Negreiros and Caetano Tomas de Sousa)
Rococo style
Rococo architecture entered Portugal through the north, while Lisbon, due to the court pomp, remained in the Baroque. It is an architecture that follows the international taste in decoration, and, as a result of the contrast between dark granite and white walls, has a clearly Portuguese profile. The decoration is naturalist, based mainly in shells and leaves but also with architectural elements and sculpture.
Pilgrimage places became fashionable, often built in places of rough prominence, allowing impressive staircases of big scenographic effect. André Soares worked in the region of Braga, and produced some of the main examples such as Falperra Sanctuary, Congregados Church, the Braga City Hall and Casa do Raio, among many others. The number of buildings and architects is large and, because the north of Portugal was spared from the ravages of the 1755 Lisbon earthquake, there is a large number of buildings.
A different and more exuberant Baroque style with some
The
Pombaline style
The
The Pombaline style is a secular, utilitarian architecture marked by
The Pombaline style of architecture is also to be found in
Neoclassical
The arrival of neoclassical trends in Portugal were largely postponed due to the reconstruction efforts following the
Though neoclassical trends persisted throughout Portugal well beyond the larger European period of neoclassicism, Porto produced the greatest number of architects and buildings practicing neoclassical styles, the movement not having gained as much support or traction in Lisbon. Of the northern school,
Notable works in the northern tradition:
- Palácio da Bolsa in Porto, designed by Joaquim da Costa Lima Júnior
- Factory House in Porto, designed by John Whitehead
- Carrancas Palace in Porto, designed by Joaquim da Costa Lima Sampaio
- Santo António Hospital in Porto, designed by John Carr
- Cadeia da Relação in Porto, designed by Eugénio dos Santos
Notable works in the southern tradition:
- Palace of Ajuda in Lisbon, designed by José da Costa e Silva
- Teatro Nacional de São Carlos in Lisbon, designed by José da Costa e Silva
- D. Maria II National Theatre in Lisbon, designed by Fortunato Lodi
- Belém Riding Hall of Belém Palace in Lisbon, designed by Giacomo Azzolini
Neo-Manueline
The Neo-Manueline style, a
The style, which rose during a time of
The first recognized Neo-Manueline architectural works were done between 1839 and 1849 with the building of
While Neo-Manueline buildings can be found throughout all of Portugal and the
Neo-Mudéjar
The Neo-Mudéjar is a type of exuberant Moorish Revival architecture practiced in the Iberian Peninsula, and to a lesser extent Ibero-America, which evokes the Moorish heritage of Iberia, a fashion which flourished at the end of the 19th century and early 20th century. The style's popularity in Portugal was vastly concentrated in Lisbon and the Portuguese Riviera, and the southern regions of the Algarve and the Alentejo, as these had the most visible Moorish heritage in the country.
Like the Neo-Manueline revival, the first works of Neo-Mudéjar in Portugal were done between 1839 and 1849 with the building of
Notable works in Lisbon include large monuments like the Campo Pequeno Bullring, dating from 1892 and designed by architect António José Dias da Silva, as well as numerous famous estates, such as the 1877 Palácio Ribeira da Cunha in the Príncipe Real district and 1891 Palácio Conceição da Silva, on the Avenida da Liberdade.
The style's expression in the
Cast-iron architecture
Cast-iron architecture, known simply as iron architecture in Portuguese (arquitetura de ferro), largely began to manifest during the last quarter of the 19th century. While revolutionary in regards to technical advancement, structural integrity, and other engineering feats, the stylistic trends of iron architecture were almost completely based in historicism and revival styles.
The application of iron architecture was limited to certain fields of building, largely either infrastructural, such as bridges, railway stations, and elevators, or buildings relevant to the common good, such as exhibition halls, municipal markets, or commercial centers.
Notable iron structures in Portugal include:
- Santa Justa Elevatorin Lisbon
- Dom Luís I Bridge in Porto
- Maria Pia Bridge in Porto
- Mercado Ferreira Borges in Porto
- Palácio de Cristal in Porto (demolished)
Art Nouveau
Art Nouveau, known in Portugal as Arte Nova, had a late arrival and short duration in the history of Portugal, flourishing largely between 1905 and 1920. In terms of international relationships, Portuguese Arte Nova is more in line with the school of French Art Nouveau than the Austrian schools of the time. The use of Arte Nova was largely spread by the urban elite of the Portuguese aristocracy, primarily in port cities such as Lisbon, Porto, and Aveiro.
The concept defining Art Nouveau variation of Aveiro (Portugal) called Arte Nova was ostentation: the style was brought by a conservative bourgeoisie who wanted to express their might by decorative façades leaving interiors conservative.[4] Another distinctive feature of Arte Nova was using locally produced tiles with Art Nouveau motifs.[4]
There most notable examples of Arte Nova in Portugal, outside of Aveiro, include:[5][6]
- Museum-Residence Dr. Anastácio Gonçalves by Manuel Joaquim Norte Júnior (1904–1905) in Lisbon
- Café Majestic by João Queiroz (1921) in Porto
- Livraria Lello bookstore by Xavier Esteves (1906) in Porto.
The most influential artist of Arte Nova is Francisco Augusto da Silva Rocha.[4] He designed many buildings both in Aveiro and in other cities in Portugal,[7] while actually not being an architect (it was common for Aveiro that time).[4] One of them has both an exterior and interior of Art Nouveau and now hosts the Museum of Arte Nova – it is the Major Pessoa Residence. Another notable example is the Former Cooperativa Agrícola featuring hand-painted tiles. There are some Art Nouveau sculptures at the Central cemetery of Aveiro as well.[4]
Modern architecture
One of the top architecture schools in the world, known as "Escola do Porto" or School of
Although Portuguese architecture is usually associated with the internationally accredited Alvaro Siza, there are others equally responsible for the positive trends in current architecture. "Many Portuguese architects are sons of Siza, but Tavora is a grandfather to all of us". The influence of Sizas own teacher, Fernando Tavora, echoes across generations.[8]
The
In Portugal Tomás Taveira is also noteworthy, particularly due to stadium design.[9][10][11] Other renowned Portuguese architects include Pancho Guedes, Gonçalo Byrne and António Maria Braga.
There is a new generation of Portuguese architects with remarkable works being awarded internationally.[12] The Prize Europe 40 Under 40, created by The European Centre for Architecture Art Design and Urban Studies and The Chicago Athenaeum: Museum of Architecture and Design, have awarded Filipa Frois Almeida, Hugo Reis, Diogo Aguiar, Raulino Silva e Bruno André with the Europe 40 Under 40 Prize.
Regional architecture
Azores Islands
-
Ponta Delgada City Hall
-
Academy of Arts of the Azores
-
Town Hall of Ribeira Grande
Madeira and Porto Santo
-
São Tiago Menor Church, Funchal
-
Largo do Phelps, Funchal
-
Institute ofMadeira Wine
Portuguese colonial architecture
See also
- Sino-Portuguese architecture
- Summer architecture
- Architecture of Goan Catholics
- Classification of Built Heritage in Portugal
- Portuguese pavement
- Seven Wonders of Portugal
- Seven Wonders of Portuguese Origin in the World
- Rafael Manzano Prize
Footnotes
- ISBN 0-8195-4045-5)
- ^ "Architectura von Ausstellung, Symmetrie und Proportion der Säulen" (Architecture of Exhibition, Symmetry and Proportion of Columns) (1591)
- ^ José Fernandes Pereira. Arquitectura Barroca em Portugal. Instituto de Cultura e Língua Portuguesa. 1986.
- ^ a b c d e "The "Coup de Fouet" magazine, vol. 11 (2008), pp. 2-7" (PDF).
- ^ [1] List of buildings in Lisbon - Art Nouveau World
- ^ [2] List of buildings in Porto - Art Nouveau World
- ^ [3] Francisco Augusto da Silva Rocha - Art Nouveau World
- ^ Modern Portugal- Architecture in the Age of Masses
- ^ (in Portuguese) Estádios de Tomás Taveira e Souto Moura premiados Archived 2011-04-29 at the Wayback Machine, Diário de Notícias (July 8, 2005)
- ^ Tomás Taveira, Geoffrey Broadbent (introduction), Publisher: St Martins Pr (February 1991)
- ^ (in Portuguese) Tomás Taveira desenha estádio do Palmeiras no Brasil Archived 2011-04-29 at the Wayback Machine, Diarioeconomico.com
- ^ (in Portuguese) Quem são os arquitectos portugueses que estão entre os mais promissores da Europa?, Jornal Publico (June 25, 2019)
References
- Kingsley, Karen, Gothic Art, Visigothic Architecture in Spain and Portugal: A Study in Masonry, Documents and Form, 1980; International Census of Doctoral Dissertations in Medieval Art, 1982–1993
- KUBLER, George, y SORIA, Martin, "Art and Architecture in Spain and Portugal and their Dominions, 1500–1800", New York, 1959.
- Kubler, George, "Portuguese Plain Architecture: Between Spices and Diamonds, 1521–1706 " ; Wesleyan University Press, Middletown, Connecticut 1972; ISBN 0-8195-4045-5
- Toman, Rolf – Romanik; Könemann Verlagsgesellschaft mbH, Köln, 1996 (in Dutch translation : Romaanse Kunst : Architectuur, Beeldhouwkunst, Schilderkunst) ISBN 3-89508-449-2
- Toman, Rolf – Barock ; Könemann Verlagsgesellschaft mbH, Köln, 1997 (in Dutch translation : Barok : Architectuur, Beeldhouwkunst, Schilderkunst); ISBN 3-89508-919-2
- Underwood, D.K. – "The Pombaline Style and International Neoclassicism in Lisbon and Rio de Janeiro."; U. of Pennsylvania Editor, 1988
External links
- Gutenberg.org: Portuguese Architecture — by Walter Crum Watson, available free (in HTML or plain text).