Organisation and Production: Main Builder: Sponsor: Local Partner:

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1 Organisation and Production: Main Builder: Sponsor: Local Partner:

2 INDEX 1/3 out here: disquieted architecture press release 4/5 disquiet in venice Jorge Barreto Xavier. General Director of Arts 6/7 out here: disquieted architecture José Gil and Joaquim Moreno. Curators 8/17 Eduardo Souto de Moura biographie selected works selected bibliography 18/24 Ângelo de Sousa biographie selected works selected bibliography 25/28 Joaquim Moreno José Gil biographies 29/31 images. contacts. portuguese pavilion 32 credits

3 Out Here : Disquieted Architecture Project for Out Here: Disquieted Architecture, conceived by Eduardo Souto de Moura e Ângelo de Sousa. Portuguese Pavillion / Fondaco Marcello. Official Portuguese Representation at the 11 th International Architecture Exhibition, La Biennale di Venezia PRESS RELEASE The Directorate-General for the Arts of the Portuguese Ministry of Culture has the pleasure to announce Out Here: Disquieted Architecture, by Eduardo Souto de Moura and Ângelo de Sousa, curated by Joaquim Moreno and José Gil, as the Official Portuguese Representation at the 11 th International Architecture Exhibition, La Biennale di Venezia. The Official Portuguese Exhibit s intervention project for the 11th International Architecture Biennial of Venice has been developed by two commissioners, architect Joaquim Moreno and philospher José Gil, leading figures from divergent academic backgrounds. Taking as their point of departure the general topic proposed by Aaron Betskty, Joaquim Moreno and José Gil have problematised the idea of developing architecture as a theme for work that could tackle the 1 / 32

4 experience of architecture in a contemporary landscape marked by questions of ephemerality, transience, frequent paradoxes and continuous movements in time and space. In keeping with the programme, architect Eduardo Souto de Moura and the artist Ângelo de Sousa were invited to produce a multidisciplinary proposal that temporarily would give substance to the idea of disquiet in the Portuguese Pavilion at the Fondaco Marcello on the Grand Canal. Out Here: Disquieted Architecture has a strong visual impact bearing always in mind the preservation of the internal and external parts of the building. The challenge issued by the commissioners to the creators took shape in the conception of Out There: Disquieting Architecture, an intervention that invites the spectator to follow a path of pendular movements between mirrors and reflections through a field of images that amplify ad infinitum their experience of relating to and observing the locale. In the exterior space, going along the Grand Canal or looking at the Fondaco Marcello from the other bank, the visitor will see a mirrored surface that makes the building disappear, creating an empty space, an absence in the plane formed by the line of houses that are located on the bank of the canal. This astonishing facade mirrors images in motion and reflecting the surrounding landscape palaces, water, boats on the canal and given the different points of view obtained by the observer on his journey, they reveal multiple perspectives/ perceptions of the city. Inside the Fondaco the architectural proposal is characterised by a differentiated use of space. In a first room, that has been darkened, the visitor will have a perception of the reverse of the facade, the structure and the materials that support it, and in an inner room he himself is the subject of a process of reflexion sustained by reflecting walls and mirrored columns, where different views of his self come together. 2 / 32

5 In the text that introduces the Portuguese exhibit, Joaquim Moreno and José Gil explain that they chose Eduardo Souto de Moura and Ângelo de Sousa because of the distinctive features of the work of these two artists experimentation, the co-existence and combination of heterogeneous elements and because they they believe their discourses can intersect productively and move forward in exploring this Disquieting Architecture. The Portuguese Pavillion at the 11 th International Architecture Exhibition is also a tribute to Venice. Project for Out Here: Disquieted Architecture, conceived by Eduardo Souto de Moura e Ângelo de Sousa. Portuguese Pavillion / Fondaco Marcello. Official Portuguese Representation at the 11 th International Architecture Exhibition, La Biennale di Venezia 3 / 32

6 Disquiet in Venice Jorge Barreto Xavier General Director of Arts The official Portuguese exhibit in this year s International Architecture Exhibition proposes a unique approach to the question of architecture as the art of what is built, with its inherent qualities of stability and permanence. Disquieted Architecture, in the words of the two commissioners, architect Joaquim Moreno and philosopher José Gil, contains a challenge that we interpret in this way: how can an architecture exhibition interrogate the fragmented nature of contemporary society, made up of unstable, changing spaces, fluidity and transience? The challenge posed for the two exhibitors, Eduardo Souto de Moura and Ângelo de Sousa, in addition to the dialogue between architecture and visual arts, is that of reflecting on this paradox, not in order to resolve it, but to problematize it, transform it into an experience to be lived by the visitors. And this possibility appears to have materialised in this proposal by Eduardo Souto de Moura and Ângelo de Sousa, two towering figures on our country s cultural scene, who have stepped aboard the Venetian traghetto from which any passerby can come into contact with the surface of a moving picture that is the reflection of an urban landscape between sky and water. From the canal, visitors can proceed to the Fondaco Marcello what we call the Portuguese Pavilion and prolong their experience of otherness, fragmentation and heteronomy, by moving in front of a set of mirror devices that open up the possibility of reflection, in both senses of the word. Inside, the exhibit is necessarily different in character, accentuated by the darkness and by the priority given to the visitor, the subject. In the external space, the protagonist is the surroundings, an accumulated urban heritage redolent with history. But the features of this landscape reflected by the mirror are always different, depending on the position of the observer; it can therefore be stated that the observer constructs the image 4 / 32

7 that he or she wishes to see. Evoking Fernando Pessoa and his disquieting compositions on the multiple experience of the subject, and investigating the mirror potential of any artistic creation, the Portuguese exhibition in the 2008 Venice Biennial reformulates an age-old problem, at the same time proposing a way of interpreting architecture as a fundamentally subjective experience. By dint of its mission and its responsibilities, the General Directorate of Arts of the Ministry of Culture is the body charged with organising and producing the official Portuguese representation. The technical staff of the D-G of Arts should also be thanked for their contribution to the success of this initiative. 5 / 32

8 Out Here: Disquieted Architecture José Gil and Joaquim Moreno Curators Out There: Architecture Beyond Building can imply a dimension of the outside so active and closely integrated to an inside to induce an unlimited exterior in the interior. The ever expanding Out There would then ensure the enlargement of architecture. This interpretation implies that the problem at stake is no longer the quest for a home, for a dwelling capable of sheltering us in an ever-changing world a quest eager to recover some neo-archaisms not beyond, but before contemporaneity. Nor would it be the definition of a dissemination, of a nomadism, of the building process; a dissemination that would bring it to the public and artistic space of contemporary life. In this case, the multiplication of heterogeneous, chaotic, and discontinuous elements would lack the necessary consistency of an architecture for a time gone out of joint. From this reflection emerged the idea of a permanent disquiet, of an outside more exterior than every other outside because it is lodged in the inside, beyond every distinguishable point. Hence: Out Here: Disquieted Architecture. This disquiet, this movement between inside and outside, is fundamental to thinking about the failures and successes of Portuguese architecture. Every time that it was stopped or captured, Portuguese singularity aborted. But here and there, one architect or another drafted converging lines originating from the interval, or the intensity, of the disquiet. This was a productive creative movement that reinforced the consistency of our outside in here, beyond every there. This movement opened an ever-expanding field of experimentation: this Out Here opened unsuspected directions for the future of Portuguese architecture. The invention of spaces in differential intervals (an outside expanding in an inside perpetually mobilized through this paradoxical expansion), experimentation, co-existence, or combination of heterogeneous elements, are thus some features of the singular work of a pair of authors we believe can be productively 6 / 32

9 collided to further investigate this disquieted architecture : the architect Eduardo Souto de Moura and the artist Ângelo de Sousa. The interest in the formulation of a paradoxical Out Here is the continuity of this expansive movement. Such formulation is better substantiated in an architectonic experiment, in the mobilization of the Portuguese Pavilion as a laboratory setup, than in the documentation of earlier events. To promote transformation, to inquire into the future more than access the present or the recent past is a program better served with architectonic experiments than with clearly framed retrospections, and this is the general purpose of the Portuguese representation, to temporarily materialize the heteronymous disquiet in a paradoxical Out Here. North Elevation - mirror 1 North Elevation - mirror 1 7 / 32

10 BIOGRAPHIES NATIONAL REPRESENTATIVES EDUARDO SOUTO DE MOURA Eduardo Souto de Moura was born in 1952, in Porto, where he lives and works. From 1974 to 1979, he worked in Álvaro Siza Vieira s architectural studio. In 1980 he graduated with a degree in Architecture from the Porto School of Fine Arts, and embarked on his professional career. He began to lecture at the Faculty of Architecture of Porto University in 1981 and was a guest lecturer at the universities of Paris-Belleville, Harvard, Dublin, Zurich and Lausanne between 1988 and Since the 90s, he has regularly collaborated with Siza, with whom he has co-authored a number of projects, such as the Portuguese Pavilion at Expo 2000 in Hanover, or the Serpentine Gallery Pavilion, London, Souto de Moura s work attracts attention both in and out of Portugal. This has come about not only because of his reduction of formal means reminiscent of Mies van der Rohe but also because of his sensitive treatment of situational factors. But Souto de Moura is as little interested in dusting off models of the early modern movement as in a simplistic adaptation to the context in which he has to build. Both his linguistic reduction and his contact with the context appear surprisingly enough to have their roots in contemporary American sculpture, in artists like Robert Morris, Donald Judd and Sol Le Witt. Souto de Moura is not a contextualist. His buildings are never complacent answers to the topographic and morphological qualities that he encounters at a particular site. His interventions always generate a new, 8 / 32

11 formal field of force that rearranges the situation and imposes a new order upon it. Like the above sculptors, what he is concerned with is making discrete, precise but very convincing gestures in a field of relations. Within such a field, ruins, interstitial urban zones and decayed spaces of the periphery can be charged with new, even dominant meanings. Some authors, like Angelillo, make a connection here with the novels of Peter Handke and the films of Wim Wenders. Souto de Moura s architecture sets out to offer resistance. Walls of chiselled granite blocks, steel-framed façades of reflecting glass and floors of Brazilian tropical wood give his work an aura of serene monumentality. The Miesian formal reduction and the emancipation of floors, walls and columns, both of which characterise his work, lend his buildings a material and sensual permanence, in which everyday life with its variety and transience can ensconce itself at will. This contrast between sensual and material eloquence and the relative indifference to the programme which is not, after all, controllable by the architect makes Souto de Moura s work particularly topical. Souto de Moura s work is certainly changing, however. He has designed a new inventory of materials, strategies and forms, and thereby showing some affinity with the work of Swiss architects Herzog and De Meuron. The design strategy and construction procedure which he has had to sustain for years to maintain his position in the Portuguese building world is necessarily always under revision. This is partly a result of his success. Eduardo Souto de Moura s work was first granted public recognition with the Fundação António de Almeida and Fundação Antero de Quental Prizes, in 1980 and 1984 respectively. In the 1980s, he was awarded first prize in the competitions for the refurbishment of the Praça do Giraldo (Évora), for the Casa das Artes (Arts House) Centro Cultural da Secretaria de Estado da Cultura (Porto), the CIAC Pavilions, a hotel in Salzburg, and the In/Arch (Istituto Nazionale di Architettura) competition for Sicily in / 32

12 Since 1992, when he received the SECIL Architecture Prize, he has been the recipient of many other awards, including the International Stone in Architecture Prize for the Casa em Braga (Braga House), awarded by the Verona Fair, and the Annual Prize of the Portuguese Section of the International Association of Art Critics. In 1996 he was nominated for the European Architecture Prize Mies van der Rohe, for the following projects: Casa das Artes (Arts House); Casa em Alcanena (House in Alcanena); Department of Earth Sciences, University of Aveiro; Dwelling houses in the Rua do Teatro; the Pousada Santa Maria do Bouro, Amares; Patio Houses in Matosinhos; and Casa do Cinema Manoel de Oliveira (Manoel de Oliveira Film Centre), Porto. In 1998 he received the Pessoa Prize, awarded by the Expresso newspaper and Unisys company. In the same year, he was a finalist for the IberFAD Prize with the Pousada Santa Maria do Bouro, which also won 1st Prize at the 1st Ibero-American Biennial. In 1999, again for the Pousada Santa Maria do Bouro, he was given an honourable mention in Stone in Architecture, and another in 2003 for the Matosinhos Faixa Marginal Project. In 2001 he was honoured with the Heinrich Tessenow Gold Medal. In 2002 he was a finalist in the 3rd Ibero-American Architecture and Civil Engineering Biennial, with the Casas Pátio (Patio Houses) in Matosinhos, and in 2004 he reached the finals of the FAD Architecture and Interiors Prize with the project Two Houses in Ponte de Lima, for which he received the Jury s Prize. In 2004 he was again awarded the Secil Architecture Prize for the Braga Municipal Stadium, which has brought him many honours, finalist in the European Architecture Prize Mies van der Rohe 2004 and the Prize of the 5th Ibero-American Biennial in Architecture and Urbanism, as well as the FAD Architecture Prize, the Gold Medal of the Cologne International Association of Sports and Leisure Facilities, and the International Prize bestowed by the Chicago Athenaeum. In 2006, he won the FAD Prize for City and Landscape and the Enor Grand Prize, both for the Porto Metro. In 2007, the National Academy of Architecture of the Mexican Society of Architects honoured him with the Carrera Prize. Souto de Moura is an Honorary Fellow of the American Institute of Architects. 10 / 32

13 His work has been shown in numerous exhibitions, such as: Depois do Modernismo, Sociedade Nacional de Belas Artes, Lisbon; Onze Arquitectos do Porto Imagens Recentes, SNBA, Casa dos Crivos, Braga and Cooperativa Árvore, Porto; Desenhos de Arquitectura, Architectural Association, London; Mercado de Braga, Paris Biennial (1983); Identità nell Arquittetura, Pirano, Yugoslavia; L Ecole de Porto, Clermont- Ferrand (1985); Emerging European Architects, Harvard University, Boston and Columbia University, New York (1988); Architectures Publiques, Centre Georges Pompidou, Paris; Ouvertures à Bordeaux, Arc en Rêve Centre d Architecture, Bordeaux (1990); Architektur Forum Zurich, Zurich (1992); Portugal Four Points of View, Galerija DESSA, Ljubljana (1993), Waves of Influence, New York (1994); Objecto Luz, Porto and Lisbon; Less is More, UIA, Colegio de Arquitectos de Catalunya, Barcelona (1996); Design aus Portugal eine Anthologie, Frankfurt (1997); Temi di progetti, Mendrisio Art Museum, Switzerland, E.P.F.L., Lausanne, Institute gta, Zurich, Vicenza, Italy, Matosinhos Town Council and Valongo Town Council (1999); Case. Ultimi Progetti, Bologna, Italy, and Dresden, Germany (2001); La Biennale di Venezia 2002; La Biennale di Venezia 2004; Desenho nas Cidades. Arquitectura em Portugal, V BIA de São Paulo and Milan Triennial; Estádios do Euro 2004, Lusíada University, Lisbon (2004); São Paulo Biennial; Descontinuidade, São Paulo (2005); 22 Casas, Ordem dos Arquitectos, Lisbon; Habitar Portugal 2003/2005, Belém Cultural Centre, Lisbon (2006); Infra-Estruturas Urbanas Metro do Porto , Museum of Transport and Communication, Porto; Lisbon Architecture Triennial (2007); Eduardo Souto de Moura / Luís Ferreira Alves, Galeria JN, Porto, and Galeria DN, Lisbon (2008). Version of a text by Hans Van Dijk published in Archis, December / 32

14 SELECTED WORKS Remodelação de uma casa em Ronfe, Guimarães, 1977 Remodelação de uma ruína em Paços de Ferreira, 1978 Monumento ao General Humberto Delgado, Porto, 1979 Reconversão de uma ruína no Gerês, Vieira do Minho, Habitação colectiva para a Praça de Liége, Porto, 1980 Mercado Municipal de Braga, Casa das Artes, Centro Cultural para a Secretaria de Estado da Cultura, Porto, Remodelação de uma casa em Sanfins do Douro, 1982 Reestruturação da Praça do Giraldo, Évora, 1982 Café do Mercado Municipal de Braga, Casa 1 em Nevogilde, Porto, Café do Eixo Desportivo de Braga, 1983 Penthouse na Praça do Império, Porto, Plano de Pormenor para a Foz do Neiva, Esposende, 1984 Filial do Banco Pinto & Sotto Mayor, Arcos de Valdevez, 1984 Casa na Quinta do Lago, Almansil, Pavilhões C.I.A.C. (Cascais, Fafe, Parede, Setúbal, Torres Vedras, Vila Real, Vila Real de St. António), Plano de Pormenor para Porta dei Colli, Palermo, 1987 Duas casas na Rua Beato Inácio de Azevedo, Porto, Casa 1 em Miramar, Vila Nova de Gaia, Casa em Alcanena, Torres Novas, Casa na Av. da Boavista, Porto, Plano de Pormenor e Equipamentos para Mondello, Palermo, 1988 Casa no Bom Jesus, Braga, Casa 6 em Nevogilde, Porto, Reconversão do Convento de Stª. Maria do Bouro numa Pousada, Amares, Casa na Maia, Casa em Baião, Piscina exterior para uma casa do Arqt.º Viana de Lima na Av. Montevideu, Porto, / 32

15 Departamento de Geociências da Universidade de Aveiro, Empreendimento Burgo, escritórios e galeria comercial, na Av. Boavista, Porto, 1991 Instituto Superior de Estudos Empresariais, Maia, 1991 Casa em Tavira, Casa em Moledo, Caminha, Casa Meirinhos, Porto, 1992 Casa 3 em Miramar, Vila Nova de Gaia, 1992 Galeria de arte, Clérigos, Porto, Bloco de habitação na Rua do Teatro, Porto, Biblioteca Infantil e Auditório para a Biblioteca Municipal do Porto, Casas em banda na Pasteleira, Porto, Restauro e Mobiliário da Academia de Ciências, Lisboa, 1993 Reconversão de uma ruína em Arco de Baúlhe, 1993 Casas Pátio em Matosinhos, Remodelação e Valorização do Museu Grão Vasco, Viseu, Reconversão do Edifício da Alfândega do Porto para Museu dos Transportes, Três casas na Praça de Liége, Porto, Casa na Serra da Arrábida, Azeitão, Casa em Cascais, Edifício na Praça Gomes Teixeira, Porto, 1995 Plano de Pormenor para o Lido de Camaiore, Itália, 1995 Plano de Pormenor do Novo Centro Direccional da Cidade da Maia, Reconversão da Faixa Marginal de Matosinhos Sul 1ª. Fase, Conteúdos do Pavilhão de Portugal, Expo 98, Lisboa, Casas em banda na Rua do Lugarinho, Porto, 1996 Casa na Rua do Crasto, Porto, Estudo de Definição de Paisagem, Urbanismo e Economia Urbana, Murs a Pêches, França, 1997 Estádio Municipal, Évora, 1997 Projecto de Interiores para os Armazéns do Chiado, Lisboa, Reconversão da Cadeia da Relação do Porto para Centro Português de Fotografia, Edifício de habitação colectiva, Maia, Remodelação do Mercado de Braga, / 32

16 Metro do Porto, Igreja da Misericórdia da Maia, 1998 Cenografia para a ópera Os Dias Levantados, Teatro S. Carlos, Lisboa, 1998 Galeria Silo no NorteShopping, Matosinhos, Projecto de Interiores do BPI, Santiago de Compostela, Espanha, Quiosques modulares para a Sociedade de Transportes Colectivos do Porto, Reformulação Urbanística da Praça do Município e Arruamentos Convergentes, Maia, Casa do Cinema Manoel de Oliveira, Porto, Casa e adega em Valladolid, Espanha, 1999 Biblioteca de Valente de Oliveira, Porto, 1999 Recuperação e ampliação do armazém da Real Companhia dos Vinhos em Miragaia, Porto, 1999 Casa em Sesimbra, 1999 Casa na Rua do Molhe, Porto, 1999 Projecto de Interiores do BPI, Lordelo do Ouro, Porto, Pavilhão de Portugal na Expo Hanôver, co-autoria com o Arqt.º Siza Vieira, Alemanha, Apartamento em Matosinhos, Ampliação da Biblioteca Municipal do Porto, 2000 Pavilhão Multiusos, Viana do Castelo, 2000 Museu de Arte Sacra, Santiago do Cacém, 2000 Museu do Surrealismo, Vila Nova de Famalicão, 2000 Recuperação e adaptação do Antigo Sanatório dos Ferroviários em Pousada, Covilhã, 2000 Remodelação da Casa das Artes, Porto, Estádio de Braga, Frente Norte do Parque da Cidade (Estrada da Circunvalação) e Frente Sul da Av. da Boavista, Porto, 2001 Duas casas em Ponte de Lima, Projecto para a Área Envolvente ao Sr. do Padrão, Matosinhos, Reabilitação Urbana do Centro Histórico de Valença do Minho, 2002 Plano de Pormenor para a área actualmente ocupada pela Fábrica Gist-Brocades, co-autoria com Arqt.º Álvaro Siza, Matosinhos, 2002 Duas casas na Maia, 2002 Edifício de habitação colectiva no Passeio Alegre, Porto, 2002 Casa D6 em Ponte de Lima, / 32

17 Restaurantes Norte e Sul na Marginal de Matosinhos 2ª. Fase da Faixa Marginal Matosinhos Sul, 2002 Centro de Actividades Náuticas e Centro de Animação e Diversões 2ª. Fase da Faixa Marginal Matosinhos Sul, 2002 Casa na Quinta da Borralha, Braga, 2002 Conjunto de 28 casas na Av. da Boavista, Porto, Centro de Arte Contemporânea Museu de Arte Moderna de Bragança, 2003 Edifício Sede da Metro do Porto, 2003 Linha de Metro da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, 2003 Cafetaria da Rotunda da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, 2003 Requalificação da área da Fábrica Robinson Plano Geral e Escola de Hotelaria e Turismo, co-autoria com a Arqt.ª Graça Correia, Portalegre, 2003 Estação de Metro do Município, co-autoria com o Arqt.º Álvaro Siza, Nápoles, Itália, 2003 Casa em Girona, Llábia, Barcelona, Espanha, 2003 Casas na Rua da Cerca, Porto, 2003 Casa na Quinta das Laranjeiras, Cantanhede, 2003 Casa em Valongo, Ermesinde, 2003 Reordenamento da Rotunda da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, Edifício de escritórios na Av. da Boavista, Porto, Casas em Óbidos, 2004 Centro Residencial e de Serviços de La Pallaresa, co-autoria com Atelier Terradas i Muntañola, Santa Coloma de Gramenet, Espanha, 2004 Conjunto habitacional em Sittard, Maastricht, 2004 Edifício de habitação colectiva na Av. da Boavista, Porto, 2004 Casa do Douro I, 2004 Casa do Douro II, 2004 Pavilhão da Galeria Serpentine, co-autoria com o Arqt.º Álvaro Siza, Londres, Reformulação da Avenida dos Aliados, co-autoria com o Arqt.º Álvaro Siza, Porto, 2005 Recuperação e Valorização do Complexo Medieval do Castelo Fienga, co-autoria com o Arqt.º Nicola di Battista, Nocera, Itália, 2005 Museu Paula Rego, Cascais, 2005 Escola de Música, Braga, 2005 Edifício de escritórios para a Novartis, Basileia, Suíça, 2005 Conjunto habitacional para o Bernia Golf Resort, Alicante, Espanha, / 32

18 Crematório de Kortrijk, Bélgica, 2005 Edifício de habitação colectiva em Campanhã, Porto, 2005 Recuperação de edifício na Arcada de Braga, 2005 Casa do Conhecimento, Vila Verde, Braga, 2005 Casa em Barcelos, 2005 Reconversão da Frente Urbana do Príncipe Real, Lisboa, 2005 Quinta do Carmo, co-autoria com os Arqt.º João Saraiva Mendes & Ricardo Rosa Santos, Évora, 2005 Abrigos Multi-Modais no Porto e Vila Nova de Gaia, Casa do Professor, Cascais, 2006 Duas casa em Ibiza, Espanha, 2006 Casa em Ovar, 2006 Casas em Póvoa de Varzim, 2006 Edifício para turismo de habitação, Régua, 2006 Requalificação das Margens da Lagoa das 7 Cidades, co-autoria com o Arqt.º Adriano Pimenta, S. Miguel, Açores, 2006 Casas no Parque de Santa Cruz, Carnaxide, Oeiras, 2006 Reabilitação do edifício da Estação Marítima e Requalificação Urbana da Praça Principal, co-autoria com o Arqt.º Siza Vieira, Nápoles, Itália, 2006 Chia Lagura Resort, Sardenha, Itália, 2006 Centro de Acolhimento e Museu no Castelo di Abatemarco, co-autoria com o Arqt.º Nicola di Battista, St.ª Maria del Cedro, Itália, 2007 Reconversão do Convento das Bernardas em habitação, Tavira, 2007 Edifício de escritórios para a Edemi Gardens, Porto, 2007 Habitação Colectiva no Vale de Santo Amaro, Lisboa, 2007 Adega na Mealhada, 2007 Apartamentos e Hotel, Benidorm, Espanha, 2007 Espaço Miguel Torga, Sabrosa, 2007 Requalificação Urbana do Centro Histórico, co-autoria com o Arqt.º Adriano Pimenta, Ribeira Grande, Açores, 2007 Reconversão da Pensão Monumental em habitação, Porto, 2007 The designated dates relate to the beginning of the project/ end of the work. All works are in Portugal unless otherwise noted. 16 / 32

19 SELECTED BIBLIOGRAPHY 2G International Architecture Review. Barcelona, 1998, 5 ANGELILO, Antonio (ed.). Architettura portoghese opere recenti di Gonçalo Byrne, Joaõ Luiś Carrilho da Graça, Eduardo Souto de Moura. Trevi: G. Politi, 1995 (cat.) Architectures à Porto Opus Incertum d Architecture de Clermont-Ferrand. Bruxelles: Pierre Mardaga Editeur, 1987 (cat.) BLASER, Werner. Eduardo Souto De Moura Stein Element Stone. Basel: Birkhauser, 2003 CAMBERT, May. Top Architects of the World. Barcelona: Atrium Group, 2004 CANAT À, Michele; Fernandes, Fátima. Estádio Municipal de Braga de Eduardo Souto de Moura. Porto: Civilização Editora, 2007 CANAT À, Michele; Fernandes, Fátima. Pavilhão Multiusos Viana do Castelo de Eduardo Souto de Moura. Porto: Civilização Editora, 2005 CARNEIRO, Alberto; Moreno, Joaquim. Desenho Projecto de Desenho, Lisboa: IAC Ministério da Cultura, 2002 (cat.) CERVER, Francisco Asensio. Architects of The World. Nova Iorque: Watson-Guptill Publications, 1999 CUITO, Aurora (ed.). Eduardo Souto de Moura. Dusseldorf, Nova Iorque: teneues, 2003 Eduardo Souto de Moura: Case, Ultimi Progetti. Firenze: Alinea, 2001 (cat.) El Croquis Eduardo Souto de Moura , The Naturalness of Things. Madrid, 2005, 124 LEÓN, Juan Hernández; Colov à, Roberto; Fontes, Luís. Santa Maria do Bouro Construir uma Pousada com as Pedras de um Mosteiro. Lisboa: White & Blue, 2001 LEONI, Giovanni; Esposito, Antonio. Eduardo Souto De Moura. Barcelona: Gustavo Gili, 2003 MILHEIRO, Ana Vaz (org.). Habitar Portugal 2003/2005. Lisboa: Ordem dos Arquitectos, 2006 NEVES, José Manuel das. Eduardo Souto de Moura Casa do Cinema Manoel de Oliveira. Lisboa: Caleidoscópio, 2004 NUFRIO, Anna (ed.). Eduardo Souto de Moura Conversaciones con estudiantes. Barcelona: Gustavo Gili, 2008 (no prelo) OBRIST, Hans Ulrich; BOERI, Stefano. Álvaro Siza, Eduardo Souto de Moura Serpentine Gallery Pavilion Londres: Trolley Press, 2006 OJEDA, Oscar Riera. Eduardo Souto de Moura Ten Houses. Gloucester, Mass.: Rockport Publichers, 1997 Prototypo Zaha Hadid, Souto de Moura. Lisboa, 2000, 3 RYAN, Raymund. Cool Construction. Londres: Thames & Hudson, 2001 Temi di progetti = Themes for projects Eduardo Souto Moura. Milão: Skira, 1998 (cat.) TRIGUEIROS, Luiz. Eduardo Souto Moura. Lisboa: Editorial Blau, 2000 Vinte e Duas Casas VI Bienal Internacional de Arquitectura de São Paulo. Lisboa: Ordem dos Arquitectos e Caleidoscópio, 2005 (cat.) 17 / 32

20 ÂNGELO DE SOUSA Ângelo de Sousa was born in Maputo, Mozambique, in He lives and works in Oporto. From 1955 to 1963 Ângelo de Sousa attended the Oporto School of Fine Art, nowadays the Faculty of Fine Art of the University of Oporto, and held a scholarship from the Calouste Gulbenkian Foundation and the British Council in the State School of Art and Saint Martin s College of Art and Design in London in 1967 and In that same year he formed the group Os Quatro Vintes, with Armando Alves, Jorge Pinheiro and José Rodrigues ( ). Ângelo de Sousa, How I am seen by others,2008 His first exhibition was held in 1959, in the Galeria Divulgação, Oporto. The numerous collective and individual showings of his work include the two anthological shows held by the Serralves Museum in 1933 and 2001, and the retrospective dedicated to him in the Centre of Modern Art in His work has achieved wide recognition winning him a series of honours and prizes, among them the Soquil Prize (1972), the International Prize (ex aequo) of the 13th International Art Biennial of São Paulo (1975), 1st Prize (ex aequo) in the 1st Exhibition of Contemporary Art in the National Museum of Soares dos Reis (Oporto, 1985), the Painting Prize in the III Calouste Gulbenkian Foundation Exhibition of Visual Arts (Lisbon, 1986), the EDP Painting Prize (2000) and the 1st Gulbenkian Prize in the Art Category (2007). 18 / 32