Luiz Cunha, “international but brief” [and pop!]

The first years (1957–1973): Churches, Cities, Comics and Capsules

Resumo

Luiz Cunha (1933-2019) is recognised for his singular and eclectic architecture, which stands out in the Portuguese context, as well as for his production as a highly skilled draughtsman and a passionate painter. His extensive body of work has received a certain attention and research and his production is read as part of a movement for the renovation of religious architecture, as an individual creative expression, or as part of a fantasist trend towards postmodern Portuguese architecture. Lesser attention, however, was devoted to his writings, drawings, unbuilt projects and unbuildable paper architectures. An analysis of that corpus reveals a surprising production especially in the early years of his career; he was an attentive spectator of the international debate and, more importantly, a translator of some of these ideas into Portuguese reality.
Based on graphical documentation, writings, and a long personal conversation, this article proposes a rereading of Cunha's activity, focusing on his exploration of pop expression through a) drawing — merging the aesthetics and the mechanics of comics and cartoon into architectural representation, b) buildings — employing a formal techno-pop repertoire and experimenting with complex structures, always with a distinct sense of humour and c) architectural discourse — entering the international debate on megastructures and capsules of the time, while actively promoting Portuguese architecture. Analysed chronologically, this production allows a retracing of the evolution of Cunha’s thinking and reveals a figure who is “international but brief” — in Nuno Portas’ expression — constantly halfway between regional architecture and space-age capsules.