"EQUIPMENT: GENERATORS OF URBANITY AND BUILDERS OF THE CITY: AN ANALYSIS OF PORTO'S ARCHITECTURAL HERITAGE BETWEEN 1930-2020"

"EQUIPMENT: GENERATORS OF URBANITY AND BUILDERS OF THE CITY: AN ANALYSIS OF PORTO'S ARCHITECTURAL HERITAGE BETWEEN 1930-2020" [R. Martins e G. Furtado, ..., in: J Rodrigues e M. Marques (eds), Ciências socialmente aplicáveis, Vo.IX, Brasil (editora Artemis), 2023, p.14-33. (ISBN 978-65-87396-82-8) - Translation by Deepl. Deepl.SE] / 1 - INTRODUCTION In this article 1 we focus on an architectural analysis that explores the evolution of the city based on its architectures. We have given these buildings the term "equipment" because they introduce architectures into the urban structure that interact with the various scales, establishing a set of valences, directly or indirectly, in the urban context in which they are located. The analysis focuses on a selection of equipment obtained from the cross-referencing of various bibliographical references on the architectural heritage of the city of Porto. Methodologically, the structure of the article is divided into three chapters - 1930s-1960s, 1960s-1990s and 1990s-2020s - in order to control the study. To this end, an analysis of the equipment is carried out, from which it was necessary to determine parameters that would make it possible to standardize and synthesize the study and control the density of factors/characteristics that are addressed. In parallel with the written analysis, the following diagrams summarize the parameters analyzed. It is considered that the equipment constitutes "an event in urban formation" 2 , as Aldo Rossi points out, which marks an era and remains in time, transforming itself into a program until it forms part of the city. These are works that mark a new formation, a new event in urban history that determine or influence the process of urban development. As Domingos Tavares points out, these architectures are capable of mobilizing urban aspects for the context in which they are inserted, providing the urban space with important architectural tools for structuring it. The following analysis is based on this logic. 2.1- 1930S-1960S - URBAN CENTRALIZERS/DYNAMIZERS Between the 1930s and 1960s, according to a cross-check of bibliographical sources, there were forty-three new facilities. Sixteen pieces of equipment stand out in terms of their novelty for urban development, which we will have to take into account. 2.1.1- 1930S-1940S: We will use this first period to structure a base of observations that will emerge in the various periods, pointing out slight changes in the relationship between equipment and the city, referring to the parameters of urban insertion and surroundings in the referenced articles. / The first facility3 is the Coliseu do Porto in 1938-1941 (Esq nº1), designed by architects Cassiano Branco, Júlio José de Brito and Mário Abreu. The project solves a large void in the block and stands out from the surrounding volumes4 . The scale of the intervention can be classified as small in terms of size/area. The building's language is characterized by a modern aesthetic and stands out from its surroundings. The building's plastic approach and form allow it to create dynamics, particularly in the variety of solutions on the elevation, which transform the urban reading of the surrounding context.5 The second facility6 is the Hospital de São João (1933-1959) (Left no. 2) designed by the architect Hermann Distel. The project is located in a sparsely urbanized area and stands out in the surrounding landscape7 . As for the scale of the intervention, it can be classified as macro-scale, in terms of size/area. As for the language of the building (see sheet E.8), it is characterized by a modern aesthetic, standing out in a context of urban emptiness. The plastic and formal embroidery is also prominent, given the scale of the building.8 2.1.2- 1940S-1950S: Compared to the 1930s and 1940s, there were changes in the relationship between equipment and urban development. In terms of equipment, it adopted a different characteristic, showing a dynamic relationship with the expanding urban environment, which we will analyze. The third piece of equipment9 is the Cinema Batalha in 1944-1947 (Esq nº3) designed by the architect Artur Andrade. It corresponds to a new building project, even though the "High-Life da Batalha" Salon had previously existed10 . The project resolves the corner situation and fits in with the surrounding volumetrics, with an emphasis on the design of the façade.11 The scale of the intervention can be classified as small, relative to the size/area. The intervention makes the whole surrounding area more dynamic, especially Batalha Square, which the cinema fronts. The language of the building is characterized by a modern aesthetic and the dynamic shape of the façade. The plastic and formal approach, with the use of curves as an expression, creates dynamism in Batalha square, as well as in the rest of the context. The fourth building12 is the 1942-1944 Rialto Building (Esq nº4), designed by the architect Rogério de Azevedo. The project solves the double corner situation and stands out from the surrounding volumes. The scale of the intervention can be classified as small, relative to the size/areaThe building completely breaks the existing horizontality, punctuating the 13 . surroundings and becoming a visual and local reference point. The language of the building is characterized by a modern aesthetic, very present in the work of architect Rogério de Azevedo. The plastic and formal approach makes it possible to create dynamics in the urban reading which, in this case, punctuates the city's landscape with a "skyscraper".14 The fifth building15 is the 1945-1951 Palácio Atlântico (Esq nº5), designed by the ARS architecture group. As for the scale of the intervention, it can be classified as small-scale in terms of size/area, but the volumetric density allows the building to gain size and project itself to an intermediate scale. In this way, the Palace completes and defines Praça Dom João I, and competes in terms of scale with the building in front of the Rialto16 and relates, in a broader reading, to the scale of the Coliseu do Porto. As for the language of the building, it is characterized by a modern aesthetic and approach. The plastic and formal approach makes it possible to create dynamics in the urban reading, as well as in the composition of the surrounding context by defining the square. The sixth building17 is the Bloco da Carvalhosa (1945-50) (Esq nº6), designed by the architects Arménio Losa and Cassiano Barbosa. The building does not follow the alignment of the existing buildings, but instead has a small setback, where it solves, through the design solution, the transition from the street space to the block, as well as the problem of housing on the first floor.18 In terms of program, the building corresponds to housing and has an area of approximately 3,700 square meters. The scale of the intervention can be classified as small in terms of size/area . As for the language of the building, it is characterized by a moderate aesthetic. The plastic and formal approach makes it possible to create dynamics in the urban reading, as well as in the spatial composition of the urban space, due to the setback. The seventh piece of equipment19 is the Bom Sucesso Market (1949-1952) (Esq nº7), designed by the ARS architecture group. The scale of the intervention can be classified as small, in terms of size/area. However, the volumetric expression makes it possible to create an intermediate reading, especially at the time, taking into account the altimetry of the context. In this sense, the Market emerges as a dynamizer of scale and place, dragging with it the urban projection, which in this period, in relation to Boavista and especially Campo Alegre, was represented by several clusters of small-scale buildings. The language of the building is characterized by a modern aesthetic. The plastic and formal approach allows it to create dynamics in urban reading, reflected above all in its curvilinear shape and the large curved concrete roof that covers the space. The eighth building20 is the Soares & Irmão building (1949-1954) (Esq nº8), designed by the architects Arménio Losa and Cassiano Barbosa. The project solves a corner situation between Rua de Ceuta and Rua da Picaria21 . However, this is a particular kind of corner, where the corner is divided diagonally into two plots.22 The scale of the intervention can be classified as small, in terms of size/area .As for the language of the building, it is characterized by a modern aesthetic. The plastic and formal approach makes it possible to create dynamics in the urban reading, which in this case is characterized by the general characteristic of Rua de Ceuta. The ninth building23 is the DKW building from 1950-1954 (Esq nº9), designed by architects Arménio Losa and Cassiano Barbosa. The project solves the corner situation at the intersection of Sá da Bandeira and Guedes de Azevedo and fits in with the surrounding volumes.24 The scale of the intervention can be classified as small in terms of size/area. As for the language of the building, it is characterized by a modern aesthetic, present in the works of architects Arménio Losa and Cassiano Barbosa. The plastic and formal approach makes it possible to create dynamics in urban reading, particularly in the formal composition of the lower floors. 2.1.3- 1950S-1960S: Compared to the 1940s and 1950s, there were major changes in the relationship between equipment and urban development. In terms of equipment, it adopts a more dynamic characteristic of the developing urban context, showing relationships of cohesion and structuring with the expanding urban environment, which we will analyze. The tenth piece of equipment25 is the Edifício Ouro em1950-1954 (Esq nº10), designed by the architect Mário Bonito . The project solves an urban void by fitting in and creating prominence from the surrounding volumes.26 The scale of the intervention can be classified as small in terms of size/area .The language of the building is characterized by a modern aesthetic. The plastic and formal approach makes it possible to create dynamics and resolve urban situations, filling the urban void in a reading of urban continuity. The eleventh piece of equipment27 is the Cooperative "O Lar Familiar" in 1950-1955 (Esq nº11), designed by the architect Mário Bonito. The scale of the intervention can be classified as intermediate in terms of size/area28 . The intervention structures part of the parish of Lordelo do Ouro, which is only associated with the cooperative, since the network does not extend into any context. As for the language of the complex, it is characterized by a modern aesthetic, characteristic of the architect Mário Bonito's training. The simple plastic and formal approach allows for a cohesive reading of the intervention, influenced by the fact that it is a proposal in a designed block. The twelfth piece of equipment29 is the 1951-1960 Ramalde Residential Unit (Esq nº12), designed by the architect Fernando Távora. The project is of great importance as it is the first intervention of its kind on a large scale in the city of Porto. The project is related to the Bairro de Alvalade (1942) in that it stands out from the urban environment in order to create its own controlled ambience. The complex is defined as a good example of the application of the principles of the Athens Charter, with the articulation of the volumes with pedestrian axes and garden spaces, differentiated from the access roads to the bars.30 The scale of the intervention can be classified as small, relative to the size/area. However, the reading in this case should be understood as intermediate, taking into account the importance in the urban definition of the site and the context in which it is inserted. As for the language of the complex, it is characterized by a modern aesthetic. The plastic and formal approach derives from the application of modern concepts of urban organization.31 The thirteenth building32 is the 1954-1956 Parnas Building (Esq nº13), designed by architect José Carlos Loureiro. The project solves a corner situation, transitioning the context through the altimetry/typology of the volumes.33 The scale of the intervention can be classified as small, in terms of size/area. As for the language of the building, it is characterized by a modern aesthetic, present and very characteristic of José Carlos Loureiro's work. The plastic and formal approach makes it possible to create dynamics in the urban reading, respectively in the volumetric transition in the corner, from a reading related to the avenue to a secondary street. 34 The fourteenth piece of equipment35 is the 1951-1954 Sports Pavilion (Left no. 14), designed by architect José Carlos Loureiro. The project resulted from the need to create a venue to host the 1953 Hockey World Cup. Only the arena was built and it was completed after the World Cup.36 The language of the building is characterized by a modern aesthetic. The plastic and formal approach allows the garden to create a different dynamic, naturally different from that of the old Palace, and from the urban landscape of Porto.37 The fifteenth building38 is the União Elétrica Portuense building from 1953-1961 (Esq nº15), designed by architect Januário Godinho. The project solves a corner situation through preexistence, at the intersection of Alexandre Herculano and Duque de Loulé, and fits in with the surrounding volumes.39 It is characterized by a dialogue between two architectural approaches: the pre-existing building and the new modern, pragmatic and rigorous volume. The scale of the intervention can be classified as small, in terms of size/area. As for the language of the building, it is characterized by the duality of languages, characteristic of this project, given the situation of the pre-existence. The plastic and formal approach makes it possible to create dynamics in the aesthetic reading of the context without losing the idea of continuity. The sixteenth piece of equipment40 is the Parque Residencial do Luso in 1959-1963 (Esq nº16), designed by architect José Carlos Loureiro. The project solves a corner situation at the intersection of Constituição and Alegria. The complex is divided into two volumetric typologies, a block and a tower, with the towers located on the Alegria road axis and the blocks set back and located inside the plot, next to a secondary access.41 The scale of the intervention can be classified as intermediate in terms of size/area .The various scales contained in the complex allow it to relate to its urban surroundings on the different urban axes. 2.2- 1960S-1990S - "TRANSFORMERS/REFORMERS" According to a cross-check of bibliographical sources, fifteen new facilities were built between 1960 and 1990. Fourteen pieces of equipment stand out in terms of their novelty for urban development. 2.2.1- 1960S-1970S: Compared to the 1950s and 1960s, there have been major changes in urban development. In terms of equipment, it is understood that they appear in greater relation to the development of the city, intervening in consolidated contexts and in areas of development/expansion, having an identical area/scale, which we will analyze. The first building42 is the Montepio Building in 1960-1961 (Esq nº17), designed by architect Agostinho Ricca. The project solves a corner situation and stands out from the surrounding volumes. The scale of the intervention can be classified as small, relative to the size/area. However, given that the volume is built at a height, it has a more expressive reading on the site, also associated with the formal dynamics of the building.43 The language of the complex is characterized by a modern-contemporary aesthetic. The plastic and formal approach makes it possible to create dynamics in the urban reading. The height and formal prominence influence the horizontal reading of the context at the time, allowing it to move on to denser or similar typologies in the following decades.44 The second building45 is the Pasteleira Housing Complex (Torres Vermelhas) in 1961- 1973 (Esq nº18), designed by architects Pedro Ramalho, Rogério Barroca and Sérgio Fernandez. The complex is divided into two volumetric typologies, the block and the tower. The towers are located on the Diogo Botelho road axis, while the blocks are located near the center of the block and next to the other streets that delimit the complex.46 The scale of the complex can be classified on a macro scale, in terms of size/area. The typological diversity (band/tower) that makes the transition from the surroundings (band) and marks the territory (tower), having an impact on the context between the mouth and Avenida da Boavista, in the production of high density blocks/towers. The language of the complex is characterized by a modern-contemporary aesthetic and a diversity of solutions, both typological and in terms of materials. The plastic and formal approach makes it possible to mark out the territory under development and change the reading of the urban landscape.47 The third building48 is the Faculty of Economics of the University of Porto in 1961-1974 (Esq nº19), designed by the architect Viana de Lima. The project resolves the formal organization of spaces and their succession, interconnected around two central courtyards.49 The scale of the intervention can be classified as small, in terms of size/area. Volumetrically, it makes the transition in scale from the tallest buildings in the Outeiro neighborhood, which decades later will become a university campus, to buildings of the same or greater scale. The language of the building is characterized by a modern aesthetic, greatly influenced by the aesthetic of exposed concrete in the works of Le Corbusier. The plastic and formal approach makes it possible to create dynamics in urban reading, particularly in the contrast with the Outeiro neighborhood. The fourth piece of equipment50 is the Silo Auto in 1961-1964 (Esq nº20), designed by the architects Alberto Pessoa and João Abel Bessa. The project is located in the center of the plot and is defined by the automobile program, whose volumetry is shaped around the accesses, and by the dynamic volumetry, which initially housed a diverse program.51 The scale of the intervention can be classified as intermediate in terms of size/area. The building stands out from its surroundings in the city center and matches the volumes of the Gonçalo Cristóvão and Sá da Bandeira axis (near the end of the section). As for the language of the building, it is characterized by a contemporary aesthetic, taking advantage of exposed concrete, combined with the formal organization of the car access ramps. The plastic and formal approach produces a contrast between the fullness and emptiness of the ramps and with the depth, which provides a very contrasting play of light and shadow. The fifth building52 is the Hotel Dom Henrique (1966-1974) (Esq nº21), designed by architect José Carlos Loureiro. The project solves a corner situation at the intersection of Guedes de Azevedo and Bolhão and stands out from the surrounding volumes through the tower.53 The scale of the intervention can be classified as small, relative to the size/area. The tower marks the city and the entire surrounding context, at a time when the typology appeared more regularly. The language of the building is characterized by a modern aesthetic, a characteristic of the architect José Carlos Loureiro .The plastic and formal approach makes it possible to change the dynamics of urban reading, through the complex volumetry of the tower, which alters the city skyline.54 The sixth building55 is the Caixa Previdência Headquarters in 1968-1978 (Esq nº22), designed by the architects Arménio Losa and Alfredo Matos Ferreira. In terms of the program, the building corresponds to the Service and has an area of approximately 27,000 square meters. The project is located on a plot facing António Patrício, in the central area of the block, and is characterized by the adaptation of the initial project, carried out by another architect, whose plan foresaw the projection of a residential building, being reformulated for offices.56 The scale of the building can be classified as intermediate in terms of size/area, which contrasts with the houses in António Patrício's context and with Avenida da Boavista itself, which is in the process of urban densification. As for the language of the building, it is characterized by a modern-contemporary aesthetic. The plastic approach implemented on the pre-existence makes it possible to create dynamics in the context, through the horizontal spans and the sunshade structure that characterizes the building. 2.2.2- 1970S-1980S: Compared to the 1960s and 1970s, there are no major changes in urban development. In terms of facilities, they continue the same logic as in the previous decade, which we will analyze. The seventh piece of equipment57 is a project from the SAAL process, from Bouça in 1973-1977 (Esq nº23), designed by the architect Álvaro Siza. The project is characterized by the design approach to the delicate urban situation, namely the need to work on the confrontation/cohabitation with the line, as well as the framing that breaks the logic of the houses, in the transition to the lot.58 The scale of the intervention can be classified as intermediate and fits in with the surrounding volumes. The language of the building is characterized by a contemporary aesthetic and the architect's very personal approach. The plastic and formal characteristics of the project make it possible to create urban dynamics, maintaining a reading of continuity, creating prominence through color and the manipulation of shapes. 59 The eighth piece of equipment60 belongs to the SAAL process, in the Antas area in 1974- 1976 (Esq nº24), designed by the architect Pedro Ramalho. The project is characterized by the rehabilitation of the houses facing Rua das Antas and Dr. Alberto de Aguiar and the design of two-storey, low-income housing within the block.61 The scale of the intervention can be classified as small-scale, framed within the block, with low-density volumes. As for the language of the building (see sheet E.30), it is characterized by a combination of modern-contemporary aspects and traditional construction. The plastic and formal approach is defined by traditional construction and low-cost materials, making it possible to conceive a better spatiality for the houses.62 The ninth piece of equipment63 , still in the SAAL process, is the Leal operation in 1974- 1977 (Esq nº25), designed by the architect Sérgio Fernandez. The project follows the same logic as the SAAL processes, proposing low-cost housing, both in terms of construction and rent, maintaining a unitary characteristic throughout the process.64 The scale of the intervention can be classified as small-scale, associated with the small houses, and fits in with the scale of the surrounding context. As for the language of the building, it follows the same logic applied to the Antas area. In this way, the complex is defined by the projection of a block of townhouses, separated by central courtyards, built on the basis of traditionalism articulating with modern forms, namely in the work of the gabled roofs facing into the courtyard. The tenth building65 is the SACHE Housing Cooperative in 1979-1989 (Esq nº26), designed by architect Manuel Correia Fernandes. As far as the program is concerned, the complex corresponds to housing and has an area of approximately 44,850 square meters. The project resolves an existing urban void and is organized in two formal typologies: houses with a patio facing the courtyard and a horizontal bar in a gallery.66 The scale of the intervention can be classified on a macro scale, in terms of size/area, with the capacity to organize the territory surrounding the proposal as a matrix structure. In the territory where it is located, the urban fabric is organized in a more organic way, covering various scales and levels of densification. As for the language of the building (see sheet E.32), it is characterized by a contemporary aesthetic. The plastic and formal approach makes it possible to create dynamics in urban reading, through the uniformity of the whole while maintaining coherent materiality, as well as through the use of various typologies, creating sensations of differentiated scale.67 2.2.3- 1980S-1990S: In relation to the 1970s and 1980s, there are changes in urban development in terms of equipment, which continue the same logic as the previous decade, which we will analyze. The eleventh piece of equipment68 is the Casa das Artes in 1981-1991 (Esq nº27), designed by architect Eduardo Souto de Moura. The project is located within the plot corresponding to Casa Allen. In this way, the proposal is characterized by respect and a desire not to obstruct or disturb the garden, to be hidden by a stone wall that delimits the project and the garden, at the edge of the plot.69 The scale of the intervention can be classified as small in terms of size/area. As for the language of the building, it is characterized by contemporary aesthetics and the architect's characteristic way of designing. The plastic and formal approach does not overlap with the context in which it is inserted (Allen house and garden), maintaining its initial identity. The twelfth piece of equipment70 is the Carlos Ramos Pavilion in 1985-1986 (Esq nº28), designed by the architect Álvaro Siza. The project is characterized by its location and formal approach to the garden, respecting the atmosphere and pre-existence ofboth the house and the garden, creating relationships with it and with the volume.71 The scale of the intervention can be classified as small, with its proximity to the human scale and the integration of the volumetry within the garden, adapting to and respecting the context. The language of the building is characterized by contemporary aesthetics and the architect's way of designing. The plastic and formal approach makes it possible to create relationships with the architecture, with the context and, in the future, with the built environment. The thirteenth building72 is the Faculty of Architecture of the University of Porto in 1984- 1999 (Esq nº29), designed by the architect Álvaro Siza. The complex is characterized by the dynamic composition of the various elements around a central courtyard, with the punctuality of the various towers and the main body, according to alignments that follow existing urban situations.73 The scale of the intervention can be classified as small in terms of size/area. However, given its dispersed implantation in various volumes around a large space, it allows for an intermediate reading. In addition, the architecture of the towers, in the general landscape of the waterfront, fits in with the language of the houses, despite the difference in scale. The language of the building is characterized by a contemporary aesthetic. The plastic and formal approach makes it possible to create dynamics in urban reading. The various volumes have relationships with each other, with differences that distinguish the various moments, both in materiality (granite-marble) and in the openings, gables, fullness and emptiness, which hierarchize the entire composition.74 The fourteenth building75 is the Faculty of Engineering of the University of Porto in 1988- 1998 (Esq nº30), designed by architects Luís Ramalho and Pedro Ramalho. The building is characterized by several vertical volumes associated with horizontal bodies that unify both wings, and by singular elements on the tops.76 The scale of the intervention can be classified as macroscale, in terms of size/area .It is comparable to the scale of the Hospital, as a high-density building that houses a large number of programs .The project fits into the macro-structure near the A3 junction with the VCI, as well as structuring the current university campus. The language of the building is characterized by a contemporary aesthetic. The plastic and formal approach makes the surrounding area more dynamic. The complex stands out due to its location and volumetric reading, which are suited to the site and urban circumstances.77 2.3- 1990S-2020S - "MOBILIZERS" According to a cross-check of bibliographic sources, there were forty-nine facilities in the decades from 1990 to 2020. Fifteen stand out in terms of their novelty for urban development, which we must take into account. 2.3.1- 1990S-2000S: The first facility78 is the Soares dos Reis National Museum in 1990-2001 (Esq nº31), designed by the architect Fernando Távora. The project is characterized by coherent intervention with the pre-existing building. The intervention in the existing building refers to the rehabilitation of spaces, as well as the organizational preparation for the new volume.79 The new body is located within the plot, at the back (garden) of the Museum. The scale of the intervention can be classified as small, in terms of size/area, but it corresponds to the highest density building, maintaining the volumetry of the surroundings and the general context of the area The .language of the building is characterized by modern and traditional aesthetics, taking into account the dual intervention. The plastic and formal approach allows it to fit into a consolidated context, resolving the transition between the existing volume and the patio, through a new volume, altering the materiality.80 The second piece of equipment81 is the Alfândega Building in 1993-1994 (Esq nº32), designed by architect Eduardo Souto Moura. The intervention in the Alfândega only takes place partially (in the volume facing the platform) and is characterized by spatial adaptation for the Transport Museum, without altering the materialityThe scale of the intervention can be 82 . classified as small-scale, within a large-scale facility. As for the language of the building, it is characterized by nineteenth-century architecture, which stands out from its surroundings close to the houses of Porto. The formal approach allows the building to maintain its identity, without altering the structure, as well as the permanence of the plasticity, only rehabilitated. The third building is the Café do Cais in 1993-1994 (Esq nº33), designed by architects Cristina Guedes and Francisco Vieira de Campos. The volume is characterized by its ability to omit the historical context in which it is located, due to the materials and construction technique, allowing the landscape and the surrounding reading to continue.83 The scale of the intervention can be classified as small in terms of size/area .The language of the building is characterized by a contemporary aesthetic, which contrasts with the historic surroundings. The plastic and formal approach allows for a continuous reading of its surroundings. It is slightly elevated and is defined by glass planes and volumes in slate, which mark the entrance and the kitchen. The entire material theme is based on the logic of the temporary elements that populate the Douro waterfront, from the commercial stalls to the boats that anchor at the quay. The fourth facility84 is the Casa dos 24 in 1995-2002 (Esq nº34), designed by the architect Fernando Távora. On the site where it stands, there are traces of the old assembly (of the 24), characterized by the mark of memory, an old element that defines itself with a new architecture, as a symbolic element that opens up to the landscape and marks an approach to an old record in the contemporary urban context.85 The scale of the intervention can be classified as small in terms of size/area. However, since the volume projects vertically and is located at a high point in the city, it marks a position next to the Cathedral and fits into the urban landscape of the city center. As for the language of the building, it is characterized by a contemporary aesthetic. The plastic and formal approach makes it possible to create/recreate dynamics in the surrounding context, through the new volume and the use of the ruins of the "house of 24".86 The fifth piece of equipment87 is the Almeida Garrett Library in 1995-2001 (Esq nº35), designed by architect José Manuel Soares. The building is characterized by its clear approach to its context, being a large volume that fits in with the garden, even going unnoticed among the large trees. It also provides new spaces for the enjoyment of the city, not just for the garden program, but for the city as part of Porto 2001.88 The scale of the intervention can be classified as small, relative to the size/area. The project, although volumetrically expressive (form-material), is part of a large territory, whose visibility and size conform to the context (gardens and the pavilion). As for the language of the building, it is characterized by a contemporary aesthetic. The plastic and formal approach allows it to create dynamics in the context in which it is inserted (gardens), without interfering in the living/use of the space. The sixth facility89 is the Serralves Museum of Contemporary Art in 1996-1999 (Esq nº36), designed by architect Álvaro Siza Vieira. The building is characterized by its volumetric definition, the succession of spaces and the way it fits in with the garden, as an integral element of the surrounding green environment.90 The scale of the intervention can be classified as small in terms of size/area. Given its location within the Serralves gardens, the relationship of scale only conforms to the natural space, freeing the building from external relations. The language of the building is characterized by a contemporary aesthetic, very present in the work of architect Álvaro Siza Vieira. The plastic and formal approach makes it possible to create dynamics with the natural space and the internal program.91 The seventh piece of equipment92 is the redevelopment of the Douro Marginal in 1997- 2002 (Esq nº37), designed by architects Manuel Fernandes de Sá and Francisco Barata. The project is characterized by requalification, uniformity and urban cohesion along the bank, as a structuring element in the form of transition of spaces (water-public-private).93 The scale of the intervention can be classified as macro-scale, in terms of size/area. The project intervenes in the public space along the bank of the Douro River, based on the principle of uniformity of materials and projection/rehabilitation of spaces, allowing for a cohesive reading of the city's different contexts along the river. The language of the intervention is characterized by urban cohesion. The plastic and formal approach is characterized by the intervention in the definition of various spaces along the bank, through sidewalks, stopping areas and green areas, as a unifying means of this corridor along the river, as well as the construction of new mobility structures, clearing places of public space. The eighth facility94 is the Passeio Atlântico in 1999-2002 (Esq nº38), designed by the architect Manuel de Solà-Morales. The project is characterized by its response to the qualification of urban environments, with the coordination of architecture with the various technical specialties in the formalization of an urban nature.95 The scale of the intervention can be classified as macroscale, given its size (area) and program (involving several volumes). The project thus makes it possible to resolve the arrival of the avenue at the mouth as well as the transition between Montevideo Avenue and Matosinhos (Gen. Norton de Matos Avenue). The language of the intervention is characterized by urban cohesion. The plastic and formal approach makes it possible to transform the dialectic between the coast and the city, incorporating various infrastructural elements that qualify the waterfront, supported by the transparent building and the continuity of the city park down to the beach. The ninth piece of equipment96 is the Funicular dos Guindais in 1999-2003 (Esq nº39), designed by the architect Adalberto Dias. The project is characterized by the recovery of the memory of the old Guindais elevator (1891) as well as the completion, at the top level, of the public space next to the ruin of the Fernandina wall.97 The scale of the intervention can be classified in terms of size/area. Although the program is infrastructural, the proposal fits into its context (in relation to the lower station) and promotes urban design (upper station). The language of the intervention is characterized by contemporary aesthetics and urban cohesion. The plastic and formal approach makes it possible to create dynamics of continuity in the surrounding context. The transparency of the crossing between the two stations allows the natural and urban landscape of Gaia and parts of the old city to be seen.98 The tenth piece of equipment99 is the Casa da Música in 1999-2005 (Esq nº40), designed by architect Rem Koolhaas. The building is characterized by its abstract shape, in every aspect, which stands out from the surrounding context, implanted in the plot, as if it were an "asteroid".100 Associated with the building, the sidewalk of the public space has also been worked on, like a large "playground" allowing activities from various sectors, including urban sport. The scale of the intervention can be classified as intermediate in terms of size/area. The project completely transforms the context of Boavista near the traffic circle. The transition in scale with the 19th century houses reflects the great contrast in volume. The dynamics of the building in the reading of the avenue allows new buildings to be built on a similar scale, along with buildings of an intermediate scale. The language of the building is characterized by the contemporary aesthetic present in the architect's work. The plastic and formal approach creates a contrast with the site. p.1- 2; However, at a certain point it recognizes the scale of the place and becomes a reference element for its surroundings.101 2.3.2- Decade 2000-2020: The first piece of equipment102 is the Oficinas Building and Houses in 2000-2007 (Esq nº41), designed by architect Eduardo Souto de Moura. The Oficinas Building is characterized by its formal approach, as a set of blocks resting on a plinth, each framing a city scene. The Houses are characterized by the formal organization of the program, where the garage serves as an elevation for the public space and the house develops towards the garden on the patio.103 The scale of the intervention can be classified as intermediate in terms of size/area. The two programs can be read as a whole. The workshop building is in a situation where the scale transitions from large blocks to houses, still with several urban voids, thus having greater visibility. The houses, on the other hand, fit in with the scale of the context. The language of the building is characterized by the contemporary aesthetic present in the architect's work. The plastic and formal approach of the complex creates distinct dynamics in the urban context. The main volume of the Oficinas follows the continuity of the existing houses, slightly transposing the scale of the site. The houses, as mentioned above, use the technical program of the house as an urban façade, maintaining the scale of the context. The second piece of equipment104 is the Burgo Building and Tower in 2003-2007 (Esq nº42), designed by the architect Eduardo Souto de MouraThe project is characterized by the transformation of Boavista (through the two volumes: low-high), by changing the scale, which until then in its layout was filled with low-density construction and small dwellings, altering the landscape and the reading of the urban axis.105 The scale of the intervention can be classified by the macro scale, in terms of size/area. The scale of the project is determined by the tower, which is located in the transition section of the urban fabric made up mostly of low-density housing, allowing the scale of the building along the avenue to be increased, along with other volumes, for greater continuity in the reading of the urban elevation of Boavista Avenue.106 The language of the building is characterized by the contemporary aesthetic present in the architect's work. The plastic and formal approach makes it possible to create dynamics in the urban context, particularly in the transition of the avenue's context from a densely built-up area to an area marked by houses (villas). The third building107 is the Garcia de Orta Secondary School in 2007-2010 (Esq nº43), designed by the architect Ricardo Bak Gordon. The building is characterized by its ability to be incorporated between the existing pavilions, serving as an extension of them and as a unifying element.108 The scale of the intervention can be classified as small in terms of size/area. The proposal seeks to exert the same scale as the existing volumes, allowing for a cohesive reading of the school complex. The language of the building is characterized by a contemporary aesthetic. The plastic and formal approach allows it to fit into the context by creating spaces. The fourth building109 is the I3S Instituto de Investigação e Inovação em Saúde 2009- 2015 (Esq nº44), designed by architects João Pedro Serôdio and Isabel Furtado. The building is characterized by a heavy volume that is deconstructed at various moments and allows contact with the surroundings.110 The scale of the intervention can be classified as intermediate in terms of size/area. Although the project is formally compact, its scale is similar to the context, namely the adjacent faculties (psychology and dentistry), making part of the university's context uniform . As for the language of the building (see sheet E.50), it is characterized by a contemporary aesthetic. The plastic and formal approach makes it possible to create a denser urban dynamic, given the building's dense volume. 4 - CONCLUSION: From this analysis, we can draw several conclusions during the period under analysis. Between 1930-1960, as far as the urban environment is concerned, it can be seen that these facilities continue to be associated with major urban axes and are located outside the old city center. We can point out that in this period, the facilities referenced characterize a set of ; interventions that structure denser urban contexts, within the central zones, progressively moving to areas of the city to the east and west. Between 1960-1990, we can point out that the facilities are either associated with major urban axes, or are part of urban voids or consolidating urban networks in areas peripheral to the structuring roads, and are mainly located outside the old city center, in progressively more peripheral areas. In this period in particular, there is a big difference in relation to the program that emerged in the city, initially marked by mainly service facilities until 1970, changing to housing until the 1990s, driven by the revolutionary situation of April 25, driving housing creation processes (SAAL), which has an impact on Porto's urban fabric, relatively in the projection of meshes, which structure part of the urban territory. Between 1990- 2020, we can point out that the equipment referred to does not follow in a linear fashion the progressive densification of equipment in the more peripheral areas of the city. In this way, there is a greater insertion in areas mostly outside the old city center and the outskirts of the city (near the ring road). Of these facilities, it can be seen that in some cases they are still associated with major urban layouts, but the majority are outside the structural axes, in secondary networks. It should also be noted that this period saw larger-scale works, with a more macro, large-scale feel, as an important element for urban cohesion and the city's landscape (as a unifying element), even if the various "fact" nuclei are understood. Overall, in the three periods analyzed, there is a homogeneous number of facilities appearing in the city. Regardless of the urban situation in which they are located, the equipment is seen as an urban transformer or transporter, capable of changing the existing dynamic, clearly associated with its function/program. However, in addition to its function, which is seen as important for the context and era in which it is inserted, the equipment is, from this point of view, a parameter that does not directly interfere in the role that the equipment plays in the city, even though it is relevant, and we have examples of this, in terms of the presence of the program, which is also closely linked to the need for that same program (São João Hospital) or any of the housing developments mentioned, especially in the 50s and 70s. In this way, the city thrives on the interaction between the equipment and the urban fabric, which is often a precursor to urban development, either through the creation of new structuring axes, which meet the building, or through the existence of a plan/grid/axis, in the process of development, where the equipment can be implanted as a carrier of urbanity. 5 - RFERENCES: 1 - In previous articles we have described most of the facilities as well as the evolution of the city of Porto, where the parameters of urban insertion and the surroundings are mentioned: - MARTINS, Ricardo and FURTADO, Gonçalo, "O ANTECEDENTE CULTURAL DO PORTO NA TRANSIÇÃO PARA O SÉCULO XXI", ARTE CAPITAL, July, 2021 (http://www.artecapital.net/arq_des-174-o-antecedente-cultural-do-porto-na-transicao-para-o-seculo-xxi) accessed on 05/04/2023; and MARTINS, Ricardo and FURTADO, Gonçalo, "COMPREHENSÃO DA CIDADE DO PORTO Até AO SÉCULO XX", ARTE CAPITAL", July, 2021 (http://www.artecapital.net/arq_des-175-compreensao-da-cidade-do-porto-ate-ao-seculo-xx) accessed on 05/04/2023; 2 - ROSSI, Aldo, (2018), "Architecture of the city", Lisbon, Editora 70 p. 151; 3 - See articles in footnotes; 4 - BARTOLO, José "Cassiano Branco", Lisbon, Editores QuidNovi, 2011, p. 58-60; 5 - PINTO, Paulo Tormenta (2007) "Cassiano Branco, 1897-1970: arquitetura e artifício", Casal de Cambra, Caleidoscópio, p.39-42; 6 - See articles in footnotes; 7 - CAPELA, Inês Catarina (2016) "Sinalética do Hospital de São João: relatório de estágio curricular na empresa A Transformadora" [Master's thesis, Faculty of Fine Arts of Porto], Porto, Editor FBAUP, pag. 8 - U. Porto Centenary, (2011) "Inauguration of the Hospital de São João" (https://centenario.up.pt/ver_momento47e8.html?id_momento=48) 9 - See articles in footnotes; 10 - CARDOSO, Ana Rita (2008) "Ensaio fílmico sobre o Cinema [Batalha]" [Master's thesis, Faculty of Fine Arts of Porto] Porto, Editor FBAUP, page 45; 11 - FERREIRA, Diana Sofia (2018) "Cinema Batalha: memory, knowledge and innovation: proposal for a dynamic identity system" [Master's thesis, Faculty of Fine Arts of Porto] Porto, Editor FBAUP, pages 37-38; 12 - See articles in footnotes; 13 - COSTA, Ana Alves (2015) "Projeto e circunstância: A coerência na diversidade da obra de Rogério de Azevedo" [PhD thesis, Faculty of Architecture of Porto] Porto, Editor FAUP, p. 267-269; 14 - COSTA, Ana Alves (2013) "Rogério de Azevedo", Editora Verso da História, Porto, p.75-81; 15 - See articles in footnotes; 16 - (1951) "Praça D. João I and its 'Palácio Atlântico'", Porto - 3 maps 17 - See articles in footnotes; 18 - NEVES, António (2015) "Arménio Losa e Cassiano Barbosa, arquitectura no segundo pós-guerra: arquitectura moderna, nacionalismo e nacionalização" [Doctoral dissertation, Faculty of Architecture of Porto], Porto, p. 196-198; 19 - See articles in footnotes; 20 - See articles in footnotes; 21 - SOUSA, João Filipe (2006) "Rua de Ceuta: estudo dos planos e do objeto" [academic work, Faculty of Architecture of Porto] Porto, Editor FAUP, p.86; 22 - Ibi Idem, pages 30-35; 23 - See articles in footnotes; 24 - BARBOSA, Branca Oliveira (2014) "Reflexos do movimento moderno no edifício DKW de Arménio Losa e Cassiano Barbosa", [Master's thesis, Faculty of Architecture of Porto], Porto, p.25-30; 25 - See articles in footnotes; 26 - RIBEIRO, Helder Casal (2012) "A experimentação do moderno na obra de Mário Bonito: um processo de desenho dos anos 40 a 60" [Doctoral dissertation, Faculty of Architecture of Porto], Porto, p.201; 27 - See articles in footnotes; 28 - ROCHA, Marta (Ed.) & GONÇALVES, Eliseu (Ed.) (2019) "Bairro de moradias económicas da cooperativa, o Lar Familiar = Affordable housing estate of the cooperative, o Lar Familiar: Mário Bonito, Porto, 1950-1962", Editora FAUP, Porto. 29 - See articles in footnotes; 30 - TÁVORA, Fernando (1993) "Fernando Távora", Editora Blau, Lisbon, p.54-55; 31 - VASCONCELOS, Diana da Silva (2009) "Um bairro moderno no Porto: o bairro de Ramalde de Fernando Távora" [academic work, Faculty of Architecture of Porto] Porto, Editor FAUP, p.67-69; 32 - See articles in footnotes; 33 - ESTEVES, Mónica Filipa (2015) "Edifício Parnaso: intervenção em arquitetura do movimento moderno" [Master's thesis, Faculty of Architecture of Porto], Porto, p.141-151; 34 - COSTEIRA, Luís Pinto (2021) "José Carlos Loureiro: arquitetura e paisagem urbana" [Master's thesis, Faculty of Architecture of Porto] Porto, Editor FAUP, p.22-32; 35 - See articles in footnotes; 36 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Loureiro", Editora Verso da História, Porto, p. 35-37; 37 - LOUREIRO, José Carlos "Rehabilitation of the Sports Pavilion - Porto" Porto, SOB - Sebentas d'Obra, p.45; 38 - See articles in footnotes; 39 - LAMEIRA, Gisela (2013) "Januário Godinho, 1910-1990", Editora Verso da História, Vila do Conde, p. 16-20; 40 - See articles in footnotes; 41 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Loureiro", Editora Verso da História, Porto, p. 52-57; 42 - See articles in footnotes; 43 - GONÇALVES, José Fernando (2013) "Agostinho Ricca, 1915-2010", Editora Verso da História, Vila do Conde, p.42-47; 44 - RICCA, Agostinho "Agostinho Ricca: arquitetura, obra, desenho = architecture, work, design" Lisbon, Uzina Books, p.31 45 - See articles in footnotes; 46 - PIMENTA, Ana Rita (2012) "O conjunto habitacional das torres vermelhas da Pasteleira" [Master's dissertation, Faculty of Architecture of Porto] Porto, p.81-107; 47 - ROCHA, Marta, GONÇALVES, Eliseu & Silva, Sérgio Dias (2019) "Bairro da Pasteleira, conjunto habitacional das torres vermelhas = Pasteleira housing estate, torres vemelhas housing complex: João Serôdio, Luís Almeida d'Eça e Rui Paixão, 1966-1972" Porto, Editor FAUP, p.9-12; 48 - See articles in footnotes; 49 - SECCA, Amândio Fernandes (Coord.) (1996) "Viana de Lima: arquiteto 1913-1991", Editora Árvore, Porto, p. 152-155; 50 - See articles in footnotes; 51 - Porto Ágora Culture and Sport (2022) "Silo-Auto", Porto (https://www.agoraporto.pt/parques-municipais/silo-auto) 52 - See articles in footnotes; 53 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Loureiro", Editora Verso da História, Porto, p. 64-67; 54 - COSTEIRA, Luís Pinto (2021) "José Carlos Loureiro: arquitetura e paisagem urbana" [Master's thesis, Faculty of Architecture of Porto] Porto, Editor FAUP, p.101-111; 55 - See articles in footnotes; 56 - MORAIS, Christopher Gameiro (2010) "Arménio Losa e a habitação coletiva na década de 50 no Porto" [Master's dissertation, Faculty of Architecture of Porto], Porto, p.61-64; 57 - See articles in footnotes; 58 - SILVA, Helena Sofia & SANTOS, André (2011) "Álvaro Siza, 1932-...", Editora QuidNovi, Vila do Conde, p.34-37; 59 - MACHADO, Idalina (2012) "Lutas sociais, habitação e quotidiano: análise da genese e estruturação do Bairro da Bouça na cidade do Porto (do SAAL à solução cooperativa) Porto, p.21; 60 - See articles in footnotes; 61 - BANDEIRINHA, José António (2007) "O Processo SAAL e a arquitetura no 25 de Abril de 1974", Coimbra University Press, Coimbra, p.424-425; 62 - COSTA, Ana Alves & FERNANDEZ, Sérgio (2020) "Cidade Participada: arquitetura e democracia: Antas, Pedro Ramalho", Tinta da China, Lisbon, p.59; 63 - See articles in footnotes; 64 - Ibi Idem, p. 88-90; 65 - See articles in footnotes; 66 - FERNANDES, Manuel Correia (2015) "Frente e Verso, documentos, periódicos de construção 02: Edifício de habitação coletiva, cooperativa SACHE, 1º fase", Porto, Desdobrável Frente e Verso; 67 - SILVA, Elis Duarte (2013) "O papel do arquiteto na assistência técnica de obras: um estudo de caso no sache Serralves na cidade do Porto, em Portugal", Porto, Editor FAUP, p.33; 68 - See articles in footnotes; 69 - MOURA, Souto de (2015) "1980-2015" Neuss: Stiftung Insel Hombroich. Exhibition catalog, BDA Publishing House (Bund Deutcher Architekten), Neuss, p. 95; 70 - See articles in footnotes; 71 - PIQUERAS, Norberto (Coord.) (2003) "Álvaro Siza y la arquitectura universitária", Editora Universitat de València, Valencia, p.51-53 72 - See articles in footnotes; 73 - SIlVA, Helena Sofia & SANTOS, André (2011) "Álvaro Siza Vieira ,"Editora Quidnovi, Vila do Conde, p. 44-47; 74 - FERNANDES, Maria Eugénia Matos, "A Universidade do Porto e a Cidade: Edifícios ao longo da História", Gráfica Maiadouro, 2007, pages 98-99; 75 - See articles in footnotes; 76 - PONTE, Sara, (Ed.) (2007) "FEUP: o projeto e a obra", Editora U.Porto, Porto. 77 - FERNANDES, Maria Eugénia Matos, "A Universidade do Porto e a Cidade: Edifícios ao longo da História", Gráfica Maiadouro, 2007, pages 78-81; 78 - See articles in footnotes; 79 - TÁVORA, Fernando (1993) "Percurso Roteiro", CCB Edition, Lisbon, p. 82; 80 - MENDES, Manuel (Coord.) (2020) "Fernando Távora: as raízes e os frutos, palavra, desenho, obra, 1937-2001" Porto, Editor FIMS, p.60; 81 - See articles in footnotes; 82 - TOUSSANT, Michel & RAPAGÃO, João Paulo (2018) "Guia de arquitetura do Porto: do movimento moderno à actualidade, 1942 2017", Edition A+A Books, Lisbon, p. 48-49; 83 - CAMPOS, Francisco Vieira de (2022) "Memory exercise: Café do Cais, Porto", Porto (http://menosemais.com/conteudo/cafe-docais) 84 - See articles in footnotes; 85 - TÁVORA, Fernando (2002) - Catálogo; Edition COAG, 2002, A Coruña, p. 82-83; 86 - MENDES, Manuel (Coord.) (2020) "Fernando Távora: as raízes e os frutos, palavra, desenho, obra, 1937-2001" Porto, Editor FIMS, pág. 87 - See articles in footnotes; 88 - TOUSSANT, Michel & RAPAGÃO, João Paulo (2018) "Guia de arquitetura do Porto: do movimento moderno à actualidade, 1942 2017", A+A Books Edition, Lisbon, p. 45; 89 - See articles in footnotes; 90 - SIZA, Álvaro (1995) "Álvaro Siza: Obras e Projetos", Exhibition catalog, Edition C.G.A.C, Matosinhos, p. 126-133; 91 - NETO, Pedro Leão (2020) "Scopio newspaper: the idea of Álvaro Siza: the museum Serralves" Porto, Editor Cityscopio, pág. 92 - See articles in footnotes; 93 - Habitar Portugal (2000-2002) "Requalificação Urbanistica da Marginal do Douro", Porto (http://www.habitarportugal.org/pt/projecto/requalificacao-urbanistica-da-marginal-do-douro/) 94 - See articles in footnotes; 95 - CORREIA, Francisco Nunes (2002) "Passeio Atlântico", Polís Program Coordinating Office, Lisbon 96 - See articles in footnotes; 97 - TOUSSANT, Michel & RAPAGÃO, João Paulo (2018) "Guia de arquitetura do Porto: do movimento moderno à actualidade, 1942 2017", A+A Books Edition, Lisbon, p. 66; 98 - DIAS, Adalberto (2010) "Funicular Guindais", Pamplona, Editor E.T.S de Arquitetura, Universidad de Navarra, pg. 99 - See articles in footnotes; 100 - FURTADO, Rui, OLIBEIRA, Rui & MOAS Pedro [et.al] (2003) " A engenharia da Casa da Música", Editor Afassociados, 101 - VASCONCELOS, João Pedro Pignatelli (2011) "A obra aberta em Rem Koolhaas" Porto, Editor FAUP, pág. 102 - See articles in footnotes; 103 - CECILIA, Fernando Márquez & LEVENE, Richard (2009) "Eduardo Souto de Moura: 2005-2009" Editora El Croquis, Madrid, p.98, El Croquis Magazine. 104 - See articles in footnotes; 105 - MOURA, Eduardo Souto (2015) "Frente e Verso, documentos, periódicos de construção 02: edifício de comércio e serviços Burgo" Porto, CIAMH, Leaflet Frente & Verso 106 - MOURA, Eduardo Souto de (2015) "1980-2015" Neuss: Stiftung Insel Hombroich. Exhibition catalog, BDA Publishing House (Bund Deutcher Architekten), Neuss, p. 201-219; 107 - See articles in footnotes; 108 - TOUSSANT, Michel & RAPAGÃO, João Paulo (2018) "Guia de arquitetura do Porto: do movimento moderno à actualidade, 1942 2017", A+A Books Edition, Lisbon, p. 136; 109 - See articles in footnotes; 110 -MOURA, Eduardo de Souto & SERÔDIO, João Pedro [et.al] (2018) "Oporto University institute of research and innovation in health : I3S, Serôdio, Furtado & Associados, AArquitectos = Instituto de investigação e inovação em saúde da Universidade do Porto", Editora AMAG, Porto, p.3-5