Assembling Realism?

This research positions itself in relation to two key knowledge gaps concerning late 20^th century architecture and urbanism in Portugal: a) the processes of collective knowledge production in Portuguese architectural culture, which is often portrayed as the result of individual genius; and b) the influence of the engagement with realist architectural principles in European discourse during the final decades of the 20^th century, which are normally not connected to Portuguese architectural culture.

The historiography of Portuguese architecture in the second half of the 20^th century has largely been shaped by an individual-centred perspective. Historical narratives have focused on singular, often heroic figures, frequently placing them within a lineage of masters and pupils, as in the case of Fernando Távora and Álvaro Siza for instance. In order to challenge this dominant perspective, this research investigates instances and practices of collective knowledge production among Portuguese architects such as Alcino Soutinho, Alexandre Alves Costa, Álvaro Siza, Fernando Távora, Pedro Ramalho and Sérgio Fernandez.

The particularities of these architects lay not only in their engagement with collective knowledge production, but also in a shared interest in what they themselves referred to as ‘realism’. This notion of realism was consciously mobilised by the Portuguese architects as a way to distance their practice from the dominant architectural currents of the time – including critical regionalism, neo-rationalism, modernism and postmodernism. More than a mere stylistic alternative, realism was understood as a theoretical and operative strategy that enabled the revaluation of the social, urban, and constructive dimensions of architecture, rejecting formal dogmatisms and embracing context-driven approaches. This shared interest in realism did not stem from ideological affinity, rather it was collectively discussed, tested, and developed as a field of critical reflection and architectural experimentation. Nevertheless, this collective interest has rarely been acknowledged in the ways their work has been historically framed.

This research aims to investigate how these Portuguese architects defined the role and meaning of realism, both through theoretical discourse and through design strategies developed within a collective modus operandi. It argues that architectural practice and pedagogical projects emerged as key outcomes of a body of co-produced knowledge shared by this collective, offering a new lens through which to understand architectural culture in Portugal during this period.

Filipe Lacerda Neto