This article examines the process by which the history of modern architecture in Portugal has crystallised into an easy-to-digest narrative: a linear, action-reaction plot in which a purportedly feeble modernism in the 1920s was succeeded by a conservative, politically driven anti-modern backlash in the following decade, and finally returned as a superficial and alienating postwar anachronism. The article suggests that architectural culture in Portugal in fact requires this narrative to celebrate its subsequent step, the reinvention and redemption of modernism by exponents such as Fernando Távora and Álvaro Siza Vieira, whose work was later brought to global recognition under the mantle of critical regionalism. The foundations of this origin story can be traced to the influential work of pioneer architecture critic Nuno Portas in the 1970s, which was thereafter perpetuated in historiography both at home and abroad. Nurtured by Portuguese architectural culture, the narrative of a thwarted modernism underpinned more recent arguments against postmodernism, clearing the ground for a neo-modernist (re)turn that still prevails today. The trope of an officially resisted modernism, a trauma in Portuguese architects’ collective conscience, was eventually instrumental in confining Portuguese works and designers to western historiographical categories, thereby flattening instances of variation and diversity that escape such neat plots.

中文翻译：

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自觉的建筑史学：来自（后）现代葡萄牙的笔记

本文考察了葡萄牙现代建筑史具体化为一个易于消化的叙述的过程：一个线性的、动作反应的情节，其中 1920 年代据称微弱的现代主义被保守的、政治驱动的反派接替。 - 在接下来的十年中受到现代强烈反对，最终以肤浅的和疏远的战后时代错误的形式回归。这篇文章表明，葡萄牙的建筑文化实际上需要这种叙事来庆祝其后续步骤，即费尔南多·塔沃拉 (Fernando Távora) 和阿尔瓦罗·西扎·维埃拉 (Álvaro Siza Vieira) 等代表对现代主义的改造和救赎，他们的作品后来在批判性区域主义的斗篷下获得了全球认可. 这个起源故事的基础可以追溯到1970年代先锋建筑评论家Nuno Portas的有影响力的作品，此后在国内外史学界流传甚广。在葡萄牙建筑文化的培育下，现代主义受挫的叙事支撑了最近反对后现代主义的论点，为今天仍然盛行的新现代主义（重新）转向扫清了障碍。官方抵制现代主义的比喻，是葡萄牙建筑师集体良知的创伤，最终有助于将葡萄牙作品和设计师限制在西方史学类别中，从而扁平化逃避这种整洁情节的变化和多样性的实例。为今天仍然盛行的新现代主义（重新）转向扫清障碍。官方抵制现代主义的比喻，是葡萄牙建筑师集体良知的创伤，最终有助于将葡萄牙作品和设计师限制在西方史学类别中，从而扁平化逃避这种整洁情节的变化和多样性的实例。为今天仍然盛行的新现代主义（重新）转向扫清障碍。官方抵制现代主义的比喻，是葡萄牙建筑师集体良知的创伤，最终有助于将葡萄牙作品和设计师限制在西方史学类别中，从而扁平化逃避这种整洁情节的变化和多样性的实例。