416:"The Parque de Monsanto project is an essential work in the context of the major interventions carried out in Lisbon during the 20th century. Transferring the large park to the outskirts of the city, it reveals a new understanding of the issue of urban green spaces integrated on the larger scale. vast area of the metropolitan area and the expansion of the city ". Keil develops the general plan and equipment designs. "At the end of the 1940s, the works of the Clube de Ténis or Restaurante de Montes Claros will translate into happy moments on Keil do Amaral's journey, subtly reaching that sense of purification, of abandonment that he had been exploring since the first years. research on Dutch passion, in fact, from 1948 onwards Keil took on a greater modernity according to the codes of the Modern Movement, giving a new meaning to his production: in the Montes Claros Restaurant, he freed the floor plan, in the Clube de Ténis tears big glazing and resolves the coverage with tremendous agility".
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second half of the 1950s in association with a large group of architects (published by the
National Architects Union in 1961 under the title Popular Architecture in Portugal). He will also be one of the protagonists of the 1st National Congress of Architecture (1948), "which constitutes an undeniable victory for the class, insofar as, for the first time, architects come together to freely discuss ideas and firmly affirm the need to make Modern architecture in the context of a new professional conscience. Historical congress, it would certainly have been another without the contagious presence of Keil do Amaral, soon adopted as the leader of the new generation ". In March of the same year, he was elected president of the National Union of Architects, but he will be compulsorily removed by the government after only eight months, for political reasons, not even officially taking office.
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The training of architects (1948 - communication to the 1st
National Architecture Congress). Also in the Revista Municipal (1939-1973) published by the Lisbon City Council, contents by him. And his studio was, in the words of José Antunes da Silva, a true "center of culture and a school of humanity", where over the years architects of successive generations have collaborated, still in the formation phase or already in maturity, namely: Alberto Pessoa, Hernâni Gandra, José Rafael Botelho, Cândido Palma de Melo, José Antunes da Silva, Pedro Botelho, José Manuel Fernandes, João Paulo Conceição.
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do Cego street, for projects by the Lisbon City
Council (with Hernâni Gandra and Alberto José Pessoa), which he maintains in parallel with his personal studio. Simultaneously with the practice of architecture, its civic, cultural and political action is intensified. Publishes articles and books; participates in the bodies of the National Architects Union; is one of the most active promoters of the General Expositions of Plastic Arts (1946-1956), which marked a cultural dynamic of opposition to the Estado Novo, exhibiting in the exhibitions of 1946, 1947, 1948, 1949, 1950, 1953 and 1956.
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sector it develops a sequence of stays. The set should be finished off, in the north, by the City Palace, to be implanted next to the viewpoint space marked by the monumental columns. To support this project, he travels to the United States of
America, where he visits reference works of modern architecture, from Frank Lloyd Wright to Eliel Saarinen. Initially designed (1948) by a team that also included Hernâni Gandra and Alberto José Pessoa, the City Palace would become the subject of controversy and was never built.
403:"When, in the middle of the Salazar dictatorship, Portuguese architecture is divided between the mentors of the regime and the desire for a functionalism of an international character, as the figure who with more energy and lucidity defends the bases for building a different perspective of work, theoretically rational and formally linked to local identities, appealing to a simple and balanced language, inspired by the continuity and the integrative sense that seems to be a constant of Portuguese architecture ".
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396:). For Keil, the fascination with Dutch architecture (and Frank Lloyd Wright) stems from its progressive, modern character, which reconciles evenly with traditions. "This binomial will clearly define the practice of the architect" leading him, after his return to Portugal, to demarcate aspects of his initial work, the influence of Carlos Ramos and, even more, the historicist and regionalist constraints of the official architecture of the
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Pacheco, relating to urban expansion and functional re-equipping of the city. Keil do Amaral will work on equipment projects and on the rearrangement of green spaces in the capital: Parque
Eduardo VII; Large field; Monsanto Park. On the eve of the beginning of the Second World War, he travels to Great Britain and Northern Ireland, France; Netherlands and Germany, to visit parks and deepen knowledge in that specific area.
406:"From a formal point of view, Keil do Amaral's vast production in the 1940s, in addition to documenting contacts with the architecture of Northern Europe and the United States, translates a personal conception of spaces and volumes that transcends conceptual limitations of modernism. And while maintaining the basic assumptions of modern architecture, it does not ignore the experience, especially vernacular, of the past".
380:, but in the next year he was subject to a disciplinary process, motivated by a conflict with the professor of architecture, Arnaldo Redondo Adães Bermudes. He completes the course, as an external student, working in Carlos Ramos' studio, whose example will mark his future options and, in particular, the functionalist character and purism of his first works (Instituto Pasteur, Porto, 1933–1935).
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it is visible "the concern to merge architecture and structure with an aesthetic and economic purpose". He is also the author of several buildings for the União Elétrica
Portuguesa and of the vast order that was the first phase of the Metropolitano de Lisboa, which included all stations inaugurated in 1959. In the 1960s he designed, with Carlos Manuel Ramos,
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Keil has an important role in the formation of the group of
Cultural Initiatives Art and Technique (ICAT) and in the reformulation of the magazine Arquitetura, where he launched, in 1947, the idea of a scientific inquiry into Portuguese regional architecture, a reference work in which he endeavors to
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Between 1939 and 1949, he joined a team of young architects at the Lisbon City
Council - which also included, among others, Inácio Peres Fernandes and João Faria da Costa - responsible for supporting the initiatives of the then Minister of Public Works and President of the Lisbon City Council, Duarte
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Keil do Amaral stood out in a particular way throughout the 1940s and 1950s, having acted in an original way during these particularly difficult decades of national life. He assumed the project responsibility of important public works, without identifying himself with the political regime or with the
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In the immediate period, there was a slowdown in the public order from which he had benefited until then, but the ostracism was attenuated a few years later, with the realization of important projects, such as for the Lisbon
Industry Fair, which he projects with great freedom compositional and where
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Keil do Amaral's architectural production throughout the 1940s is intense; in addition to the interventions for the city parks, it designs the Lisbon
Airport terminal, theaters in Mangualde and Nelas, single family homes, etc. 1946 is the year of the beginning of the Sobre e Descente studio, in Arco
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Although he never had the opportunity to teach architecture at the School of Fine Arts in Lisbon, Keil do Amaral had an important pedagogical action, publishing books and reference articles, namely The Architecture and Life (1942), The Modern Dutch Architecture (1943), The Housing Problem (1945) or
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Still a student, he participates in important exhibitions at the National Society of Fine Arts (1932, 1933). In 1936, he won the competition for the Pavilhão de Portugal at the Universal Fair in Paris, imposing a renewing taste in the official programs. He remains in Paris for 1 year to monitor the
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The arrangement of Parque Eduardo VII was another of his important works in the context of urban structuring of the city. Draws the central, grassy lane, flanked by a Portuguese stone sidewalk; redesigns the lake; rearranges the Greenhouse and designs the entrance close to the bank; in the eastern
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Polemicist, researcher, pedagogue, active participant in union and political activity, frontal opponent of the regime linked to prestigious national culture personalities, his writings and reflection books on architecture and the city, contribute to the framing of a generous and intense as a
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and, at the same time, maintaining a critical distance in relation to the International Style orthodoxy, in search of a "third way" able to reconcile modern rationality with thoughtful consideration of the lessons of traditional architecture.
82:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
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373:, where he completed his primary education. After a stay in Luanda (1920-1921), where his father was Governor-General, he attended Colégio Nacional and Liceu Gil Vicente (1922-1928).
436:, Iraq, "in which a breath of renewal is felt" in its architecture that will translate into a "lightness of solution unparalleled in previous works of this type in our country".
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from 1920 to 1921, son of José Caetano dos Reis and wife Lucrécia Coelho do Amaral, and first wife, as her second husband, Guida Maria Josefina Cinatti Keil, daughter of
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He began his professional life in 1929, as an advertising "designer" (with Fred Kradolfer and José Rocha). In 1930 he enrolled in the special Architecture course at the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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and wife Cleyde Maria Margarida Cinatti. After his mother's death his father remarried Arminda da Conceição da Silva Camacho dos Reis (–
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Content in this edit is translated from the existing Portuguese Knowledge (XXG) article at ]; see its history for attribution.
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Tostões, Ana – "Keil, arquiteto dos jardins e parques de Lisboa: a história de um trabalhador humanista". In: A.A.V.V. –
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Lisbon Municipal Architecture Award, 1951 - home of A. Sousa Pinto, Avenida D. Vasco da Gama, no. 2, Restelo, Lisbon.
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construction of the pavilion. Discover remarkable works of modern European architecture. He visits
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A Arquitetura e a vida: Francisco Keil do Amaral, o arquiteto e o pedagogo, o cidadão e o homem
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A Arquitetura e a vida: Francisco Keil do Amaral, o arquiteto e o pedagogo, o cidadão e o homem
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745:. Lisboa: Câmara Municipal de Lisboa, Divisão de Museus, 1999, pág. 61-63. ISBN 972-8403-02-X
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Valmor Prize, 1962 - housing at Rua Almirante António Saldanha, n.º 44, Restelo, in Lisbon.
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Francisco Pires Keil do Amaral, born in 1935, an Architect, Representative of the Title of
624:. Lisboa: Câmara Municipal de Lisboa, Divisão de Museus, 1999, pág. 61. ISBN 972-8403-02-X
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On March 4, 1941, he was made an Officer of the Military Order of Sant'Iago da Espada.
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Ferreira, Raul Hestnes – "Keil do Amaral e a Arquitetura". In: A.A.V.V. –
687:""Ana Tostões – "A Lisboa de Keil". CML, Boletim Lisboa Urbanismo, 1999""
582:. Lisboa: Argumentum e Ordem dos Arquitetos, 2012. ISBN 978-972-8479-68-8
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to the source of your translation. A model attribution edit summary is
715:. Lisboa: Câmara Municipal de Lisboa, Divisão de Museus, 1999, pág. 83
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He was the only son of Francisco Coelho do Amaral Reis, 1st
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732:. Lisboa: Argumentum e Ordem dos Arquitetos, 2012, p. 14
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a machine-translated version of the Portuguese article.
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100:accompanying your translation by providing an
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27:Portuguese architect, painter and photographer
299:Francisco Caetano Keil Coelho do Amaral, 2nd
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496:Award, 1960, for his work as a whole.
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784:Keil do Amaral arquitecto: 1910-1975
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252:Architecture, painting, photography
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895:20th-century Portuguese painters
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576:A moderna arquitetura holandesa
763:Hemeroteca Municipal de Lisboa
638:Keil do Amaral e a arquitetura
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444:professional and citizen".
123:Knowledge (XXG):Translation
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378:Lisbon School of Fine Arts
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464:He married in 1933 to
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196:19 February 1975
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94:copyright attribution
466:Maria da Silva Pires
392:(a great admirer of
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340:Carlos I of Portugal
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456:Keil do Amaral and
181:28 April 1910
494:Diário de Notícias
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394:Frank Lloyd Wright
102:interlanguage link
728:. In: A.A.V.V. –
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782:A.A.V.V. –
544:A.A.V.V. –
398:Estado Novo
386:Netherlands
323:Estado Novo
303:of Pedralva
263:(1933-1975)
223:Nationality
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644:. Lisboa:
504:References
458:Maria Keil
330:Background
261:Maria Keil
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226:Portuguese
342:in 1904 (
315:architect
257:Spouse(s)
235:Architect
204:(aged 64)
116:talk page
827:Archived
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336:Viscount
301:Viscount
268:Children
136:In this
92:provide
768:30 June
460:in 1938
114:to the
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833:27 May
807:27 May
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485:Awards
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