The relationship between equipment and the city: The case of the city of Porto between 1930-90

"The relationship between equipment and the city: The case of the city of Porto between 1930-90" [R.Martins e G.Furtado, "A reação entre equipamento e cidade (centralizadores/estruturadores e transformadores: O caso da cidade do Porto entre 1930-1990, in: Josep Muntanhola (ed), Arquiteconics, Mind land and society, N.35, Barcelona, Março 2024, p53-88. ISBN 978-84-10008-36-6] 0 - INTRODUCTION: This article focuses on the relationship between equipment and urban fabrics, identifying general factors and designating these interactions as centralizing/structuring and transforming. The equipment constitutes "an event in urban formation"1 (as Aldo Rossi put it) that representatively marks an era and remains in time, becoming a program that even informs a part of the city. These are works that often mark a new formation, a new event in urban history, and which determine or influence the process of urban development. As Domingos Tavares points out, architecture is capable of mobilizing urban aspects for the context in which they are inserted, providing the urban space with important architectural tools for structuring it. With this in mind, we carried out our analysis2 centered on Porto, based on a set of parameters structured into three designations that show a transformation of the city's urban environment. These definitions are reflected in the conclusion. 1.- URBAN CENTRALIZATION/DYNAMIZATION (1939-1960) Between the 1930s and 1960s, according to a cross-check of bibliographical sources, we identified 43 new facilities in the port. In terms of selection, we will analyze sixteen pieces of equipment in terms of their novelty/impact on urban development. 1.1- 1930S-1940S: With regard to the first period, we took the opportunity to structure a base of observations, which have since appeared in different periods, pointing to slight changes in the relationship between equipment and the city. The first building we analyzed was the 1938-1941 Coliseu do Porto (see fig.1), designed by Cassiano Branco, Júlio José de Brito and Mário Abreu. 3 It is located in a consolidating urban context (Santo Ildefonso), with a defined block (Passos Manuel, Santa de Catarina, Formosa and Alegria streets) and a surrounding area of housing and commerce ranging from two to six floors, 4 . The scale of the intervention can be classified as small in terms of size/area. 5 The second case consists of the 1933-1959 São João Hospital (see fig.2) designed by Hermann Distel. 6 It corresponds to a new building and is part of the fragmented urban context of Paranhos, between the Circunvalação road and Dr. Plácido da Costa, Dr. António Bernardino de Almeida and Roberto Frias streets. 7 It is located in a sparsely urbanized area and stands out in the surrounding landscape, and the scale of the intervention can be classified as macro-scale, in terms of size/area. 8 2.1.2- 1940S-1950S: Between the 1930s and 1940s, there were changes in the relationship between equipment and urban development, and these took on a different characteristic, showing a dynamic relationship with the expanding urban environment, which is what we are focusing on analyzing. So the third case consists of the Cinema Batalha from 1944-1947 (see fig.3), designed by Artur Andrade, as a new building, where the "High-Life da Batalha" salon used to be.9 It is part of the consolidated urban context of the Cathedral, in a block defined by Praça da Batalha, Rua de Santo Ildefonso, Rua do Campinho and Rua entre Paredes. The surrounding area consists of housing (4 to 6 storeys), commerce, leisure and services. 10 The project resolves the corner situation and fits in with the surrounding volumes, highlighting the design of the façade, 11 and the scale of the intervention can be classified as small in relation to the size/area. The intervention makes the whole surrounding area more dynamic, especially Batalha Square, where the cinema faces. The fourth case consists of the 1942-1944 Rialto Building (see fig.4), designed by Rogério de Azevedo as a new building and located in a consolidated context (Santo Ildefonso), in a defined block (Passos Manuel, Sá da Bandeira and Bonjardim streets and Dom João I Square) and the surrounding area consists of housing (4 to 8 floors), small businesses, leisure (Rivoli Theatre and Coliseu do Porto) and services. 12 The project resolves 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/area13 , and the building completely breaks the existing horizontality, punctuating the surroundings and becoming a visual and local reference point.14 The fifth case consists of the 1945-1951 Palácio Atlântico (see fig.5), designed by ARS as a new building and set in a consolidated urban context (Santo Ildefonso), in a defined block (by Sá da Bandeira, Formosa and Bonjardim streets and Dom João I square) and the surrounding area consists of housing (4 to 10 floors), small shops, leisure (Rivoli Theatre and Coliseu do Porto) and services.15 The scale of the intervention can be classified as small, in terms of size/area, however, 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. The sixth case consists of the 1945-50 Bloco da Carvalhosa (see fig.6), designed by Arménio Losa and Cassiano Barbosa, as a new building and is part of the consolidating urban context (Cedofeita), in a defined block (by the streets of Boavista, Aníbal Cunha, Igreja de Cedofeita and Cedofeita), and the surrounding area is housing (between 2 and 8 floors) and smallscale commerce.17 However, it does not follow the alignment of the existing buildings, making a small indentation, 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 The scale of the intervention can be classified as small in terms of size/area. The seventh case consists of the 1949-1952 Bom Sucesso Market (see fig.7), designed by the ARS as a new building and set in a fragmented urban context (Massarelos), in a defined block (Gonçalo Sampaio and Júlio Dinis streets and the Boavista traffic circle), and the surrounding area corresponds to an urban void, marked by the equipment.19 It can be seen that the scale of the intervention can be classified as small in terms of size/area, but the volumetric expression allows for an intermediate reading, especially at the time, taking into account the altimetry of the context, with the market appearing 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 eighth case consists of the Soares & Irmão Building from 1949-1954 (see fig.8), designed by Arménio Losa and Cassiano Barbosa, as a new building and is part of a consolidated urban context (Vitória), in a defined block (by the streets of Ceuta (recently opened), Picaria, Conceição and José Falcão) 20 , the surrounding area consists of housing (from 2 to 8 floors), small-scale commerce, service (garage "O comércio do Porto") and leisure (Hotel Infante Sagres)21 . It can be seen that the project solves a corner situation between Rua de Ceuta and Rua da Picaria, but it is a particular corner situation, where the corner is divided diagonally into two plots22 , and the scale of the intervention can be classified as small-scale, in terms of size/area. The ninth case consists of the DKW Building from 1950-1954 (see fig.9), designed byArménio Losa and Cassiano Barbosa, as a new building and inserted in the urban context in consolidation (Santo Ildefonso), in a defined block (by the streets of Sá da Bandeira, Guedes de Azevedo, Bolhão and Firmeza), and the surrounding area consists of housing (5 to 8 floors), small businesses, leisure and services.23 It resolves the corner situation at the intersection of Sá da Bandeira and Guedes de Azevedo and fits in with the surrounding volumes24 , and the scale of the intervention can be classified as small, in relation to the size/area. 2.2.3- 1950S-1960S In relation to the 1940s and 1950s, we identified major changes in the relationship between equipment and urban development and they took on a more dynamic characteristic of the developing urban context, presenting relationships of cohesion and structuring with the expanding urban environment, which we will have to analyze. The tenth case consists of the 1950-1954 Ouro Building (see fig.10), designed by Mário Bonito, as a new building and set in a consolidated urban context (Bonfim), in a defined block (Fernandes Tomás, Coelho Neto and Santo Ildefonso streets), and the surrounding area consists of housing (ranging from 3 to 6 floors), small-scale commerce and services, and the administrative court in the north.25 It can be seen that the project solves an urban void by fitting in and creating prominence from the surrounding volumes26 , and the scale of the intervention can be classified as small-scale in terms of size/area. The eleventh case consists of the 1950-1955 "O Lar Familiar" Cooperative (see fig.11), designed by Mário Bonito, as a new building and set in a fragmented urban context (Lordelo do Ouro), in a block structured by a regular grid of two-storey houses, organized in bands (influenced by the Athens Charter, it defines a block unit with a hierarchical surrounding public space)27 , and the surrounding area is made up of small-scale housing and large urban voids.28 The scale of the intervention can be classified as intermediate, in terms of size/area, and 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. The twelfth case consists of the Ramalde Residential Unit of 1951-1960 (see fig. 12), designed by Fernando Távora, as a new building and inserted in the fragmented urban context (Ramalde), defined (by Avenida Dr. Antunes Guimarães and Rua Dr. Vasco Valente), and the surrounding area consists of small-scale housing and large urban voids.29 The project is of great importance because it is the first intervention of its kind on a large scale in the city of Porto, and has links with the Bairro de Alvalade (1942) in terms of highlighting 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 volumes with pedestrian axes and garden spaces, differentiated from the road access axes to the bars.30 The scale of the intervention can be classified as small, in relation to the size/area, but in this case it should be read as intermediate, taking into account its importance in the urban definition of the site and its context. 31 The thirteenth case consists of the Parnas Building of 1954-1956 (see fig.13), designed by José Carlos Loureiro, as a new building and is part of a consolidated urban context (Cedofeita), in a defined block (Avenida da Boavista, Rua de Nossa Sra. de Fátima, Rua de Oliveira Monteiro and Rua de Dr. Carlos Cal Brandão), and the surrounding area is marked by housing (from 2 to 7 floors), small businesses and services (Hospital Militar Rei D. Pedro V).32 It can be seen that the project solves a corner situation, making the transition of context through the altimetry/types of the volumes33 , and the scale of the intervention can be classified as small-scale, in relation to the size/area.34 The fourteenth case consists of the 1951-1954 Sports Pavilion (see fig.14), designed by José Carlos Loureiro, as a new building and inserted into the consolidated urban context (Massarelos), in a particular context, within the gardens of the Crystal Palace. The pavilion was set to be located in the Palácio de Cristal35 , implying that it would have to be dismantled, and the surrounding area consists of housing (2 to 5 floors), small shops, services and leisure (Soares dos Reis National Museum).36 It can be seen that the project is the result of 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 Cup37 , and the scale of the intervention can be classified as small, relative to the size/area. The fifteenth case consists of the União Elétrica Portuense building from 1953-1961 (see fig.15), designed by Januário Godinho, as a rehabilitation/construction of a new building. It is located in a consolidated urban context (Bonfim), in a defined block (Alexandre Herculano, Duque de Loulé and Fontaínhas streets), and its surroundings consist of housing (varying between 2 and 8 floors) and small-scale commerce. 38 The project resolves a corner situation through the pre-existence, at the intersection of Alexandre Herculano and Duque de Loulé, and fits in with the surrounding volumes39 , characterized by a dialogue between two architectural approaches, the pre-existence with the new modern volume, pragmatic and rigorous, and the scale of the intervention is classifiable by small scale, in relation to size/area. The sixteenth case consists of the Luso residential complex of 1959-1963 (see fig.16), designed by José Carlos Loureiro, as a new building and inserted in the urban context in consolidation (Bonfim), in a defined block (by the streets of Constituição, Alegria, Professor Correia de Araújo and Professor de Jesus Caraça) and the surrounding area consists of housing (from 2 to 5 floors) and small shops.40 The project resolves a corner situation, at the intersection of Constituição and Alegria, and is divided into two volumetric typologies, block and tower, with the towers located on the Alegria road axis and the blocks set back and located inside the plot, next to a secondary access41 , and 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 simultaneously fit in with its urban surroundings and promote the transition of scale, through the tall volumes that punctuate the context. During the generalized analysis of urban development from 1930-1960, the facilities that appeared in this period had transformative characteristics in their relationship with the urban context. It can be concluded that during this period, of the facilities mentioned, 8 were housing facilities42 ; 3 were leisure facilities43 ; 3 were service facilities44 . They correspond to different design situations. Thus, the Batalha Cinema and the União Elétrica Portuense building constitute a rehabilitation/project situation and the remaining fourteen facilities correspond to a new building situation. With regard to the scale of the facilities, it can be seen that 2 correspond to an intermediate scale intervention45 , capable of structuring the surrounding context and 14 correspond to a small scale intervention46 , with the Ramalde Unit having an intermediate reading in relation to the plan and its urban insertion. In terms of urban insertion, the facilities selected are outside the context of the city center, in a variety of situations, mostly in contexts of consolidation (Lapa, Batalha, Bonfim) or urban transformation (Boavista Lordelo Ramalde), and in relation to the relationship with the urban space, we describe the facilities as "centralizers and dynamizers", with the facilities inserted in the urban contexts of the city center, which corresponds to the 1930s-1940s, having a role of centralizing programs and completing the existing structure, fixing mobility flows and creating a network of relationships. The facilities in the peripheral context closer to the center, which corresponds to the 1940s-1960s, have a dynamizing characteristic, located in a developing context, accelerating the urbanization/consolidation process. 2.2- Transformation/Reformulation (1960-1990) According to a cross-check of bibliographical sources, there were 15 new facilities in the 1960s to 1990s, of which 14 stand out in terms of their novelty in urban development, which we will analyze. 2.2.1- 1960s-1970s In relation to the 1950s and 1960s, we identified 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 case consists of the Montepio Building of 1960-1961 (see fig.17), designed by Agostinho Ricca, as a new building and inserted into the consolidated urban context (Massarelos), in a defined block (by the streets of Júlio Dinis, da Saudade, da Paz and São Paulo), and the surrounding area is made up of housing (four to six floors), small businesses and services (Liceu Rodrigues de Freitas and Hospital Militar Rei D. Pedro V).47 The project resolves a corner situation and stands out from the surrounding volumes48 , and the scale of the intervention can be classified as small, in terms of size/area, however, given that the volume is built in height, it has a more expressive reading on the site, also associated with the formal dynamics of the building. 49 The second facility is the Pasteleira Housing Complex (Torres Vermelhas) from 1961- 1973 (see fig.18), designed by Pedro Ramalho, Rogério Barroca and Sérgio Fernandez, as a new building and is part of a fragmented urban context (Foz do Douro), in a defined territory (by the streets of Diogo Botelho, Fernão Lopes, Bartolomeu Velho and Gomes de Eanes de Azurara), and the surrounding area consists of small-scale housing, the Pasteleira North complex, small shops and some urban voids.50 It can be seen that the complex is divided into two volumetric typologies, the block and the tower. The towers are located on the Diogo Botelho road axis, and the blocks are located near the center of the block and next to the other streets that delimit the complex.51 The scale of the complex is classifiable by macro-scale, in terms of size/area, and the typological diversity (band/tower) makes the transition from the surroundings (band) and marks the territory (tower), having an impact on the context between the estuary and Avenida da Boavista, in the production of high-density blocks/towers. 52 The third case consists of the Faculty of Economics of the University of Porto from 1961- 1974 (see fig.19), designed by Viana de Lima as a new building and set in a fragmented urban context (Paranhos), in a defined territory (Roberto Frias streets, the Outeiro neighborhood and the vacant land between the faculty and the São João Hospital), and the surrounding area consists of housing (2 to 4 floors - Outeiro neighborhood) and urban voids. 53 The project resolves the formal organization of spaces and their succession, interconnected around two central courtyards54 , and the scale of the intervention can be classified as small-scale, in terms of size/area, since volumetrically it makes the transition in scale from the tallest buildings in the Outeiro neighbourhood, which decades later will be transformed into a university campus, to buildings of an identical or larger scale. The fourth case consists of the Silo Auto of 1961-1964 (see fig.20), designed by Alberto Pessoa and João Abel Bessa, as a new building and set in a consolidating urban context (Santo Ildefonso), in a defined block (Guedes de Azevedo, do Bonjardim, Gonçalo Cristóvão and Sá da Bandeira streets), and the surrounding area consists of housing (from 2 to 9 floors) and commerce.55 The project is located in the center of the plot and is defined by the automobile program, whose volume is shaped around the accesses, and by the dynamic volume, which initially housed a different program56 , and the scale of the intervention can be classified as intermediate, in terms of size/area, with the building standing out from its surroundings in the city center and matching the volumes of the Gonçalo Cristóvão and Sá da Bandeira axis (near the end of the section). The fifth case consists of the Hotel Dom Henrique from 1966-1974 (see fig.21), designed by José Carlos Loureiro as a new building and set in a consolidating urban context (Santo Ildefonso), in a defined block (Guedes de Azevedo, Bonjardim, Bolhão and Fernandes de Tomás streets), and the surrounding area consists of housing (from 2 to 9 floors), small businesses and services (Silo-Auto).57 The project solves a corner situation at the intersection of Guedes de Azevedo and Bolhão and stands out from the surrounding volumes through the tower58 , and the scale of the intervention can be classified as small in terms of size/area, with the tower marking the city and the surrounding context at a time when the typology appeared more regularly.59 The sixth case consists of the 1968-1978 Caixa Previdência Headquarters (see fig.22), designed by Arménio Losa and Alfredo Matos Ferreira, as a rehabilitation and is located in a consolidated urban context (Lordelo do Ouro), in a defined block (by the streets of António Cardoso, António Patrício and António José da Costa), and the surroundings consist of housing (from 2 to 9 floors), small-scale commerce and services.60 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 offices61 , and the scale of the building can be classified as intermediate, in terms of size/area, which contrasts with the houses related to the context of António Patrício and with Avenida da Boavista itself, in the process of urban densification. 2.2.2- 1970S-1980S: In relation to the 1960s and 1970s, we have identified occasional changes in the direction of urban development, and these facilities continue to assume the same logic as in the previous decade, which we will now analyze. The seventh case consists of the 1973-1977 SAAL in Bouça (see fig.23), designed by Álvaro Siza as a new building and set in a consolidated urban context (Cedofeita), in a block defined by the streets of Boavista, Águas Férreas and Melo, as well as the old railway line (currently used by the metro), and the surroundings consist of housing (from 2 to 6 floors), smallscale commerce and the railway line.62 It can be seen that the project is characterized by its design approach to the delicate urban situation, namely the need to work on the confrontation / housing with the line, as well as the framing that breaks the logic of the houses, in the transition to the plot63 , and the scale of the intervention can be classified as intermediate and fits in with the surrounding volumes. 64 The eighth case consists of the 1974-1976 Antas SAAL (see fig.24), designed by architect Pedro Ramalho, as a rehabilitation/new building and is part of the consolidated urban context of Campanhã, in a defined territory (by the avenue of Fernão Magalhães and the streets of Dr. Alberto de Aguiar, Cunha Espinheira and das Antas), and the surrounding area consists of housing (from 2 floors to 6 floors), small-scale commerce and leisure (Antas stadium).65 The project is characterized by the rehabilitation of the houses facing Rua das Antas and Rua de Dr. Alberto de Aguiar and the design of two-storey, low-income housing within the block66 , and the scale of the intervention can be classified as small-scale, framed within the block, with low-density volumes. 67 The ninth case is the SAAL in Leal in 1974-1977 (see fig.25), designed by Sérgio Fernandez, as a new building and is part of a consolidated urban context (Santo Ildefonso), in a block defined by the streets of João das Regras, Fonseca Cardoso, Olivença and Bonjardim, and the project is located in a street that breaks the block into two parts (Rua das Musas), and the surrounding area consists of housing (2 to 4 floors), small-scale commerce and services (Quartel de Santo Ovídio).68 It can be seen that 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 in the whole process69 , and the scale of the intervention can be classified as smallscale, associated with the small-scale houses and fitting into the scale of the surrounding context. The tenth case consists of the SACHE Housing Cooperative of 1979-1989 (see fig.26), designed by Manuel Correia Fernandes, as a new building and inserted in a fragmented urban context (Aldoar), in a defined territory (by the streets of Jornal de Notícias, Mozambique and the street that crosses the composition of Robert Auzelle), dividing the block into two large cells, and the surrounding area consists of housing (2 to 4 floors) and a large urban void.70 The project resolves an existing urban void and is organized in two formal typologies, houses in a "branda" with a patio facing the patio and a horizontal bar in a gallery71 , and the scale of the intervention can be classified by the macro scale, in terms of size/area, having the capacity to organize the territory surrounding the proposal, as a matrix structure, and in the territory where it is inserted, the urban fabric is organized in a more organic way, contemplating various scales and levels of densification. 72 2.2.3- 1980S-1990S: In relation to the 1970s and 1980s, we identified changes in urban development in terms of equipment that continued with the same logic as the previous decade, which we will now analyze. The eleventh case consists of the 1981-1991 Casa das Artes (see fig.27), designed by Eduardo Souto de Moura, as a new building and set in a consolidating urban context (Lordelo do Ouro), in a defined block (by the streets of Campo Alegre, Ruben A, Robert Smith and António Cardoso), and the surrounding area consists of housing (2 to 4 floors) and the highway between the Arrábida bridge and the AEP avenue.73 The project is located within the plot corresponding to Casa Allen, so the proposal is characterized by respect and the 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 plot74 , and the scale of the intervention is classified as small scale, in relation to the size/area. The twelfth consists of the 1985-1986 Carlos Ramos Pavilion (see fig.28), designed by Álvaro Siza as a new building and set in a consolidating urban context (Massarelos), in the gardens of an old property that became part of the Faculty and was also the target of rehabilitation, between the Via panorâmica Edgar Cardoso and the accesses to the Campo Alegre junction with the VCI.75 The project is characterized by its location and formal approach to the garden, respecting the atmosphere and pre-existence of both the house and the garden, creating relationships with it and with the volumetry76 , and the scale of the intervention is classified as small-scale, with proximity to the human scale and the integration of the volumetry within the garden, adapting to and respecting the context. The thirteenth case consists of the 1984-1999 Faculty of Architecture of the University of Porto (see fig.29), designed by Álvaro Siza, as a new building and inserted in the consolidated urban context (Massarelos), in the territory defined (by the Edgar Cardoso panoramic road and the accesses to the Campo Alegre junction). 77 It can be seen that the project is characterized by the dynamic composition of the various elements around a central courtyard, with the various towers and the main body punctual, according to alignments that follow the plan of existing urban situations78 , and the scale of the intervention can be classified as small, in relation to size/area, and given the 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.79 The fourteenth case consists of the Faculty of Engineering of the University of Porto from 1988-1998 (see fig.30), designed by Luís Ramalho and Pedro Ramalho, as a new building and inserted in the urban context in consolidation (Paranhos), in the defined territory (by the streets Frei Vicente da Soledade and Castro, the VCI and the junction with the A3 and the São João Hospital), and the surrounding area is made up of the São João hospital, the Faculty of Economics and a large urban void.80 It can be seen that the building is characterized by several vertical volumes associated with horizontal bodies that unify both wings, and by singular elements on the tops81 , and that the scale of the intervention is classifiable by the macro scale, 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 is part of the macro-structure near the A3 junction with the VCI, as well as structuring the current university campus. 82 During the generalized analysis of urban development from 1930-1960, the facilities that appeared in this period had transformative characteristics in their relationship with the urban context. It can be concluded that in this period, of the facilities mentioned, in terms of their program, 6 were for services83 ; and 6 were for housing84 . It can be seen that these facilities correspond to new buildings that appear in the city, apart from the particular intervention of the Carlos Ramos Pavilion, where the existing houses are rehabilitated. In terms of the scale of the facilities, it can be seen that 8 correspond to a small-scale intervention (Faculdade de Economia do Porto, Hotel D. Henrique, SAAL das Antunes, etc.). Henrique, SAAL das Antas e de Leal, Casa das Artes, Pavilhão Carlos Ramos and Faculdade de Arquitetura do Porto), given the built area, and the last one can also be read on an intermediate scale, due to its ability to structure the surrounding context. Only 3 facilities fall within the intermediate scale85 , the remaining 3 facilities fall within the macro scale86 , which structure part of the territory where they are located. In terms of urban location, the facilities selected are outside the city center, in different situations, either in consolidating contexts (Paranhos/Asprela) or in contexts of urban transformation, mainly (Campo Alegre), in relation to the context linked to the location of the faculties. 2.3- Mobilization (1990-2020) According to a cross-check of bibliographical sources, forty-nine pieces of equipment were built between 1990 and 2020. Fifteen stand out in terms of their novelty for urban development, which we will have to take into account. 2.3.1- 1990s-2000s The first case consists of the Soares dos Reis National Museum from 1990-2001 (see fig.31) designed by Fernando Távora, as a rehabilitation/new building and it is part of the consolidated urban context (Massarelos), in a defined block (by the streets of D. Manuel, Adolfo Casais Monteiro, Miguel Bombarda and do Rosário), and the surrounding area is made up of housing (from 2 to 5 floors) small-scale commerce, some services and leisure (Palácio de Cristal).87 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.88 The new body is located within the plot, at the back (garden) of the Museum, and the scale of the intervention can be classified as small in terms of size/area, although it corresponds to the highest density building, maintaining the volume of the surroundings and the general context of the area. 89 The second case consists of the 1993-1994 Alfândega Building (see fig.32), designed by Eduardo Souto Moura as a rehabilitation and integrated into the consolidated urban context (Miragaia), within the pre-existence.90 It can be seen that 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 materiality91 , and the scale of the intervention is classifiable as small-scale, within a large-scale facility. The third case consists of the Café do Cais in 1993-1994 (see fig.33), designed by Cristina Guedes and Francisco Vieira de Campos, as a new building and set in the consolidated urban context of São Nicolau on the riverfront, next to the Estiva pier, and the surroundings consist of housing (4 to 6 floors) and small-scale commerce.92 It can be seen that 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 for continuity of the landscape and the surrounding reading93 , and the scale of the intervention can be classified as small scale, in relation to size/area. The fourth case consists of the Casa dos 24 from 1995-2002 (see fig.34), designed by Fernando Távora, as a new building and is part of the consolidated urban context of Sé, on the perimeter of the terreiro da Sé, and the surroundings are made up of housing (4 to 6 floors), leisure (Sé do Porto) and services (Episcopal palace).94 It can be seen that the site is home to vestiges 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 context95 , and the scale of the intervention can be classified as small scale, in relation to size/area, however, the volume projects vertically and is located at a high point in the city, marks a position next to the Cathedral and fits into the urban landscape of the city center.96 The fifth case consists of the Almeida Garrett Library from 1995-2001 (see fig.35), designed by José Manuel Soares, as a new building and set in a consolidated urban context (Massarelos), within the gardens of the Palácio de Cristal.97 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, not only to the garden program, but to the city, in the context of Porto 2001, new spaces for the enjoyment of the city98 , and the scale of the intervention can be classified as small in relation to the size/area. The sixth case consists of the 1996-1999 Serralves Museum of Contemporary Art (see fig.36), designed by Álvaro Siza Vieira, as a new building and set in a consolidated urban context (Lordelo do Ouro), within the Serralves Foundation gardens, namely next to the urban axis of Marechal Gomes da Costa, and the surrounding area consists of housing (2 and 3 storeys) and services (Liceu Francês Internacional do Porto).99 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 green surroundings100 , and the scale of the intervention can be classified as small, in relation to the size/area, and its location within the Serralves gardens, the relationship of scale only conforms to the natural space, freeing the building from external relations.101 The seventh case consists of the redevelopment of the Douro Marginal from 1997-2002 (see fig.37), designed by Manuel Fernandes de Sá and Francisco Barata, as a rehabilitation and is part of the urban context along the banks of the Douro. It covers an area of approximately nine kilometers.102 It can be seen that the project is characterized by requalification, uniformity and urban cohesion along the bank, as a structuring element in the form of transition of spaces (waterpublic-private)103 , and the scale of the intervention can be classified as macro-scale, in terms of size/area. The eighth case consists of the Atlantic Promenade of 1999-2002 (see fig.38), designed by Manuel de Solà-Morales, as a requalification/new building and is part of an undefined urban context (Nevogilde), in a territory delimited by the Atlantic coast, the Castelo do Queijo and Porto City Park, and the surrounding area is made up of the Atlantic coast and Porto City Park. 104 It can be seen that 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 nature105 , and the scale of the intervention is classifiable by the macro scale, given the size (area) and the 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 new case consists of the Funicular dos Guindais of 1999-2003 (see fig.39), designed by Adalberto Dias, as a new building and inserted into the urban context of the Cathedral, in a territory next to the wall to the west and the Guindais neighborhood to the east106 , and the surrounding area is made up of housing (two and four storeys) and small-scale businesses. 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.107 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).108 The tenth case consists of the Casa da Música from 1999-2005 (see fig.40), designed by Rem Koolhaas, as a new building and inserted in the urban context of Boavista, in a block defined by the Boavista traffic circle and the streets of Ofélia Diogo da Costa and 5 de Outubro, and the surrounding area consists of housing (4 to 6 floors) and services (Vodafone building).109 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".110 Associated with the building, the sidewalk of the public space is also worked on, like a large "playground" allowing activities from various sectors, including urban sports, and the scale of the intervention can be classified as intermediate, in terms of size/area. It can be seen that the project completely transforms the reading of the Boavista context near the traffic circle. The transition in scale with the nineteenth-century houses reflects the great contrast in volume, and the dynamics of the buildings in the reading of the avenue, together with buildings of an intermediate scale, allow new buildings to be built on a similar scale.111 The eleventh case consists of the Oficinas e Moradias Building from 2000-2007 (see fig.41), designed by Eduardo Souto de Moura, as a new building and set in the urban context of Aldoar, in a block defined by Avenida da Boavista and the streets of Cupertino de Miranda and Aristídes de Sousa Mendes, and the surrounding area is made up of housing (2 and 3 storeys) and Porto's city park.112 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 patio113 , and the scale of the intervention can be classified as intermediate in terms of size/area. It can be seen that 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 twelfth case consists of the Burgo Building and Tower in 2003-2007 (see fig.42), designed by Eduardo Souto de Moura, as a new building and inserted in a consolidated urban context (Lordelo do Ouro), in a defined block (by Avenida da Boavista, the VCI and Rua João Grave), and the surrounding area is made up of housing (8 floors and above), leisure (Crown Plaza Porto hotel) and urban voids.114 The 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 axis115 , and the scale of the intervention is classifiable by the macro scale, in relation to size/area, It 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 Av. Boavista. 116 The thirteenth case consists of the Garcia de Orta Secondary School from 2007-2010 (see fig.43), designed by Ricardo Bak Gordon, as a new building and inserted in a consolidated urban context (Aldoar), in a defined block (by the streets of Pinho Leal, Fez and Travessa Passos), and the surrounding area is made up of housing (from 2 to 14 floors) and small-scale commerce.117 The building has the capacity to be incorporated between the existing pavilions, serving as an extension of them and as a unifying element118 , and 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 fourteenth case consists of the I3S Instituto de Investigação e Inovação em Saúde from 2009-2015 (see fig.44), designed by João Pedro Serôdio and Isabel Furtado, as a new building and inserted in a consolidated urban context (Paranhos), in a defined territory (by the streets Alfredo Allen, Júlio Amaral de Carvalho and a secondary access road), and the surrounding area is made up of service equipment (Faculty of Psychology and the Faculty of Dental Medicine).119 The building is characterized by a heavy volume that is deconstructed at various times and allows contact with the surroundings120 , and the scale of the intervention can be classified as intermediate in terms of size/area. Although it is formally compact, it has a similar scale to the context, namely the adjacent faculties (psychology and dentistry), making part of the university's context uniform. During the generalized analysis of urban development from 1930-1960, the facilities that appeared in this period had transformative characteristics in their relationship with the urban context. It can be concluded that during this period, of the facilities mentioned, 6 were service facilities121 ; 1 was commercial122 ; 5 were leisure facilities123 ; and 3 were infrastructures124 . In the selection made, eleven facilities correspond to new buildings appearing in the city, with the Garcia da Orta School Pavilion being part of an existing school. The remaining three are rehabilitations/refurbishments, intervening in existing buildings or contexts (Soares dos Reis Museum Rehabilitation, Alfandega Recovery and Margem do Douro). As for the scale of the facilities, nine correspond to a small-scale intervention, given the built area, three correspond to an intermediate scale, capable of structuring the surrounding context and two correspond to a macro scale, capable of defining the context. In terms of urban insertion, the selected facilities are located outside the city center, in a context of urban transition, either between densified and poorly densified sections (Boavista, transition between multi-storey buildings and houses), or in small urban voids within an urban core (Paranhos-Asprela). 3 - FINAL CONSIDERATIONS: Starting from the framework/analysis, we have considered throughout the chapters a brief reflection on the relationship between equipment and the city in the development of urban activity. We conclude that the equipment (architectures of various programs) are part of the city as transforming elements (of context / scale / density, etc.), territorial transformations and urban morphology that are associated with the emergence of these elements, also intending with the study to reflect on the structuring of the city throughout the twentieth and twenty-first centuries, in the general context of the city. Several considerations are drawn from the analysis carried out throughout the 20th and 21st century, which explores urban development based on large public or semi-public buildings. These are elements that are capable of creating opportunities, of defining/dynamizing the urban structure/context in which they are inserted at different territorial scales. Interventions have been carried out in different contexts, in various urban situations. In the first period analyzed, after major social changes at national and international level, particularly in the post-WWII period and up until the 1960s, several sets of diversified program equipment appeared in the city (most frequently and predominantly in Housing), almost always located in underdeveloped areas, particularly on the outskirts of the city centre/core, with a view to integrating potential urban development into the area. We can see that in the first period analyzed, from the 1930s to the 1960s, the facilities of the first half, up until the 1940s, had a "centralizing" character, intervening in a consolidated and very structured context, in the center of the old city. They were designed to introduce architecture into the context that would mark the urban environment and transform the experience of the surroundings, through programs that were mostly leisure and service-oriented. They are small-scale architectures, appropriate to the context and fit in with the urban dynamics of the area. From this analysis of the facilities in the urban environment, it can be seen that they form a structure of relationships, framed by major urban axes that establish the transition from the city center to other contexts. In the second half of this period, from the 1950s to the 1960s, we can already see that the facilities have a "dynamizing" character, intervening in developing/consolidating contexts or urban fragments that present discontinuities. They appear in order to introduce architectures into the context that stimulate/structure the urbanization process, in this way through various programmes, particularly housing. They correspond to architectures that vary between small and intermediate scale depending on the urban situation, whether it's urban consolidation of the site/area or the development of fragmented areas, disconnected from the urban context by urban voids. In this period of analysis of facilities in the urban environment, it can be seen that they continue to be associated with major urban axes and are located outside the old city center. In this way, it is considered that in this period, the equipment referred to characterizes 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. In the second set of analyses, we can see that throughout the period from the 1960s to the 1990s, the facilities were "transformers/reformulators", intervening in consolidated contexts, in consolidation or in urban fragments. They appear in order to introduce architectures into the context that transform/reorganize the urbanization process or its reading, through various housing, leisure, but above all service and housing programmes. They correspond to architectures that vary between different scales (small/intermediate/macro) depending on the urban situation, whether in consolidated areas, under development or urban voids. In this period, the reading of these facilities in the urban environment shows that they are sometimes associated with major urban axes, sometimes in the context 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 equipment until 1970, which changed to housing until the 1990s, driven by the revolutionary situation of April 25, driving housing creation processes (SAAL), which had an impact on Porto's urban fabric, relatively in the projection of meshes, which structure part of the urban territory. In the last period of analysis, between the 1990s and 2020, we see that the facilities have a "mobilizing/reformulating" character, intervening in consolidated contexts, in consolidation or urban fragments. They emerge with different intentions from previous eras, introducing architectures that mobilize urban environments and transform several contexts simultaneously, in an extensive structure of urban relations, namely based on leisure, service and infrastructure programmes. They correspond to architectures that vary between different scales (small/intermediate/macro) depending on the urban situation, whether in consolidated areas, developing areas or urban voids. In this period, the analysis of these facilities in the urban environment shows that they do not follow in a linear fashion the progressive densification of facilities 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). Among these facilities, it can be seen that some are still associated with the major urban layouts, but the majority appear outside the structural axes, in secondary networks. Although in this period we see largerscale works, with a more macro, large-scale sense, as an important element for urban cohesion and the city's landscape (as a unifying element), even if we understand the various nuclei. From a general perspective, between all the 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 a transformer or urban "transporter", capable of changing the existing dynamics, clearly associated with its function/program. However, in addition to the function that is seen as important for the context and era in which it is inserted, the equipment is, in a certain sense, a parameter that does not directly interfere with the role that the equipment plays in the city, even though it is relevant, with examples of this, in terms of the presence of the program, also very much linked to the need for that same program (São João Hospital) or in housing centers mentioned, especially in the 50s-60s-70s. Following all the above analysis, we conclude by saying that it is understood that the city lives from the interaction between the equipment and the urban fabric, which is often a precursor to urban development, either with the creation of new structuring axes, which meet the building, or by the existence of a plan / fabric / axes, in the process of development, where it is possible to implant the equipment as a carrier of urbanity. 4 - REERENCES 1 - ROSSI, Aldo, (2018), "Architecture of the city", Lisbon, Editora 70 p. 151. 2 - TAVARES, Domingos, In an interview by Gonçalo F Lopes, February, 2017. 3 - BARTOLO, José "Cassiano Branco", Lisbon, Editores QuidNovi, 2011, pág. 58-60. 4 - The project resolves a large void in the block and stands out from the surrounding volumes. The program consists of leisure facilities with an area of approximately 14,500 m2 . 5 - PINTO, Paulo Tormenta (2007) "Cassiano Branco, 1897-1970: arquitetura e artifício", Casal de Cambra, Caleidoscópio, pág. 76. 6 - 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, page 85. 7 - The program corresponds to a service with an area of approximately 75,000 m2. 8 - Centenário U. Porto, (2011) "Inauguration of the Hospital de São João" (https://centenario.up.pt/ver_momento47e8.html?id_momento=48). 9 - CARDOSO, Ana Rita (2008) "Ensaio fílmico sobre o Cinema [Batalha]" [Master's dissertation, Faculty of Fine Arts of Porto] Porto, Editor FBAUP, page 46. 10 - The program consists of leisure facilities with an area of approximately 3,000 m2 . 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, page 56. 12 - The program consists of housing and has an area of approximately 4,700 m2 . 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 - The program consists of a service area of approximately 15,200 m2 . 16 - (1951) "Praça D. João I and its 'Atlantic Palace'", Porto - 3 maps 17 - The program consists of housing with an area of approximately 3 700 m2 . 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 - The program consists of shops with an area of approximately 10,000 m2 . 20 - SOUSA, João Filipe (2006) "Rua de Ceuta: estudo dos planos e do objeto" [academic work, Faculty of Architecture of Porto] Porto, Editor FAUP, p. 23. 21 - The program is for housing with an area of approximately 5 200 m2 . 22 - Ibi Idem, pages 30-35. 23 - The program is for housing with an area of approximately 10,000 m2 . 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 - The program is for housing with an area of approximately 5,700 m2. 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, pág. 78. 27 - 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. 28 - The program is for housing with an area of approximately 20,000 m2 . 29 - The program is for housing with an area of approximately 18,000 m2 . 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. 121-130. 32 - The program is for housing, but it also has a service (Parnas music school, owned by musician Fernando Correia de Oliveira) with an area of approximately 3,600 m2 . 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 dissertation, Faculty of Architecture of Porto] Porto, Editor FAUP, pág. 89-92. 35 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Loureiro", Editora Verso da História, Porto, pág. 35-37. 36 - The program is for leisure with an area of approximately 6,000 m2 . 37 - LOUREIRO, José Carlos "Rehabilitation of the Sports Pavilion - Porto" Porto, SOB - Sebentas d'Obra, pág. 36-40. 38 - The program is a Service program with an area of approximately 4,000 m2 . 39 - LAMEIRA, Gisela (2013) "Januário Godinho, 1910-1990", Editora Verso da História, Vila do Conde, p. 16-20. 40 - The program is for housing with an area of approximately 27,700 m2 . 41 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Lou- reiro", Editora Verso da História, Porto, pág. 52-57. 42 - Edifício da Carvalhosa, Edifício Soares & Irmão, DKW, Edifício Ouro, Cooperativa "O Lar Familiar"; Unidade de Ramalde; Edifício Parnaso and Parque do Luso. 43 - Coliseu do Porto, Cinema Batalha and Pavilhão do Desportos. 44 - Garage "Comércio do Porto, Hospital de São João, Palácio Atlântico and União Elétrica Portuense building. 45 - O Lar Familiar" Cooperative and Parque Residencial do Luso. 46 - The "Comércio do Porto" Garage, the Porto Coliseum, the Batalha Cinema, the Atlântico Palace, the Carvalhosa and Soares & Irmão buildings, the Bom Sucesso Market, the DKW, the Ouro building, the Parnas building, the Sports Pavilion, the União Elétrica Portuense building and the Ramalde Residential Unit. 47 - The program is for housing with an area of approximately 11,000 m2 . 48 - GONÇALVES, José Fernando (2013) "Agostinho Ricca, 1915-2010", Editora Verso da História, Vila do Conde, p.42-47. 49 - RICCA, Agostinho "Agostinho Ricca: arquitetura, obra, desenho = architecture, work, design" Lisbon, Uzina Books, p. 12-20. 50 - The program is for housing with an area of approximately 55,000 m2 . 51 - PIMENTA, Ana Rita (2012) "O conjunto habitacional das torres vermelhas da Pasteleira" [Master's dissertation, Faculty of Architecture of Porto] Porto, p.81-107. 52 - 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, pp. 4-12. 53 - The program is a service program with an area of approximately 16,400 m2 . 54 - SECCA, Amândio Fernandes (Coord.) (1996) "Viana de Lima: arquiteto 1913- 1991", Editora Árvore, Porto, p. 152-155. 55 - The program is a service program with an area of approximately 34,500 m2 . 56 - Porto Ágora Cultura e Desporto (2022) "Silo-Auto", Porto (https://www.agora- porto.pt/parques-municipais/silo-auto). 57 - The leisure program covers an area of approximately 16,400 m2 . 58 - COSTA, Nuno Brandão, & LOUREIRO, Luís Pinheiro (2013) "J. Carlos Lou- reiro", Editora Verso da História, Porto, pág. 64-67. 59 - COSTEIRA, Luís Pinto (2021) "José Carlos Loureiro: arquitetura e paisagem urbana" [Master's thesis, Faculty of Architecture of Porto] Porto, Editor FAUP, p. 34. 60 - The program is a service program with an area of approximately 27,000 m2 . 61 - 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, pág. 41-45. 62 - The program is for housing with an area of approximately 28,800 m2 . 63 - SILVA, Helena Sofia & SANTOS, André (2011) "Álvaro Siza, 1932-...", Editora QuidNovi, Vila do Conde, p.34-37. 64 - 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 cooperati- va) Porto, pág. 64-69. 65 - The program is for housing with an area of approximately 7,100 m2 . 66 - BANDEIRINHA, José António (2007) "O Processo SAAL e a arquitetura no 25 de Abril de 1974", Coimbra University Press, Coimbra, p.424-425. 67 - COSTA, Ana Alves & FERNANDEZ, Sérgio (2020) "Cidade Participada: arquitetura e democracia: Antas, Pedro Ramalho", Tinta da China, Lisbon, pág. 45. 68 - The program is for housing with an area of approximately 1,400 m2 . 69 - Ibi Idem, pgs. 88-90. 70 - The program is for housing with an area of approximately 44,850 m2 . 71 - FERNANDES, Manuel Correia (2015) "Frente e Verso, documentos, periódi- cos de construção 02: Edifício de habitação coletiva, cooperativa SACHE, 1ºfase", Porto, Desdobrável Frente e Verso. 72 - 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, pág. 67. 73 - The leisure program has an area of approximately 1,000 m2 . 74 - MOURA, Souto de (2015) "1980-2015" Neuss: Stiftung Insel Hombroich. Exhibition catalog, BDA Publishing House (Bund Deutcher Architekten), Neuss, p. 95. 75 - The program is a service program with an area of approx. 660 m2 . 76 - PIQUERAS, Norberto (Coord.) (2003) "Álvaro Siza y la arquitectura universitária", Editora Universitat de València, Valencia, p.51-53. 77 - The program is a service program with an area of approximately 12,100 m2 . 78 - SILVA, Helena Sofia & SANTOS, André (2011) "Álvaro Siza Vieira", Editora Quidnovi, Vila do Conde, pág. 44-47; 79 - FERNANDES, Maria Eugénia Matos, "A Universidade do Porto e a Cidade: Edifícios ao longo da História", Gráfica Maiadouro, 2007, page 45. 80 - The program is a service program with an area of approximately 90,000 m2 . 81 - PONTE, Sara, (Ed.) (2007) "FEUP: o projeto e a obra", Editora U.Porto, Porto. 82 - FERNANDES, Maria Eugénia Matos, "A Universidade do Porto e a Cidade: Edifícios ao longo da História", Gráfica Maiadouro, 2007, page 65. 83 - Faculty of Economics, Silo-Auto, Caixa Previdência headquarters, Carlos Ramos Pavilion; Faculty of Architecture and Faculty of Engineering), two correspond to Leisure (Hotel D. Henrique and Casa das Artes. 84 - Montepio building, the Pasteleira complex, the SAAL projects in Bouça, Leal and Antas, the SACHE Cooperative housing complex. 85 - Silo-Auto, Caixa Previdência Headquarters and SAAL da Bouça. 86 - Conjunto da Pasteleira, Cooperativa SACHE and the Faculty of Engineering. 87 - The leisure program covers an area of approximately 7,700 m2 . 88 - TÁVORA, Fernando (1993) "Percurso Roteiro", CCB Edition, Lisbon, pág. 82. 89 - MENDES, Manuel (Coord.) (2020) "Fernando Távora: as raízes e os frutos, palavra, desenho, obra, 1937-2001" Porto, Editor FIMS, pp. 45-51. 90 - The leisure program covers an area of approximately 36,000 square meters, and the intervention was only carried out on 11,200 m2 . 91 - TOUSSANT, Michel & RAPAGÃO, João Paulo (2018) "Guia de arquitetura do Porto: do movimento moderno à actualidade, 1942 2017", A+A Books Edition, Lisbon, pp. 48-49. 92 - The program is commercial with an approximate area of 400 m2 . 93 - CAMPOS, Francisco Vieira de (2022) "Memory exercise: Café do Cais, Por- to", Porto (http://menosemais.com/conteudo/cafe-do-cais). 94 - The program is a leisure program with an approximate area of 510 m2 . 95 - TÁVORA, Fernando (2002) - Catálogo; Edition COAG, 2002, A Coruña, pág. 82-83. 96 - MENDES, Manuel (Coord.) (2020) "Fernando Távora: as raízes e os frutos, palavra, desenho, obra, 1937-2001" Porto, Editor FIMS, pág. 34-41. 97 - The program is a leisure program with an area of approximately 5,000 m2 . 98 - 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. 45. 99 - The program is a leisure program with an area of approximately 12,700 m2 . 100 - SIZA, Álvaro (1995) "Álvaro Siza: Obras e Projetos", Exhibition catalog, Edition C.G.A.C, Matosinhos, p. 126-133. 101 - NETO, Pedro Leão (2020) "Scopio newspaper: the idea of Álvaro Siza: the museum Serralves" Porto, Editor Cityscopio, p.45. 102 - The program is for infrastructure, along 9 linear kilometers. 103 - Habitar Portugal (2000-2002) "Requalificação Urbanistica da Marginal do Douro", Porto (http://www.habitarportugal.org/pt/projecto/requalificacao-urbanistica-da- -marginal-do-douro/). 104 - The program is Infrastructure with an approximate area of 82,000 m2 . 105 - CORREIA, Francisco Nunes (2002) "Passeio Atlântico", Coordinating Office of the Polís Program, Lisbon. 106 - The program is Infrastructure and has an approximate area of 650 m2 and extends over a plan area of 300 meters. 107 - 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. 66. 108 - DIAS, Adalberto (2010) "Funicular Guindais", Pamplona, Editor E.T.S de Arquite- tura, Universidad de Navarra, p. 34. 34. 109 - The leisure program covers an area of 22,000 m2 . 110 - FURTADO, Rui, OLIBEIRA, Rui & MOAS Pedro [et.al] (2003) " A engenharia da Casa da Música", Editor Afassociados, p.1-2. 111 - VASCONCELOS, João Pedro Pignatelli (2011) "A obra aberta em Rem Koo- lhaas" Porto, Editor FAUP, pág. 34. 112 - The program is for services and housing, respectively, and has an approximate area of 3,600 m2 (Workshop building) and 10,200 m2 (housing). 113 - CECILIA, Fernando Márquez & LEVENE, Richard (2009) "Eduardo Souto de Moura: 2005-2009" Editora El Croquis, Madrid, p.98, El Croquis Magazine. fig.41 - Diagram of the Oficinas e Habitações da Boavista building. 114 - The program is for commerce and services with an area of approximately 32,000 m2 (bar + towers). 115 - MOURA, Eduardo Souto (2015) "Frente e Verso, documentos, periódicos de construção 02: edifício de comércio e serviços Burgo" Porto, CIAMH, Leaflet Frente & Verso. 116 - MOURA, Eduardo Souto de (2015) "1980-2015" Neuss: Stiftung Insel Hom- broich. Exhibition catalog, BDA Publishing House (Bund Deutcher Architekten), Neuss, p. 201-219. 117 - The program is a Service program with an approximate area of 3,500 m2 . 118 - 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. 119 - The program is a service program with an approximate area of 20,000 m2 . 120 - MOURA, Eduardo de Souto & SERÔDIO, João Pedro [et.al] (2018) "Oporto University institute of research and innovation in health : I3S, Serôdio, Furtado & Asso- ciados, AArquitectos = Instituto de investigação e inovação em saúde da Universidade do Porto", Editora AMAG, Porto, p.3-5. 121 - Almeida Garret Library, Boavista Workshops and Housing Building; Burgo Building and Tower; Pavilion at Garcia de Orta School and I3S), two of which have more than one program: Oficinas e Moradias (Service and Housing) and Edifício e Torre do Burgo (Service and Commerce. 122 - Café do Caís. 123 - Refurbishment of the Soares dos Reis National Museum, the Alfândega do Porto, Casa dos 24, the Serralves Museum of Contemporary Art and Casa da Música. 124 - Rehabilitation of the Douro riverbank, Atlantic promenade and Guindais funicular.

"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

Masterclass . Lisboa

Data do evento: 15/05/2024 15:30 - 17:30 Local do evento: Auditório 4 — Universidade Lusíada [Lisboa] E V E N T O P R E S E N C I A L — entrada livre — Masterclass: Manifesto para uma cidade de combustível. Oradores: Professor Doutor Arqt. Bernardo d'Orey Manoel Docente da Faculdade de Arquitetura e Artes Investigador do Centro de Investigação em Território, Arquitetura e Design Universidade Lusíada Professor Doutor Arqt. Gonçalo Miguel Furtado Cardoso Lopes Docente da Faculdade de Arquitetura Universidade do Porto Organização: Professor Doutor Arqt. Victor Manuel Canedo Neves Docente da Faculdade de Arquitetura e Artes Investigador do Centro de Investigação em Território, Arquitetura e Design Universidade Lusíada Apoio: Centro de Investigação em Território, Arquitetura e Design Universidade Lusíada Data: 15 maio 2024 Horário: 15H30 - 17H30 Localização: Auditório 4 — Universidade Lusíada [Lisboa] https://news.ulusiada.pt/Home/Detalhe/Detalhes/masterclass-manifesto-para-uma-cidade-de-combust237vel-professor-victor-neves

"CULTURA ARQUITECTÓNICA E URBANA EM PORTUGAL (2001-2021): A PROPÓSITO DO LANÇAMENTO DE SÉRIE DE LIVROS-MANIFESTO POR VICTOR NEVES"

MASTER-CLASS, UNIVERSIDADE LUSÍADA DE LISBOA, 15 MAIO 2024 / "CULTURA ARQUITECTÓNICA E URBANA EM PORTUGAL (2001-2021): A PROPÓSITO DO LANÇAMENTO DE SÉRIE DE LIVROS-MANIFESTO POR VICTOR NEVES" ___________________________________________________ (Gonçalo Furtado, Universidade do Porto). / A presente comunicação, intitulada “Cultura arquitectónica e urbana em portugal (2001-2021): Master class de lançamento de série de livros-manifesto por Victor Neves)” será estruturada em 3 comentários./ i. O primeiro comentário, versará o autor, professor Victor Neves. Como se apaixonou pela arquitectura enquanto estudante em Lisboa, o seu doutoramento na Universidade Politécnica da Catalunha em programa dirigido por Josep Muntanhola, a visão pedagógica de foco urbano que imprime na Universidade Lusíada de Lisboa e, por último, um comentário á sua obra projectual de arquitectura (e.g. o Hospital de 2002-2003 ou a Escola de 2000-2002 e 2008-2009) bem como á escala urbana com especial destaque para a intervenção na Marginal de Esposende de 2006-2007)./ ii. O segundo comentário, inicialmente far-se-á referência ao relacionamento estabelecido com o autor Victor Neves, desde uma primeira carta sobre a “geração de 90” que publicou na revista Arq/a (ca.2000), ao nosso debate com Nuno Grande etc na Casa da água (2008), e posteriores actividades conjuntas, incluindo sessões sobre metodologia no programa de doutoramento “Index” (ca.2009-2011), na comissão cientifica da revista “Sebentas de arquitectura”, no programa de “aulas abertas” da FAUP (ca.2022), em Masterclasses sobre “cultura urbana” (ca.2023), ainda o eminente debate por si concebido para dentro de semanas no Centro cultural de Cascais (2024), bem como a concepção conjunta de uma exposição retrospectiva para futuro próximo (2025). / A título meramente exemplificativo, já há mais de uma década, no âmbito de número dedicado à cidade da predita revista “Sebentas de arquitectura”, escrevia Victor Neves no seu editorial de 2011: “The City is an inevitable theme of the architectural universe. In general, it defines the intervention of architecture in the urban environment, but also defines a concept of rule, a rule that architecture establishes in the territory colonized by man. The city is also an institution of civilization, a sophisticated man-made habitat and a place of centennial confluence of knowledge and art . The continuous and uncontrolled growth of urban areas, the lack of city limits, the lack of housing, the lack of basic infrastructure, social exclusion and a huge ecological footprint, are some of the problems affecting contemporary cities, worsen by the continued, uncontrolled and dispersed occupation of rural territories. The city has form and so the city has design. And in that extent, the city is a work of art”. (Neves, 2011) / Depois, focar-se-á cultura arquitectónica e urbana em Portugal, no período compreendido entre 2000-2020. Designadamente, destacar-se-á o papel exercido pela revista Arq/a, criada por Victor Neves em 1999, desde a concepção experimenta do seu número 0 até a um derradeiro último número sobre Alvar Aalto em 2021. (Uma muito breve referência será feita a livro que se encontra e a ser editado pela Universidade Lusíada de Lisboa, com os escritos com que para aquela contribui ao longo 2 décadas). Deparamo-nos com uma realidade de ausência de revistas físicas. / iii. O terceiro comentário, versará o debate urbano contemporâneo, incluindo considerações pessoais sobre temas urbanos também focados em 3 livros manifestos concebidos por Victor Neves. / Inicialmente, far-se-á referência ao urbanismo moderno, e à especificidade do “manifesto” teórico moderno, formato caracterizado por uma escrita directa e crítica, (por vezes ilustrado como é o caso do desenho por Victor Neves). Relativamente ao primeiro par de livros, farei referência ao seu primeiro livro-manifesto "A cidade núcleo: manifesto para uma cidade concentrada" (Neves, ca.2010), bem como a capítulos do meu livro “A sobrevivência da cidade pós-industrial (Furtado, ca.2022). Entre outros aspectos, desde logo como bem referia Victor Neves em 2010: "[...] um novo urbanismo terá de emergir. A “cidade híbrida” terá de organizar não só a estrutura urbana, integrando várias valências funcionais que se hibridizam, mas terá de desenvolver, organizar e reagrupar o espaço rural, provavelmente reintegrando-o no espaço urbano, integrando novas valências que têm de responder às alterações ambientais e climáticas. [...]". (vd. Victor Neves, ca.2011, p.24) / Depois, farei referência ao segundo livro-manifesto de Victor Neves, agora publicado, com o relevante explícito título “A cidade núcleo: manifesto para uma cidade híbrida" (Neves, 2024). / Por fim, farei ainda referência ao importante tema próximo livro manifesto Victor Neves dedicado à Inteligência artificial, bem como ao post "Smart urbanism" e o lidar com tal paradigma em Portugal?” (Furtado, 2023). / E facto, como cumpre referir: “cidade é uma notável criação humana que, na sequência da revolução industrial, requereu propostas reformistas bem como um urbanismo moderno. Uma história, que inclui e.g Ebzner Howard (nascido em Londres em 1850, que viajou aos EUA de onde regressa em 1876 e cria a “Garden city association” em 1899), a cidade linear de Soria e Matta em 1822, e a cidade industrial de Garnir em 1899-1917. O pós-guerra divulga a cartilha de planeamento moderno, só criticado após a década de 60. Então, exponenciou-se a percepção de uma dificuldade de intervenção/controle estatal do urbano, a condição dos centros históricos e subúrbios metropolitanos, etc. Bem como a experimentação de novos paradigmas para lidar com o ‘imprevisto’ (Portas etc), incluindo instrumentos de regulação variável, articulação com planeamento estratégico, etc, etc. No seguimento do desenvolvimento da sociedade pós-industrial desde os anos 60, sobressaiu também na década de 90 um paradigma urbano denominável como ‘espaço de redes’ (Castells) ou ‘cidade dos bits’ como ‘etopia’ (Mitchell). Sendo que se vivenciava-se um contexto complexo da vida das cidades (globalização, turismo, informacionalização, etc). Na transição para o século XX, protagonizaram tentativas de novos paradigmas como a ‘cidade criativa’ (Florida, etc). Por vezes, incluso, refrenando a promoção da ‘cidade digital’ avançada pela ‘Sociedade da informação’ na contemporânea transição de século, que via no layer digital contributo para um metaterritório de vivência humana com benefícios e prejuízos. Em 2008 teve início o alerta de uma primeira crise económica, prosseguiram alertas em torno do imperativo da sustentabilidade, e em 2019/21 o abrandar imposto pela pandemia Covidis 19. Às dificuldades de planeamento sentidas entre 1970/2000, parece se ter acrescido a ideias em torno da ideia de um ‘smart urbanism’, intensamente baseado nas TIC. Várias empresas (incluindo e.g. IBM, Cisco, Google ou Amazon, etc) vêm desenvolvendo o que entenderam como plataformas de ou para uma ‘smart city’. E o chavão tem se generalizado desde os anos 2010s. Lidar com este paradigma em Portugal, para além da atenção a questões já existentes no planeamento (dificuldade de planeamento, governo e gestão, eficiência de infraestruturas/ e serviços, e democraticidade, etc), reclama a meu ver que não se deixe de contemplar uma reflexão crítica acerca do planeamento participativo, a qualidade de vida na cidade (que não consegue ser de ‘15 minutos’ para todos) e do espaço púbico, a crise de acesso à habitação e imperativo de salvaguarda ecológica (bem sentida pelas gerações millenium e outras), a proteção e o ‘big data’, e a eminente presença de uma alegada “inteligência artificial” (que deve coexistir com uma ‘consciência’ humana)”. (vd. Furtado, 2023, https://www.blogger.com/blog/post/edit/8966911032876631134/8209029141227768441):

Avenida Liberdade 25 abril . encontro com Eduardo Condorcet

Design as research and connection between some areas of the University

Title: Design as research and connection between some areas of the University Gonçalo furtado 1. Research objectives The aim of this research and communication is to reflect on drawing as research and a link between some areas of the university. / The term desenhar comes from the Italian word “disegno”, to designate and give a name. In other words, to know. To better understand the world around us, our relationship with it, and even ourselves. / Attending the architecture course at FAUP requires taking drawing courses in the 1st and 2nd year. I learned drawing by attending these classes, which I think were taught respectively by the painter Professor Joaquim Vieira and the sculptor Alberto Carneiro. As teachers of practical classes, in 1993/94, I was taught by the sculptor José Grade, and in 1994-95 by the designer Francisco Providência. / Drawing. 2. Methodology The proposed methodology is both theoretical and practical. / In fact, once the course is over, architects can use drawing for representation and research. In the case of architecture teachers, drawing can also be used as a means of investigating an expanded field, which is what architecture can be. An instrument and practice of re-presentation - making present, in a new form, now rediscovered. / Personally, over the years, I have enjoyed experiences that have not failed to comprise relationships between the fields of architecture and the arts. Some have included collaborations, as a professor at FAUP with people from FBAUP, etc. In particular, collaborations with Graciela Machado, around events such as “Shelter” (Galeria dos Leões), Print (FBAUP-FAUP), Atelier Nomade (FBAUP-FIMS). There will also be references to events with other professionals and institutions, for example with the “Casa da esquina” association (Coimbra), with the Júlio Resende Foundation (co-authored with Ricardo Martins), or with the “Risco tudo” cycle of exhibitions (FAUP drawing group). / 3. Contributions. In short, within the scope of this communication, we will be interested in promoting a reflection on drawing, based on the experiences/cases/examples mentioned, seeing drawing as a means of research and connection between disciplines and areas inside and outside the University. / 4 . CV_ Gonçalo Furtado, PhD He attended short courses at the Gallaecia School in Vila Nova de Cerveira, Lusíada and CAPC, and at the Institute for Advanced Studies in Architecture in Venice, as well as the 1st year of the School of Artistic Technologies in Coimbra. / He has a degree from the Faculty of Architecture of the University of Porto, a Master's degree from the Poitécnica University of Catalonia and a PhD from the University College of London. / Recipient of the “Florêncio de Carvalho Award”, “Kybernetes Research Award”, “Outstading scholar contribution award”, as well as grants from FCT and FLB. He was short-listed for international competitions for head of architecture schools at Iowa University and Clemson University. / He has been a member of the commissioning, editorial or scientific committees of events and magazines such as: “Unidade 5”, “Anuária 1 and 2”, “Arquitectura: prosthesis of the body“, ‘Architecture and information society’, ‘Exhibit of sciences, teaching, practices and innovation’, ‘Multiple perceptions’ session, ‘Nada’, ‘Tracing Portugal’, ‘Contemporary architectural challenges’, ‘Cedric Price's generator’, Gordon Pask on scinces and arts”, “Radical designist”, “Contemporary architectural challenge”, “Tribute to Fernando Lisboa”, “Pure print”, “Interacção 2010”, “Mnemosine, session ‘Systems research’/Nexus, Arq/a, BAc, ‘Environmental challenges’-EUGLOH, Workshop ‘Architecture for life’, ‘Sebentas d'arquitectura’, Colloquia ‘IJUP’, Jury or evaluator/reviewer for “ACSA” in Helsinki, “Paris Gallery Coverage”, “Léxico”, “BIIC”, “Intreação 2010”, “ECAADe-SIGradi”-Porto, UD 18, “Porto Bristol Association Prize”, “Equivalence Commission”-FAUP, “Over 23”, “Re-entry and change”, FAUP-“Archiprix” pre-selection, “IJUP”-logotype, “Design Complex geometries”, “EUGLOH: IIIrd ASRC", ‘Transcontinentalities’, ‘Open classes-Theory 1’, Unit 19 and Unit 20 crits at the Bartlett. / He has designed or co-directed sessions at “Corpo enquadrado”/Fundação de Serralves, “Multiple scales”-Experimenta Design, Workshop “Architecture 4 life”, “Espaço, escrita e pensamento”-FIMS, “Coimbra sketches”. / He was coordinator of the 2nd year teaching committee - FAUP, and is a member of the Young Research Committee of the University of Porto, and of the “DFL” of the Center for Studies in Architecture and Urbanism-FAUP. / He has taught courses or given workshops or one-off classes at the MIArq and PDA of FAUP, DeMSSO-RUP, ESAD, FEUP, IADE, ETSAB, Eizava, PEI-Universidad Javeriana, Universidad Caxias do Sul, Universidad La Sallee, (In)dex-Lusíada. / Author or co-editor of books or catalogs such as “Notes on the space of digital technique”, “Arquitectura: Prótese do corpo”, “O corpo no espaço da técnica digital”, “Architecture and information society”, “Marcos Cruz: Unpredictable flesh”, “Off fórum: Postindustrial global city and repressed marginal design discourses”, “Behind the pencil: Or the construction of the critical project”, “Interferências: Conformation implementation and the future of digital culture“, ‘Architecture: Body and machine’, ‘Generator and Beyond’, ‘Cedric Price's generator and the Frazers’ collection”, Contemporary architectural challenges, “Gordon Pask on science and art”, Pask's encounters: From childhood curiosity to the envisioning of an evolving environment: Exchanges between cybernetics and architecture", ‘Mnemosyne’, ‘The survival of the post-industrial city: Reds flows, bits and creativity’, ‘America’, ‘Europe: Portugal: Coimbra (2011-2021)’, ”Spatialization of art and the artist: António Azenha", ‘Escola do Porto: Notas dispersas’, ‘Napkins 2011-2021’, ‘Napkins (Napkins)’, ‘NapkinsII’, ‘Africa, nature and people’, ‘America, utopias and transitoriness’, ‘On Portuguese architecture and Escola do Porto’, ‘Trajectos, pensamento em arquitectura’. / He was the author or co-author of projects or productions such as: “Casa F. Brenha”, “Escultura urbana”, “Mobiliário P. Furtado”, “Stand Queima das fitas AFAUP”, “Mãe de água”, “Scafolding”, “Explode”, “Máquina de cena J. Providência“, ‘Galeria Baú’, ‘Bergas dark’, ‘Design ’Espiga”, “Deriva urbana”, “Mobiliário Pandemia”, “Troféu Turismo e Casino”, “Clínica Veterinária”, “Kastigo dark”, “Stand Feira de Artesanato”, “Mobiliário P. Pessoa", ‘Casa P. Pessoa’, ‘Fachada na Galeria do Casino’, ‘Quartyard’, ‘Cibercafé’, ‘Seguradora’, ‘Termo-vidro’, ‘Barco P. Pinho’, ‘Atelier P. Ruiz’, ‘Farmácia do Castelo’, ”Casa A. Ruiz“, ‘Contra-corrente’, ‘Cápsula’, installation ‘Urbanlab 2001’, ‘Favos’, ‘Furniture F’, ‘Clínica do sono’, proposals ‘CMIA-Coimbra/Guarda/Vila Real, ’Loft D. Horak”, “Loft M. Brigham”, installation “Tracing”. Brigham“, installation ‘Tracing Portugal’, installation ‘Off fórum’, ‘G's Japan Net’, ‘Apartamento Oyaga e Jerez’, ‘Temporary Shelter’, Modules ‘PP99’, studies ‘Casa Teresa’/”J.Tropical“, ‘Misé’, ‘Brenha’/”Folharido“/”C.Neto“/”Costa de Lavos", sculpture ‘Ceci n'est pas’ (with P. Flores), Coleco. / As an author or co-author, he has held individual or collective exhibitions, etc., such as: “Bienal de Artes das Caldas da Rainha”, “500 anos Cristovão Colombo”, “Casa do pessoal-UC”, “Fimagem”, “Anuária 95”, “Off-Mubi-UBI”, “Anuária 99”, “Deriva urbana (desenho)”, “Mute 1996-2000”-Galeria Extéril, “Artistic creation Interctivities”, Maus hábitos, Metroom Gallery, FAUP, “Inéditos 2005” and “Proyectos expositivos de creación artística actual”, “Idea: Re", at ‘Shelter’- Galeria dos Leões, at ”Menemoisine, at “Arte em segredo”, at Centro de artes e espetáculos de Sever do Vouga, at “Quem dá mais”, at E.S. Infanta Dona Maria, at “Redshoes”, at ESAC, at “Coimbra sketches”, at “Camponeza”, at “Book-hop: IV Artist book exhibition”, at “Grémio Operário de Coimbra”, at “Loja 0”, at América-Extéril, at Leilões AEFAUP, at Coola-Boola, at “Archallenge”, at APBC-TiErmelinda, at “Casadaesquina”, at “Conservatório Calouste Gulbenkian”, at “Galeria Note”. /

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