ABSTRACT
From the year 2000, with the creation and construction of a building located in the center of Portugal, one of the most well-known, polemic, and controversial Portuguese architects deviates from the normal and utilitarian canons contained in his post-modernist language and enters a more personal, unknown, and entirely idiosyncratic path. This derivation took him to another unknown side and to a singular plasticity (even for him), where, in order to reveal the language achieved in this new path of his, he will not have to find any justification for what he creates other than to expose a distinct language, free of supports. Without ceasing to be post-modern, its content assumes no mimetic relationship with its paradigms; that is, we do not encounter an aesthetic related to classicism in terms of contemporary appropriations, rather an approach to a tendency normally recognized in theoretical standards as a deconstructivist free-style. However, this approach to deconstructivism is much more detached than its frequent language and more linked to the specific actions of the mind and emotions of its creator. This work meets this characteristic through a set of particularities and in direct contact with Tomás Taveira.
