Eduardo Souto de Moura

Symbolism and analogies are key elements in the architectural composition of Eduardo Souto de Moura’s work. Veiled in the case of symbolisms, or clearly embraced in the case of analogies, these act as catalysts of a mental process that searches for solutions that will strengthen and contextualize his interventions.
An architecture that seeks rationality in the discipline, and that is clearly influenced by Aldo Rossi's principles that pre-existing structures, the history of architecture, the tradition of the European city and the idea of monument are the starting point for developing the discipline, in contrast with an American vision inspired by Robert Venturi, opposite to that of Modern Architecture, which supports a hybrid route where contradiction and ambiguity break the principles of coherence advocated by the Modern Movement.
The use of rules and classical orders as a starting point for the appropriation of the reference-providing “site” demonstrates the architect's uneasiness about how his works are placed in the territory, as he is aware that these are used as transforming resources for the surrounding space and should, therefore, be seen as such.
The materialization of his works is always associated with a spatial distribution that is based on composition and measure, the search for a detailed architecture, his pursuit for perfection and the continuous refinement of the elements.
Narrowing Eduardo Souto de Moura's work to a single theme leads to several issues in the field of architecture — those that deal with the concerns of a complex work process, which is part of his architectural outcome — not being addressed.
The context, both regional, as well as local or cultural, plays an important role in the mental process that leads to his works, often at a crossroads of influences that allow him to rethink the creative process throughout his work.
The exhibition intends to establish a clear sequence to understand the work of Eduardo Souto de Moura, where each area is a disciplinary territory, while simultaneously leading to the shapeless, allowing for a promenade where the sequential sum of the parts equals the complete work.