摘要:Nos Trópicos Sem Le Corbusier: Arquitectura Luso-africana no Estado Novo examines the circulation of architectural cultures and actors in and between the historically-related contexts of Portugal, Brazil and the former Portuguese colonies in Africa, during the first three quarters of the twentieth century. This generously illustrated, Portuguese-language volume is a collection of ten essays written by Ana Vaz Milheiro between 2006 and 2011, and previously published either in the proceedings of the conferences in which they were originally presented or as contributions to online magazines, collective works and exhibitions. The author, a well-known architectural critic, historian, disseminator and educator in Portugal, has been specialising in the cultural exchanges between her home country and its former overseas territories: the (post-colonial) mutual influences of Portugal and Brazil on each other’s architectural processes in the twentieth century were thoroughly dissected in Milheiro’s doctoral dissertation, published in 2005, 1 after which she broadened the scope of her interests to include the parallel developments in the architectures of metropolitan Portugal and its African possessions during the country’s dictatorship regime known as Estado Novo (1933–1974). The latter route has been largely grounded on a large-scale, multidisciplinary research project on the Portuguese government’s planning and design actions in/for the African territories of Angola, Mozambique, Guinea-Bissau, Cabo Verde and São Tomé and Príncipe, focusing on the architectural and urban-design cultures that informed the official practice of the so-called colonial planning offices. 2 The essays gathered here bring together these two moments (sites) of Milheiro’s trajectory—Brazil and Africa—, unified under one encompassing thesis that emerges regularly, albeit often broken down into a rich array of variations and shades: that the most progressive, outspokenly modernist architectural practices of Portuguese building programmes in Africa were to some extent shaped by the intense cultural exchanges between the metropole and Brazil, since early in the twentieth century and particularly after the modernist blossoming of the South American country in the late 1930s; and that the African experience, in its awe-inspiring extension and intensity, provided not only an outlet for Portuguese modernist architects that Portugal’s European confines did not permit—a proposition that has become “conventional wisdom” in Portuguese architectural culture—but also the grounds for experiments combining tropical architecture, national and regional identities and “African character” (“africanicity”) which, Milheiro suggests, grant a degree of originality to the (African) Portuguese case.