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ANA TOSTÕES (ed.)

MODERN ARCHITECTURE IN AFRICA: ANGOLA AND MOZAMBIQUE

“And so it is also the purpose of this book – disclosure of the same utopias which turned into reality on unthinkable territories, on a peculiar historical European moment of time able to embrace it. As Perret would say ‘…wonder and emotion are timeless reactions…’ ” Isabel Maria Martins

“This is one major value this book presents us: to suggest difficult challenges, the ones capable to raise the preservation issue on qualities exhibited by selected works now presented.” Júlio Carrilho and Luís Lage ISBN 978-989-658-239-5

9 789896 582395

MODERN ARCHITECTURE IN AFRICA: ANGOLA AND MOZAMBIQUE

ACKNOWLEDGEMENTS

To the many entities that have contributed Arquivo da Fundação da Calouste Gulbenkian Arquivo Fotográfico da Câmara Municipal de Lisboa Arquivo Histórico da Caixa Geral de Depósitos Arquivo Histórico de Maputo Arquivo Histórico Ultramarino Câmara Municipal de Luanda Centro de Documentação de Urbanismo em Arquitectura da Faculdade de Arquitectura da Universidade do Porto Centro de Documentação do Instituto Português de Apoio ao Desenvolvimento Conselho de Administração dos Portos e Caminhos de Ferro de Moçambique Conselho Municipal de Maputo Conselho Municipal de Quelimane DOCOMOMO Internacional Embaixada de Portugal em Luanda Embaixada de Portugal em Maputo Faculdade de Arquitectura e Planeamento Físico da Universidade Eduardo Mondlane Faculdade de Medicina Veterinária da Universidade José Eduardo dos Santos Fundação para a Ciência e a Tecnologia Instituto Camões Instituto da Habitação e da Reabilitação Urbana Instituto de Engenharia de Estruturas, Território e Construção (ICIST) Instituto de Investigação Científica Tropical Instituto Superior Técnico (Técnico, Lisboa) Ministério das Obras Públicas e Habitação de Moçambique Ordem dos Arquitetos Serviços Técnicos e Infraestruturas do Huambo Universidade Agostinho Neto Universidade do Minho Universidade Eduardo Mondlane Universidade José Eduardo dos Santos

To the many people who supported Alda Costa Alexandre Pomar Ana Canas Ana Paula Gordo Ana Paula Laborinho Ana Valente André Fontes Anselmo Cani Antoni Folkers António Albuquerque António Matos Veloso António Pinheiro António Ribeiro da Costa Aurélio Nogueira Beatriz Madureira Bernardino Ramalhete Brito António Soca Calunga Quissanga Carla Canhão Carlos Eduardo Comas Carolina Esteves Catarina Vaz Pinto Celsa Xemane Cidalina Duarte Cláudia Melo Sampaio Cristóvão Simões Eduardo Figueirinhas Correia Eduardo Inês Eduardo Naya Marques Fernando Maia Fernão Simões de Carvalho Francesco Bandarin Francisco Castro Rodrigues Francisco Ivo Francisco José de Castro Francisco Ribeiro Telles Graça Gonçalves Pereira Ibraimo Mussagy Idalio Juvane Ilídio do Amaral Inês Viegas Isabel Maria Martins Isabel Ribeiro Ivan Blasi Jane Flood

João Cepeda João Francisco João Navega João Pignatelli João Santos Vieira João Teles Grilo José Augusto Duarte José Belmont Pessoa José Borges José Cochofel José Forjaz José Luís Pinto da Cunha José Quintão Llonka Guedes Luciana Rocha Luís Lage Marcelo Moreno Ferreira Margarida Alho Maria da Glora Garizo do Carmo Maria José Oliveira Maria José Silva Maria Manuel Vila Nova Maria Manuela Fonte Maria Manuela Portugal Maria Teresa Monteiro Marília Gonçalves Mário Gonçalves Maristella Casciato Mohamad Arif Ola Uduku Patrick Dias da Cunha Paulino Pires Pedro Ramalho Pedro Sousa e Silva Pitum Keil do Amaral Rosa Paula Matos Rui Cirne da Fonseca Simonetta Luz Afonso Susana Varela Tom Avermaete Verónica Garizo do Carmo Vicente Joaquim

To the students who participated in the International Workshop “(Re) Using Modern: To Identify | To Document | To Preserve”, held in March 2012 in FAPF-UEM, Maputo, Mozambique Abel Ambre Ana Brito Bulande Caetano Carlos Chirindza Cláudio Dalte Djanine Edson Edy Elias Elis Etevaldo Eurico Gabene Gizela Helena Hélio Irénio Jójó Jorge Kuang Lee Lopes Macandza Macondzo Malikito Manhiça Mauro Mércia Nélio Nelo Nhavene Nurdino Priscila Razin Réges Rosário Solange Tecuene Viola Yara Zandamela

Book published under the scope of the research project: EWV_Exchanging Worlds Visions: modern architecture in Lusophone Africa (1943-1974) looking through Brazilian experience established since the 1930s (FCT Reference: PTDC/AURAQI/103229/2008) Ana Tostões – Coordinator (ICIST/ Técnico, Lisboa)

Applicant Institution

Principal Contractor

Participating Institutions

Modern Architecture in Africa: Angola and Mozambique Ana Tostões (ed.), 2013 — Editor Ana Tostões —

The images subtitles follow the sequent order of information: name of the building or object, photo archive, photographer’s name, photo date.

Preface Isabel Maria Martins Júlio Carrilho and Luís Lage

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Texts Ana Tostões (AT) Vincenzo Riso (VR) João Vieira Caldas (JVC) Maria Manuel Oliveira (MMO) Elisiário Miranda (EM) Ana Magalhães (AM) Maria João Teles Grilo (MJTG) Margarida Quintã (MQ) Jessica Bonito (JB) Zara Ferreira (ZF) Francisco Seabra Ferreira (FSF) Catarina Delgado (CD) Ana Maria Braga (AB)

Graphic Design Ana Maria Braga Proportion [3:4] – 20,2 x 27 cm Fonts P22 Underground Tramuntana

— Text Revision Sandra Vaz Costa — Translation Sandra Vaz Costa Isabel Arez — Redrawing Ana Maria Braga Catarina Delgado Francisco Seabra Ferreira Jessica Bonito Paulo Silva

Whith the support of

Ana Magalhães António Albuquerque Eduardo Figueirinhas Correia Elisiário Miranda Ireneu Miguel Margarida Quintã

ICIST, Técnico, Lisbon, 2013

— 1st edition, Lisbon, 2013 ISBN 978-989-658-241-8 Legal Registration 366828/13 — Cover Arménio Losa and Cassiano Barbosa, Monteiro&Giro Ceramics Factory, Quelimane, Mozambique, EWV, Ana Tostões, 2010 Back Cover Francisco Castro Rodrigues, Terrace Cinema Flamingo, Lobito, Angola, Ana Magalhães, 2008 — Website ewv.ist.utl.pt

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Photographic Credits Arquivo EWV: Ana Tostões, Vincenzo Riso, João Vieira Caldas, Maria Manuel Oliveira, Elisiário Miranda, Ana Magalhães, Francisco Seabra Ferreira, Margarida Quintã, Catarina Delgado, Ana Maria Braga. Arquivo do Conselho Municipal de Maputo Arquivo do Conselho Municipal de Quelimane Arquivo do Ministério das Obras Públicas e Habitação de Moçambique Arquivo Histórico da Caixa Geral de Depósitos Arquivo Histórico de Maputo Arquivo Histórico Ultramarino Arquivo Fernão Simões de Carvalho Arquivo Luís Lage Centro de Documentação de Urbanismo em Arquitectura da Faculdade de Arquitectura da Universidade do Porto: Arménio Teixeira Centro de Documentação do Instituto Português de Apoio ao Desenvolvimento

The selected images belong to the named archives and cannot be reproduced. No part of this book can be reproduced without expressed permission by the publisher or the authors. — The publisher has made all the efforts available in order to obtain the commitments relating to the reproduction of photographs presented in this work. In case of remained legitimate rights, please contact the publisher. — © this edition, ICIST/Técnico, Lisboa © texts, authors © images, authors

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Preface Isabel Maria Martins Júlio Carrilho and Luís Lage

Universal Building A Housing Unit in the Tropics Ana Magalhães

LOOKING BOTH SIDES

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INTRODUCTION

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Looking Both Sides A Lab on Architecture between Globalism and Localism Ana Tostões

The Challenge of African Architecture and the Test of Time Modernity in Angola and Mozambique Ana Tostões

018 Re-Drawing Operations Methodology, Questions and Results Vicenzo Riso

ANGOLA

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CHRONOLOGY

128 Chronology Ana Tostões Zara Ferreira

144 Lobito High School Learning in the ‘Open Air’ Ana Magalhães

Municipal Market of Kinaxixe The Sun Shadowing Path Maria João Teles Grilo

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Terrace Cinema Flamingo Modern Life in the Tropics Ana Magalhães

Cirilo&Irmão Building The 50’s and the ‘Coffee Cycle’ Ana Tostões Jessica Bonito

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196 State Officials Building A Version of Corbusier’s Lesson Ana Tostões Jessica Bonito

206 Mutamba Building The Virtuosity of Brise-Solei João Vieira Caldas

212 Veterinary Academic Hospital in Huambo Old African Brutalism Margarida Quintã

Rádio Nacional de Angola Building Le Corbusier’s Legacy in the Tropics Ana Magalhães

164 The Prenda Neighbourhood Unit Luanda Seen Through the Athens Charter Ana Tostões Ana Braga

188 Engineering Laboratory of Angola A Campus of Knowledge Designed with the Climate Ana Tostões Ana Braga

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232 A Small Convent Made of Shadow and Breeze, Made of Dome and Cloister Ana Tostões Catarina Delgado

238 The BNU Overseas National Bank in Mozambique Modern Infrastructures in Maputo, Chimoio and Quelimane Elisiário Miranda

254 The Monteiro&Giro Ensemble The City and the Factory Ana Tostões Maria Manuel Oliveira

274 The TAP-Montepio Building Between Lourenço Marques and Maputo Maria Manuel Oliveira Jessica Bonito

MOZAMBIQUE

224 Prometheus Building ‘Stiloguedes’, the ‘Bizarre and Fantastic Family’ Ana Tostões Jessica Bonito

290 The Tonelli Building The Habitable Shelf Ana Tostões Ana Braga

308 Beira Railway Station Maturity and Criticism of the Modern Movement in Mozambique Ana Magalhães Elisiário Miranda

328 The Pyramidal Kindergarten The Cradle of the ‘American-Egyptian’ Ana Tostões Zara Ferreira

336 Palaces of Public Offices in Mozambique Functionalism and Representativeness Elisiário Miranda

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Headquarters of Entreposto Enterprise Intense Brutalism Ana Tostões Francisco Seabra Ferreira

BIOGRAPHIES

382 ‘A Reguladora’ Factory Industry and Formal Simplicity João Vieira Caldas Francisco Seabra Ferreira

390 The Polana High School A Case of Recovery of a Modern Building in Mozambique Vicenzo Riso

438 Biographies Jessica Bonito Elisiário Miranda

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452 Bibliography

Estrela Vermelha High School A Paradigm of Mozambican School Architecture of the Third Quarter of the Twentieth Century Elisiário Miranda

JOURNEY TO AFRICA

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Khovo Lar The Swiss Mission in Maputo João Vieira Caldas Francisco Seabra Ferreira

Index of Abbreviations

400 Maps

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Quelimane Library A Cultural Icon: Béton Brut on a Climate-Responsive Design Version Ana Tostões

Chronology Images Subtitles

426 (Re)Using Modern: To Identify To Document To Preserve Maria Manuel Oliveira Jessica Bonito

473 Name Index

PREFACE Isabel Maria Martins Júlio Carrilho and Luís Lage

I am very pleased to introduce this magnificent book which results from a long and ascertained research on Modern Movement development in Africa on the period of time of an unforgettable and recent past. It is also an honest tribute to Ana Tostões for coordinating the international conference ‘ewv – Exchanging Worlds Visions. Modern architecture in Lusophone Africa (1943-1974) looking through Brazilian experience established since the 1930s’, which completion originated this book, being also a tribute to the entire research group. During the xx century only few were capable to reflect on paths flowed by architecture. Currently, young architects seam not to debate on what is build, to reflect upon the lesson each building is able to teach, furthermore, to think of what an architectonical act stands for. After all, this simple action results from the wise capacity to synthesize and coordinate the design, production and construction process. It is also the ability to transform conceptual ideas into building design assets, or, nevertheless, to wonder if architecture results from knowledge and practices of build spaces, or also, if it is a subject to study and to establish quality paradigms, or if it is only an activity leading to the creation of places, sites or exceptional works dethatched from our day life. Modern Movement, major reference on the xx century architecture and urbanism, made inseparable two sides of same reality. Architecture modernity implies a serious amount of cultural changes, but only few have been assumed. Better quality product, new materials and new techniques available, among others, were watchwords to this modernity… The same time in which architecture was able to raise utopias… The will to practice architecture on the values of Modern Movement also implied commitment to democracy, social freedom and free design, ‘pushing’ to Africa architects willing to devise places of inestimable merit, willing to debate and to share ideas and knowhow able to lead them to a commitment between what exists and what has never been, between old and new, ultimately, the future of architecture. Quoting Ana Tostões ‘…bringing to Africa the architects who will design the modern utopia…’ (Ana Tostões, 2009, 7). And so it is also the purpose of this book – disclosure of the same utopias which turned into reality on unthinkable territories, on a peculiar historical European moment of time able to embrace it. As Perret would say “…wonder and emotion are timeless reactions…” Isabel Maria Martins PhD in History of Architecture by FAUP. Associate Professor and Coordinator of the Department of Architecture of UAN. Luanda, August 2013

Modern Architecture in Africa: Angola and Mozambique

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MORE THAN A VIEW

This book is stunning. Not only because of its proficiency in the attempt to understand ‘others’ context, in a enthusiastic collaboration joining technical knowledge beyond time of the analyzed objects, rigorous selection of architectonical objects, but also because the author of this book is aware that it, the book, is a kind of disturbing witness, uncomfortably engaging our minds, defying those who, somehow, belong to the corruptor ethos of the analyzed works, i.e., teachers and Mozambican students working with her, including us. The author knows about this discomfort because she has discussed with us about the question emerging to young Mozambican architects: ‘if I do not sympathize with this kind of ‘things’ – really well thought out, by the way – why should I turn them into examples, like something that cannot be transformed to another way of living in the urban manner, by those who never had the opportunity to even enter these objects?’. One might say it appears that these buildings were not the only ones to be present in the wrong time. But also the institutions and people who occupy them and therefore have wrongly appropriated space. But maybe this situation is also one of architecture values: to be able to be corrupted and yet, has a life witness, to serve those who use it along each period of time. How to rehabilitate these buildings when the context they are in is not the same that gave them origin? How to do it without erasing their memory, their technical and aesthetic nature, and their value as urban mark? This is also the challenge presented to young Mozambican architects. A challenge also presented by Mozambican law for Cultural Heritage, by establishing as some of its protection criteria, the fact that these buildings express the idea of ‘witnessing the coexistence of different cultures and civilizations in the same territory…’, or, ‘just for revealing particular architectonical interest’. This way of interpreting the spirit of law on behalf of older testimonies is by us extrapolated on behalf of modernity. The protection of built heritage is never exclusionary, not in time nor in place, but an exercise on the sense of belonging and constant learning, towards a much more inclusive future. This is one major value this book presents us: to suggest difficult challenges, the ones capable to raise the preservation issue on qualities exhibited by selected works now presented. Professor Ana Tostões took Maputo students and teachers by the hand and led them to the group of authors and collaborators of the book. By creating this situation, she gave them opportunity to learn and to contribute, in their manner, in the process to reveal some of the unquestionable values of modern architecture, on the form of its statement in the tropics. The book was also made in this process, by the ambition to raise awareness on students to the importance of modern architecture on a workshop realized in Maputo, at the Faculty of Architecture and Physical Planning of Maputo University (uem-fapf), on theoretical and practical components. Gathering people from around the planet, such as João Vieira Caldas, José Pessoa, Vicenzo Riso, Elisário Miranda, Maria João Teles Grilo and Maria Manuel Oliveira, travelling this land

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Preface

from North to South, on a closer look and registering the modern built on our cities. Ana Tostões coordinated this project with us and with the particular attention of Arif Mussagy. There were days of work and interaction of teachers from different institutions and fapf students, with the aim to enlarge the knowledge on urban architecture, seeking the links inserting buildings in the urban grid, relating them and setting them in the city history, in a way that their preservation ought to create ways to allow future users to live these architectonical objects without violating its sheltering nature. Understanding built heritage by preserving on a context of specific use and, simultaneously, projecting it towards the future, assures its continuity throughout history, preserving ways to inhabit, uses identified to local traditions, and inducing us investigators to search for design discourse capable of making selected sites, spaces to house specific culture elements of new or other users, getting them to remain places of memory, reinforcing their sense of belonging, maintaining their heritage capacity. This profound savvy on history of buildings, which cannot be abdicated and from which we should not alienate, requires a complete and multidisciplinary inventory on all phases of its existence, including documental research, field research, registration and identification of heritage testimonies, the study on the nature of its use, in order to foster the preservation process and also the recognition of the protection status, shared by society. From our point of view, this is also the aim of this book. From this consideration forward, we assume architecture as one relevant manifestation on the history of cities and its inhabitants, and therefore turning conservations into a collective resolution. Let there be projects that stand for this purpose… We believe that this kind of academic collaboration, beyond promoting mutual knowledge and fruitful partnership debate, stands as an interesting example on academic production of public interest and future impact. From Portugal, Angola, Brazil, Italy and Mozambique, we stare at architecture on different views, different touches and additional sensitivities, meaning we all gain respect, knowledge and identity. Júlio Carrilho Professor of the Faculty of Architecture and Physical Planning - UEM Luís Lage Professor/Director of the Faculty of Architecture and Physical Planning – UEM Mozambique, August 2013

Modern Architecture in Africa: Angola and Mozambique

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INTRODUCTION Ana Tostões Vincenzo Riso

Silvério da Silva, Kalunga Cine, Benguela, Angola. Ana Tostões, 2010

THE CHALLENGE OF AFRICAN ARCHITECTURE AND THE TEST OF TIME Modernity in Angola and Mozambique Ana Tostões

The task now concluded is the result of a journey started three years ago as part of the research project financed by the Foundation for Science and Technology entitled “EWV Exchanging World Visions: modern architecture in Lusophone Africa”1. The project assumes the importance of Lusophone Africa modern heritage and the urgency of documenting its built set. Focusing on the production of the architectural Modern Movement erected in Angola and Mozambique, the indepth study of this universe was developed seeking to establish relationships with various sources and influences, relating a possible continuity with the modern Brazilian production but also with references that emerge in the second half of the ’50’s. Today, a new consciousness rises from the fact that it is necessary to include Africa in our efforts to achieve a comprehensive understanding of “modern diaspora”2. In fact, as recognized3, beginning from the ‘90’s, architectural historians discovered the modern architectural production in Africa as part of a cultural production related to colonialism. With the introduction of post-colonial theory in the historiography of architecture, took place an insistently ideological review, curbing the development of a disciplinary autonomy, inhibiting an objective look on this modern heritage. Recently, the development of concepts such as hybrid or “the other”4 has promoted a differentiated analysis on architecture and politics in the 20th century in Africa5, allowing the recognition that the architecture of Modern Movement, in its civilizing impulse, always served colonization6, which implies rethinking the basic principle of well-being in which modern society rests to be ensured by an architecture practiced as a mission, there is, a social service able to secure a better future for all. It is therefore important to ask how modern principles were crossed resulting from a Eurocentric culture, with the ancient cultures of the East and Africa. Furthermore, it must be said that the case of subSaharan Africa Lusophone expression is now being studied in depth confirming the importance of these universes said peripheral to the understanding of modern architectural production.

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The Challenge of African Architecture and the Test of Time

The chronological limits consider the year 1943 as the beginning of the research, being the year when Brazil Builds7 was published by the MoMA in New York confirming the wave of international diffusion of modern Brazilian architecture, and the year 1974 as marking the revolution process of the 25th April in Portugal and the fall of the colonial regime that led to the independence of these countries. During these years, the pioneers of the modern movement in Africa have demonstrated how modern design could be interpreted, transcended and enriched in its content. In fact, they were able to cope and respond to diverse physical and social conditions; experiencing innovative solutions that still remain valid and stimulant. At that time, issues now called “environmental sustainable” began to be considered as conceptual key design. Modern buildings were being designed to offer better and more comfortable living conditions. Modern building were being designed on economic and flexible solutions capable of responding to new situations, using either the available technics at the time, whether the local building traditions. The research methodology establishes an order of criteria for the selection and description of urban spaces and buildings which constitute the case studies. The research integrates different sources of information (bibliography, archives and direct observation) crossed with the projective and constructive analysis performed by drafting basic drawings of the selected works, in order to conduct a comprehensive description of the buildings, the layout to detail constructive devices and passive thermal control. These drawings are the basis of the interpretative work and critical essays that follow the desirable future developments based on the reusability of many of these structures. It is time to discuss the amazing African modernity and reflect on the absence of information, in particular on areas such as Angola and Mozambique, to reassess the memory of the past, present and future, across a broad spectrum of topics related to the themes of documentation and conservation. In this circumstance, I remember Udo Kultermann who died last February and pay tribute to his unprecedented work. In the early ‘60s Udo Kultermann gave the sign that Africa was beginning to develop under new laws and that the world had come to look with fresh eyes to the “dark” continent. If the investigations of Leo Frobenius (1873-1938) made possible to understand the ancient African culture, it was now time to see a new born culture. The year of 1960, hailed as the great year of Africa, brought not only political independence, but was also indicated as a decade where, for the first time, it was possible to achieve a surprising result, a work gathering the Neues Bauen8 scattered across Africa and group them according to an ordered set. The reference to the architectural production in the Portuguese colonies was reduced to the work of Pancho Guedes in Lourenço Marques. Kultermann argued that architecture in Africa lived in a tradition of thousands of years of antiquity, and entered a completely new phase. In 1963 his book was intended to prove the existence of an African architecture, an idea denied until that moment. Kultermann considered that only a concept on sensitive architectural experimentation with constructive ways can accomplish what

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CHRONOLOGY 1942-1975 Ana Tostões Zara Ferreira

Aerial view, Maputo-Beira Journey, EWV, Maria Manuela Oliveira, 2010

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1942 PORTUGAL Events • Óscar Carmona is re-elected President of the Portuguese Republic. • In Seville, Spain, a secret meeting between Francisco Franco and António Salazar occurs. • Bento Gonçalves dies in Tarrafal. • The Minister of the Colonies, Francisco Machado, visits Guinea and Cape Verde. • Fernando Mesquita works in the studio of Carlos Ramos. • Francisco Keil do Amaral, A Arquitectura e a Vida, Lisbon. • Lisbon airport is opened to traffic. • Francisco Ribeiro, O Pátio das Cantigas. • Manoel de Oliveira, Aniki-Bóbó. Buildings • Luís Benavente, Arroios Market, Lisbon, 1939-1942. • Rogério de Azevedo, São Gonçalo’s Inn, Marão.

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1943 ANGOLA Events • Carlos Ramos visits Luanda, Lobito and Cassequel. Buildings • Étienne de Gröer and David Moreira da Silva, Urbanization Plan for the City of Luanda, 1942-1946. MOZAMBIQUE Events • Portuguese troops departure from Lourenço Marques heading to the Battle of Timor, which had been invaded by Japan. Buildings • Luís Cristino da Silva, Urbanization of the Future City of Nacala.

Chronology

INTERNATIONAL Events • Organized extermination begins in Auschwitz-Birkenau, Germany. • The USA ceases diplomatic relations with the Vichy Regime and Brazil does the same with the Axis nations. • Philip Goodwin and George Smith, Exhibition Brazil Builds: Architecture New and Old 1652-1942, The Museum of Modern Art, usa. • The Walt Disney Studios create the character José Carioca. • The American film industry ceases to assign only comic and servile’s roles to black people, beginning to assume them as part of the American life. • Henry-Russell Hitchcock, In the Nature of Materials: the Buildings of Frank Lloyd Wright, usa. • Implementation of an undergrounded telephone cable from coast to coast in the usa. • The Bazooka weapon is used by the American troops in the World War II. • An atomic reactor is built in the usa. • John Steinbeck, The Moon Is Down, usa. • Jean-Paul Sartre, L’Être et le Néant, France. • T. S. Eliot, Four Quartets, usa. • Albert Camus, L’ Étranger, France. • Michael Curtiz, Casablanca, usa. • Edward Hopper, Nighthawks, usa. • It is organized the first solo exhibition of Jackson Pollock in New York, usa.

Buildings • Lucio Costa, Oscar Niemeyer, Carlos Leão, Affonso Reidy, Jorge Moreira, Ernâni Vasconcelos and Le Corbusier, as consultant, Education and Health Ministery building, Rio de Janeiro, Brazil, 1936-1942. • Oscar Niemeyer, Ouro Preto Grand Hotel, Brazil, 1938-1940. • Le Corbusier, Peyrissac Residence, Cherchell, Algeria. • Lucio Costa, Argemiro Hungria Machado’s House, Rio de Janeiro, Brazil. • Walter Gropius, Packaged House System, Germany.

PORTUGAL Events • Clandestine foundation of the AntiFascist National Unity Movement (munaf). • Creation of the Democratic Union. • Duarte Pacheco dies in a car crash, aged 43. • Basic goods decreed rationing. • Workers strike on several country rural areas. • It is signed the Anglo-Portuguese Alliance, granting the use of the Azores’ air base, the Lajes Field, by England. • Francisco Keil do Amaral, A Moderna Arquitectura Holandesa, Lisbon. • Francisco José de Castro works in the studio of Pardal Monteiro. • Alberto Soeiro works in the studio of Fernando Cunha Leão until 1945. • Francisco Castro Rodrigues works as a designer in the studio of Veloso Reis Camelo since 1939. • Exhibition commemorating the 10th anniversary of the Third Reich, Lisbon. • Nuno Teotónio Pereira translates and publishes extrats from La Maison des Hommes, by François de Pierrefeu and Le Corbusier, in the journal Técnica. • Adelino Nunes travels to Brazil and Africa. • Arthur Duarte, O Costa do Castelo.

INTERNATIONAL Events • At the Moscow Conference, in a statement signed by the Governments of the Soviet Union, uk, usa and China, declare the intention to create an international organization for the maintenance of peace and security. • At the Casablanca Conference, the Allies prepare the request for ‘unconditional surrender’ of the Axis countries. • At the Cairo Conference the Japanese Empire destiny resolutions are discussed by Franklin Roosevelt, Winston Churchill and Chiang Kai-Shek. • At theTehran Conference, the main allied forces involved in wwii (Joseph Stalin, Winston Churchill and Franklin Roosevelt) discusse the final plans of the fight against Germany. • The first major atomic explosion occurs in Los Alamos, usa. • Uprise of the Warsaw Ghetto. In several weeks the Nazis massacre more than 50,000 Jews. • Axis’ capitulation in North Africa. • Discovery of streptomycin, usa. • Philip Goodwin, Brazil Builds: Architecture New and Old 1652-1942, usa. • Josep Lluís Sert, Fernand Léger e Sigfried Giedion, ‘Nine Points on Monumentality’ in Architektur und Gemeinschaft, Alemanha. • Antoine de Saint-Exupéry, Le Petit Prince, France. • David Butler, The Girls he Left Behind, usa. • Carmen Miranda in Busby Berkeley, The Gang’s All Here, Brazil and usa.

Buildings • Oscar Niemeyer, Church of Saint Francis of Assisi, Pampulha, Brazil, 1940-1943. • Gregori Warchavchik, Beach House of Count Raul Crespi, São Paulo, Brazil. • George Bergstrom, The Pentagon, Arlington County, usa.

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1960 PORTUGAL Events • Portugal joins the International Bank for Reconstruction and Development (ibrd) and the Monetary Fund (imf). • The United Nations General Assembly proclaims the Declaration on the Right and Independence of the Portuguese Territories and Peoples Subjected to Colonial Domain. • António Salazar presides as head of Portuguese government, at the institution of the European Free Trade Association (efta), in Lisbon. • The President of Brazil, Juscelino Kubitschek, visits Portugal. • Luso-Brazilian Journeys of Civil Engineering, ist, Lisbon. • I Colloquium on Issues of Habitat, sna, Lisbon. • Finland Architecture Exhibition, snba, Lisbon. • Henriquina Exhibition, Lisbon. • Fernando Távora travels to the usa, Japan, India, Greece and Egypt. • Eduardo Naya Marques works in the office of Cassiano Barbosa. • Ernesto Rogers, A Arquitectura Moderna desde a Geração dos Mestres, Oporto. • Pier Luigi Nervi, ‘Reinforced Concrete, Technological and Scientific Progress: its Influence on Present and Future Architecture’, Arquitectura, No. 71. • ‘Louis Sullivan and the Chicago School’, Arquitectura, No. 73. Buildings • Joaquim Bento de Almeida, Olivais Norte Primary School, Lisbon. • Fernando Silva, National Steel, Seixal, 1958-1960. • Fernando Távora, Quinta da Conceição Park, Matosinhos, 1956-1960; Ramalde Neighborhood, Oporto, 1952-1960. • José Veloso, Abrigo da Montanha Inn, Monchique. • Maurício de Vasconcelos, Álvaro Trigo House, Lisbon. • António Teixeira Guerra and Carlos Manuel Ramos, Dialap, Production and administration buildings, Lisboa.

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1961 ANGOLA Events • Agostinho Neto and Father Joaquim Pinto de Andrade are arrested. • Statement of the mpla to the Portuguese Government, proposing a peaceful solution for the colonial problem. • Fusion of upa and pda in front of the Common People Populations of Angola (fcppa). • Brazilian engineers visit Angola and Mozambique accompanied by representatives of lnec, of the Overseas Ministry and the Ministry of Public Works, namely the oil refinery in Luanda. • Ilídio do Amaral, Aspectos do Povoamento Branco em Angola, Lisbon. Buildings • Fernão Simões de Carvalho, Futungo de Belas Urbanization Plan; Quilunda Village, Luanda. • Francisco Castro Rodrigues, Irmãos Melo Building; Rubens Mendonça Building, Lobito. • Vasco Vieira da Costa, Secil Building, Luanda. MOZAMBIQUE Events • Mueda Massacre, North Mozambique. • The Mozambique National Democratic Union (is created in Salisbury (udenamo). • Brazilian engineers visit Angola and Mozambique accompanied by representatives of lnec, of the Overseas Ministry and the Ministry of Public Works. • Ilídio do Amaral, ‘Beira, City and the Port of the Indian Ocean’, Finisterra, No. 7, vol. IV, Lisbon.

Chronology

Buildings • Alberto Soeiro, TAP Building, Lourenço Marques, 1955-1960. • Arménio Losa and Cassiano Barbosa, Monteiro&Giro Ensemble – Ceramics Factory, Quelimane, 1956-1960. • José Bernardino Ramalhete, homes for the local authority officials, Beira. • Fernando Mesquita, Vila Pery Primary School (nowadays Parque Popular Primary School); Nampula Primary School (nowadays Amílcar Cabral Primary School); Missão de São José de Lhangalene Primary School, Lourenço Marques; Inhambane Technical School (nowadays Eduardo Mondlane Industrial and Commercial School), Tavene Hospital’s main building, João Belo, 1955-1960. • João José Tinoco, Maria Carlota Quintanilha and Alberto Soeiro, Air Terminal of Nampula, 1958-1960. • Pancho Guedes, Sagrada Família Church, Machava. • Paulo de Melo Sampaio, County Administrative Building, Beira. • Paulo de Melo Sampaio and Nuno Craveiro Lopes, Headquarters of the Economic Associations of Lourenço Marques, 1955-1960. • Quelimane Technical School (nowadays 1º Maio Industrial and Commercial School). INTERNATIONAL Events • Start of construction of the Berlin Wall. • II Conference of African People, Tunis. Representatives of liberation movements in Angola, Mozambique and Guinea dissolve the Anti-Colonial Movement (mac) and form the African Revolutionary Front for National Independence (frain). • The Board of Minister of Six approves the first Regulation on the European Social Fund.

• Independence of 17 African countries: Mauritania, Mali, Niger, Chad, Somalia, Senegal, Ivory Coast, Burkina Faso, Benin, Togo, Nigeria, Cameroon, Central African Republic, Gabon, Republic of Congo, Madagascar, Somalia. • Amílcar Cabral (under the pseudonym of Abel Djassi), Facts on Portuguese African Colonies, England. • Pancho Guedes contacts Reyner Banham and James Richards, in London, from the magazine Architectural Review. • Reyner Banham, Theory and Design in the First Machine Age, England. • Leonardo Benevolo, Storia dell’ Architettura Moderna, Italy. • Jacques Dreyfus, Le Confort dans l’Habitat en Pays Tropical: la Protection des Constructions Contre la Chaleur. Problèmes de Ventilation, France. • Invention of the contraceptive pill, usa and Mexico. • Invention of the laser, usa. • Jean-Luc Godard, À Bout de Souffle, France. • L’ Michelangelo Antonioni, Avventura, Italy. • Federico Fellini, La Dolce Vita, Italy. • Alfred Hitchcock, Psycho, usa. • First pacemaker, usa. • Invention of stereo radio transmission system, usa. • The Enterprise, the first aircraft carrier nuclear powered, was put in the water, usa. • Surveillance satellites, usa. Buildings • Aldo van Eyck, Orphanage, Amsterdam, Holand, 1955-1960. • Le Corbusier, La Tourette, France, 19561960. • Lucio Costa, Plan of Brazilia, Brazil, 1957-1960. • Oscar Niemeyer, Alvorada Palace, Brazilia, Brazil, 1958-1960. • Pierre Koenig, Case Study House #22, Stahl Houaw, Los Angeles, usa.

PORTUGAL

ANGOLA

MOZAMBIQUE

Events • The Security Council of the UN emits the first resolution condemning the colonialist policy. As a protest, Portugal abandons the work of the General Assembly of the un. • Adriano Moreira takes office as Minister for Overseas, replacing Vasco Lopes Alves. • Ship liner Santa Maria assault takes place, commanded by Henrique Galvão. • Publication of the Programme for the democratization of the Republic, the democratic opposition, in which repudiates any manifestation of colonial imperialism. • Francisco José de Castro stops working in Beira, settling in Lisbon. • Portuguese Architects Association, Arquitectura Popular em Portugal, Lisbon. • José Bruschy and José Pacheco gratuate at esbal. • Robert Smith Conference, ‘The Architecture in the United States. 1950-1960’, Oporto. • Symposium on Urban Planning organized by the Directorate General of Urban Development Services, in Oporto. • Augusto Fraga, Raça, the first color film in Portugal. • Lucio Costa visits Portugal.

Events • Abolition of status differences between ‘indigenous’ and ‘assimilated’ persons. • Beginning of the Colonial War, 19611974. • Massacre of cotton farmers in Baixa do Cassangue. • Revolt in the North of Angola, in Uige and Zaire, by elements of the upa, causing the death of hundreds of Europeans. • Arrest and deportation to Portugal nine Angolan Catholic priests accused of links with the independence movements. • The Overseas Minister, Prof. Dr. Adriano Moreira, visits Angola. • Fernão Simões de Carvalho works as chief of the Luanda City Hall Urbanization Office until 1966. • Francisco Castro Rodrigues is hired as Head of the Lobito City Council Urbanization Services and becomes president of the Radio Club of Southern Angola board. • ‘Modern Brazilian Architecture’ Exhibition, Lobito, organized by Francisco Castro Rodrigues in the Angolans Study Centre, from which he leads. The exhibition follows after roaming for Angola, performing in Benguela, Luanda, Lisbon and New Moçâmedes. • Frederic Marjay, Angola, Lisbon.

Buildings • Eduardo Anahory, Arrábida House, Arrábida. • Fernando Campos, oliva Buildings, São João da Madeira, 1950-1961. • Fernando Távora, Cedro Primary School, Vila Nova de Gaia, 1957-1961.

Buildings • Francisco Castro Rodrigues, Universal Building, Lobito, 1957-1961.

Events • Abolition of differences in status between ‘indigenous’ and ‘assimilated’. • Foundation of the African Union of Independent Mozambique (unami), Malawi. • Pancho Guedes organizes workhops in his atelier in Lourenço Marques, where Malangatana participates. It is performed a second workshop on Ibadan also directed by Julian Beinart. • Pancho Guedes participates in the São Paulo Biennial representing Mozambique and presenting three projects (The Smiling Lion, Aeroplane House and Twelve Houses). • ‘Amâncio Guedes, architect of Lourenço Marques’, Julian Beinart, Architectural Review, 770. • Inauguration of the first solo exhibition of Malangatana, in the Association of Economic Organizations in Lourenço Marques. • Joint exhibition by Malangatana and Pancho Guedes, Matalana. • Alexandre Lobato, Quatro Estudos e uma Evocação para a História de Lourenço Marques, Lisbon. • Oliveira Boléo, Moçambique, Pequena Monografia, Lisbon. Buildings • Fernão Simões de Carvalho, Blue Building, Beira, 1959-1961; Urbanization Plan of Vila Cabral. • Francisco Assis and Luiz Filipe de Vasconcelos, Central Hospital of Lourenço Marques, 1958-1961. • Marcos Miranda Guedes, Clinical Pediatrics for Carlos Ferreira Pó, Lourenço Marques. • Pancho Guedes, Pyramidal Kindergarten, Lourenço Marques, 1958-1961. • Paulo de Melo Sampaio, Commercial Association, 1955-1961; Sports Hall of the Beira Railroad Club, Beira, 19561961; Miramar Hotel, Beira.

Modern Architecture in Africa: Angola and Mozambique

INTERNATIONAL Events • Conference of Nationalist Organizations of the Portuguese Colonies, Casablanca. • Possession of John Kennedy as President of the usa. • Beginning of the civil war in Congo generated by the assassination of Congolese nationalist leader Patrice Lumumba. • Conference of African People, Cairo. It was adopted a political resolution concerning the Portuguese territories. • Tanzania and Sierra Leone independence. • Nehru occupies the Portuguese territories in India. • VI UIA Congress, New Techniques and New Materials, London, England. • Vincent Scully, Modern Architecture: the Architecture of Democracy, England and usa. • Archigram, London, England, 1961-1977. • First human spaceflight, Vostok 1, urss. • Emergence of The Beatles. • Henry Miller, Tropic of Cancer, first published legally in the USA after having been forbidden for 27 years. Buildings • Henrique Mindlin, Avenida Central Building, Rio de Janeiro, Brazil, 19581961. • Louis Kahn, Richards Medical Centre, Philadelphia, usa, 1957-1961. • Pancho Guedes, Waterford Kamhlaba School, Swaziland. • Sérgio Bernardes, residence of the architect, Rio de Janeiro, Brazil. • Vilanova Artigas and Carlos Cascaldi, Santa Paula Iate Clube Garage Boats, São Paulo, Brazil.

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LOOKING BOTH SIDES Ana Tostões

Arménio Losa, Cassiano Barbosa and António Ribeiro da Costa, Chuabo Hotel, Quelimane, Mozambique. EWV, Ana Tostões, 2012

LOOKING BOTH SIDES A Lab on Architecture between Globalism and Localism Ana Tostões

After studying the Modern Movement architecture in Portugal1, took place the interest to research on modern architecture and town planning in the Portuguese ex-colonies in Africa. Such is the case of Angola and Mozambique, wide territories of sub-Saharan Africa testifying a significant developing impulse between the end of World War II and the Portuguese democratic revolution of 24th April 1974 which, the following year, led to the political independence of these two on forward African countries. This current waged on development took place after the Second World War2 in the process of colonial statement carried out by the Portuguese fascist regime, and, on the matter of architectonical production, after the 1st congress of architects, in 1948. The Modern Diaspora In the effort to achieve a better knowledge and comprehensive understanding of Modern Movement diaspora, it is essential to revisit, analyze and document the important heritage built on sub-Saharan Africa, where, the debate took place and architectonical models were reproduced, in many cases subjected to metamorphoses raised by overseas geography. Aiming to contribute to the documentation, knowledge and preservation of the modern architectonic heritage, this work focus on architectonical production affiliated to modern Movement codes, projected and built in the cities of Angola and Mozambique beginning from the ‘50s of XX century. Standing out the modernity of social, urban and architectonical programs, and also the formal and technological sustained research, it constitutes, on the international context, a peculiar heritage characterizing the modern architecture of these young countries. Our days, a new consciousness emerges from the necessity to include Africa in our efforts to understand the concept of ‘modern diaspora’ 3. In fact, as recognized4,

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since the 90’s architectural historians began to interpret the practice of modern architecture in Africa as part of a cultural product related to colonialism. With the introduction of postcolonial theory in the historiography of architecture, an exclusively ideological critical sense has been developed preventing disciplinary autonomy or practice of architecture, condemning any objective analyses. Recently, the development of concepts such as hybrid or ‘the otherness’ 5 has been promoting a nuanced historical analysis on architecture and politics of XX century in Africa6. The recognition that a widespread awareness of the Modern Movement architecture has served colonization7 compels to rethink the basic principle of welfare on modern society and architecture practiced as a mission, there is, a social service able to warrant a better future. Therefore, it is important do know how modern principles resulting from a Eurocentric culture have been exchanged with the cultures of Africa and the East. In addition, it must be noticed that the case of sub-Saharan Lusophone Africa is now beginning to be deeply studied, making possible to embrace a global vision of peripheral universes: Portugal and its African ex-colonies, Brazil and South America. In fact, Brazil in particular and Latin America in general, form a world decidedly challenging in the context of architectural culture and modern city that has been taken for a long period of time as peripheral. On contrary and recently, several researches argued on the centrality of these innovations, in a way possible to sustain the idea of a transcontinental modernity driving these places and cultures along with architecture and urbanism in a context of shared influences not only by a common language but also by lifestyles resulting from cultural miscegenation which characterized Portuguese colonization. The relation between Africa and Europe had an enormous importance for the development of the two continents, keeping them linked to one another in a continuous and reciprocal influence. As well known, at the end of the XV century European influence on Africa took a unilateral exploitation. The Portuguese navigators, seeking an alternative sea lane to India, began a period of expansion about 1450, also beginning the European interference in sub-Saharan Africa. The Portuguese were then followed by the Dutch, French, Spanish and English: African cost was striped and sacked and in the next century a forced diaspora of millions of Africans mobilized to the American continent plantation fields. In the XIX century after conquering and occupying this continent and, as decided in 1884-1885 at Berlin Conference, the territory was shared by the United Kingdom, France, German, Italy, and, at a minor scale, by Portugal. Geographic boundaries decided in this period did not reflect native population or their culture, and the colonization process was characterized by a progressive exploration, occupation and penetration in the African territory8. During the period between the XX century two World Wars, colonial Africa developed in phases of large scale, testifying the construction of roads, railways, harbors, governmental compounds, plantations, schools and hospitals9.

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Luanda, Angola. IICT, Overseas Historical Archive, AGU/PI 344, CITAngola, undated

technocratically to geographical, social and economic the challenges imposed by various aspects of an urbanization plan. The scale of the African metropolis: Luanda and Maputo It is common to consider the ‘Tropical Planning’ as a neocolonial discourse defined mainly through the network of the British Empire, based on a bilateral model supported in the center by the metropolis and the colonies on the outskirts120. However it can be argued that the development of tropical architecture and transmission of urban planning experiences also occurred as a transnational discourse between the Lusophone world, fusing tradition of Portuguese urbanism school of military engineering with French urban designcentury of XX century, the City Beautiful, the concepts of ciam, and increasing local autonomy, increasingly informed and comprehensive from the late ‘50’s, and thus coinciding with the end of the guu and the creation of local offices, particularly in Mozambique. The Plan of Antonio José de Araújo (1887) established a wide reticule of unlimited growth to the city of Lourenço Marques, drawn from a network of broad and wide avenues. This plan, fully implemented (with the exception of two squares), would lay the foundation for the growth of regimented cosmopolitan city endowed with a breadth supported by a comprehensive road network profile and generous installment. In fact, today it is possible to identify avenues and squares, as well as the ‘indigenous’ neighborhood away from the center that corresponds to the expansion of 1915, with the opening of the avenue peripheral ring road which marks, until today, the separation of homogeneity of the urban fabric of the city cement and the beginning of caniço or musseque. The years of World War I are very important for the stabilization of the territory, and relations

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Lourenço Marques, Mozambique. IICT, Overseas Historical Archive, AGU/PG 492, unknown author, undated

with the Transvaal (Pretoria) and South Africa, Witwatersrand, and of course Johannesburg, linked by the sea and, in 1910, the Lourenço Marques railway line, which also justified the expansion of its port. In 1947121, integrated in the set of plans produced in guc period, the plan drafted by João António de Aguiar – Plan Aguiar (1955) – proposes large green areas, intended for sports and leisure. In the east, facing the Sunshine Coast, a large residential housing is proposed, arising in the extension of existing neighborhoods. ‘Indigenous’ neighborhoods should be beyond the circular city but close to it. The road system followed a hierarchy of ‘three levels: the urban (city interest), the long distance (regional interest) and secondary arteries (of local interest)122. The plan pointed to the city monumentalization123, not only on the level road but also regarding the buildings. The development of the Lourenço Marques harbor, with growing profits at the end of the ‘40’s due to its strategic position in relation to South Africa and Swaziland, justified this urban sprawl. To the city nucleus was proposed the Centre Square, a new administrative center. In its urban design is a clear reference to Commerce Square in Lisbon. The population growth quadrupled between the years ‘50’s and 60’s with negative consequences for the suburbs located beyond the circular surrounding that come to see their poor housing conditions worsened. In 1967, the municipal autonomy is achieved, consisting of the Office of Urbanization of Lourenço Marques City, in charge of preparing the Urban guiding Plan124. This plan (19671972) prepared by Mário Azevedo pointed to a strategy on contemporary understanding of the metropolitan territory125, so to lay the foundation for a continuous development from the subdivision and by introducing a generous profile to roads and avenues, setting the metropolitan area, which included an industrial zone in Matola and its residential area, designed as a satellite city of Lourenço Marques.

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Nuno Craveiro Lopes, Polana Church, 1962. Ana Magalhães, 2006

Francisco Castro Rodrigues, Sumbe Church, 1966. Ana Magalhães, 2008

New equipment for transport naturally accompany the developmental spurt that is inaugurated in Luanda with the Airport Project General Craveiro Lopes (1947-1954), by Francisco Keil do Amaral, a veteran and reference figure of architectural production and thought that also the author of the first Portuguese airport in Lisbon in the late ‘30s. After General Craveiro Lopes Airport, it follows the design of Lobito Plane Station (1964) by Francisco Castro Rodrigues. In Mozambique, the set of the iconic Beira Railway Station (1957-1966), by Paul de Melo Sampaio, João Garizo do Carmo and Francisco José de Castro (1923) is an inaugural work of intense iconographic expression, marking the culmination of Beira’s cosmopolitan modernity, witnessing the strategic importance of the city in the flow of products to the center of sub-Saharan Africa’s mainland linked to the port of Beira. Gago Coutinho Airport (now Maputo International Airport) (1963) by Cândido Palma de Melo (1922-2003), Aeronautics Civil Services Headquarters (now the Institute of Civil Aviation of Mozambique) (1959) in Maputo, by João José Tinoco, Alberto Soeiro and Maria Carlota Quintanilla, in Beira, two years later the Airport Sacadura Cabral (current Beira International Airport) (1965) Cândido Palma de Melo, Quelimane Airport of Octavio Rego Costa, Porto Amélia Airport (current Pemba Airport) (1961) by João José Tinoco and Maria Carlota Quintanilla (1923-), the Nampula Plane Station (1960), by João José Tinoco, Maria Carlota Quintanilla and Alberto Soeiro and the Plane Station of Tete, by João José Tinoco and António Matos Veloso, complete this picture of intense production in such a short period of time. The administrative equipment follow the late colonization of Mozambican territory, following the Development Plans and emerging from the late ‘50s, the so called Palaces of Public Offices: Palace of Public Offices of Quelimane (1959), by João Garizo do Carmo; the Palace of Public Offices of Porto Amelia (1963-1966), Pemba, by João José Tinoco and Maria Carlota Quintanilla; the Palace of Public Offices of Vila Cabral (current seat of the Provincial Government of Niassa) (1966), Lichinga, by João José Tinoco and Maria Carlota Quintanilla and Govern-

ment and Public Service Building (1971), Chimoio, by José Bernardino Ramalhete. In Maputo, the growing importance of the capital will justify the creation in 1967, of the Department of Provincial Lands and Settlement (now Ministry of Agriculture) (1967), by John and Antonio José Tinoco Matos Veloso. The health equipment arise in major urban centers, by the hand of a pair of authors who begin to specialize in this program: Francisco de Assis and Luiz Filipe de Vasconcelos, especially in Maputo, for which they design in a generous plot in the expansion south area from the city center, an outstanding hospital complex from 1961, the Central Hospital of Maputo (1961). The development of the Colonial War and the strategic focus placed in the city of Nampula as a military center also justifies the creation of a large hospital complex, the Nampula Central Hospital (1968), also by Francisco de Assis and Luiz Filipe de Vasconcelos. Tourist facilities provide an optimistic attitude in Mozambican territory, exploring the fantastic natural conditions and wonderful landscape. Arise mainly related to the dolce vita of the climate and environment of the city of Beira, after the Beira Grand Hotel, initiated in the late ‘30s, followed by Paul de Melo Sampaio, the Miramar Hotel in Beira, and in the summer context, on the beach of Macuti, the expressionist Estoril Motel (1959), also by Paul de Melo Sampaio and Ambassador Hotel (1958), in Beira, by Francisco José de Castro. In Quelimane, the Monteiro&Giro ensemble, by Arménio Losa (1908-1988), Cassiano Barbosa (1911-1998) and Antonio Ribeiro da Costa, is developed assuming the industrial complex created following the developmental momentum of the company focused on creating a set program with multifunctional linking housing, trade and services together in a single block of urban presence, and integrating the paradigmatic Chuabo Hotel (1954-1968). Industrial equipment has an unusual presence in Quelimane, linked to the exploration of the Zambezi valley wealth, with products such as tea or cotton, but also with the discovery of ceramic resources that underlie the creation of the Pottery Factory Monteiro&Giro ensemble (1958-1961). In Maputo, the hand of

Looking Both Sides

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Nampula Airport. IICT, Overseas Historical Archive, unknown author, undated

Paulo de Melo Sampaio, Estoril Motel, 1959. António Albuquerque archive, undated

the prolific Pancho Guedes, industrial equipment appear unusual and unique as the Saipal Bakery (now Heritage Fund and Water Supply) (1954), the Garage, Salon and Offices Sales Otto Barbosa (Current Visa Security ) (1953), by João José Tinoco or the Reguladora Watch Factory (current Luso-Wine Warehouses) (1970) and group Headquarters in (1970). Office buildings in Mozambique are prestigious buildings marking its cosmopolitanism. The bnu (now Bank of Mozambique) (1956), in Maputo, by José Gomes Bastos (1914-1991) and Marcos Miranda Guedes, stands out throughout the downtown center. Four years earlier, had been upgraded according to the Plan Aguiar and Historical Archives of Mozambique (1952), by Marcos Miranda Guedes, in Maputo. Over the 50s Pancho Guedes would be central in the renovation of the center of downtown Maputo, first with the building Abreu Santos & Rocha (1953-1956) and later with the building Spence and Lemos (current Headquarters of petromoc - Petróleos de Mozambique sa) (1964) and later with the building Boror, (now the Ministry of Transport and Communications) (1966). From 70, the Headquarters building of Millenium bim (1972), by João José Tinoco, in central contrast with a large tower marking the city skyline, as opposed to the corporate design project erected on the side of the industrial city, the Headquarters of Entreposto Mozambique Group (1970). In Beira still in the 50s arises the building Megazza (1958), by Francisco José de Castro, which is followed by the Commercial Association of Beira (1961), projected by Paul de Melo Sampaio, the later on, the Muslim Association of Beira (1971) by José Bernardino Ramalhete. The center of Luanda is assumed between two poles: first the Mutamba square, situated in the center of the upland by the palace and convent, first with projects by the city architects such as Mobil Building (1951) by Alberto Pessoa working with the Angolan architects, the brothers Castilho, then the paradigmatic Mutamba building (1969), by Vasco Vieira da Costa. The second pole of statement, where stood still the historicist drawing of Vasco Regaleira for the classic Bank

of Angola, still today with an unavoidable presence, began to emerge from the 60’s an international modernity assumed in iconographic buildings, such as the Secil building (1960), by Vasco Vieira da Costa or driven by another authors, the bpc tower (1967), by Januário Godinho (1910-1990), Correia de Araújo and Campos Matos. Along with the Customs building and the Glass Palace, the city cost line would be crowned on the north side by the President Hotel, ended in 1974, corresponding to a project by Antonio Campino (1917-1996). Residential and commerce buildings also acquired an iconographic expression, reflecting the creative explosion of the Angolan territory, but especially its capital, deserving mandatory reference the cuca building, by Luís Taquelim da Silva, erected in the early ‘50s and that would be until very recently an ex-libris of the city, not only for its volume, implanted on top of the upland challenging the splendid view of the bay by being part of it, but also by suspending the lettering of cuca beer, visible from any part of the city and thus becoming a reference and symbol next to the (now) disappeared Municipal Market of Kinaxixe. In Lobito, the activity of Francisco Castro Rodrigues is evident in the Universal Building (1961), after the initial Sun Block (1955) on the sandbank, and, in Benguela, in the Municipal Market (1964).

Looking Both Sides

New directions in African architecture213, cultural inheritance and time proof In 2008 the implosion of the Municipal Market of Kinaxixe (1950-1952), by Vasco da Costa Vieira, erected in Luanda in the early 50s, starts dramatically the debate on modern African heritage, not only a historical question, but also because this modern heritage can be understood as a cultural asset that integrates devices adapted to the climate. Today this legacy begins to be assimilated by the younger population and some iconic housing buildings are recognized as recent monuments. This assumption has prevented its demolition and replacement by International Style buildings with glass curtains, involving the use of expensive mechanical systems to

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Vasco Vieira da Costa

MUNICIPAL MARKET OF KINAXIXE The Sun Shadowing Path1

Luanda, 1950 In the work of Vasco Vieira da Costa the architecture claiming its own space lives lucid and separate experiences with the landscape, debating architecture in Africa, where climatic issues and social problems affect aesthetic search and require the architect social responsibility. Dated from 1950, the plan for Municipal Market of Kinaxixe was the first public order Vasco Vieira da Costa received and the result was a polemic and notable urban mark, set as a reference to future town extension. The place has nothing, except its own history. The project defines the place both as a square and a pram, becoming an urban element. Vasco Vieira da Costa locates the project between square and building, recovering the idea of the traditional closed markets of Luanda, surrounding it in a regular and single shape, finding a way to sort itself in the wide emptiness. The market building faces two inner squares housing service structures and warehouses on the ground floor and sales galleries on the upper floor. In this project is clearly intentional the use of geometrical and simple forms, till the limit of rigor and excess. The building holds a portico surround, being simultaneously closed and opened. The brise solei wall on the upper floor, apparently impenetrable, is the leaky element allowing the city flow. The shining pilotis, the doubled height portico were elements already used in the city architecture, but the brise solei walls, the link between volumes and colored decoration upon the dole façade, denounce the time Vasco Vieira da Costa were in Le Corbusier’ atelier. On the terrace coverage are geometrical forms and the edge protections sign abstract lines, creating a stone garden only visible in a bird view sight. A suspended architecture, as it is Vasco Vieira da Costa work, assuming a manifesto position, defying the colonial political power, inviting to question town planning, now that the turning point had been designed. Vasco Vieira da Costa built assumptions over which one can always imagine and learn, confirming that, even in situation of extreme difficulty, architecture may and should be the main city builder.

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Municipal Market of Kinaxixe

Street view. In Ana Tostões; Wilfried Wang; Annette Becker (Org.), Portugal: Arquitectura do Século XX, Munchen, New York, Frankfurt, Lisboa, Prestel/PF 97, 1998.

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Francisco Castro Rodrigues

UNIVERSAL BUILDING A Housing Unit in the Tropics Detail of the Southeast façade, Ana Magalhães, 2008 View from the East side of the building, Ana Magalhães, 2008

Lobito, 1957 Francisco Castro Rodrigues designed a large building combining housing, shops and offices between Caponte neighbourhood and the entrance to Comercial neighbourhood, over the marshes in the town of Lobito. The original 1957 scheme (preliminary draft)1 was ordered by the company Sorel, the first concessionaire of plots 426 and 427 located between the former 28 de Maio Street and 15 de Agosto Street, over Patrice Lumumba Square (former Largo da Ponte). Sorel intended to establish a large shopping space for exhibition and sale of its products on the ground floor, individual or collective office spaces on the first floor, and small-size apartments on the highest floors2. At the end of 1958, when the preliminary draft was already approved by the Lobito Municipality, the plots were acquired by the Insurance Company A Universal, who would pursue the process by keeping its lay-out and structure. The Universal building is located on two adjoining plots with an ‘L’ configuration, and it makes the transition between two longitudinal roadways of the comercial neighbourhood and a large square that is an entrance at the boundary of Caponte neighbourhood. The author’s intention of giving the building a monumental character is obvious from its first scheme, and the reason for this is both its location, dignifying the entrance to downtown Lobito, and the owner’s status. Therefore, Francisco Castro Rodrigues proposed a change to the town urban plan, which consisted in increasing the height of the main volume that was faced Southeast over the square. The main body of the building is nine floors high, facing the Patrice Lumumba Square, and at block closing a lower six-floor body stretches laterally in continuity with the existing buildings. The basis of the main body is set back and separated from the street by a double-height gallery (a few shops are located here, and a few offices and services at mezzanine level); an intermediate projected floor intended for offices, a ‘box’ volume, makes the transition to the five floors intended for housing; the roof is a huge canopy supported by pillars that creates a floor intended for studios and entertainment spaces.

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Universal Building

Flap detail, staircase at the back façade, Ana Magalhães, 2008

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Francisco Castro Rodrigues

TERRACE CINEMA FLAMINGO Modern Life in the Tropics1

Lobito, c. 1960 In 1948, Francisco Castro Rodrigues translated into Portuguese the full version of the Charte d’Athènes2, published in a series of 12 numbers by the magazine Arquitectura, a few years before traveling to Angola as head architect to the Municipality of Lobito. Upon proposing the revision of the city’s urban plan, he applied some of the basic principles of the Charte: the city organization in four main themes of the modernity – housing, leisure, work and circulation. Furthermore, he designed two community buildings that were illustrative of the ‘leisure’ theme in a Portuguese colonial society, during the 1950s, and more to the point as a response to the tropical climate: Cine-Flamingo and Cine-Baía. These were both open-air movie theatres, as a general rule called ‘cine-esplanadas’. Cine-esplanada, ‘a partially roofed or open-air movie theatre, is a unique typology specifically conditioned by the climate. (…) In these climatic areas, constructions should be shaded structures openly stimulating air circulation. Spaces that are merely roofed, not entirely enclosed, are greatly functional and acquire unique spatial features, since they are systems which viability is restricted to tropical regions. These building typologies are often suited to their weather environment, finding their identity in confronting nature’3. As a program and architectural response, such movie theatres represented the idea of well-being felt by the bourgeoisie of the portuguese colonies after World War II and before the colonial war. If the movie theatre symbolically embodied the idea of progress, the architecture of such spaces affirmed its consciousness: the cine-esplanada is cinematographic in itself. Its spatial structures make us experience an architectural promenade with long cinema travelling. Francisco Castro Rodrigues’s architecture in these open-air movie theatres epitomized a society who urgently wanted to be modern. Cine-Flamingo is located at the South-Eastern end of the town of Lobito, between the Atlantic Ocean and the swamps. Expressive and monumental, this open-air theatre for twelve hundred spectators was designed by Francisco Castro

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Terrace Cinema Flamingo

Northwest façade, main entrance, Ana Magalhães, 2008

View of the enclosure and the projection screen, Ana Magalhães, 2008 Detail of the flat and the projection cabinet, Ana Magalhães, 2008

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Francisco Castro Rodrigues

LOBITO HIGH SCHOOL Learning in the ‘Open Air’1

Lobito, 1960 The Lobito High School (Comandante Saydi Mingas High School), former Almirante Lopes Alves High School, was designed by Francisco Castro Rodrigues at the beginning of the 60s and opened to the public in 1966. The original plan provided for a school infrastructure to be built in stages that was composed of a combination of fourteen buildings (classroom blocks, music and singing amphitheatre, headmaster’s and administration office, two gyms and ballroom). The buildings corresponding to the first stage were the only ones developed and built up: two classroom blocks, the administration building and one gym. The order for this school establishment, made directly to a resident architect in Lobito, followed important amendments to the laws on school establishment construction in the ‘overseas provinces’. At the beginning of Estado Novo, school buildings in Africa were designed by architects serving in national departments in Portugal: Board of Construction for Technical Education and Secondary (JCETS), and, as from 1944, by Office of Colonial Urbanization (GUC), the department responsible for the production of most public establishments in the colonies2. Upon the 1951 amendment to the Constitution, this latter became the Office of Overseas Urbanization (GUU), as from 1956, and intensified its action to school projects. Beginning at the time of the Angola colonial war in 1961, such growth in the production of school buildings is emphasized. At the same time, new modifications to the legislation of the Overseas Ministry would allow for local Public Works branches, as well as Municipalities, to gain some autonomy and be able to engage locally resident architects and engineers, reducing the technical services of the mother country to a consulting role. Such large production carried out from the mother country ensured a monumental character that was consistent with the nationalist image the Estado Novo wished to imprint in the colonies, and at the same time it permitted much experimentation on the adaptation of those typologies to the tropical climate. Such adaptation was translated both into implementation of space and organisation structure of the buildings (mainly high

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Lobito High School

South block. Northeast façade. Galleries leading to the classrooms, Ana Magalhães, 2008 North block. Southwest façade, Ana Magalhães, 2008 Classroom interior, Grid detail, Ana Magalhães, 2008

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schools and technical occupational schools), and into using construction devices that promoted a better response to climate conditions. A peripheral roofed openair gallery passageway or using ceramic grids are a few of the most expressive elements that are exhaustively exploited by the lexis of those typologies. The use of a roofed gallery is an appropriate solution for functionally solving passageways and configuring leisure and recreation spaces, but also a way to ensure a good adaptation to the natural surroundings: air flow, shading and rain protection. This typology is used in the design prepared, in 1939, by José Costa e Silva (an architect to jcets) in the grand Salazar High School (currently Josina Machel High School), in Maputo. This high school is divided into various autonomous bodies (intended for classrooms and offices or additional equipment) connected by open portico galleries that extend the passageway galleries of each building, thus ensuring a uniform nature for the whole. These large circulation spaces are a protection against the ‘direct action of the Sun and rain, ensuring a continuous ventilation of the collective spaces’3. However, the evolution of such typologies does not remove, the predominance of an austere, historicist, monumental design that is marked by the hierarchy of the classroom and service blocks, organised in axial symmetric compositions, often making use of elements from a Portuguese traditional architecture, mostly by using a tiled ridged roof or traditional noble material. It is then after reaching autonomy from the mother country State institutions, during the 60’s, that the construction of public works gain a more international language bound to the Modern Movement. The Lobito High School and the whole work of its author in this town and the adjoining provinces are excellent examples of public works in the African territory. The Lobito High School is located in one of Compão neighbourhood plots, next to the Lobito railway terminal, in its connection to the Benguela Railway, between the railway on the Northeast and Avenida Sá da Bandeira on the Southeast. The constructions corresponding to the first stage of the high school plan are composed by four buildings, all located towards the same direction according to an Northwest/Southeast axis perpendicular to the dominant winds. The administrative building, a parallelepiped two-floor volume slightly rising above the ground, is located at the entrance to the compound, next to the main street. The classroom buildings consist in two long three-floor bodies, which run parallel and slightly out of each other’s line, served by long external corridors running longitudinally. These volumes are partially above the ground through pillars creating recreation areas in the shade and fully exposed to the fresh air. The classrooms, aligned with the Southwest façade perpendicularly to the gallery, occupy the top floors. They are ventilated by concrete lacy-trimmed open grids further reinforced by beta type glass blind frames that allow for controlling the air flow along the day. The first block, at the Northwest end of the plot, corresponds to the classrooms for the first two school years, makes up at ground level a large roofed recreation area. The second longer body, where the classrooms for the other school years are located, is completed by amphitheatres at ground level, which extend the grid façade down to the ground. On the Northwest façade,

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Lobito High School

South block. Southwest façade. Grid detail, Ana Magalhães, 2008

Gymnasium building. Southeast façade, Ana Magalhães, 2008 South block. Southeast façade, Ana Magalhães, 2008

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Fernão Simões de Carvalho

RÁDIO NACIONAL DE ANGOLA BUILDING Le Corbusier’s Legacy in the Tropics1

Luanda, 1963 Freedom is the idea expressed in the uniqueness of the works erected in Portuguese language African countries, such as Angola or Mozambique, since the beginning of the 1950s. After World War II, when Portugal was still living under a dictatorship, placing an outdated value on its empire and its colonies, a significant group of young architects trained in the Arts Schools of Lisbon and Oporto went to Africa, between the end of the 40’s and beginning of the 50’s, and affirmed a modernity that was far from the State-sanctioned architectural models. Such freedom was translated into a firmer appropriation of the Modern Movement codes at an international meaning. It is permissible to establish that the first sign of flexibility and openness of Portuguese architecture to the forms and principles of international modern architecture was ensured at the I National Architecture Congress, in 1948. In Portugal, upon the end of World War II and subsequent democratization of the european states, the strife against António Salazar regime became manifest, leading to the organization of the various oppositions, who believed in a swift fall of the dictator2. A new generation of architects, trained in the Arts Schools of Lisbon and Oporto, laid claim to a new social, ethical and political consciousness and criticism. If, on the one hand, they claimed a new vision of reality, on the other hand, they tried to theorize and reinforce an idea of architecture, international and orthodox, according to the premises of the Modern Movement, corbusian in its essence. At the Congress outcome, this ‘African generation’3 went to Angola or Mozambique, surely motivated by different reasons: ideological or political, or simply looking for new opportunities. In a less restrictive society away from the centre of power, these architects had in common the possibility of building with a modern vocabulary. Two of these architects working in Angola from the beginning of the 50’s were trained in Le Corbusier’s atelier in Paris. Vasco Vieira da Costa worked in the Rue de Sèvres atelier between 1946 and 1948, and later on, Fernão Simões de Carvalho

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Rádio Nacional de Angola Building

worked in the Boulevard Flandrin atelier, incorporating the team that between 1956 and 1959 was then developing large detail projects coordinated by André Wosgenscky. Such ten-year gap corresponds, however, to a period of intensive work at Le Corbusier’s ateliers. The post-war period was, as well known, particularly fertile in Le Corbusier’s work; from the order for the first Unité d’Habitation, in Marseille (1946-1952), to large projects such as Firminy or Chandigarh, and further the Ronchamp Church and the La Tourette Convent. Vasco Vieira da Costa finished his architecture degree in Porto Beaux Arts School in 1945, and in the same year he was admitted to the Urban Planning Institute of the Paris Sciences College. Between 1946 and 1948, he worked with Le Corbusier. This direct experience with the master’s postulates, in a period marked by large post-war urban reconstruction plans in application of the principle of the Athens Charter, shaped his way of thinking and designing in a decisive manner. Also an essential feature during his stay in Paris is the completion of the project of the building of the Ministry for Education and Health, in Rio de Janeiro (1936-1945), by a team of Brazilian architects led by Lucio Costa and having Le Corbusier as a consultant, in which the fitting of the Modern Movement dogmas to the tropical climate conditions is paradigmatic and ground-breaking. His CODA, submitted after his stay at Rue de Sèvres, ‘Design of a Satellite City for Luanda’ (1949), applying the modern dogmas to the erection of a colonial town, is definitely a paradox: ‘It is therefore incumbent on the European man to create in the native the need for comfort and a higher life, thus inciting him to the work that will lead him to settle down, and this will facilitate a more stable workmanship. The positioning of the houses and the location of native boroughs are the two main constituents that should govern the composition of the plan of a colonial town (...). In this way, we would rather place native boroughs around the central hub, taking due care to locate it, at all times, toward the lee of European housing areas, which must nevertheless be, at all times, isolated by means of a green screen wide enough to prevent the mosquito from passing over it. Under a health and social point of view, native populations should form various scattered groups embracing, as small satellites, the European hub, being each sector of this hub served by a native group. In this way, we will shorten the distance to be covered between work place and residence.’4 It should be noted, however, that this hierarchical social organization model is based perhaps more on Le Corbusier’s 1922 Ville Contemporaine project than on the Athens Charter postulates, in which the city was already thought for a ‘classless’ society. In 1949, he returned to Luanda, where he had lived since his childhood, and was incorporated in the Technical Services of the Municipality, developing a set of remarkable projects of which we highlight the Municipal Market of Kinaxixe (1950-1952), the building of the current Ministry for Public Works in Largo da Mutamba, the Karl Marx Student Hostel, the State Officials building, the Anangola building or the Pius XII Institute. The work of Vasco Vieira da Costa brands Luanda’s built-up landscape, and its corbusian grammar has surely contaminated the city’s common and anonymous

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architecture. It is an architectural language expressed through multiple plastic features, such as grids and brise-solei, protruding ‘boxes’, shadowing shelves, buildings on pilotis, circulations through long open air galleries, textures of glazed warm – and strong – collared tiles. Fernão Simões de Carvalho, born in Luanda, completed his architecture graduation at Lisbon Beaux Arts School, in 1955, where he submitted, in 1957, his final paper on a Television Centre project. After training at the Office of Oversears Urbanization, he took an interest in urban issues, and in 1956 he decided to go to Paris, with a scholarship by the French Government, where he will incorporated Le Corbusier’s atelier until December 1959. At the Boulevard Flandrin atelier, under the guidance of by André Woscenscky, he worked on the project of the Unité d’Habitation in Berlin, and subsequently the Briey-en-Forêt Housing Unit. He further participated in the La Tourette Convent project and followed up, as architecte de chantier, the works of the Brazilian Pavilion in the Paris Campus. At the same time, he studied with Robert Auzelle at the Institut d’ Urbanisme at Sorbonne. These two vectors stand at the basis of Fernão Simões de Carvalho’s training consolidation and will be a determinant factor in the work he will develop in Angola. On the one hand, the stark imprint of the large projects developed at Le Corbusier’s ateliers during that period, not only those in which he takes part but also Chandigarh or Firminy, the building and béton brut plasticity experiences, applying the Modulor system; on the other hand, the teachings by Robert Auzelle, a critic of the Athens Charter, who ‘(...) proposes that several social and economic factors be put into context in a more integrated and technical vision.’5 His urban planning degree was completed in 1965 upon submission of a Master Plan for the Bairro dos Pescadores (Fishermen Borough) in Luanda Island. While such project is based, on the one hand, on the study of a wider urban structure within the zoning principles of the Athens Charter, on the other hand it reveals a sensitive understanding of pre-existences and an attentive study of popular housing of that site. In 1959, he returns to Luanda, where he applied for the job of architect-urban planner at the Municipality. In 1961, as head of the Urban Planning Office, he developed several urban plans. In this office, he coordinated a team of architects, such as António Campino, Domingos Silva, Luis Taquelim da Silva, and Fernando Alfredo Pereira. They developed the Luanda Master Plan (1961-1962) and several partial plans, such as the detailed plan for the Mutamba area, for the Luanda Island tourist zone, and plans for Neighbourhood Units. The Luanda Master Plan was an answer to the city high demographic growth6 since the beginning of the 50’s, entailing a significant increase in building construction and urban consolidation. In this way, Fernão Simões de Carvalho designed, together with José Pinto da Cunha and Fernando Alfredo Pereira, Neighbourhood Unit No. 1 in the Prenda Neighbourhood between 1963 and 1965. Such Neighbourhood Unit, erected in the Prenda ‘musseque’, seeks to solve ‘practical concepts of ‘miscegenation’ of the various social and ethnic groups in an urban vision concerned with rebalancing tensions in the existing community: houses around a patio, single-family and semi-detached houses, collective housing buildings’7. Apart from such collective

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Rádio Nacional de Angola Building

Concrete grid detail and gargoyle, Ana Magalhães, 2008 Northeast façade, Ana Magalhães, 2008

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Fernão Simões de Carvalho

THE PRENDA NEIGHBOURHOOD UNIT Luanda seen through the Athens Charter Prenda Neighbourhood Unit, Fernão Simões de Carvalho archive

Luanda, 1963 The Prenda Neighbourhood Unit is a revealing work of the direct influences of Le Corbusier in three different scales, urban, housing block and dwelling. After his internship in France with Le Corbusier and André Wogenscky, Fernão Simões de Carvalho will lead, in 1961, a team of six architects, three engineers, a surveyor, an artist, ten designers, a model maker and administration staff at the newly Urbanisation Office for Luanda City1. Fernão Simões de Carvalho considers this office a true school of urbanism, where he could pass on to other architects the knowledge he acquired with Le Corbusier2. Fernão Simões de Carvalho will work in a context of demographic expansion, which resulted from the economic boost provided by the coffee trade and the II Development Plan3, trying to solve the city’s lack of housing and rule its expansion which was developing quickly and in an informal way. In this informal city inhabited not only by natives, but also by Europeans and other Africans who took advantage of being beyond the reach of tax obligations to establish their business4. In 1963, in the text ‘Luanda e o Futuro’5 (‘Luanda and the Future’) Fernão Simões de Carvalho makes a synthesis of the concepts of Robert Auzelle with the ideas of Le Corbusier. The architect’s forecasts and concerns about the city are clear: ‘Luanda, that currently has about 300 thousand inhabitants and within twenty years should have more than 500 thousand and, in only ten years, maybe more than one million, has suffered many ailments. With its tentacles, the city has been criminally attaching more and more land, causing what Le Corbusier would call the ‘apoplexy of the centre and the paralysis of the extremities.’ The time has come to define land use, to settle the population densities, and to establish a plan for providing for their needs at a human level, in short, to develop the City’s Master Plan, which will define the principles that should be used as guidelines for the land use not only for the city as well as for the region supporting the city. ‘(...) he predicted

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The Prenda Neighbourhood Unit

Prenda Neighbourhood Unit, Fernão Simões de Carvalho archive

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of round corners painted in black polish and the chimney that stand out from the vegetal top. Taking advantage of the gap of land the entrance of the house is located in a balcony, signalled through a concrete canopy with wood finishing. This is through this huge balcony with metal banisters and a flower box on the left side, it is possible to enter the two living rooms and the entry level of the kitchen, separated from the rest of the balcony by a brick grid wall suspended from the first floor’s slab. The rooms in the first floor have a wide range of materials, in an interesting game of textures. The first room has a ceramic tile pavement, a brick wall, a textured plaster wall and a rough concrete one. Through concrete steps the gap of 0.46 m is overcome and one enters the distribution corridor that gives access to the w.c., the kitchen, the living room and to the stairs that go up to the second floor. The w.c has a textured plaster finishing and the kitchen wall a rosewood finishing. The kitchen communicates with the living room through a counter and rosewood benches and it was possible to close it with a Modernfold door. This wooden wall faces a brick wall with a custom-made rosewood cupboard. The living room with double height has a corner window. The concrete stairs with white marmorite finishing, next to a black painted concrete wall, remind us of the stairs of Le Corbusier’s Jaoul House (1951). On the second floor are the bedrooms, bathroom, a master bedroom and a mezzanine. The latter participate of the living room’s space with double-height ceiling. The big master bedroom’s window can be closed with a curtain that gathers up on a built in niche. Custom made cabinets, cupboards and closets were specially designed for this house. The rooms have wooden clubs pavement, white painted walls and grey green ceilings. On both floors, a built-in custom-made cupboard is a structuring element between the living room and the mezzanine. Both have similar language articulating with the brick wall and fixed glass of different dimensions. The exterior façade has, in this way, windows of many dimensions, from small windows that allow spot lighting to big windows that go from the floor to the ceiling. The bedroom windows have a projecting frame in the balcony spans as well as in the curb spans. The master bedroom window is protected with two shutters on the balcony ends. We can find in these house many more typically corbusian solutions like the ventilation gaps, without glass and only with a wooden shutter and mosquito net and the main row houses façade made of pre fabricated concrete blocks filled with brick or fixed glass similar to the one in Le Corbusier’s Shodhan House (1951) and the rough concrete spouts that punctuate the volume. This work reveals a sculptural space shaping and a sculptural use of materials. Fernão Simões de Carvalho designed these houses from his cabinet in Lisbon, hoping that one day he could return to Luanda, however he never inhabited it.

Fernão Simões de Carvalho House (1963-1965),outdoor photographs and section, Fernão Simões de Carvalho archive

Fernão Simões de Carvalho House (1963-1965), indoor photographs, Fernão Simões de Carvalho archive

Nowadays the Prenda Neighbourhood is very altered23, ‘musseque’ invaded all the free spaces, including the lower part of the housing blocks. Walls were built between the pilotis, so that the entrance floor could also be occupied.

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The Prenda Neighbourhood Unit

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT The Prenda Neighbourhood Unit

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SOUTH-SOUTHWEST ELEVATION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

NORTH-NORTHEAST ELEVATION

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REDRAW PAULO SILVA

SCALE 1:500

WEST-NORTHWEST ELEVATION

CROSS SECTION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

THE PRENDA NEIGHBOURHOOD - BLOCK A

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Vasco Vieira da Costa

STATE OFFICIALS BUILDING A Version of Corbusier’s Lesson Revolução de Outubro Avenue façade, EWV, Ana Magalhães, 2011 Padre Francisco Gouveia Street façade, EWV, AT, 2011

Luanda, 1965 Le Corbusier’s influence was decisive over the group that would be designated as the ‘african generation’, especially over the generation that worked in Angola, namely the architect Vasco Vieira da Costa that interned at the atelier on Rue de Sèvres in Paris. Vasco Vieira da Costa developed a creative and original approach using the place and climate constraints as stimulation for a technically effective and aesthetically innovative response, leaving us a modern legacy in every way exceptional. Following the principals of tropical climate adapted design based on the idea that effective ventilation is fundamental to ensure comfort, he always tried to guide the construction in favor of the dominant winds1, and at the same time reducing the direct solar incidence over the building’s surfaces. The State Officials building is one of his main designs. Dated 1965 and destined to house the public employees that worked in the colony, is oriented NortheastSouthwest parallel to a large avenue with intense traffic, the Revolução de Outubro Avenue (former Serpa Pinto Avenue) and a secondary street, the Padre Francisco Gouveia Street, that makes the transition to a small scale neighborhood housing that extends to the Alvalade neighborhood. The low cost condition implied imaginative solutions and a rigorous design that is on the basis of a constructive accuracy and an approximation to the ‘dry construction’ concept, mostly used in the 60s, based in the concrete technology coordinated with wood applications without resourcing to grout2. The great scale is given by the long storey volume on top of a colossal foundation that takes advantage of the difference between the streets heights, creating an open public space almost doubling the building’s volume. The access is made through Padre Francisco Gouveia Street by two staircases connected with the long distribution galleries (80.00 m long and 2.00 m width). These galleries are semi private corridors distant from the apartments’ volume by 1.50 m, establishing a shadowing system. The gap between the main volume and the distribution galleries

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State Officials Building

Circulation systems details, EWV, João Vieira Caldas, 2011

Circulation systems details, EWV, Ana Tostões, 2011

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is interrupted only to allow the access to the apartments through a private space. The galleries accentuate the building’s longitudinal image through a bright and dark volumetric game, of advanced and recessed plans, rough concrete grids, and a structure of transversal beams that are extended beyond the building’s limits conferring a rhythm and brutalist expression to it, using the structure as a plastic element. The apartment typologies are coordinated to maintain a constant volumetric game, existing in each storey a succession of five T3 topped by a T1 at the North end of the building. This logic repeats through five storeys, except at the first one were only exists one T1 apartment. The building has twenty five T3 apartments and six T1. After analysing the apartment’s distribution and organization through the storeys, one can conclude that the main objective of this building construction was succeeded as there are no unnecessary spaces or unutilized areas. The total T1 apartment’s area is 81.30 m2 and the T3 is 166.10 m2. The composition rationality reflects the economy of space, opting for the creation of living open spaces with good dimensions occupying almost half of the apartment’s area. The relation between the living room and the balcony is one of the innovations of this building. These two spaces have different characteristics: the living room with large dimensions has a sheltered environment with doors that allow its isolation from the balcony; and the balcony also with good dimensions has a indoor/outdoor environment. Another interesting aspect in an habitation analyses is its solar exposure. On the South hemisphere the solar trajectory begins on East passing North and setting down on West thus making South a problematic orientation, as it does not receive direct sunlight. So, in the apartment’s functional organization, it is best to avoid placing in this area the rooms that need more light. In this building case3 the rooms oriented West, balcony, living room and bedrooms, receive direct sunlight from 11:00 a.m. on Winter Solstice, and 12:30 p.m. on Summer Solstice, until sunset. To reduce this problem the architect dimensioned deep balconies, which prevents direct sunlight to enter the apartment. However the balconies’ 3.00 m depth only protects the living room until 3 p.m. on the Winter Solstice and 4:30 p.m. on the Summer Solstice, in other words this protection lasts only four hours. To avoid the sunrays in the lasting hours until sunset wooden blinds were installed on the façade, as it will be explain later on. In the bedroom the shadowing system is not so complex, because a concrete grid have been chosen. The rooms oriented East, in this case the ones facing the exterior galleries: hall, kitchen, bathrooms, one of the bedrooms and the service bedroom, are protected from the sunlight with the exterior galleries with 2.00 m width. Thus making it unnecessary, a complementary shadowing system (as it is difficult to control the morning sunlight in the bedrooms) beta windows with orientable wooden blades were installed to allow shadowing4. In warm climates, as the city in study, it is very important to favour a good natural ventilation in the apartment’s interior. To do so it is necessary to understand

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State Officials Building

T1 and T3 apartments’ organization, EWV, Jessica Bonito, 2011

Apartments’ solar exposition, EWV, Jessica Bonito, 2011

Apartments’ interior air circulation, EWV, Jessica Bonito, 2011

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Vasco Vieira da Costa

VETERINARY ACADEMIC HOSPITAL IN HUAMBO OLD AFRICAN BRUTALISM

Huambo, 1970 After Angola’s independence in 1975, the city of Nova Lisboa once again became known as Huambo. From that date until the death of the leader Jonas Savimbi in 2002, Huambo was the headquarters of UNITA’s resistance and the principal combat zone in the country. The Angolan civil war delayed the city’s development and most of its buildings and infrastructure were left in ruins. However, the last ten years of peace have brought stability and renewed hope for future possibilities. At the same time, architecture has survived in Huambo. The Nova Lisboa Veterinary Academic Hospital was designed by Vasco Vieira da Costa in 1970. The project was commissioned by the University of Luanda1 and is one of the first series of buildings dedicated to university teaching in Angola. The introduction of the law on further education in the country dates from 1962 and the inauguration of the courses taught in the capital took place in October 19632. In the 1965-1966 academic year, the university transferred the course of Veterinary Medicine to Nova Lisboa, due to the presence of the Central Veterinary Pathology Laboratory in the city since 1927, making it the oldest Applied Scientific Research Establishment in Angola 3.Initially, the existing buildings were adapted to house the Veterinary Medicine Course, but in the following academic year, the Higher Education Courses of Agronomy and Forestry were also transferred to Nova Lisboa. At that time a university campus was created and various buildings were designed to provide permanent facilities for the two faculties. The building designed by Vasco Vieira da Costa was intended to satisfy the requirements of the dean of the University of Luanda, Professor Dr. Ivo Soares, who entrusted the architect with defining a suitable programme for the new Academic Hospital 4. The building is located in an area of city expansion, around 3.00 kilometres from the centre, to the Southeast. The location of the Academic Hospital incorporates the zoning principles established in the Master Plan for Nova Lisboa of 19725, which respected the radial layout of the city6 and envisaged its expansion

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Veterinary Academic Hospital in Huambo

Photomontage from a poster by Bernard Tschumi, ‘Advertisements for architecture’, 1976-77. The image of the Villa Savoye, which in 1965 was in an advanced state of decay, was substituted by a photo of the Huambo Veterinary Academic Hospital from 2013.

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Le Corbusier between 1946 and 1948. Although in his first works in Luanda, the presence of Le Corbusier is evident15, in the 1970s the architect worked with eclectic models that equally incorporated other contemporary influences. L’Architecture d’Aujourd’hui and the Architectural Review reached his office in Luanda only a few weeks late, keeping Vasco Vieira da Costa informed about the international panorama 16. If it is true that the Modern Movement influenced the production of the architect, it is also true that the careful adaption to the site that can be seen in his buildings contradicts the more radical principles of the movement. A study of Vieira da Costa’s career throughout the 20 years that separate the Municipal Market of Kinaxixe in Luanda from the Veterinary Academic Hospital in Huambo remains to be done. Equally, the historiography of modern architecture in Africa is under construction, and the pioneering contribution of Udo Kultermann towards the recognition of buildings constructed in the post-war period is still fundamental today. In New Directions in African Architecture of 1969, the historian identifies educational buildings as the main field for research into the development of an architecture in its own right: modern and African. Although recent research has demonstrated that educational buildings frequently obeyed colonialist purposes17, it is undeniable that buildings such as Ibadan University in Nigeria, by Maxwell Fry and Jane Drew, or the Kumasi Faculty of Technology in Ghana, by James Cubitt, had a fundamental role in the construction of African modernity. The Modern Movement in Africa had a singular career, which encompassed western experiences but developed its own critique, and established clear evolutions through geographical, climate and cultural constraints. The way in which Angolan modernism framed these experiences and contributed to the construction of a discourse of African architecture also remains to be outlined. The Veterinary Academic Hospital, brutalist and African, is growing old in Huambo. The building was never finished and has been used as military barracks since the 1980s, having survived the long civil war. Currently, the structure belongs to the José Eduardo dos Santos University, established in 2009, and the resumption of its use as a Veterinary Hospital has now been announced. According to the policy of national reconstruction, the Angolan Republic envisages the construction of a university campus of 2500 hectares in the Cambiote region, with the intention of combining the student populations of Huambo, Bié and Moxico. The Faculty of Veterinary Medicine will become part of the new campus, but the hospital will remain in Huambo. Relieved of its function, today the building unquestionably assumes its status as a monument to African modernism. The Veterinary Academic Hospital has transgressed the limits that history has set for it, and its current decline only confirms its timelessness.

Nursing for small animals, Margarida Quintã, 2013.

- MQ

Nursing for large animals, Margarida Quintã, 2013.

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Veterinary Academic Hospital in Huambo

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MOZAMBIQUE Ana Tostões Jessica Bonito Catarina Delgado Elisiário Miranda Maria Manuel Oliveira Ana Braga Ana Magalhães Zara Ferreira João Vieira Caldas Francisco Seabra Ferreira Vincenzo Riso

Journey to Quelimane, Maria Manuela Oliveira, 2010

José Gomes Bastos • Paulo Melo Sampaio • Francisco José de Castro

THE BNU OVERSEAS NATIONAL BANK IN MOZAMBIQUE Modern Infrastructures in Maputo, Chimoio and Quelimane The Overseas National Bank (Banco Nacional Ultramarino - bnu), a private institution created in 1864, was the only Portuguese bank to obtain a license for currency emition in the former colonies. In Mozambique, bnu was simultaneously the currency emitter, the Portuguese government treasurer and the main commercial bank in the territory. During the 50s, the 60s and the 70s of the xx century, when ordering the construction of new facilities in Mozambique, the bnu administration board guided its selection by choosing different architects already established in the African province. Following this selection criteria, bnu assured the participation of the Mozambican architectonical mainstream in conceiving the bank and its employee’s assistance new facilities, all of them located in major urban centers of the former overseas province.1 Branch Office in Lourenço Marques, 1964 In 1964 José Gomes Bastos, an architect established in Lisbon, was invited by the bnu administration board to design the banks’ new branch office in Lourenço Marques, currently Maputo. José Bastos then designs a building conceived as an answer to the modernity requirement found in the city urbanity and architecture, also quoting some of the modern buildings he had seen in 1954, during his journey to South Africa. The bnu branch office, currently being the Bank of Mozambique headquarters, is located downtown, nearby to 25 de Junho Square (former 7 de Março Square) between two of the most representative roadways of the XIX century colonial city, Consiglieri Pedroso Street and República Avenue (currently 25 de Setembro Avenue). It partially occupies a transitional block between the original urban structure of Lourenço Marques and the orthogonal structure of the xix century. The design of the branch office building was realized in several stages: in 1954 the architect draw a first sketch in which the building functional program mainlines where defined; in the same year, showing the conditioned building deployment in

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The BNU Overseas National Bank in Mozambique

BNU Branch Office in Lourenço Marques, site plan, preliminary project, December 1954, AHCGD, Elisiário Miranda, 2010

BNU Branch Office in Lourenço Marques, model, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

BNU Branch Office in Lourenço Marques, aerial view, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

BNU Branch Office in Lourenço Marques, court yard, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

BNU Branch Office in Lourenço Marques, main façade, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

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by cylindrical pilotis, covers a square on the ground floor; the Southwest tower, now with four storey’s for archive services and two for dwellings, sees its programmatic separation and formal autonomy in relation to the building basis reinforced by the insertion between them of an open floor, punctuated by pilotis and by the closed volume containing the vertical accesses. Dated from March 1964, the project on scale 1/100 was completed and ready for the construction public contest in October the same year. The major changes made refer to inner spaces design, to the creation of a technical volume in the roof of the tower, and to the functional change on the two intermediate floors of the tower, previously programmed to serve the archive services and eventually holding the Staff Association Recreational Centre. Uncommitted to the closing walls and the portioning walls, the structural skeleton of the building was designed in porticos of rectangular and cylindrical concrete pillars. The materials used in its construction reflect the particular requirement of quality and representativeness of the building. Besides the equipment and furniture chosen or designed by Francisco José de Castro and used to decorate cabinets and upper staff dwellings, several works of art were integrated in the building design, namely: the fountain sculpture, by Jorge Mealha; the Arraiolos tapestry and the outer tile panels, both by João Aires; the ceramic panel on top of the assembly room and the canvas painting on the recreational centre’s bar, both by João Paulo. The conceptual and methodological values and the syntactic form characterizing the post War II Modern Movement architecture are orthodoxy applied in the Quelimane building’s design. In its belated modernity they contribute to the indispensable institutional representativeness needed by one of the most profitable branch office of bnu in Mozambique. - EM

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The BNU Overseas National Bank in Mozambique

BNU Branch Office in Quelimane, exterior with tile panel by João Aires, Lusitana, undated, AHCGD, Elisiário Miranda, 2010

fountain with sculpture by Jorge Mealha, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

BNU Branch Office in Quelimane, inauguration of the building – visit to the facilities, unknown photo author, 18th December 1972, AHCGD, Elisiário Miranda, 2010

Assembly room of the staff association recreational centre with ceramic tile panel by João Paulo, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010 Public hall with tapestry by João Aires, unknown photo author, undated, AHCGD, Elisiário Miranda, 2010

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Arménio Losa • Cassiano Barbosa

THE MONTEIRO&GIRO ENSEMBLE The City and the Factory

Quelimane, 1954-1960 The urban ensemble of Chuabo and the industrial core of Monteiro&Giro were built in the mid nineteen hundreds, in the city and on the outskirts of Quelimane, respectively, situated in northern Mozambique. Designed between the 1950s and 60s by Arménio Losa and Cassiano Barbosa, architects with an atelier in Oporto, these works highlight the contemporary of their architectural, urban and social programmes, as well as the formal and technological research which motivated their design. The assertion of modern monumentality was intended as an expression of modernity as defended in the Congress of 48 and, to then emerge in the colonial territories, - ‘7. The people want the buildings that represent their social and community life to give more than functional fulfilment. They want their aspiration for monumentality, joy, pride, and excitement to be satisfied…’ 1 - was obviously implicit in the project. Losa & Barbosa: building modernity In Portugal, the post-war period confirmed the break of the modern era. In the context of the First National Congress of Architecture, in 1948, the regime was challenged by architects calling for the adoption of the principles of the Modern Movement. They stressed the importance of a rational and contemporary response to the issues of housing and urban planning2. In the city of Oporto, Arménio Losa and Cassiano Barbosa distinguished themselves in this process as notable designers, having executed a significant urban intervention. By manipulating imported models they developed innovative architectural proposals regarding image, spatiality and functional organisation, always accompanied by rigorous attention to detail and building technologies3. The political convictions of both architects, expressed in the contributions of Arménio Losa for the congress, translate the depth of their civic involvement4. Their professional occupation should be analysed in the scope of this transforming

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The Monteiro&Giro Ensemble

Chuabo, urban ensemble, EWV, Ana Tostões, 2010

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT THE MONTEIRO&GIRO ENSEMBLE SCALE 1:500

REDRAW PAULO SILVA

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

NORTH ELEVATION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MESSE PLAN

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GROUND FLOOR PLAN

FIRST FLOOR PLAN

ROOFTOP PLAN

SIDE ELEVATION

CROSS SECTION

CROSS SECTION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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The Monteiro&Giro Ensemble

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

LONGITUDINAL SECTION

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Pancho Guedes

THE TONELLI BUILDING The Habitable Shelf

Patrice Lumumba Avenue façade and back façade, EWV, Ana Tostões, 2012

Maputo, 1957 Ecletism is an outstanding factor in the wide work of Pancho, who claims to have worked many styles simultaneously. Revealing the direct influences of the Modern Movement, the Tonelli building is inserted in the fifteenth book ‘shelves and habitable boxes for many people’1. According to the author ‘this boxes and shelves have as inspiration the first works of the Modern Movement, that are like huge cubical boxes, machines à habiter, but they are mostly white brightly painted. In some of them I identified each apartment by expressing it as a unit on the cellular façades. In all of them the access and circulation are schematic and direct.’2 A block in the city The building responds to the private commission of the engineer Franco Tonelli, an Italian that ‘escaped from an English prison’3 and bought the 121 lot the 14/1 and 14/A allotment4, a land in Maxaquene, in Lourenço Marques, now Maputo. This land is located next to the Tunduru Botanic Garden (former Jardim Vasco da Gama), on the crossing of Avenida Vladimir Lenine (former Avenida Elias Garcia) with Avenida Patrice Lumumba (former Avenida Miguel Bombarda), two structuring avenues in the city of Maputo. The Avenida Vladimir Lenine, where the British Council5 was built in 1911, is already part of the Plano Araújo (1887)6, delimiting the east part of the city. The Aguiar Plan (1952-1955)7 considers this avenue ‘on of the most important in the arterial scheme of Lourenço Marques’ (...), had at the time” a central position regarding the existing city and the planned expansion. It leaves to the west all the collective interests – official and commercial – and East the foreseen in the extension area of the Maxaquene (...)’ 8. The Avenida Patrice Lumumba, on the top of the Maxaquene embankment, designs the winding limit of the topographic barrier9. The Tunduru Botanic Garden, whose block is also already defined in the Plano Araújo10 is an important landmark of Maputo for being an old structure of the city and for standing out as the only public garden of big dimensions in the centre.

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The Tonelli Building

Patrice Lumumba Avenue façade, EWV, Ana Tostões, 2012

Block in the city, EWV, Ana Tostões, 2012

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are coated in coloured granulite tiles with irregular size pieces in white cement with thick rock20. The building’s volume structured in reinforced concrete columns coated in unpolished granulite marble21 and pre-fabricated rosa-cometa slabs, encased by walls of plastered cement blocks plastered and crowned by a gabled roof in marselha roof tiles over an oregon pine structure. For the central floor, the fifth housing floor there was another typology planned on the initial project. Four T1 apartments and the other half by quarters composed half of this floor for the ‘indigenous’22 with eleven lodgements and four sanitary. The pavement of this lodgements is identical to the one in the warehouse. The importance of the exterior walls of this lodgements for the building’s image must be highlighted. Once they had narrow windows only in the upper part of the wall, Pancho Guedes ornaments them with two geometrical murals with a similar language to the one on the third floor. The dimension and position of this murals made them well visible for the city. In 1968, after the building was built and inhabited, on the FIUL23 request, Pancho Guedes executes the project alterations for this floor: ‘Nowadays this sector is in precarious circumstances and without usage, once the existing lodgements don’t have use due to the lack of users’24. The alteration plans the “demolition of the existing walls, including the exterior ones, allowing the realization of 4 flats, served by the common access balcony (the same as the existing in the building to access the bachelor flats). Although having the same program, the flats designed are different from the ones previously existing in the building. The flat’s hall is made through is made through a recess on the gable on the access balcony (common balcony of the Southwest façade). The rest of the façade dimension is occupied by the kitchen, which has the minimum width of 2.00 m and it is served by cabinets with full equipment, including stove, fridge and even dishwasher (...) The bathroom constitutes the separation of the living room and the bed room being equipped by bathtub, sink, bidet and a lavatory, besides a small built-in cabinet (...)’ 25. The spaces are divided with walls with glass on the superior top, near the ceiling allowing the light to cross all the spaces. The kitchen is illuminated through two horizontal spans, one near the ceiling and one between the cabinet and the kitchen bench. The ventilation is made through four top-hung windows besides the forced ventilation of the chimney and stove26. The interior room is illuminated by the superior gasps in the division walls of the kitchen and bathroom and by the corridor. Although being possible to make cross ventilation its mechanical ventilation is planned for the living room and for the bathroom, one must highlight the quality of the materials and the detail design. One must point out how ten years later the same architect changes the spatial organization within the same typology. On the initial project the plan develops in cross and, in 1968, in sequence. The design of the entrance spans on the main façade will also suffer formal and material changes and this floor remains an exception on the ensemble’s symmetry. However, some alterations have been made by the inhabitants, altering the perceptions, for example through the construction of marquees in some of the apartments.

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The Tonelli Building

Inside the duplex, EWV, Ana Tostões, 2012

Interiors of an apartment modified in 1968, EWV, Ana Tostões, 2012

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João Garizo do Carmo • Paulo Melo Sampaio • Francisco José de Castro

BEIRA RAILWAY STATION Maturity and Criticism of the Modern Movement in Mozambique1

Beira, 1958 During the 1950s and 60s, one of the characteristics of the architecture erected in Angola and Mozambique, former Portuguese colonies, is the expression of freedom. Such freedom consists in the awareness to appropriate the principles of the Modern Movement. The cities in these African countries, which were consolidated between the beginning of the 50s and 1975, are almost exclusively marked by modern vocabulary architecture. Beira, the second most important city in Mozambique, where a significant group of young architects arrived since 1952, is undoubtedly an exemplary case of dynamic migration of architects trained in Lisbon or Oporto BeauxArts schools, carrying out their profession in the African territory. João Garizo do Carmo, upon completing his graduation at Oporto’s Beaux-Arts school and having then returned to Beira, his birthplace, designed the Manga Church (1955) fully aware that he could use no other imagery than the one of his time. The idea of progress is a presence and the line wire of an article in the Diário de Moçambique newspaper, published the same year of that project: ‘A New Church for Beira: Revolutionary Architecture’1. When asked about the relationship between the ‘first modern church in the province’2 and Brazilian architecture, specifically about its ‘similarity to Oscar Niemeyer’s Pampulha Church’, João Garizo do Carmo stressed the use of the modern dogmatic ideas, claiming that the architectural idea is based on a pattern, a formal model, that is as universal as the classical orders. In this way, he explained: ‘The viewpoint I adopted as main theme for the composition of the Imaculado Coração de Maria Church, in Manga, which in architectural terms best expresses the purity of the devotion in this temple, was the parabola, which, in mathematics, is an extremely pure line. Long before Oscar Niemeyer, the parabolic form was largely employed, both in religious architecture works and in civil architecture, such as large silos, swimmingpool roofing, bridges, railway stations, etc., i.e. in all cases that required bridging a large gaps in reinforced concrete with the greatest economy and elegance.’3

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Beira Railway Station

João Garizo do Carmo is also the author of several houses and housing buildings, where he often exploits the ‘Catalan vault’ roof or curved surfaces as in the case of São Jorge Cinema. Similarly to João Garizo do Carmo, Paulo de Melo Sampaio and Francisco José de Castro, both trained by Lisbon Beaux-Arts school, were also enthusiastic about the possibilities of building in a territory in growing development, and they settled in Beira at the beginning of the 1950s. They carry out a prolific professional activity, under private orders, particularly in the field of family houses. Paulo Sampaio is the author of a few of the most remarkable buildings in Beira, evidencing a clear influence by Le Corbusier’s work, filtered through the plasticity of the Brazilian architecture, in particular the work of Affonso Reidy. His Conjunto Residencial do Pedregulho (1946) serves as a motto for exemplar works, such as Automóvel Touring Clube de Moçambique (1957), currently Palácio dos Casamentos, Motel Estoril (1959) or Pavilhão do Clube Ferroviário (1957). Francisco José de Castro, who had arrived in Beira in 1953 having the mission to complete the Beira Grand Hotel (designed, in 1947, by the architect José Porto), developed several projects, mainly of a private initiative nature, of which we would highlight the buildings of Diário de Moçambique (1954), Colégio dos Maristas (1959) or the Overseas National Bank in Quelimane (1960-1972). Such works by Francisco José de Castro are clearly marked by a plastic research of sum devices on the façades, such as concrete grids or brises-solei. The Beira Railway Station (1958-1966), an order placed to those three architects, was the largest public work ever carried out in this city in response to the need for construction of large facilities to harbour the existing movement of passengers and goods in the so-called ‘Beira corridor’, which made the connection between inland Africa, including Rhodesia (currently Zimbabwe), and the Beira harbour, in the Indian Ocean. Originally, the Beira urban area evolved along a strip of land between the Pungué River and its branch, the Chiveve River. In 1892, it is declared as a town, and granted in concession by the State to Companhia de Moçambique4. The harbour is first developed in 1896, with the construction of the railway pier, which will allow for the connection of Beira to the railway to Rhodesia and inland Africa, and was inaugurated in 19005. Following such obvious development, Beira was named a city in 1907. As a result of the increasingly significant pressure due to population growth and difficult health conditions in the town, the town’s administration launched a request for tenders, in 1943, which was won by architect José Porto and engineer Joaquim Alegre, who executed the plan after consulting with the Gabinete de Urbanização Colonial (Colonial Urban Planning Office). The plan proposed to extend the city by promoting a combination of landfills and soil drainage and an outline intended to create continuity with pre-existing constructions although it was marked by a drawing based on orthogonal meshes united by radial centres6. This urban development plan, which was approved and partially executed in 1951, highlights the zoning proposal, which distinguishes administrative areas, commercial areas, a tourism area and different residential areas for the European,

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The Beira Railway Station, in addition to being an example of the modern architectural heritage erected in Africa keeps an iconic popular dimension in the city. The Mozambican government now seeks to value its ports and its railway structure. Within the context of new strategies for an economic and tourist revival of Beira, this building will surely be a major player in the city urban and architectural rehabilitation. - AM

The Modern Movement Architecture and the Estado Novo Politics As mentioned, the architects team responsible for the design of Beira Railway Station was assembled and coordinated by José Bernardino Ramalhete, architect of the Municipality of Beira, after a first concourse for defining the outward expression of the new building, opened in mid-1957, having had only one competing proposal, authored by Paulo de Melo Sampaio. After signing the contract on February 16, 1959, the team of architects presented a draft dated April 18 of the same year, suggesting thirteen possible architectural solutions for the compound - and giving clear preference to the last proposal. This study obtains the consent of the provincial railway authorities and receives, on September 1959, the assent of government services in Lisbon, as well as the authorization for the execution of the project and subsequent release of the building contest. The approval by ministerial order was given on the 9th of the following month, and the construction project, with drawings dated April 1, 1960, was approved by the Ministry of Finance in June 1961. The opening of the tenders for the construction was held in October 1961. In the mid 1962 the enterprise adjudication was announced, being the contract signed in February 1963, while were being executed preliminary works of spiking the foundations. The construction began on the Northeast area: the platforms zone infrastructure was finished on 31th December 1963, getting the new station services in operation immediately. The complex open ceremony took place on the 1st October 1966, in presence of the province Governor General. The station is located North of the city initial nucleus, in an area covered by Beira General Plan (1943-1951). Built in the railway infrastructure preexisting place, the complex faces Manuel António de Sousa Square, Southwest, and João Resende Street, Southeast, defining a line between the harbor facilities, Northeast, and the surrounding urban abb. The deployment defined by the General Plan drew an U shaped building facing Manuel António de Sousa Square, with inner spaces closing the railway. Forming a L shaped building, the new plan presented by the architect’s team maintained the intercardinal points alignment of the former design, receding the building’s main body to open a wide square. The station complex volumetric organization results of the subdivision of the two primary functional zones required by the general program – station zone and administration zone –, in three areas of distinct functional character: the atrium body, the administration body and the platforms zone. The assignment of an autonomous design area to each of the three architects, reflects the threefold character of the program: the atrium body was designed by Francisco José de Castro, the railway

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Beira Railway Station

Office block back view, Ana Magalhães, 2008

Southwest façade detail, panel on glassed mosaic by Jorge Garizo do Carmo, Ana Magalhães, 2008

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body is formed by a curved slab supported by seven parabolic and inverted concrete arches. The flap covering this space entrance is suspended by metallic raisers from the parabolic arches. At full height of the eight floors constituting the administration zone the structure is composed by porticoes of exposed pillars and beams. The structure of the command building of the railway station in the platforms zone is composed by pillars and beams of concrete, covered by flat slabs and cap vaults, while the central pillars from the three platforms porches are sustained by triangular beams supporting oblique slabs of exposed concrete. The Railway Station protection and adaptation to tropical climatic conditions underwent through an accurate analysis of the building complex orientation and throughout the use of appropriate mechanisms and constructive systems. The office spaces of the administration building were disposed along the Northeast elevation; therefore protecting the Southwest glassed hallways from the West horizontal sunlight by using vertical and adjustable brise-solei, a solution also used on the restaurant Northwest elevation. The exterior openings of the offices located on the Northwest façade of the administration building were protected from the North vertical sunlight by recessing the glassed surfaces from the floor slabs, from the masonry elements enclosing the fenêtres en longueur and from the intercalary shadowing slabs. In the command building of the railway station the ceiling slabs were protected by the umbrella form of the cap vaults. The Railway Station complex holds a significant repertoire of principles and forms characteristic from the Modern Movement architecture of post War II: scientific design methodologies, isolated volumes display, form and function interrelation, asymmetrical composition, open ground floors, pilotis, plan libre, fenêtres en longuer, brise-solei, sculptural plasticity, industrial constructive systems, standard materials, parabolic and Catalan vaults, butterfly roofing, grids, ceramic murals, art work integration (Gesamtkunstwerk). This last principle is present on the decorative panel made of glassed mosaic that covers the Southeast base of the public atrium, resulting from a contest won by Jorge Garizo do Carmo, and in the sculpture representing two women, located on the same atrium lake, the possible authorship of José Padua. The building of a railway complex with the scale of the Beira Railway Station was an affirmation of the economic importance of the city and its area of influence at the district, provincial, national and continental scope. The opening ceremony of the complex, that took place on October 1, 1966, coinciding with the anniversary of the passage of the administration of the port of Beira to the control of the Portuguese State, and their inclusion in the program of celebrations of the 40th anniversary of the National Revolution from 1926 illustrate, among other significant events, the priority given to this infrastructure in the global politics of the colonial era. Materialization of the development policy of the Metropolitan Portuguese Government the Beira Railway Station represents, better than any other building in Mozambique, the meeting of two opposing utopias in a common

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Beira Railway Station

Second floor plan, project, April 1960, CDIPAD, ref. 06898, Elisiário Miranda, 2010

Atrium and administration bodies, Elisiário Miranda, 2009

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Pancho Guedes

THE PYRAMIDAL KINDERGARTEN The cradle of the ‘American-Egyptian’

Maputo, 1958 The Pyramidal Kindergarten1 is located in the neighborhood of Sommershield, in a large plot limited by João de Barros Street, at Northeast, and by Garcia de Resende Street, at Southwest. The neighborhood of Sommerchield is, along with the neighborhood of Polana and the downtown of the city, the area of Maputo where the presence of the architectural legacy of Pancho Guedes can be felt with more evidence. Appointed by himself as the ‘rich suburb of Lourenço Marques’2, it is defined by ‘housing for the middle and high local classes and for the foreigners, with lots, in most cases, spacious, with landscaped areas and swimming pools’3. Despite being a mostly residential neighborhood, the area where the project is located is characterized by a significant number of religious and educational buildings4. Designed in 1958 and inaugurated in 19615, the Pyramidal Kindergarten is the first project inserted in the ‘Americo-Egyptian’ style, one of at least 17 families of Vitruvius Mozambicanus. Initially founded on the manifest ‘The American Egyptian Style’6 of 1965, this family includes, besides the Pyramidal Kindergarten, the Yeshouse (1960), the Service Station (1960) and the House Desirello/Moslein (1965) projects. Miguel Santiago supports that ‘this manifest relates two very distant worlds, the Egyptian architecture and the architecture of Louis Kahn. Egypt is represented by the pyramids or pyramidal sections; Kahn is represented by order and unity. Kahn’s obsession on the architecture of the past, by the primitive forms, strongly relates these two worlds, providing a strong link between the various elements’7. The admiration for the work of Louis Kahn is immediately visible in the clear analogy between the kindergarten and the Trenton Bath House (1959), whose ‘archaicness has a lot to do with what Pancho Guedes perceived as his naiveté. Like Romanesque architecture, Kahn’s more monumental buildings strive to create deceptively simple spaces which are nonetheless impregnated with a profound

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The Pyramidal Kindergarten

The school minor entrance, South, Elisiário Miranda, 2009

Corner window, Elisiário Miranda, 2009

Main entrance, EWV, Ana Tostões, 2010 Set of spaces destined for storage, shaping the playground, EWV, Ana Magalhães, 2008

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Maria Carlota Quintanilha • João José Tinoco • Garizo do Carmo

PALACES OF PUBLIC OFFICES 1 IN MOZAMBIQUE Functionalism and Representativeness

The Palaces of Public Offices built in Mozambique during the third quarter of the twentieth century contained, in a sole infrastructural building, programs with special functional and representative requirements: facilities for the different departments of public offices, with a functional articulation between areas of private work and of public attendance, and the headquarters of the various district governments, with the consequent need for institutional expression of forms and spaces. Palace of Public Offices of Vila Cabral, 1959 The Palace of Public Offices of Vila Cabral, current Lichinga, was designed by Maria Carlota Quintanilla and João José Tinoco, a couple of architects then living in Lourenço Marques. The design of the building was being developed in mid 1959 with the tender for its construction being released by the Direction of the Public Works Services on the 15th of September of the same year. The skeletal structure was already erected in June 1961 and its inauguration took place about 1962. The palace building occupies a five front block of Lichinga city radio concentric and centralized closed plan. The complex is composed by two rectangular volumes settled on different angles linked by an irregular passage: identified as body II on the technical drawings and having three floors, the main volume locates at the ground centre, parallel to the North and South fronts of the block, while the minor volume, named body I and having two floors, faces the first one obliquely, perpendicular to a reference line beginning at the square centre and trespassing the middle point of the block Northeast front. The building complex is surrounded by a gardened area, extending and contrasting its geometrical figure. The body I has the shape of a prism of almost trapezoidal vertical section, suspended over an open ground floor by two rows of pilotis set back in relation to the larger front volume. From this body base a sculptural spiral stair is released, flanked by a water mirror, allowing free access to the upper floor. Having closed side elevations the building opens up at the rear elevation through occasional

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Palaces of Public Offices

Sections through body I, project, undated, AMOPHM, process No. 2594, Maria Manuel Oliveira, 2012 Sections through body II, project, undated, AMOPHM, process No. 2594, Maria Manuel Oliveira, 2012

Module of body II, project, undated, AMOPHM, process No. 2594, Maria Manuel Oliveira, 2012

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destined to public appearances of the state leaders, expressed at that time the modernity of the development policy of the colonial regime in the distant octagon of former Vila Cabral. Palace of Public Offices of Quelimane, 1960 The Palace of Public Offices of Quelimane was built in the central area of the city, next to former Vasco da Gama School and Mouzinho de Albuquerque Square, current Mozambican Heroes Square, on the ground left vacant by the demolition of the old Market Hall. Its project, designed by the Beira architect João Garizo do Carmo, was delivered in mid-1960 at the Direction of the Public Works Services. The tender for its construction was opened on September 2, 1960, and the work was awarded to the Overseas Construction Company, Inc. later that year. The works, that began immediately, were still underway in early 1962. The building was inaugurated in a date still unknown. The palace consists of two perpendicular bodies with three storeys high, deployed along the North-Eastern and South-Eastern fronts of a gardened city block, articulated by a smaller volume, from which projects a slab with an autonomous design that signals and protects the main entrance. The ground floor was originally opened, establishing a visual and physical continuity between the urban fabric and the garden. A large covered space rhythmically punctuated by pilotis and by three stairwells enclosed by masonry walls of granite was thus defined. The outward expression of the two upper floors is marked by the dense grilles that protect the continuous balconies running along the two main façades. This defence is complemented in the Northwest and Southwest façades by brise-solei made of movable vertical blades of fibre cement sheet. The double roof is composed by a sequence of emptied arched vaults shadowing the flat slabs that cover the top floor, six on the minor body and seven on the larger. The program was distributed by the two upper floors: cabinets for public offices and sections on the first floor and for government facilities, inspectors, translators and secretariat on the second floor. All these spaces open to axial corridors that converge in the volume that connects the two main bodies, in which the floor lobbies and the main staircase are located. The internal circulations are complemented by smaller staircases of different height, placed on the opposite tops of the two bodies. The building was erected with an exposed concrete structure of pillars and beams, covered by flat slabs of ceramic elements and hollow plastered and painted cap vaults. It was predominantly finished with materials of industrial production: hollow brick walls plastered and painted, moulded concrete grids, glass and aluminium shutters and window frames made of glass and anodized aluminium on iron profiles. The language of this Palace of Public Offices is close to the Modern Movement international architecture of earlier decades: it features a particular affinity with the clipping volume, structural expression and roof design of Golconde Dormitory at the Aurobindo Ashram in India (1936-1945), by Antonin Raymond (18881976). Under the intense tropical light these elements, already present in earlier

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Palaces of Public Offices

Second floor plan, project, undated, AMOPHM, process No. 2594, Maria Manuel Oliveira, 2012 Sections B-B and C-C, project, undated, AMOPHM, process No. 2594, Maria Manuel Oliveira, 2012

Northeast façade, Elisiário Miranda, 2009

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João José Tinoco

REGULADORA FACTORY Industry and Formal Simplicity

Maputo, c. 1970 The architectonical project planned in the 70s for the clock factory ‘A Reguladora’ was made by João José Tinoco, a Portuguese architect established in Maputo. Resulting from a private order it gave rise to a unique example of formal expression and exceptional program, location and scale. Currently it houses Lusovinhos enterprise headquarters. On the scene of architectonical production in Maputo on the third quarter of 20th century the execution of industrial buildings scarcely occurred, with the exception of Headquarters of Entreposto Enterprise (by the same architect) and some buildings on downtown Maputo, although not entirely industrial and previous to the 40s. On Reguladora Factory the brutalist expression coexists with the volumes reduced scale, contributing to the leading role of complementary elements such as the ventilation system, the zenithal lightning or the coverage water drainage. The program defines three existing bodies; the smaller one destined for offices (module C) being the two others (modules A and B) destined for production activities. Attempting on coverage drawings, the modules plans and elevations prove that the ones destined for production only had zenithal illumination. On the other hand, the offices module shows a considerable amount of spans on the east elevation. The matrix made of pillars, 5.20 to 6.40 m long, defines the rhythm of module B coverage design, also destined for storage work. The plant and space organization of the modules are marked by the industrial programmatic component due to the production of precision instruments. Analyzing the plan – made easier by the existence of a unique floor – one realizes the building’s several circulation schemes, workers movements and office staff

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Reguladora Factory

Shed cover, EWV, Francisco Seabra Ferreira, 2013 Covering structure, EWV, Francisco Seabra Ferreira, 2013

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JOURNEY TO AFRICA

Beira-Quelimane Journey, Ana Tostões, 2010

LUANDA

LOBITO BENGUELA

LICHINGA

PEMBA

HUAMBO

NAMPULA

SONGO TETE

QUELIMANE

CHIMOIO DONDO BEIRA

XAI-XAI

MAPUTO

LUANDA

1 KM

LOBITO

1 KM

BENGUELA

1 KM

HUAMBO

1 KM

MAPUTO

1 KM

BEIRA

1 KM

CHIMOIO

1 KM

QUELIMANE

1 KM

PEMBA

1 KM

MAPUTO 25°58'3.76"S 32°33’45.64”E

25°58’3.46”S 32°33’57.07”E

25°58’17.10”S 32°33’57.35”E

25°58’15.64”S 32°33’56.84”E

25°58’11.47”S 32°34’13.63”E

25°58’9.46”S 32°34’15.48”E

25°58’9.46”S 32°34’15.48”E

—

25°58’7.19”S 32°34’19.28”E

25°58’16.63”S 32°33’58.10”E

25°58’17.25”S 32°33’59.31”E

25°58’18.44”S 32°34’0.02”E

25°58’13.89”S 32°34’0.60”E

25°58’17.11”S 32°34’9.88”E

25°58’10.34”S 32°34’26.31”E

25°58’8.63”S 32°34’29.81”E

25°58’8.56”S 32°34’38.17”E

25°58’9.86”S 32°34’37.19”E

25°58’10.11”S 32°34’36.00”E

25°58’19.30”S 32°34’9.45”E

25°58’20.46”S 32°34’11.49”E

25°58’21.13”S 32°34’13.11”E

25°58’21.13”S 32°34’13.11”E

25°58’20.83”S 32°34’8.51”E

25°58’11.79”S 32°34’28.04”E

25°58’13.25”S 32°34’30.15”E

25°58’14.63”S 32°34’32.80”E

25°58’14.63”S 32°34’32.80”E

25°58’17.26”S 32°34’32.80”E

25°58’21.43”S 32°34’7.99”E

25°58’22.17”S 32°34’8.87”E

25°58’25.83”S 32°34’8.68”E

25°58’26.19”S 32°34’10.23”E

25°58’24.41”S 32°34’8.02”E

25°58’11.79”S 32°34’28.04”E

25°58’14.06”S 32°34’38.02”E

25°58’20.00”S 32°34’43.92”E

25°58’19.16”S 32°34’44.46”E

25°58’20.46”S 32°34’45.04”E

25°58’26.60”S 32°34’7.24”E

25°58’19.94”S 32°33’58.79”E

25°58’21.96”S 32°33’58.35”E

25°58’22.94”S 32°34’15.93”E

25°58’24.89”S 32°34’14.63”E

25°58’11.79”S 32°34’28.04”E

25°58’21.99”S 32°34’56.06”E

25°58’24.73”S 32°34’57.30”E

25°58’25.40”S 32°35’0.79”E

25°58’27.93”S 32°35’3.51”E

25°58’25.72”S 32°34’16.66”E

25°58’26.54”S 32°34’17.12”E

25°58’27.66”S 32°34’19.47”E

25°58’29.09”S 32°34’16.74”E

25°58’28.72”S 32°34’17.12”E

25°58’29.79”S 32°35’3.30”E

25°58’29.89”S 32°35’5.10”E

25°58’30.97”S 32°35’4.77”E

25°58’34.53”S 32°35’8.75”E

25°58’29.36”S 32°35’16.43”E

25°58’29.97”S 32°34’19.82”E

25°58’26.82”S 32°34’25.37”E

25°58’25.61”S 32°34’20.66”E

25°58’17.38”S 32°34’17.06”E

25°58’17.38”S 32°34’17.06”E

25°58’37.45”S 32°35’14.31”E

25°58’37.94”S 32°35’18.81”E

25°58’48.95”S 32°35’14.46”E

25°58’44.66”S 32°35’27.79”E

25°58’45.59”S 32°35’32.91”E

25°58’13.42”S 32°34’19.66”E

25°58’13.13”S 32°34’17.83”E

25°58’15.92”S 32°34’12.57”E

25°58’15.92”S 32°34’12.57”E

25°58’12.28”S 32°34’15.22”E

25°58’40.01”S 32°35’24.55”E

25°58’40.52”S 32°35’26.02”E

—

25°58’35.19”S 32°35’36.40”E

25°58’27.40”S 32°35’39.23”E

25°58’20.98”S 32°35’40.99”E

—

25°58’26.02”S 32°35’34.00”E

25°58’24.42”S 32°35’27.69”E

—

25°57’58.47”S 32°35’22.15”E

25°58’2.60”S 32°35’22.86”E

25°58’4.58”S 32°35’26.30”E

—

25°58’4.58”S 32°35’26.30”E

25°58’21.20”S 32°35’18.24”E

25°58’17.77”S 32°35’38.04”E

25°58’10.43”S 32°35’35.26”E

—

25°58’8.01”S 32°35’47.91”E

25°57’58.47”S 32°35’15.33”E

25°58’5.57”S 32°35’13.25”E

25°58’9.63”S 32°35’9.06”E

25°58’21.91”S 32°35’9.68”E

25°58’16.85”S 32°34’58.14”E

25°58’7.20”S 32°35’48.38”E

—

25°58’6.67”S 32°35’48.90”E

25°58’4.65”S 32°35’49.04”E

25°58’4.97”S 32°35’47.27”E

25°58’13.20”S 32°34’53.93”E

25°58’11.48”S 32°34’51.30”E

25°58’10.30”S 32°34’46.64”E

25°58’5.83”S 32°34’39.04”E

25°58’3.95”S 32°34’38.46”E

25°57’59.63”S 32°35’43.13”E

25°58’5.60”S 32°35’46.66”E

25°58’5.60”S 32°35’46.66”E

25°58’6.35”S 32°35’46.27”E

25°57’56.77”S 32°35’48.31”E

25°58’0.74”S 32°34’42.80”E

25°58’1.16”S 32°34’43.53”E

25°57’56.66”S 32°34’47.33”E

25°57’56.66”S 32°34’47.33”E

25°57’58.35”S 32°35’1.91”E

25°57’54.92”S 32°35’45.41”E

25°57’52.40”S 32°35’47.60”E

25°57’49.68”S 32°35’56.36”E

25°57’46.27”S 32°35’47.24”E

25°57’41.78”S 32°35’56.93”E

25°57’56.72”S 32°34’39.01”E

25°57’49.75”S 32°34’29.69”E

25°57’46.13”S 32°34’32.13”E

25°57’37.70”S 32°34’28.49”E

25°57’31.64”S 32°34’32.13”E

25°57’41.26”S 32°35’53.10”E

—

—

—

25°57’25.11”S 32°34’31.40”E

25°57’30.32”S 32°34’0.18”E

25°57’39.49”S 32°34’14.89”E

—

25°57’44.99”S 32°34’3.92”E

25°57’45.79”S 32°35’25.73”E

25°57’39.91”S 32°35’43.99”E

25°57’42.30”S 32°35’43.47”E

25°57’44.72”S 32°35’40.73”E

25°57’47.40”S 32°35’38.84”E

25°57’4.85”S 32°35’26.73”E

25°57’13.61”S 32°35’22.55”E

25°57’13.61”S 32°35’22.55”E

25°57’20.04”S 32°35’18.75”E

25°57’11.24”S 32°35’16.86”E

25°57’37.84”S 32°35’1.47”E

25°57’36.35”S 32°35’2.18”E

25°57’36.35”S 32°35’2.18”E

25°57’50.39”S 32°35’5.36”E

25°57’56.24”S 32°35’22.84”E

25°57’1.12”S 32°36’1.69”E

25°57’51.00”S 32°35’6.00”E

—

25°57’51.00”S 32°32’50.04”E

25°55’29.53”S 32°34’23.97”E

25°55’34.36”S 32°34’30.99”E

25°55’50.49”S 32°33’1.24”E

25°55’50.49”S 32°33’55.97”E

25°55’35.20”S 32°33’27.03”E

—

19°50’47.67”S 34°50’34.61”E

19°50’47.56”S 34°50’33.45”E

19°50’48.34”S 34°50’33.24”E

19°50’49.83”S 34°50’26.71”E

19°50’46.56”S 34°50’21.89”E

—

25°57’12.33”S 32°35’25.39”E

—

—

—

19°50’44.67”S 34°50’24.36”E

19°50’45.61”S 34°50’28.32”E

—

19°50’37.95”S 34°50’33.24”E

—

25°58’21.86”S 32°34’16.89”E

25°58’20.33”S 32°34’1.36”E

—

25°58’18.76”S 32°33’54.23”E

25°58’15.89”S 32°34’18.83”E

19°50’32.55”S 34°50’30.82”E

19°50’37.95”S 34°50’33.24”E

19°50’37.58”S 34°50’21.73”E

19°50’36.84”S 34°50’37.98”E

19°50’41.43”S 34°50’42.04”E

25°58’39.32”S 32°35’26.66”E

—

—

—

—

19°50’35.46”S 34°50’47.71”E

19°50’34.07”S 34°50’52.20”E

19°50’33.65”S 34°50’53.17”E

19°50’24.31”S 34°50’29.57”E

19°50’22.99”S 34°50’28.58”E

—

—

—

—

—

BEIRA —

—

—

—

19°46’14.39”S 34°52’10.18”E

19°46’12.54”S 34°52’14.50”E

19°46’16.04”S 34°52’15.93”E

19°46’16.17”S 34°52’19.49”E

19°47’54.52”S 34°54’6.38”E

19°50’14.10”S 34°50’21.69”E

19°50’12.87”S 34°50’20.46”E

—

19°50’10.27”S 34°50’21.27”E

19°50’5.97”S 34°50’25.28”E

19°50’31.18”S 34°53’57.23”E

19°50’53.72”S 34°53’20.00”E

19°50’58.44”S 34°52’58.78”E

19°50’58.94”S 34°52’56.28”E

19°51’1.63”S 34°52’54.44”E

19°50’2.84”S 34°50’21.07”E

19°50’8.77”S 34°50’17.35”E

19°50’10.57”S 34°50’16.83”E

19°50’10.27”S 34°50’21.27”E

19°50’9.24”S 34°50’14.83”E

19°50’50.17”S 34°51’55.05”E

19°50’52.78”S 34°51’33.57”E

19°50’55.05”S 34°51’28.39”E

19°50’47.95”S 34°50’35.60”E

19°50’51.29”S 34°50’58.06”E

19°50’4.94”S 34°50’13.31”E

19°50’4.65”S 34°50’8.56”E

19°50’4.16”S 34°50’10.46”E

19°50’3.34”S 34°50’10.21”E

19°50’1.64”S 34°50’10.21”E

19°50’3.02”S 34°50’7.34”E

19°49’56.77”S 34°50’12.90”E

19°49’57.77”S 34°50’7.97”E

19°49’56.36”S 34°50’7.38”E

19°49’56.44”S 34°50’7.93”E

—

—

—

—

—

17°51’28.08”S 36°52’21.38”E

17°52’16.96”S 36°53’30.65”E

QUELIMANE 19°49’55.41”S 34°50’7.18”E

19°49’55.60”S 34°50’5.42”E

19°49’55.11”S 34°50’4.51”E

19°49’53.80”S 34°50’5.85”E

19°49’52.87”S 34°50’3.11”E

—

—

19°49’53.29”S 34°50’3.14”E

19°49’53.72”S 34°50’3.86”E

19°49’46.72”S 34°50’3.86”E

19°49’51.80”S 34°50’4.40”E

19°49’51.98”S 34°50’1.38”E

17°52’27.53”S 36°53’18.89”E

17°52’27.11”S 36°53’20.62”E

17°52’32.82”S 36°53’24.61”E

17°52’31.26”S 36°53’28.66”E

17°52’42.18”S 36°53’29.98”E

19°49’50.33”S 34°50’0.26”E

19°49’50.18”S 34°50’2.24”E

19°49’49.08”S 34°50’1.46”E

19°49’48.75”S 34°50’3.75”E

19°49’48.59”S 34°50’4.35”E

17°52’42.92”S 36°53’28.32”E

17°52’38.72”S 36°53’21.71”E

17°52’35.85”S 36°53’23.74”E

17°52’35.41”S 36°53’22.90”E

17°52’30.57”S 36°53’16.86”E

19°49’48.64”S 34°50’6.13”E

19°49’40.22”S 34°50’0.49”E

19°49’38.36”S 34°50’11.23”E

19°49’42.09”S 34°50’14.15”E

19°49’47.85”S 34°50’14.33”E

17°52’29.91”S 36°53’13.90”E

17°52’44.26”S 36°52’57.33”E

17°52’45.09”S 36°52’58.76”E

17°52’44.82”S 36°52’59.40”E

17°52’45.94”S 36°52’59.65”E

19°49’50.18”S 34°50’12.82”E

19°49’32.73”S 34°50’16.03”E

19°49’35.86”S 34°50’15.80”E

19°49’31.61”S 34°50’19.15”E

19°49’31.90”S 34°50’23.93”E

17°52’49.87”S 36°53’4.55”E

17°52’47.23”S 36°53’4.73”E

17°52’49.62”S 36°53’4.67”E

17°52’50.80”S 36°53’6.73”E

17°52’46.76”S 36°53’9.14”E

19°49’29.19”S 34°50’25.76”E

19°49’21.37”S 34°50’26.43”E

19°49’20.27”S 34°50’31.62”E

19°49’52.70”S 34°51’15.42”E

19°50’1.75”S 34°51’4.94”E

17°52’44.07”S 36°53’5.72”E

17°52’44.09”S 36°53’11.70”E

17°52’38.58”S 36°52’57.80”E

17°52’45.46”S 36°53’13.35”E

17°52’46.59”S 36°53’16.51”E

PEMBA 19°49’54.35”S 34°51’23.97”E

19°49’42.76”S 34°51’27.37”E

—

—

—

17°43’4.12”S 36°53’33.68”E

17°43’4.12”S 36°53’33.68”E

17°43’4.12”S 36°53’33.68”E

17°52’26.61”S 36°53’13.18”E

—

12°58’4.39”S 40°30’29.69”E

12°58’4.90”S 40°29’51.77”E

12°57’57.91”S 40°29’49.57”E

12°57’54.66”S 40°29’52.23”E

15° 7’12.87”S 39°15’59.95”E

15° 7’24.43”S 39°15’41.20”E

15° 7’25.55”S 39°15’44.53”E

15° 7’19.44”S 39°15’35.92”E

15° 7’23.10”S 39°15’34.78”E

12°57’50.62”S 40°29’57.43”E

12°57’45.41”S 40°29’53.18”E

12°57’42.79”S 40°29’46.49”E

12°57’37.15”S 40°29’36.93”E

12°57’51.88”S 40°29’28.16”E

15° 7’25.36”S 39°15’25.12”E

15° 7’24.86”S 39°15’23.68”E

15° 7’26.70”S 39°15’24.56”E

—

—

19° 6’42.37”S 33°28’39.69”E

19° 6’41.81”S 33°28’34.39”E

19° 7’50.61”S 33°29’24.21”E

19° 6’36.94”S 33°28’29.13”E

19° 6’41.00”S 33°28’34.46”E

—

CHIMOIO 12°57’53.19”S 40°29’32.07”E

12°57’54.56”S 40°29’30.51”E

—

12°57’58.93”S 40°29’49.01”E

12°58’2.70”S 40°29’50.45”E

—

—

—

12°57’49.29”S 40°29’46.73”E

12°57’49.85”S 40°29’59.78”E

—

19° 6’34.33”S 33°28’26.91”E

GONDOLA

NAMPULA 12°57’50.30”S 40°29’32.69”E

12°57’43.60”S 40°29’37.88”E

—

19° 6’49.23”S 33°28’40.13”E

15° 6’27.16”S 39°17’2.36”E

—

GORONGOSA 19° 5’23.90”S 33°38’50.94”E

19° 5’15.73”S 33°39’3.06”E

16° 6’33.10”S 33°38’41.32”E

16° 9’51.36”S 33°35’19.37”E

—

—

—

—

DONDO

LICHINGA

TETE 15° 6’49.93”S 39°15’47.24”E

15° 6’53.67”S 39°15’49.87”E

15° 6’55.24”S 39°15’49.04”E

15° 6’58.73”S 39°15’57.46”E

15° 7’0.45”S 39°15’59.90”E

18°58’46.16”S 34°21’2.72”E

SONGO 15° 6’57.28”S 39°15’48.28”E

15° 7’4.31”S 39°15’55.46”E

15° 6’59.75”S 39°15’46.11”E

15° 7’5.27”S 39°15’58.70”E

15° 7’1.10”S 39°15’41.96”E

15° 7’6.35”S 39°16’1.94”E

15° 7’3.36”S 39°15’48.63”E

15° 7’7.66”S 39°16’4.14”E

15° 7’6.26”S 39°15’53.27”E

15° 7’11.46”S 39°16’7.05”E

—

—

19°37’28.50”S 34°44’50.54”E

—

LUANDA 8°50’30.76”S 13°13’32.51”E

8°50’10.44”S 13°13’26.05”E

8°49’59.57”S 13°14'19.77"E

8°49’49.78”S 13°14’19.00”E

8°49’37.64”S 13°13’38.06”E

8°49’26.78”S 13°13’56.50”E

8°49’3.17”S 13°13’54.41”E

8°49’9.74”S 13°13’51.78”E

8°49’12.25”S 13°13’50.47”E

8°49’47.90”S 13°14’13.83”E

8°49’46.40”S 13°14’29.07”E

8°49’48.45”S 13°14’35.28”E

8°49’33.99”S 13°14’49.16”E

8°49’10.91”S 13°14’46.92”E

8°49’15.04”S 13°13’49.05”E

8°49’17.45”S 13°13’47.84”E

—

8°49’7.85”S 13°13’49.93”E

—

8°48’57.85”S 13°14’48.88”E

8°48’45.09”S 13°14’56.92”E

8°48’22.60”S 13°14’57.90”E

8°48’7.96”S 13°14’33.14”E

8°48’11.99”S 13°14’34.88”E

8°49’6.94”S 13°13’52.05”E

8°49’6.11”S 13°13’53.64”E

8°49’10.11”S 13°13’42.17”E

8°49’4.57”S 13°13’48.89”E

8°49’3.37”S 13°13’47.17”E

8°48’12.06”S 13°14’31.06”E

8°48’17.01”S 13°14’28.11”E

8°48’21.83”S 13°14’24.64”E

8°48’27.90”S 13°14’19.41”E

8°48’33.37”S 13°14’18.69”E

8°49’3.02”S 13°13’47.17”E

8°48’56.36”S 13°13’56.08”E

8°48’55.92”S 13°13’53.87”E

8°48’52.50”S 13°13’48.35”E

8°48’49.47”S 13°13’42.08”E

8°48’35.90”S 13°14’9.62”E

8°48’36.79”S 13°14’8.44”E

8°48’44.79”S 13°14’9.94”E

8°48’41.83”S 13°13’59.46”E

8°48’42.75”S 13°14’1.18”E

8°48’46.13”S 13°13’38.86”E

8°48’46.74”S 13°13’27.79”E

8°48’51.25”S 13°13’20.73”E

—

—

LOBITO 8°48’47.04”S 13°13’57.78”E

—

8°48’47.53”S 13°13’52.10”E

8°48’50.70”S 13°13’50.01”E

8°48’52.24”S 13°13’56.23”E

—

—

—

—

8°48’54.45”S 13°14'18.73E

8°48’55.10”S 13°14’26.72”E

8°48’56.07”S 13°14’22.90”E

8°48’56.72”S 13°14’26.42”E

8°48’59.33”S 13°14’27.39”E

12°21’28.56”S 13°33’8.96”E

12°20’25.86”S 13°33’14.17”E

12°20’22.55”S 13°33’9.17”E

12°19’18.23”S 13°34’35.73”E

12°20’22.72”S 13°33’14.11”E

8°49’4.83”S 13°14’22.99”E

8°49’8.25”S 13°14’18.34”E

8°49’28.58”S 13°14’17.93”E

8°49’39.01”S 13°13’38.97”E

8°49’38.98”S 13°13’35.29”E

12°20’29.61”S 13°33’4.19”E

12°20’52.08”S 13°32’31.61”E

12°20’24.99”S 13°33’10.97”E

12°22’1.11”S 13°33’9.08”E

12°21’43.27”S 13°33’8.49”E

12°21’36.50”S 13°32’59.24”E

12°19’17.94”S 13°34’33.72”E

12°19’20.37”S 13°34’33.01”E

12°19’19.18”S 13°34’32.09”E

12°19’48.96”S 13°33’53.81”E

—

12°34’40.08”S 13°24’7.22”E

12°34’40.08”S 13°24’7.22”E

12°34’45.56”S 13°24’23.46”E

12°34’48.72”S 13°24’27.65”E

12°19’50.21”S 13°33’54.69”E

12°19’8.96”S 13°34’45.23”E

12°19’56.17”S 13°33’47.23”E

12°19’36.61”S 13°34’10.07”E

12°20’22.14”S 13°33’11.54”E

12°34’49.78”S 13°24’29.50”E

12°34’50.57”S 13°24’25.99”E

12°34’50.57”S 13°24’25.99”E

12°34’51.10”S 13°24’18.60”E

12°34’52.84”S 13°24’19.76”E

HUAMBO 12°19’32.06”S 13°34’18.54”E

12°21’19.57”S 13°32’14.38”E

12°21’0.80”S 13°32’47.00”E

12°21’7.02”S 13°32’47.17”E

12°21’16.53”S 13°32’58.04”E

12°35’2.52”S 13°24’29.63”E

12°34’58.66”S 13°24’29.81”E

12°34’55.03”S 13°24’23.60”E

12°46’38.71”S 15°44’4.74”E

12°46’37.78”S 15°44’6.58”E

12°46’12.60”S 15°44’21.94”E

12°46’6.74”S 15°44’26.98”E

12°46’7.47”S 15°44’25.89”E

12°45’54.20”S 15°44’43.08”E

12°45’51.09”S 15°44’45.01”E

12°46’37.78”S 15°44’6.58”E

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12°47’47.43”S 15°42’59.70”E

BENGUELA 12°21’41.98”S 13°31’41.06”E

12°20’17.20”S 13°33’8.30”E

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—

12°36’20.99”S 13°24’14.83”E

12°35’21.68”S 13°24’4.77”E

12°35’16.78”S 13°23’59.40”E

12°35’16.78”S 13°23’59.40”E

12°34’57.24”S 13°23’42.73”E

INTERNATIONAL WORKSHOP (re)Using Modern to Identify, to Document, to Preserve Maria Manuel Oliveira

One of the tasks established in the project ewv – Exchanging World Visions was to accomplish an academic workshop which actually took place on 26th to 30th March 2012 at the Faculty of Architecture and Physical Planning of Eduardo Mondlane University, in Maputo, Mozambique. Entitled ‘(Re)Using Modern: To Identify | To Document | To Preserve’, the workshop aspired to intimate the students for the important role modern architecture played in town planning and construction, furthermore, to be able to recognize which examples ought to integrate the vast group of built heritage. By selecting buildings of major importance in Maputo, the workshop scope went through the discussion of theoretical information and the development of project practical work. Therefore, the case studies approach integrated several aspects concerning architectonical protection operations, being the issue of programmatic (re)definition towards intervention measures also considered as a ground work for actions to be undertaken on buildings considered of heritage importance. The theoretical component of the workshop was of major importance, therefore, after practical work daily sessions, a short seminar provided several conferences addressed to various thematic: — Ana Tostões, ‘Moderno Transcontinental | Património Arquitectónico Moderno na África Lusófona e sua Articulação com os Modernos Português e Brasileiro’, 26th March 2012. — Maria João Grilo, ‘A Obra de Vasco Vieira da Costa: o Bloco Habitacional Coletivo na Maianga, Luanda’, 27th March 2012.

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— Vincenzo Riso, ‘A Re-Utilização do Património Construído Moderno: Questões e Oportunidades Observadas através das Admiráveis Histórias da Fábrica Van Nelle em Rotterdam, da Fábrica Duval em St. Dié e do Conjunto de Habitação Social Corviale, em Roma’, 28th March 2012. — Maria Manuel Oliveira, Elisiário Miranda, ‘Case Studies do Património Moderno em Moçambique: o Complexo Chuabo em Quelimane e a Estação Ferroviária da Beira’, 29th March 2012. — José Pessoa, ‘As Relações entre Arquitetura, Clima e Tradição Construtiva no Movimento Moderno Brasileiro’, 30th March 2012. — Ana Tostões, Luís Lage, ‘Encerramento’, 30th March 2012. The practical work sessions, featuring works in need to be studied in multiple perspectives, were carried out by five groups – having each group eight students attending the 4th and 5th year of college. The fact these buildings were planned by different authors and belonging to different typologies (namely multifamily housing, educational equipment, service), fostered the discussion in terms of architectonical and constructive circumstances, its adjustment to present use(s) and intervention criteria towards rehabilitation. The task general guidance was led by Ana Tostões and Luís Lage, being the supervision executed by Mohamed Arif and Idalio Juvane, along with Maria Manuel Oliveira. The logistic coordination was assured by Vicente Joaquim and Anselmo Cani. The tutorial ship of each group was realized by a EWV project member and by Mohammad Arif, Idalio Juvane, José Cochofel, Mussagy, teachers from FAPFUEM, who guarantied the whole discipline areas included and, crosswise, by Ana Tostões, responsible for EWV project, and by José Pessoa, guest professor from the Fluminense Federal University, in Brazil. The task was intensively developed on atelier mode for five days and the case studies and corresponding tutor were as follows: — Pyramidal Kindergarten (Pancho Guedes), Maria João Grilo; —TAP-Montepio Building (Alberto Soeiro), Maria Manuel Oliveira; — Headquarters of Entreposto Enterprise (João José Tinoco e António Veloso), Elisiário Miranda; — Khovo Lar Student Residence (Pancho Guedes), André Fontes; — Polana High School (João José Tinoco e José Forjaz), Vincenzo Riso. The workshop preparation and realization evolved knowledge and information obtained from the research scope carried out on EWV project, meaning all material made available to the students, namely primary bibliographic and documental inquiry, selected works photographic registration, systematized theoretical

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information, redrawn base documentation of selected works. For each case study a list of tasks was established: accomplishment verification, analysis on architectonical and tectonic nature, identification of constructive pathologies, inquiry on solution to adopt, rehabilitation proposals and adjustment to the needs of current use. At the end of the workshop all participants received a certificate. Likewise, by means of fapf-uem, each entity responsible for the buildings maintenance also received the outcome of students work. All workshop information and its results was synthesized on digital format (dvd).

Students who participated in the International Workshop Zandamela, Helena, Dalte, Elis, Mauro, Viola, Hélio, Bulande, Edy, Gizela, Nhavene, Cláudio, Macandza, Mércia, Djanine, Brito, Eurico, Macondzo, Manhiça, Irénio, Jójó, Réges, Nélio, Priscila, Chirindza, Razin, Gabene, Edson, Elias, Nelo, Nurdino, Caetano, Ana, Kuang Lee, Malikito, Etevaldo, Rosário, Lopes, Solange, Ambre, Yara, Carlos, Jorge, Tecuene, Abel

Workshop photos, Ana Tostões, EWV, 2012

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Panel developed by the Workshop students about the Headquarters of Entreposto Enterprise

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International Workshop

Panel developed by the Workshop students about Khovo Lar Student Residence

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BIOGRAPHIES Jessica Bonito Elisiário Miranda

Beira-Quelimane Journey, Maria Manuela Oliveira, 2010

Cassiano Barbosa (1911-1998) Cassiano Barbosa de Abreu e Lima Lopes Rodrigues was born in Oporto in 1911. In 1929 he began to study Architecture at Escola de Belas Artes, in Oporto (ebap) and one year later he started collaborating at Januário Godinho (1910-1990) studio. In 1932 he graduated in Architecture and integrated the services of Direcção Geral dos Edifícios e Monumentos Nacionais (dgemn). In 1939 he began working with Arménio Losa (1908-1988) and presented an architectural project in order to obtain an Architect Diploma (coda); being the project in question for evaluation the building plan for Companhia Portuguesa da Sede Artificial. He obtained his architect diploma in 1944. Between 1947 and 1953 he was actively involved in several initiatives promoted by young architects; being one of the founding members of odam group (Organization of Modern Architects), he integrated with Viana de Lima (1913-1991), Fernando Lanhas (1923-2012) and Arménio Losa (1908-1988) the Executive Committee that organized in June 1951, the exhibition that took place at the Oporto’s Ateneu Comercial, he attended to the I National Congress of Architecture (1948), where he was one of the subscribers of Artur Andrade (1913-2005) ‘Onde se fala da Arquitectura no Plano Nacional e do Problema Português da Habitação’, distributed as a brochure and read during the works of the congress, although it is not included in the final publication, and to the III Congress of International Architects Union (1953). He was also committed to art and architecture theorist analysis, having published several books such as ODAM Modern Architects Organization – Oporto 1947-1952, in 1972. Between 1976 and 1984 he returned to professional functions at DGEMN. He died in Oporto on 22th of May 1998. – em, jb Reference works: With Arménio Losa (1908-1988): Carvalhosa Block, Oporto (1945-1949); António Neves House, Vila Nova de Gaia (1947-1949); Soares&Irmãos Building, Oporto (1950-1955); Four Houses at Monte Alegre Street, Oporto (1952-1954); Ponte da Pedra Neighborhood, Maia (1954-1962); Monteiro&Giro Ensemble, Quelimane, Mozambique (1954-1968); Monteiro&Giro Ceramic Factory and residencial compound, Quelimane (1956-1960); A. Vieira Pinto Building, Oporto (1958-1962).

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José Gomes Bastos (1914-1991) José Alexandre Gomes Bastos was born in Lisbon in 1914. He studied Architecture at Escola de Belas Artes, Lisbon (ebal) and graduated in 1944. He attended the I National Congress of Architecture in 1948. In 1949 the Arquitectura magazine published an article about his design for a house in Estoril, coauthored by Francisco Conceição Silva (1922-1982), in which is included a small biography for each author. About José Gomes Bastos one can read: ‘worked between 1943 and 1944, under the supervision of Adelino Nunes at the Commission for the new ctt buildings. In 1945 he was invited to be the architect of the medical social services of the Providence Funds Federation, assuming, in 1947, the head of technical services of this organization. He is the director of the work services and the author of many designs for buildings all over the country, like the offices for the Providence Funds for the Textile Industry Staff in Oporto, Clinical Posts in Caldas das Taipas, Pevidém, Crestuma, etc. He is the author of many houses in Estoril and other in collaboration with Francisco Conceição Silva. Since 1949, he is no longer director of the services mentioned above, dedicating himself exclusively to private activity.’ In 1950 he participated in the v egap. In 1952 the same magazine published an article about his design for a house in Ajuda, Lisbon, in which, the architect announced some of the characteristics present in his later Mozambican works: an organic relation with the surroundings and a plastic affirmation of the articulation elements of the different functions and vertical communications. In the same year the same magazine published his buildings in the avenues João XXI and Paris, and Pasteur square, designed in collaboration with a team led by Guilherme Faria da Costa (1906-1971) in which Alberto Pessoa (1919-1985), Raúl Chorão Ramalho (1914-2001) and Lucínio Cruz (1914-1999) were also integrated. The Barros building was designed in the same year, a set of four houses located in a little square in Oporto. He was one of the Portuguese architects that competed in the II Biennial of São Paulo, in Brazil, as the magazine Arquitectura reported in August 1953. The same magazine published in February/March 1954 the design for the Dior store, in Lisbon (opened in the year before), a work coauthored by Francisco da Conceição Silva with the collaboration of the painter Estrela Faria. – em Reference works: Estoril House, Estoril, (1949), in collaboration with Francisco Conceição Silva; Overseas National Bank (bnu), Lourenço Marques (1956-1964), in collaboration with Marcos Miranda Guedes, who was indicated by José Gomes Bastos to supervise the construction works in Lourenço Marques, a position that he never came to exercise; Improvement of Inhambane’s bnu dependence, Inhambane (1962-1964); Saldanha Building, Lourenço Marques (1962-1965) - design; bnu’s Administration Residence, Lourenço Marques (1962-1963) - design.

Fernando Schiappa de Campos (1926-) Fernando Lopes Schiappa e Silva de Campos was born in Abril 20th 1926. He studied Architecture at Escola Superior de Belas Artes, Lisbon (esbal) and graduated in 1954, when he presented an architectural project in order to obtain an Architect Diploma (coda); being the project in question for evaluation the building plan for a school in Torres Novas. In this design is possible to identify the organizational characteristics that the architect used in some of his later scholar constructions. After teaching in the technical instruction he began working, in 1956, at the guu. In the same year he wrote in collaboration with João António de Aguiar (1906-1974), the guu’s director, and the engineer Eurico Machado, the Normas para as Instalações dos Liceus e Escolas do Ensino Profissional nas Províncias Ultramarinas (Guidelines for Installations of High Schools and Vocational Schools in the Overseas Provinces). He was one of the Portuguese architects that took the course on Tropical Architecture at the Architectural Association (aa), between 1958 and 1959, lectured by Maxwell Fry (1899-1987) and Jane Drew (1911-1996), collaborators of Le Corbusier in Chandigarh. This knowledge is later reflected in the architect designs. Between 1959 and 1960 he integrated the mission to Guinea were he registered the various types of habitats, resulting in the report Habitats Tradicionais da Guiné Portuguesa (Traditional Habitats in Portuguese Guinea), published in 1970. In the 60s, in collaboration with Mário de Oliveira, he takes on the advisory role of advisor in the urbanization process of Maputo. In the end of the decade, he goes to Timor where he designs the instalations of Díli’s bnu and its workers homes. Between 1975 and 1978 he practiced at the Office of Studies and Planning of the Ministry of Habitation, Urbanism and Construction. Between 1969 and 1980 he took the job of Architectural Professor at esbal. He maintains a studio in the Avenidas Novas, Lisbon. – jb Reference works: Freire de Andrade Commercial and Industrial School, Beira (1956), in collaboration with Eurico Pinto Lopes (1914-?); Infante D. Henrique Commercial and Industrial School, Namibe (1956), in collaboration with Lucínio Cruz (19141999) and Luiz Possolo (1924-1999); Pêro de Anaia High School, Beira (1959), in collaboration with António Figueiredo.

João Garizo do Carmo (1917-1974) João Afonso Garizo do Carmo was born in Beira, Mozambique, in 1917. Between 1942 and 1949 he attended architecture classes at Escola de Belas Artes, in Oporto (ebap) and graduated at Escola Superior de Belas Artes, in Lisbon (esbal), in 1951. In the magazine Arquitectura he published, in January 1948, the design for a chocolate factory and its workers neighborhood for the Altriz Lda. Firm, in Coimbra, in collaboration with Joaquim Bento d’Almeida (1918-) and Vítor Palla (1922-2006), in October of this year was also published a design for the exterior of a café in Lisbon, coauthored by Orlando Avelino. In Oporto he worked at Alfredo Viana de Lima (1913-1990) studio, and in Lisbon he has developed a few decoration designs for commercial establishments and urban plans for the City Council, like the Figueira Square design in collaboration with João Faria da Costa (1906-1971). He returned to Beira in 1952 with his brother Jorge Garizo do Carmo (1927-1997) who, mostly dedicated to fine arts, collaborated in João Garizo do Carmo several works. He received twice the Araújo Lacerda Municipal Award (in 1954 and 1955). He worked for some official organizations, as a teacher at Freire de Andrade Commercial and Industrial School – in 1960 was nominated vice-director -, and in the Aesthetics Committee of Beira’s Vity Council, for which he was indicated in 1957. In the beginning of 1959 he attended the Conference Interafricaine/Logement et Urbanization, in Nairobi. In June 1960 he integrated the group of technicians that discussed at the City Council the requalification design for Gago Coutinho Square, nowadays Município Square, designed by Mário Couto Jorge (1923-). The work and ideas of João Garizo do Carmo are characterized by an orthodox use of the forms and principles of the Modern Movement architecture in the post-war period. He refuses to traditionalist and nationalist architecture and notices the necessity of a modern tropical architecture, like the Brazilian case, as he reveals in August 26th 1955 in the reply to an inquiry to the newspaper Diário de Moçambique about the Contemporary Religious Architecture Exhibition, organized by MRAR, that took place in Beira. The formal lexicon in his work shows the influences common to the works of many Portuguese architects from the generation of the I National Congress of Architecture, such as the references to Oscar Niemeyer, Le Corbusier or Felix Candela. In 1964, dealing with health problems which enabled him to draw, he dedicated his time to teaching till 1972, then returning to Portugal. He died in, in August 1974. – em, jb Reference works: São Jorge Cinema Theatre, Beira (1952-1954); António Duarte Houses, Beira (1952-c.1957); Imaculado Coração de Maria Church (Manga Church), Beira (19541957); Quelimane and Porto Amélia Episcopal Palaces (1955-?); Almeida Garrett Cinema Theatre, Nampula (1955-1956); Águia Cinema Theatre, Quelimane (1955-1956); Nauticus Insurance Company building, Beira (1955-1957); Carlos Silva Houses, Beira (1957); Charles Tully House, Beira (1957); Beira Railway Station (1957-1966); Quelimane Palace of Public Offices (c. 1959); Nauticus Insurance Company building extension, Beira (1963-1966); Bicos House, Beira (1964-1966); Urban Plan for Macau (1971).

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Arménio Losa, Cassiano Barbosa and António Ribeiro da Costa, Chuabo Hotel, Quelimane, Mozambique. EWV, Ana Tostões, 2012