Álvaro Siza. Invariância e Variações. Três olhares. Três obras em 'esquema U'. Três aproximações

Abstract

Álvaro Siza . Invariance and Variations This dissertation conforms three questions to the work of Álvaro Siza. The first question, «Why is Álvaro Siza's work important for our architecture?», was conformed by considering «Three texts on Álvaro Siza» written by three different authors. The second question, «What permanences do we find in the work of Álvaro Siza?», discusses the variations on the U-shape in «Three works of Álvaro Siza». The third question, «How do we interpret Álvaro Siza's work?» provokes «Three approaches to the architecture of Álvaro Siza» considering Sculpture, Cinema and Literature. The structure of this work begins with a tuning, develops in three movements and ends with a cadenza. The analogy to the orchestra is not redundant, since several authors have also played various instruments in here.The tuning will allow the reader to understand the ways in which we orchestrate the question that concerned us in this work. The originality and exemplarity of Álvaro Siza work´s are the two arguments that motivated the beginning and the purpose of the discussion we present in this work.The three movements are the construction of the three questions, variations, or in other words, a consequence of that first. In reality, in this work, we kept on repeating that same question. We would call this central body, the symphony, the moment where we tried to align the instruments in the orchestra to convey two or three intentions. The cadenza, being a rather specific term, should be explained and, if possible, heard for a better understanding. Cadenza is a passage that is usually played between movements, and gives the soloist the ability to show his technique or the lack of it. In the beginning it was performed by improvisation, and some even call it an ornamental passage, which, in a sense, facilitates our responsibility because the reader can partially ignore it (the cadenza, not responsibility) without losing the sense of what we constructed in here. Should there be a final conclusion to something that can only have a beginning? Among the questions appear with great importance three texts on Álvaro Siza, three works by Álvaro Siza and three approaches to the architecture of Álvaro Siza. We could say that this are the rhythms (andante, allegro, adagio), over which we conduct the orchestra. We give, in the last words of this dissertation, name to all (or almost all) the participants in this question, this question that we designate to call: Álvaro Siza. Invariance and Variations.