Fernando Távora e o espaço público português

Abstract

The present dissertation analyses the work of the Architect Fernando Távora (1923-2005), in the Portuguese public space perspective. It is intended to evidence the author while planner and public space organizer, in the scope of his architectural multi faceted practice. His theory and practice works arise as a reflection scenario, seeking to build what we call the critical bibliography of the author.The construction of this thinking was organized in three moments. The first, referring to the first section, in which contextualize us the public space theme and its organization, their evolution over time, since the Greek Ágora, to the city of The Athens Charter. We will see how international influences came to Portugal and materialized, and the questions triggered about the character and identity, the universal values and architecture local.The second moment, explores Távora's theorizing and practical work, two senses that combine to analyse case studies and the problematic of public space that the author puts in his writings and works. The author's selection of projects, sought to highlight the planner side of Távora and thus illustrate the form as these plans and projects are materialized in architectural form in public space and conforming themselves public space.The third moment of this work, sketches a theory of Public Space, on Fernando Távora. His route shows the demand and building a vocabulary of forms, to intervene in the space, one learning "primer" which comes from the copy and comprehension from past forms, as learning method, and never from a pastiche. Távora always intended the life and forms update, very present in the thematic, which he has always supported, one architectural lesson with life, with the man in order to make a modern architecture, one that we truly must do."Any contemporary manifestation, shall only be authentic inasmuch as modern and shall only be modern when between her and life exists a perfect relationship (...) the style does not count, but, the relationship between work and life; the style is the result of that relationship."Távora's legacy is above all an elaboration attempt of a method and not a transmission of a style, one defense by the organized space, since "from the good or bad organization quality of a space depends, partly, the man welfare or malaise; the space organization disharmony generates the unhappiness of man."