Image of Álvaro Siza / Museu Nadir Afonso  (new)

Álvaro Siza / Museu Nadir Afonso (new)


This singular work is one of the most outstanding buildings of the last decade in the oeuvre of Álvaro Siza, Pritzker Prize recipient in 1992. On a high plain by the river in the Roman city of Chaves, deep in the interior of his home country, Siza has built the Nadir Afonso Museum. Blending the modernity of elevation of the ground (and above the river’s flood plain) and a vernacular indented plan, the building reveals the exceptional mastery of this architect and the very condition of contemporary architecture.
The collection Architectural File presents a close look at particular works of some of the world’s greatest architects. Each volume contains an extended photographic essay, a critical interpretation by a respected specialist and an exploratory text by a renowned author from outside the field of architecture, proposing a different view of the project. A selected bibliography, chronology and a fold out poster assembling technical drawings and working details, provide the reader with a decisive insight into the work.

Edited by Daniela Sá and João Carmo Simões
Text by Paulo Tunhas (philosopher), Jorge Figueira (architecture critic) Photographic essay by João Carmo Simões
108 pages
16,5 cm x 24 cm paperback
37 photo plates
38 technical drawings and images
Bilingue Edition PT/EN

1 fold-out poster 29 cm x 47,5 cm

ISBN 978 989 99485 1 8

"The most beautiful does not appear in eternity. Siza has incorporated that suggestion of perishability by means of a wall made of stones that have been retained from an old construction; they mark with absolute precision the place of time. A resonance of the eternal, the beautiful is loved in time."
— Paulo Tunhas

"There is also the strong impression that the future on show, the future that one can already see, necessarily engenders a desire for the past. It’s genuine but it serves a use, captures a certain zeitgeist. This architecture so ably becomes a welcoming home to poetry, as if the latter were becoming increasingly impatient with its own medium."
— Jorge Figueira

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