Francisco Keil do Amaral

You can help expand this article with text translated from the corresponding article in Portuguese. (January 2020) Click [show] for important translation instructions. View a machine-translated version of the Portuguese article. Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Portuguese Wikipedia article at [[:pt:Francisco Keil do Amaral]]; see its history for attribution. You may also add the template {{Translated|pt|Francisco Keil do Amaral}} to the talk page. For more guidance, see Wikipedia:Translation.

Francisco Keil do Amaral
Born	28 April 1910
Died	19 February 1975  (aged 64) Lisbon
Nationality	Portuguese
Occupation	Architect
Known for	Architecture, painting, photography
Spouse(s)	Maria Keil (1933-1975)
Children	1
Awards	Officer of the Military Order of Saint James of the Sword

Francisco Caetano Keil Coelho do Amaral, 2nd Viscount of Pedralva (Lisbon, 28 April 1910 – Lisbon, 19 February 1975), was a Portuguese architect, painter and photographer. His name was given to a street in Lisbon.

Keil do Amaral stood out in a particular way throughout the 1940s and 1950s, having acted in an original way during these particularly difficult decades of national life. He assumed the project responsibility of important public works, without identifying himself with the political regime or with the historicist standards of the official taste of the Estado Novo and, at the same time, maintaining a critical distance in relation to the International Style orthodoxy, in search of a "third way" able to reconcile modern rationality with thoughtful consideration of the lessons of traditional architecture.^[1]