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                  <text>Prates, N. (2016). Crónicas do outeiro: Raul Lino – O arquiteto da Casa dos Patudos. Alpiarcense Journal, [online]. Available at: https://www.alpiarcense.com/cronicas-do-outeiro-raul-lino-o-arquiteto-da-casa-dos-patudos/ [Accessed 16 Jul. 2019]</text>
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            <text>Raúl Lino da Silva&amp;nbsp;was born on November 21, 1879, son of José Lino da Silva, a construction materials seller. He grew up between Lisbon and São Pedro de Sintra. At the age of 11, he went with his family to England, joining a catholic school outside Windsor, the St. James Roman Catholic School. In England he contacted with landscapes, architectures and interiors from the &lt;em&gt;Arts and Crafts&lt;/em&gt;, an artistic, catholic and medievalist chain, which was affirmed in England in the late twentieth century by names like John Ruskin and William Morris. The presence in British land between 1890 and 1893 was essential to his growth as an observer of the space and to his educational values, especially the respects for others. In 1893, at the age of 13, he went with his father to Hanover, Germany, to learn the language and take a degree in architecture. José Lino enrolled his son at the Technical Institute of Hannover (&lt;em&gt;Technische Hochschule&lt;/em&gt;), a suggestion given not only from Joaquim Bensaúde, but also from Antero de Quental, both friends of his father. Here he continued to nourish a chain of medieval revivalism, under the umbrella of Albrecht Haupt, his master, a trend that was consequently beginning to raise nationalisms across the continent. Lino was in Germany until 1897, year that marked his return to Portugal. &lt;br /&gt;&lt;br /&gt;Raul Lino came to a country full of restlessness and agitation. The solution for the recent trained architect was to get to know his country better, taking a trip around the country and registering the different cultures and local realities. Between 1898 and 1900 this was the occupation of Lino. The first year of the new century marks the beginning of an intellectual dispute between him and the architect Ventura Terra, between Portuguese traditionalism and French cosmopolitanism. Both competed in an open competition for the projection of the Portuguese pavilion for the Paris International Exhibition of the same year, with Ventura Terra winning the opportunity. However, his mark would be visible throughout the hole Portuguese territory. He designed a set of houses in Estoril between 1901 and 1906, the Manor of Patudos in 1904, the House of Cipreste in Sintra in 1912, the Tivoli Cinema in Lisbon in 1925, a villa on Rua Castilho that earned him the Valmor Prize in 1930, and the pavilion of Brazil in the Portuguese World Exhibition of 1940. It is also worth mentioning his works of restoration, especially in Palaces such as Sintra and Queluz.&lt;br /&gt;&lt;br /&gt;He also held important positions, in 1932 he became a founding member of the Academia de Bela Artes, whose presidency took over in 1967. He was also director of the National Monuments in 1949. In addition to the Valmor prize he received other decorations such as Commander of the Military Order of Christ, on March 4, 1941. Raul Lino also has a large collection of published works, such as &lt;em&gt;A Nossa Casa&lt;/em&gt;, from 1918, &lt;em&gt;Casa Portuguesa&lt;/em&gt;, from 1929, &lt;em&gt;Casas Portuguesas&lt;/em&gt;, from 1933, &lt;em&gt;Quatro palavras sobre Urbanizações&lt;/em&gt;, from 1945, &lt;em&gt;Quatro palavras sobre Arquitectura e Música e sobre alguns elementos morfológicos da Arquitectura nas Artes Estáticas&lt;/em&gt;, from 1962. &lt;br /&gt;&lt;br /&gt;His existence crossed the most important moments of the whole XX century in Portugal. He lived in two centuries, having reached the age of majority in 1900. At about thirty years he witnessed the implantation of the Portuguese First Republic. From the age of 40, he accompanied the Estado Novo dictatorship, in which he was comfortably inserted, being on several occasions in the service of Salazar’s regime, from his formation as Military Dictatorship, in 1926, until the acclaimed revolution that would put an end to decades of autarchy, the Revolução dos Cravos, in 1974. He died in Lisbon, at the age of ninety-five, that same year, on July 13, 1974.</text>
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            <text>Mascaro, L. and Bortolucci, M. and Lourenço, J. (2009). Raúl Lino, Uma leitura dos projetos das "Casas Portuguesas", &lt;em&gt;Oculum Ensaios 09_10&lt;/em&gt;, pp. 52-65.</text>
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            <text>SOEIRO, J. (2012). &lt;em&gt;Espírito na Arquitectura, O pensamento arquitectónico em Raúl Lino e Lucio Costa&lt;/em&gt;. Master Thesis. Faculdade de Ciências e Tecnologia da Universidade de Coimbra.</text>
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            <text>PEREIRA, P. (2012). &lt;em&gt;Raul Lino, Arquitetura e Paisagem (1900-1948)&lt;/em&gt;. PhD Thesis. ISCTE, Instituto Universitário de Lisboa.</text>
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            <text>Divisão de Cultura (2017). &lt;em&gt;Raul Lino (1879-1974)&lt;/em&gt;. O Traço do Arquiteto na Paisagem Sintrense. [online] Câmara Municipal de Sintra. Available at: http://tracodoarquiteto.cm-sintra.pt/raul-lino/projectos-de-raul-lino [Accessed 17 Jul. 2019]</text>
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