João Gomes da Silva's book is the irrefutable proof that it is this qualification — in many cases urgent — of our landscape, our architecture and our territory that deserves to be a priority.
Read More
DOMUS
Over the course of his long and prolific career, Álvaro Siza has rarely spoken firsthand of the process guiding his practice. Instead, this small but attentively edited publication, allows this little-known dimension of his to emerge, with a collection of contributions in English and sketches by the Portuguese master.
Read More
Peter Testa
What most resonates with the writings in “Imagining the Evident” is Siza’s commitment to new ways of seeing as the first means by which architecture becomes speculative.
Read More
Barry Bergdoll
But Nature for Siza is neither a metaphor for Enlightenment reason, nor of its child structural rationalism, as in Laugier. For Siza is as much interested in human nature which for him has as much to do with our inner being as with some higher disembodied reason.
Read More
João Gomes da Silva
When my eyes got used to the raw light of the North Coast, I contemplated sand, concrete steps, water flats between rocks, and the immense sea with the waves battling in foam. I remember thinking an obviousness, the obviousness of what Architecture is, and how it builds the Landscape. This moment changed my life, at the exact moment when I started to become a Landscape Architect.
Read More
Jonathan Sergison
More than any other architect I can think of, Álvaro Siza, has inspired me throughout my career. I first visited his buildings in Porto as a fourth-year student of architecture in 1987, although I had been aware of them throughout my studies. I was always profoundly moved by them, but they are buildings that have to been seen for their many qualities to be evident.
Read MoreGiven Alvaro Siza’s reluctance to describe his own work, any opportunity to delve back into his writing is precious, and the care that has gone into this small book fully justifies its publication.
Read More
Daniela Sá
When Arnold Schoenberg critiqued the work of Adolf Loos, he remarked that the possibility of invention, “was in the modes of intuition”, adding, “and this is the most noble origin of a work of art.” Banishing the idea of invention from that of novelty by forms appears to be as essential to Schoenberg in the early twentieth century as it is to Álvaro Siza, a century later.
Read More