Open House Porto

3 PMO and PCC Metro do Porto Matosinhos Infraestruturas 1950 – 2000 1985 Visits accompanied by Metro do Porto Technicians // Meeting point: Senhora da Hora Metro Station at 2.30pm; reservas marcação pré-marcação Porto’s underground is an ambivalent experience of the inside and the outside. The network took advantage of many already existing railway tracks, only going underground in more dense parts of the city. Inside, on the underground tunnels (remote to the city), or outside (in the exterior which is the interior of urban life), the tube ride begins and ends while the carriages keep circulating with thousands of passengers in an apparent perpetual movement. At the end of the day (that can also be the end of the night), the empty carriages travel to their secret address. The park with materials and repair facilities, and the command and control post is the place of retreat and recovery of the carriages that circulate in the more than 70 km of network, in a vast complex that is now open to special visits. The exclusive visit to the epicentre of Porto’s underground network is an opportunity to get to know where it all starts, the starting point we normally can’t reach.

6 Porto de Leixões Passenger Station Matosinhos Infraestruturas 1950 – 2000 - / Francisco Figueiredo e Fernando Távora -/1964 Visit accompanied by APDL Technicians A former passenger station, with a hangar built in wood with a simple volumetry and gable roof that on the outside blends with other port constructions. Its essential shape is one of a shelter that temporarily welcomes and protects the passengers that depart or arrive from long sea travels. In the interior, wooden trusses sustain the great span of the coverage and, in its vernacular expression, contrasts with the modernity of the open plan and with period furniture that designed the space. The author of the building, a classified property, is Francisco Figueiredo, that is also believed to have helped design the mobile bridge. At the time, he shared a studio with Fernando Távora (responsible for the general plan of the Leixões Port) and even though they worked independently we can imagine through this architecture that they also shared the world of ideas.

24 Ouro Ejector Porto Infraestruturas 1900 – 1950 Hughes & Lancaster 1904 Sat 10h + Dom 11h, Engineer Raquel Pinto / Sat 11h, Architect Inês Moreira In the Largo do Ouro [Gold Square] there is an isolated volume that looks like a small kiosk or cabin. The volume, with a sort of tower on top, is the door of a dimly lit subterranean room, illuminated by the zenith-like light opening of the entrance chimney, by which we go down to the space designed to hold a Shone ejector. The still active station is part of the sanitation project that the Porto Municipality started to prepare in 1896, from the patented debris injection system, at the end of 1870, by London contractors Hughes & Lancaster. With tile walls, and access by a cast iron spiral staircase, the room makes itself be announced by its cabin and also an “ornamental column” of ventilation. The simultaneous presence of these two architectural elements in other points of the city always hides a room like this.

60 São João Bridge Vila Nova de Gaia Infraestruturas 1950 – 2000 Eng. Edgar Cardoso 1991 Visit accompanied by Engineer Edgar Brito reservas marcação pré-marcação Do not miss this opportunity to go up to the São João bridge and visit its interior. The second bridge Edgar Cardoso projected over the Douro river is another “masterpiece” of this engineer and follows the legacy of the Arrábida Bridge, in its technical exceptionality but also in its sculptural elegance. It is made of one continuous piece in reinforced concrete and forms a double circulation lane with 1140 meters that connects the North to the South of the country. It was inaugurated on S. João do Porto day in 1991 to replace the centenary D. Maria II bridge that had closed sometime that year.

67 Altice Tower Vila Nova de Gaia Infraestruturas 1950 – 2000 António da Silveira Botelho 1995 Visits without booking but with ticket distribution 30 minutes before Sat 11h, Prof. Diogo Ribeiro / Sun 11h, Engineers João Pires da Fonseca e António Alpuim This tower is to the landscape of the Monte da Virgem as the Leça Lighthouse is to the Boa Nova landscape. It is a very strong vertical in the scale of the territory that with its 177 meters allows a panoramic view over the nearby cities. However, unlike the lighthouse, which is made to see and be seen, the function of the tower is mainly to show. The colossal concrete column supports a needle in a metal structure, an antenna, which ensures the emission of the aerial telecommunications signal, namely the signal of the Digital Terrestrial Television, that got in discreetly in the most intimate interior of each household, even if apparently its presence only imposes itself in the surroundings of its foundations. In those coordinates, 600 degrees above the ground, a viewpoint with 360 degrees blurs the body and the gaze. The experience of going through, ascending in darkness on the insides of the column, contributes due to differences of scale and light to that daze.

1 House at Ermida Matosinhos Habitação 1900 – 1950 2000 – Presente Eng. António Rigaud Nogueira / Ivo Poças Martins Séc. XX / 2017 Building with partial access to people with reduced mobility Visit accompanied by Architect Ivo Poças Martins Today, a century away, it is easier to recognize the values present in the “houses of the Brazilians” and their historical, social, landscaping, and architectural framework - as well as all their potential. The “House at Ermida” was designed at the beginning of the 20th century by António Rigaud Nogueira (an engineer born in Brazil with a Portuguese father, that studied in Porto) and functioned as a school before this intervention. The rehabilitation made between 2015 and 2017 by architect Ivo Poças Martins, confirms that we are not destined to transform all these small palaces into services. The intervention in its interior is chirurgical, attentive and without prejudice – like the original house. In the exterior, let’s highlight the strategy of rehabilitation of the existing gardens and the pink curved wall on the west side that hides the garage and the south plantations.

2 Chantre's Farm Matosinhos Habitação Séc. XVI-XVIII Nicolau Nasoni Séc. XVIII Building with partial access to people with reduced mobility Sat 11h00, Carlos Pereira / Sat, Dr. Manuel Almeida Carneiro In his many incursions to his proprieties in Leça do Balio, the choirmaster of Porto’s main cathedral made a farm of recreation and retreat, built surely over a rural house with an anonymous constructer, of which considerable marks were left in Nicolau Nasoni’s re-composition of the 1700s. A real petrification of a baroque setting, the house’s new façade, whose interior intimacy the visitor can only imagine, could only have been designed to be seen from the exterior, with a baroque-style garden. What took the architect of the Clérigos tower (long before Siza Vieira) to apparently go without the handrail of the exterior staircase in the project? When we pass the threshold of this exuberant scenario, set as the space of reception of the house, on the other side we can find farming lands that reveal the most internal side of the house left almost untouched by Nasoni, perhaps on purpose.

9 Patio Houses Matosinhos Habitação 1950 – 2000 Eduardo Souto de Moura 1999 Building with partial access to people with reduced mobility Sat 12h, Architect Hélder Casal Ribeiro / Sat 15h, Architect José Miguel Rodrigues Walls that seem to have always been there, in the sequence of other walls that were always there, delimitating the closed off world as expected in an intimate space, in contrast with the open space that these introverted walls also draw in parallel to the houses and the Leixões port. Eduardo Souto de Moura takes on the never built project, of the house with the three Mies van der Rohe patios and rebuilds in Matosinhos today the roman idea of inhabiting. The small patios, that allow the presence of light in the inside of the house, are like peristyles of the roman domus and the bigger patio, the private garden, is protected from the exterior world by the presence of the house itself. A canapé would be a natural furniture piece in the silent atmosphere of these houses.

10 Four Houses - Fernando Neto House Matosinhos Habitação 1950 – 2000 Álvaro Siza 1957 Sat + Sun, 15h, Architect João Paulo Rapagão / Sat + Sun, 17h, Architect Rita Furtado Siza Vieira’s first work (still far from the architectural expression of what would be considered his masterworks), the group of four houses is an essay on a revision of modernity that mixes the Inquiry on Popular Architecture (filtered by Távora), Ronchamp by Le Corbusier and his own, as always, Alvar Aalto. Integrated in this group, the house of his first client predicted a path that forced the duplication of stairs that, even though decreased free space, they increased the living possibilities of the house. In this, the project is complex and contradictory, anticipating 1966 Venturi’s homonym book. The kitchen at Neto’s House seems to have been shaped in clay colour pastilles with Siza’s own hands, still impressed with his discovery of the organic expression of Gaudi’s architecture. The sculptural presence of the chimney reminds us of Christmas, Easter and normal days of that house.

11 Avenue House 440 Matosinhos Habitação 1950 – 2000 José Carlos Loureiro / Telmo Castro e Graça Diogo 1957/2000 Sat 15h-17h, Architects Graça Diogo e Telmo Castro / Sat 17h, Architect José Carlos Loureiro / Sun 15h-18h, Architects Graça Diogo e Telmo Castro // Building with partial access to people with reduced mobility In the living roof, when the house was built in 1957, a terrace with a view to the sea was developed. Even though they are still there (the terrace and the sea), a new city grew between them and their relation exists only as proof of a project idea that was once in the architects’ drawing board. It is a house with an interior promenade between the spaces more or less private, more or less wide, more or less illuminated, turned to the garden or to the city, in an ascending movement up to the roof. The references to Corbusier are clear since the first confrontation with the building and develop as we go in. The formal world of the composition of the elevation, as well as differences in height (namely the double height of the sitting room) reveal some characteristics of the domestic space that Corbusier defined as Machine for Living. We can no longer see the sea but the house reveals the conviction with which Loureiro pursued his models at the same moment that Siza Vieira built four houses with some hesitation, right in front of this one.

16 Liége Square Building Porto Habitação 2000 – Presente Luísa Penha 2012 Visit accompanied by the architect Luísa Penha The new buildings in this square witness the fact that “all art is a balance between two opposites” (Cesare Pavese). Luísa Penha’s proposal is unexpected – two buildings facing the street formally very distinct for the same lot – a gable construction that could be pre-existing (indoor pool) and an exposed concrete volume with a contemporary expression and design (two houses). Because of that, the result is a surprising integration in the square that in part comes from this strategy of fragmentation but also because the careful and precise design of the volumes is the result of an attentive reading of the metrics, compositional and cadastral, of what surrounds it (which, in reality, also corresponds to the usual width of a lot in Porto). The project prolongs to the inside this historical and architectural reading – and resumes the classic themes of Porto’s bourgeois house like, amongst other things, the main staircase, the different treatment of the front/back and the receded roof window.

17 Fez House Porto Habitação 2000 – Presente Álvaro Leite Siza 2010 Building with partial access to people with reduced mobility Visit accompanied by the architect António Choupina This house, with an entrance on the street that gave it its name, is the result of the author’s persistence, also the owner, that started by acquiring a land without access to the street, and that during six years looked for a connection that made the project of this studio-house possible. The shape of the plot, a result of portioning the land, allows an inward quality that the program, organized lengthwise along the building, also potentiates: the studio near the street, then the garage and service areas, and finally the house connecting to the garden. The street façade is misleading. Behind this plan the shape expands in three dimensions in a living body that Álvaro Leite Siza admits was born of a sketch of a harlequin. The geometrical abstraction of this figure ties the interiors together with the eloquent expression of a classical past with excesses characteristic of the baroque style: two pools, a ceiling that opens and rolls into two huge scrolls, a dinning table with some meters of length, lamps, handles, doors, handrails, paintings and furniture. In Fez Street there is a Harlequin laughing (and no one can see it).

18 Dwell Block in D. Afonso V Square Porto Habitação 1950 – 2000 2000 – Presente Francisco Pereira da Costa / Lourenço Rocci 1955 / 2001 Sun 15h-16h30, Architect Teresa Cavadas / Sun 16h30-18h, Architect Nuno Graça Moura Even though it is a parallelepiped volume with a reinforced concrete skeleton structure, rigorously modular, Pereira da Costa proposes different plans for each of the floors, working the mixed program in a sectional way with the juxtaposition of commerce (with a retreated ground floor), T2 (on the 1st floor) and a duplex T4 (on the 2nd and 3rd floors), with individual access to the roof, with a sea view. This module, repeated nine times, draws a block with a portico on the ground floor that prolongs public space, filters the relation between inside/outside through the curtain of columns, and evokes the buildings on pilotis of the modern city. The accesses to the houses are appendixes to the building and start at the galleries in the opposite elevation, associated to a central annex volume that integrates the scale that develops from the main atrium, the space occupied by the central span of the building (with an uneven number of modules), in this case replacing the ground floor shop. At Cristo Rei, from the square to the houses, a sensitive promenade produces the metamorphosis of scales.

19 House in the City 5 Porto Habitação 1900 – 1950 2000 – Presente - / aNC arquitectos 1950 / 2018 Visit accompanied by Architect Jorge Cavalho It is a house in the city, in a neighbourhood developed by the Estado Novo [New State] at the end of the 1940s, destined for the middle class. The group of row houses, in sets of two, with a backyard and garden, obeyed a project-type that has been changed by the several extensions, visible in several houses, by the author-like character clearly far from the anonymous model-house repetition principle that characterized that neighbourhood in its beginning. In this particular case, the renovation tries to re-establish the original order by building a new façade in the alignment of the already expanded neighbour house, deceiving the observer with a new symmetry invented by the modern architect. Even though the house looks the same, it nevertheless has gained a new life in its interior. Adolf Loos’s lesson is explored to the maximum in the variations of height that allow the gaining of new spaces of comprehension and expansion, as well as the interior spans that reveal interiors within the interior. In the garden there is also a new pergola and something reminds us of Schinkel.

22 Emílio Peres House Porto Habitação 1950 – 2000 Pedro Ramalho 1966 Visit accompanied by Architect Pedro Ramalho This is the surprising first built work by architect Pedro Ramalho, projected when he was still a student, between 1963 and 1966. It belongs to a group of buildings constructed around the yard of the São João da Foz church and it is remarkable the way in which it’s integrated and how it relates to the monument and the consolidated historical house. The triangular shape of the lot, the sharp slope of the terrain, and the necessity of opening up the houses to the west sea view, made this an exercise of increased complexity. The house can also be read as a sequence of plans/roofs and volumes/terraces that adapt to the hardships of the lot and progressively create a sense of interiority. It’s that inner life that everyone that already admires this construction will be able to discover and get to know better – a singular experience, for the first time, at Open House.

23 Queen D. Leonor Neighbourhood Porto Habitação 1950 – 2000 2000 – Presente Luís de Almeida d'Eça / Inês Lobo 1953 / 2013 Visit accompanied by Architect Pedro Alarcão Built in the 1950s, this neighbourhood has circumstances that distinguish it from the rest of the social neighbourhoods. Right away its extraordinary location (over the mouth of the Douro river, the “Foz”) but also the architectural quality of the buildings, the human scale, the public space generated because of the neighbourhood’s location. Like in every neighbourhood, it went through an unregulated process of appropriation and transformation, to a certain extent understandable considering the small size of the original houses, incapable of responding to the needs and ways of life of its inhabitants. Architect Inês Lobo gives back to this group of buildings a unity and identity that were lost, putting great attention in the reconstruction of original building elements and treatment of the public space –rethinking and transforming deeply its inner life. “Continue-innovating”, as architect Fernando Távora would say.

25 Baltazar House Porto Habitação 2000 – Presente Pedro Gadanho 2008 Sat 17h, Architect Carlos Machado e Moura / Sun 12h, Architect Alexandra Areia This intervention by architect Pedro Gadanho, reveals how an architecture project is a form of combat and a transformation that re-qualifies existing reality. Part of a neighbourhood with twinned houses and built on a budget, the project expanded a basic area of 40 square meters up to 110 square meters – almost with no visibility of the intervention from the exterior. It is a careful exercise that takes advantage of the interior of a confined space and very compartmentalized that now reveals space, light and perspectives non-existing before. The transmutation occurs when all existing volumes are radically taking advantage of – excavating now and then, and a chirurgical extension of the roof – and installation of some “functional parasites” (an expression of the author) that in formal and colour contrast look to solve the necessities of inner life.

29 Pereira da Costa Building Porto Habitação 1950 – 2000 Francisco Pereira da Costa 1964 Visit accompanied by Architect Joaquim Teixeira Designed by Pereira da Costa, this building has six apartments for the architect and his brothers. Even though the volume is made from the elements of the formal world of the modern movement, like the slightly inverted roof (close to the solution of a butterfly wing roof), or the geometric game provoked by the intersection of vertical and horizontal planes (very visible in the side elevations), the perception of the group reminds us of the mother-house of a Palladian villa, because of its scale and its program. Many times these country houses were destined for several brothers that distributed themselves symmetrically, or in different floors, or both, as observed (6 houses in three floors with two lateral entrances). Porticos give way to balconies that occupy the whole front of the houses, a space whose light and intimacy is filtered by horizontal blades of metal blinds, like the verticals of the columns would filter the outside/inside environments of Palladio. On the 2nd floor left lives an Italian architect that certainly feels at home in here. It is not in Venice, it’s in Campo Alegre. Here’s “permanent modernity” for you.

32 Boavista House Porto Habitação 1900 – 1950 2000 – Presente - / Joana Leandro Vasconcelos 1915 / 2015 Visit accompanied by the architect Joan Leandro Vasconcelos and the Engineer Tiago Ilharco reservas marcação pré-marcação Winner of the 2016/2017 edition of the João de Almada Award, this house was rehabilitated by architect Joana Leandro Vasconcelos and by NCREP engineering team, and consolidates a sensitive and attentive way to make an intervention – in a heritage context – in the midst of the city’s mesh. Starting with a diagnosis and profound study on the construction, this intervention takes maximum advantage of the existing materiality and acts surgically – and in many circumstances we doubt whether the final solution is a transformation or was already there. And this is not necessarily bad or a pastiche. This principle of minimum intervention for maximum qualification, very visible in the building’s interiors, is far from being a common practice for constructions of this nature – in many situations it’s simpler and cheaper for promoters to completely demolish the interiors and maintain the façades. It is worth to confirm this in loco, to see what would be lost.

34 Carvalhosa Block Porto Habitação 1900 – 1950 Arménio Losa e Cassiano Barbosa 1950 Visit accompanied by the Architect António Neves We read in the Public Interest building classification process, that the Carvalhosa Collective Housing Block “is an exemplary work, built in a particularly complex and difficult time, marked by Estado Novo’s nationalist wave and by the anguishes and uncertainties of Portuguese architects when faced with the paths to tread” – it is in this context that the architectural production of Arménio Losa and Cassiano Barbosa makes its way, managing to get a coherence that the passage of time has made exceptional. Let’s highlight the building’s indentation in contrast with the dominant alignment of Boavista Street, the surprising composition of the façade, the entrance portico and the helical sculptural-like staircase in the well-lit common area. The apartments contradict the tradition and bring forth service and social areas to the hustle of the street and the private areas to the patio, turned to the sun and to tranquillity, ending in wide terraces thought as solariums.

35 Ribeiro dos Santos House Porto Habitação 1900 – 1950 Januário Godinho e Oldemiro Carneiro 1944 Por motivos alheios ao Open House Porto as visitas à Casa Ribeiro dos Santos estão canceladas This house, by architect Januário Godinho, has since its beginning the peculiarity of not totally occupying its lot, originally very narrow and facing the street. The house has a peculiar interior organization because of it. The construction has both modern and art deco references – in the simplicity of the volume accented by a high platband and the absence of corners – like some of the vernacular details in the rustic basis and granite frames. We should note that it was inhabited almost continuously since its construction, which results in a particular inner life: of the library, of the semi-basement, of Dr Alfredo Ribeiro dos Santos, to the furniture designed by artists and architects like Luísa Brandão, Sérgio Fernandez, José Manuel Soares and Matilde Seabra.

36 House 44 - Bouça Neighbourhood Porto Habitação 1950 – 2000 2000 – Presente Álvaro Siza e António Madureira / Patrício Guedes e Cristina Chicau (Atelier 1111) 1975 / 2019 Sat 17h e 17h30, Architects Patrício Guedes and Cristina Chicau / Sun 11h e 12h, Architects Patrício Guedes and Cristina Chicau (House 44) and Architect Matilde Seabra (Neighborhood) This house belongs to the first phase of construction of the housing complex designed in the scope of SAAL - Serviço de Apoio Ambulatório Local [Local Ambulatory Support Service]. Only later, after thirty years, the project was concluded in its totality, re-establishing the relationships of that territory with the city. Nevertheless, during those thirty years, the house endured many alterations that the new owners, also architects, tried to revert. The process was meticulous, and had as model the nearby houses, or rather, the original model with which it was possible to see, measure and copy. If, as Siza Vieira says, “to repeat is never to repeat”, can we find the differences? On the ground floor there’s a publishing house and architecture bookstore, a neighbourhood local, with books about the project where maybe it is possible to compare. It is a space “in between”, of suspension, a secret passage between Boavista Street’s urbanity and the domestic interior of the neighbourhood: on one side, we can hear the engines and horns of the cars; on the other side, silence is gradually cut by the passing of the underground.

38 Rosário House Porto Habitação 2000 – Presente - / DEPA Architects - / 2016 Visit accompanied by DEPA Architects The Casa do Rosário is at Rosário Street, and like the choice of its name, it does not wish to bring attention unto itself. It is a common house from the 19th century and so it remained after its new renovation in the context of the city. Great transformations designed themselves on the inside, even if the building has maintained its original integrity. The three existent houses gave way to five new ones that, without altering the physiognomy of the building, gained space from the rigorous design of all the compartments, namely the alcoves, and the furniture itself. The new owners occupied the top floor, taking advantage of the whole area of the attic, letting the skylight’s extruder (which illuminates the staircase) invade the space of the bedroom. The outside space visually prolongs the small winter gardens because of the unlikely composition of the new back façade. Despite the multiplication of inhabiting spaces, the house maintains its formal unity, and that rare characteristic makes it an example. It is a house with many houses (but nevertheless it is still a house).

44 Three Houses on Caldeireiros Street Porto Habitação 2000 – Presente - / Paulo Moreira - / 2014 Visit accompanied by Architect Paulo Moreira The rehabilitation of these houses had to be part of a selection marked by inner life. Architect Paulo Moreira’s projects for these historical buildings reaffirm our confidence in architecture as a discipline attentive to reality, bringing together in a singular way the integration of the existing matter with the necessary “aggiornamento” [update] – functional, regulatory and of comfort. And this is, without a doubt, the real criterion for the sustainability of the constructions. Because of that they are exemplary architecture of our days – days marked by several interventions of this nature in the centre of our cities, normally of poor quality and subject to real estate speculation.

49 Palace of Commerce Building Porto Habitação Comércio e Serviços 1950 – 2000 2000 – Presente David Moreira da Silva e Maria José Marques da Silva / Joana Leandro Vasconcelos 1954 / 2016 Visit accompanied by Architect Joana Leandro Vasconcelos On Sá da Bandeira Street rises one of the most impressive buildings of Porto – the Palace of Commerce (1944-46) by the duo of architects David Moreira da Silva and Maria José Marques da Silva (brother in law and daughter of architect José Marques da Silva). Everything is extraordinary in this construction: the dimension (one block), the materials (marble, bronze in the window frames, curved windows…), the sculptures in the façades, the perfusion of decorative elements, the unexpected central interior patio with the distribution galleries for the apartments, the penthouses in the towers, the tunnel of access to the parking under Firmeza Street (with entrance through the north block), the generosity and luxury of the common areas, the wide spaces and carefully designed apartments… Three of these singular apartments were carefully rehabilitated by Atelier In.vitro – we hope these will be taken as reference for the rehabilitation of the rest of the building recently acquired by a foreign group.

50 Lino Building Porto Habitação 1950 – 2000 Arménio Losa e Cassiano Barbosa 1953 Visits accompanied by Architects Carlos Maia e Marta Labastida The building, popularly known as Lino Lamps Building, was projected between 1951 and 1953 by architects Arménio Losa and Cassiano Barbosa and was the commission of Sr. Custódio Lino – a reputed lamp maker whose factory was on the same street. Lino lamps are also closely connected to the Escola do Porto [Porto’s School] as they produced pieces for many of their architects. Two of the floors are a shop and showroom and the remaining four are housing – in the last floor there are two studios with a terrace, that were used as lodging for the German technicians that would travel to Porto for long periods of time to repair the factory’s equipment. The showroom was set on the semi-basement of the building, under a community terrace, opening up to the garden on the public space. Despite the small dimensions and the conditions of the fractions, Lino building clearly incorporates and expresses the modern, functional and constructive formal lexicon of architects Losa and Barbosa.

51 Costa Cabral Block Porto Habitação 1950 – 2000 Viana de Lima 1955 Visit accompanied by Architect António Fundo Ferreira This multi-family housing building shows the importance that the modern revisionist movement continues to give to new ways of inhabiting: functional kitchen, with a wall integrated dish rack, in direct connection with the meal area displayed in continuity with the sitting area; bedrooms with abundant light from horizontal windows; terraces and balconies that prolong the reading of the inside space to the outside. From the point of view of urbanism, even though implanted parallel to the street, through an indentation the block becomes autonomous to it, and is “completed” by the nearby gables with the same brick coating of the building. The ground floor is distinct from the upper floors (forcing a complex deviation in the structure and infra-structures of the building) and it shows the pillars-columns, in the style of modern pilotis. It is therefore a moderate modern building, without the radicalism known of its European heroic counterpart. In that resides today its exemplary character. Viana de Lima, author of the building and participant of the International Congress of Modern Architecture (CIAM) was, himself, one of the inhabitants of this modern machine for living.

53 S. João de Deus Neighbourhood Porto Habitação 1900 – 1950 2000 – Presente C.M.Porto / Nuno Brandão Costa 1944 / a decorrer Visit accompanied by Architect Nuno Brandão Costa A middle-class neighbourhood built in the 1940s in the scope of politicies that promoted public housing by the Estado Novo [New State]. From the point of view of urbanism, it follows the principles of the garden city; yet, from the point of view of architecture, it takes on the expression of the regime, and what was later known as “Português Suave” [Soft Portuguese style]. The recent project by Nuno Brandão Costa of urban and architecture renovation maintains the principles of implantation and relationship of scale between the volumes, whether in the redoing of the pre-existing constructions, whether in the extension and resolve of the urban structure of the neighbourhood, in continuity with the existent. Through a subtle process of morphological-type simplification, the typical architectural elements of the ideal Portuguese house were reduced to their essence and this way, are eloquently fainted out in the existing constructions and eliminated in the ones built from scratch. The houses are small but they allow a just and cosy appropriation due to a window, well proportionated, that is always repeated (like in 19th century houses from Porto).

54 SAAL Antas Porto Habitação 1950 – 2000 Pedro Ramalho 1977 Visit accompanied by Architect Pedro Borges de Araújo Residential neighbourhood built between 1974 and 1977 in the scope of SAAL - Serviço de Apoio Ambulatório Local [Local Ambulatory Support Service], created by then secretary of state Nuno Portas. A cohesive group of small houses built from scratch remains, from what was originally planned for the area – a wider scope that predicted also the renovation of existing islands. The implantation of this built group of houses aims to re-establish urban connections with the nearby environment. The project of the houses tries to give each family a minimum space for their daily life through a patio that connects to the street. Light materials, typical of ordinary construction in Porto (painted or translucent corrugated sheet) and vibrant chromatic solutions aim to give expression to an architecture that has as calling to try to understand the genuine aspirations of its inhabitants. In the surrounding neighbourhoods some islands still persist, some now almost empty, where you can enter and feel (even if briefly) the deep reasons of these aspirations.

55 Joana Fins Faria Studio Porto Habitação 1900 – 1950 2000 – Presente - / Camilo Rebelo Séc. XX / 2019 Sat 12h30, Architect Cristina Chicau / Sat 16h, Joana Fins Faria Inside a centennial warehouse, in the Orient part of Porto where on the second half of the 19th century, a great number of factories and offices were concentrated, there is a special space: a “house”. The owner, a cultural  consultant that explores the interconnection between human potential and the arts of expression, aesthetics and interiority, finds here its place and a place to work. To maintain the identity and the memory of its pre-existence and simultaneously create a new typology, made the author rehabilitate the whole warehouse (façades, roof and structure), and in its interior, a house was built from scratch (with gable roof, a patio and garden). The building inside is constructed in apparent concrete, contrasting with the stone masonry of the warehouse, a similar intervention to the one Alberti did in the Tempio Malatestiano, five hundred years ago. The patio is a space “in between” (exterior to the house but interior to the warehouse), making the transition between the darker insides (with zenithal light here and there) and the open-air garden. It is a double shelter, for the body (and the inside of the body) to inhabit.

56 Duque de Saldanha Housing Block Porto Habitação 1900 – 1950 2000 – Presente C.M.Porto / Domus Social, EM 1940 / 2005 Visit accompanied by Architect Eliseu Gonçaves Property built in 1937 by Porto’s municipality to try to solve the city’s chronic problem of lack of housing. The group of buildings is composed by two elements: an isolated volume in the interior of the lot with a U-shape plan; and a “building” constructed facing the street, closing the open patio through the block. On Duque de Saldanha Street the group of buildings is only perceptible by the hole in the elevation that draws the public crossing to the interior of the block. Right after being built, the collective character of this proposal was pursued by the ruralist views of the Estado Novo [New State]. Given the formal and ideological analogy of its “passages” that praise the opening of collective housing to the city, it was known as Porto’s "Karl Marx-Hof"in a reference to the collective housing built in Vienna in the 1920s by architect Karl Ehn.

57 S. Vítor Street Ilha Porto Habitação Séc. XIX 2000 – Presente - / Bernardo Amaaral Séc. XIX / 2015 Visit accompanied by Architect Bernardo Amaral The number 113 of S. Vítor Street is a gate lateral to a house with a door and a window. The lot, with 5,75 meters in the front, hides an inside street with about 1,40 meters wide, that gave access to another 8 houses of 14 square meters: it is an island, as many, hidden in the fabric of the city. The Porto Islands that fit into the long patios, normally of 1800s bourgeois houses, originally appeared in the Oriental part of town to lodge the working class in the second half of the 19th century. In this area, between the Saldanha block and the S. Vítor SAAL operation (distinct chronologic and morphologic operations but with the same end – to solve the housing problem), we find a recent example of a simple rehabilitation of an island. The low budget intervention consisted essentially in the duplication of areas, by assembling volumes (28 square meters T1), and in the elimination of annexes, giving back free space outside the houses (temporary residencies for artists). The island offers a free space, of creation, simultaneously receiving renewed energy to reinvent itself.

69 Bordic House Vila Nova de Gaia Habitação 2000 – Presente Serôdio Furtado & Associados a decorrer Visit accompanied by Architects Inês Loureiro e Inês Vieira reservas marcação pré-marcação João Pedro Serôdio designed this house, which any architect would have loved to have designed… a plan that elevates the ground to give us shelter and that in the interior, in one floor only, re-frames the sea and the horizon, defines patios and relations between the spaces – and has an interior that seems to have no limits. Quoting the author: “…as the view to the sea was the theme – and that sea view was not the same from any point in the plot – we looked for and found, a place and a quota that seemed ideal and there we placed the room and a landing”. There wouldn’t be much more to say if this space wasn’t still in construction (a novelty in this edition of Open House) – which reinforces, on one side, the essentiality and radicalism of the gesture and, on the other, the necessary care in the process to reach that pureness. Not to be missed.

70 Four Houses at Aguda Vila Nova de Gaia Habitação 1950 – 2000 Manuel Correia Fernandes 1978 Visit accompanied by Architect Manuel Correia Fernandes Manuel Correia Fernandes designs in the 1970s, for four friends, four holiday houses in front of the sea. The constructions, on a budget, are organized around the sitting room – open space, greater height, aggregator of several functions, integrating the stairs/circulation spaces to the rooms (necessarily small) and the natural relation with the garden. One unique roof aims to unify the houses and, simultaneously, make up the elevation that faces the seaside. After almost 50 years it is important also to read the effects of time in architecture and how each house suffered erosion processes or distinct treatments – of ption, alteration, or near abandonment. But there is, despite all, a design of the whole that remains… that good architecture guarantees.

4 Boa Nova Tea House Matosinhos Comércio e Serviços 1950 – 2000 2000 – Presente Álvaro Siza 1962/1991/2014 Sun 10h00, Architect António Choupina / Sun 17h00, Architect António Menéres The fruit of an architecture competition in which Fernando Távora abdicated authorship in favour of young Siza Vieira. The tale people tell, is that before going on a trip to America as a Gulbenkian grant recipient, Távora said to the young group of collaborators that he left preparing the proposal, that the house should be set in this specific place, in other words, over the existing rocky grounds and not with a view over them. His team developed the winning project with basis on the master’s premise to which, later, Siza gave the final and definite form. The teahouse that we can visit today, made the Boa Nova site eternal (which is also the “boa nova” [good news] marking Siza’s arrival to the craft) through the many publications dedicated to its architecture. The white abstract walls that guide our gaze and the steps when ascending to the house are of a later phase and give comfort to the open space that precedes the intimate house, and that from its domestic interior opens itself up to the infinite.

20 Paraíso Villa Porto Comércio e Serviços Séc. XIX 2000 – Presente - / Álvaro Siza Séc. XIX / 2015 Building with partial access to people with reduced mobility Visit accompanied by Architect Maria Sofia Santos Álvaro Siza was invited to restore the old house in the Paraíso farm, where the Foz University Campus is installed to receive the Católica Porto Business School. As it is customary, he proposed the expansion of the group to a new building with the argument of separately constructing the campus canteen that occupied the ground floor of the house. Of course, the necessities of a building like this one hardly would adjust to the program of a house, but Siza mainly saw here the opportunity to build the volume that was missing to finish his project. This way, the mother-house gains back its total integrity and the new volume, a kind of pavilion in the garden, articulating two exterior spaces, defined by a pergola, to the north and south of the wide dinning room. The seasonal appropriation, dependent on the seasons, reminds us of Palladio’s project theory transferred to an outside space. The pictorial ornament is still relevant in the perception of the whole and, contrary to the option taken at the Póvoa farm, in Paraíso [paradise] pink is extended to both buildings.

27 Campo Alegre University Residence Porto Comércio e Serviços 1950 – 2000 Noé Diniz 1993 Visit accompanied by Architect Noé Diniz From the Campo Alegre Street we can see a large granite masonry wall. This opaque surface is the visible elevation of this residency that existed before, that delimitated the plot long before the building was constructed. The project develops in a U-shape in the platform sustained by the wall, a pre-existent element that ends up being part of the composition, closing the open side of the patio, that is drawn by the three wings of the building. It is a compact shape built in visible brick masonry with 13 apartments (11 individual bedrooms, sitting room and kitchen) in an open interior that searches for a domestic scale through architectural elements, like porticos and balconies turned to the patio, punctuated by an isolated tree here and there. The house takes on the shape of an artificial stone (what Palladio called brick) bringing everything together with the nearby neighbours campos alegres [happy fields], and the vigorous tree landscape of the botanical garden that surrounds the building: suddenly a plain, or a student reading up on his lesson.

28 Primo Madeira House Porto Comércio e Serviços Séc. XIX 1950 – 2000 - / José Marques da Silva / Fernando Távora Séc. XIX / 1899 / 1988 Sat + Sun 11h, Architect Sílvia Ramos / Sat 12h, Architect Carlos Moura Martins This singular work of rehabilitation gave professor and architect Fernando Távora the João de Almada Award (rehabilitation municipal award), in its first edition in 1990. The small palace was built in the second half of the 19th century – later intervened and expanded in 1899 by José Marques da Silva. The interiors of the rehabilitated building highlight the erudition of Távora in works with existing constructions. They reveal his criteria in this type of projects after identifying its values – that never refuse transformation and the possibility of adding contemporary architectural value. The rehabilitation of the English romantic garden (also with an inner life of its own) is one of the last works made by landscape architect F. Caldeira Cabral and brings to the exterior the celebration of diversity and eclecticism present inside the palace.

33 Psychanalysis Clinic 2 Porto Comércio e Serviços 2000 – Presente aNC arquitectos 2014 Visit accompanied by the Architect Teresa Novais At Boavista Avenue (perhaps the busiest part of town), in room 403 of the Porto Private Hospital, there is a space of maximum suspension and intimacy. The organization of the several spaces flows through the serpent-like walls that allow an infinite wandering between the inside and the outside: of the wall (sometimes concave, other times convex, sometimes illuminated, other times in darkness, on one side colourful, on the other colourless); of us (between what we are and who we think we are, a difficult conversation mediated by the expert and the space). It is, therefore, a different clinic, distant from hygienist spaces and hospital environments that due to the care in its design and materiality, namely the cork walls, invokes the feel of a shelter, silent and warm, that allows us to look inward.

37 Tipografia do Conto Hotel Porto Comércio e Serviços 2000 – Presente Pedra Líquida 2018 Sat 15h and 18h, Engineer Alexandra Grande and Architect Nuno Grande / Sun 15h and 18h, Architect Nuno Grande This recently opened hotel arrives to give continuity to a long story that starts in a nearby house, transformed in a residential touristic space, articulated with the city’s cultural production initiatives. The Casa do Conto that resuscitated from decadence and then from ashes, has gained a life of its own and a renewed strength to disseminate itself in the interstices of the city. This hotel reinforces the continuity of this history illuminating another two abandoned houses, built in the beginning of the 20th century, where a meanwhile deactivated printer and typographer were housed. Despite the alteration of the program, the repair shop type character of the space, namely in the ground floor, is evoked in an open space plan with a central patio and a garden at the end. The references to its prior life manifest themselves on each detail of the building and the memories merge with the new architectural expression: printing plates, wood counters, metallic letters for typographic compositions. Even though it has reached the printers, this conto [short story] will go on being written, and in the ground floor café we can all be part of it.

49 Palace of Commerce Building Porto Habitação Comércio e Serviços 1950 – 2000 2000 – Presente David Moreira da Silva e Maria José Marques da Silva / Joana Leandro Vasconcelos 1954 / 2016 Visit accompanied by Architect Joana Leandro Vasconcelos On Sá da Bandeira Street rises one of the most impressive buildings of Porto – the Palace of Commerce (1944-46) by the duo of architects David Moreira da Silva and Maria José Marques da Silva (brother in law and daughter of architect José Marques da Silva). Everything is extraordinary in this construction: the dimension (one block), the materials (marble, bronze in the window frames, curved windows…), the sculptures in the façades, the perfusion of decorative elements, the unexpected central interior patio with the distribution galleries for the apartments, the penthouses in the towers, the tunnel of access to the parking under Firmeza Street (with entrance through the north block), the generosity and luxury of the common areas, the wide spaces and carefully designed apartments… Three of these singular apartments were carefully rehabilitated by Atelier In.vitro – we hope these will be taken as reference for the rehabilitation of the rest of the building recently acquired by a foreign group.

63 Cockburn's Cellars Vila Nova de Gaia Comércio e Serviços 1900 – 1950 2000 – Presente - / Luís Loureiro Santos e Nuno Gusmão 1920 / 2017 Building with partial access to people with reduced mobility Visit accompanied by Architect Luís Loureiro Santos The way in which we visit the Port wine cellars (and other spaces of wine production but not only) changed deeply in recent years. The growing wine tourism market and the search for a “total experience” involves today the witnessing of the processes of production in their most authentic form, and the tasting of different wines, understanding their characteristics and possibly also connecting with the architecture where it has been historically produced – without neglecting the necessary architectural aggiornamento [update] that makes the experience more memorable. The Cockburn's Cellars rehabilitated by architect Luís Loureiro (following the Grahams Cellars) are another good example of “transformation in continuity” – a rehabilitation that was attentive to layers of knowledge, history and narrative, always supported by a contemporary architectural proposal in the context of cultural patrimony

64 PraÇa Building Vila Nova de Gaia Comércio e Serviços 2000 – Presente Joana Almendra 2017 Sáb 11h, Técnico Águas de Gaia / Dom 11h, Arq. Joana Almendra This building seems like a paradox because even though the definition of square is quite broad, the truth is that we associate it with wide public open spaces free of buildings. In other words, we connect it to urban voids with meaning that potentiate the meeting of citizens. This square is composed of the buildings themselves and in that sense it seems to be closer to the Roman Forum; but its development in open air, in the roof of the building implanted at a low quota in the back of the Vila Nova de Gaia’s City Council, invokes also the Greek Ágora overlooking the acropolis. The square-building is a manifestation of an intimate connection between urbanism and architecture, and is also the literal manifestation of its program: Urbanism, Housing and every Gaia customer service concentrated in one place. Inside a waiting area defined on one side by a service desk, and the other by a gazebo balcony that frames the landscape. At a higher quota, in the buildings roof (or in the square) we can see the river Douro and the acropolis – the other, on the other side.

5 Leça da Palmeira Lighthouse Matosinhos Equipamentos 1900 – 1950 Eng. José Joaquim Peres 1926 Visits without booking but with ticket distribution Sat 14h00, Lighthouse keeper Filipe Figueiredo / Sun 09h30, Lighthouse keeper Rui Reis A lighthouse is made to see and be seen. The lighthouse at Leça da Palmeira is a landmark in the territory that draws itself as a vertical in contrast to our gaze that, near the sea, is always looking for the line of the horizon. Everyday visitors contemplate it as an architectural element that composes that landscape. The experience of visiting its insides allows the ascending to the heights of Boa Nova, giving a panoramic perception of the surroundings, in a new framing in which the lighthouse is the only element absent from the composition, unlike what we are used to. The experience of being inside is setting ourselves in the place of the other, who inhabits this device of alert and watch, the perspective of the lighthouse keeper that in this way for some moments will also be our own.

7 Conceição Farm's Pool Matosinhos Equipamentos 1950 – 2000 2000 – Presente Álvaro Siza 1965/2019 Visit accompanied by Architect João Paulo Rapagão Those who walk the paths of Conceição Farm (re-organized by architect Fernando Távora between 1956 and 1960) might not realise that it keeps in its hill, behind the tall white walls, a public pool and a solarium. This work was made between 1958 and 1965 by architect Álvaro Siza and has the particularity of having been rehabilitated, very recently, faithfully according to the original project. There is an inner life in this public space – a space within a space, a shelter of intimacy, of exposition (solar but not only…) and surely many memories. The topography is the protagonist and the architecture its possibility. It is mandatory to get to know and/or revisit.

8 Silos of Leixões Matosinhos Equipamentos 1950 – 2000 - 1978 ACCESS ONLY TO PEOPLE WITH MORE THAN 12 YEARS OLD. Mandatory identification of the visitor (name+identification card). The entry with lighters or equivalent objects is forbidden. Required the activation of airplane mode on mobile phones. Should be avoided the entrance with high-volume backpacks and bags. Mandatory use of individual protection helmets, that will be provided by the organization. Sat 10h and 12h, Engineer Miguel Tomé / Sun 11h, Architect Inês Moreira In the Matosinhos skyline it is easily identified a volume formed by about 40 silos with more than 60 meters of height that stands out in the landscape of the Leixões Port. These monumental structures, already 40 years old, are a representative element of the port and industry culture that characterizes the region’s landscape and that is profoundly rooted in the seaside urban scenery. To visit its interior is a unique experience, close to a scale of religious representation – like basilicas – due to the interior nave with a roof indented by cellular and intercellular voids and the filtered natural light.

12 Visconde de Trevões Palace Matosinhos Equipamentos 1900 – 1950 2000 – Presente Emídio Ló Ferreira / Ana Crista 1914/2017 Sat 11h, Architect Ana Crista / Sat 16h, Vereador Fernando Rocha Emídio Ló Ferreira, mason involved in the construction of the Leixões Port, emigrated to Brazil like many others, his business prospered and he became responsible for the construction of the Manaus Port. Never losing contact with the city that adopted him, he built the Constantino Nery Cine-Theatre, amongst other things, and when he returned to Matosinhos, he became a benefactor and occupied political posts – he was then awarded the title of Trevões Viscount, the village where he was born. Construction of his small palace begins in 1910 – with the taste of someone that has lived in Brazil – and in its sumptuous interiors we can highlight the ballroom or the well-known “room of mirrors”. The careful project of rehabilitation of architect Ana Crista allows the reading of the singularity of the building – the space and the light to the remarkable finishes (mural paintings and ceilings). But it is also thanks to Alcino Soutinho, and to his winning proposal in the competition of the Matosinhos City Hall, that the palace was not demolished…

13 Roberto Ivens House Matosinhos Equipamentos Séc. XIX 1950 – 2000 2000 – Presente - / Álvaro Siza Séc. XIX/1961/2009 Visit accompanied by Architect José Salgado In the central mesh of Matosinhos we can still find many examples of Porto’s bourgeois houses, or variations, built between the 19th century and the beginning of the 20th century. The Roberto Ivens house is one of those houses – with the particularity of having been remodelled by Siza Vieira himself to be the house of his parents, in 1961. In 2009, it is him once again that designs the building’s reconversion into the first headquarters of Casa da Arquitectura. It’s another extraordinary exercise of “transformation in continuity” – an idea that architect Fernando Távora frequently enunciated – where we recognize a new inner life overlapping the memory of a family house. The surprising natural way in which this process is designed is latent – in everything.

14 Porto de Leixões Cruise Terminal Matosinhos Equipamentos 2000 – Presente Luís Pedro Silva 2014 Sat 15h, Arq. Luís Pedro Silva / Sat 16h-20h + Sun 10h30-15h30, Guias Terminal de Cruzeiros // Visits without booking but with ticket distribution 30 minutes before A reference point when arriving to Porto by sea, it rises in the south sea wall of the Leixões Port in a precise position. A sculpture with a promenade and living roof, establishes itself as a belvedere over the sea front of the greater Porto. In its interior, apparently hollow, a span with full height occupies the centre of the building that develops along a helical ramp that holds the Sea Science and Technology Park and the headquarters of CIIMAR Interdisciplinary Centre of Marine Research, both from the University of Porto. An iconic work that stands out because of the exuberant unfolding of its walls in movement, which seem to defy the firm architecture, in the same way that transatlantic ships defy the idea of city. Ship and Terminal, both dystopias, mutually evoke each other and the south sea wall never could be seen in its unshakeable horizontality.

15 Casa da Arquitectura - Real Vinícola Matosinhos Equipamentos 1900 – 1950 2000 – Presente Eng. António da Silva / Guilherme Machado Vaz 1901/2017 Sat 19h + Sun 11h, Real Vinícola Block / Sat 20h + Sun 12h0, Archive / Sat 21h + Sun 13h, Exhibitions Sat 22h, Architect Nuno Sampaio / Sun 16h, Techinician Ana Filipe / Sun 17h, Architect Guilherme Machado Vaz // Visits without booking but with ticket distribution 30 minutes before // Building with partial access to people with reduced mobility Political wishes and the attentive and transformative design of architect Guilherme Machado Vaz reopened the Real Vinícola block in 2017. The building was built at the end of the 19th century, and was one of the first to be strategically installed in the industrial mesh of the south of Matosinhos occupying almost the entirety of one of its blocks. The construction was in a state of high degradation, with parts in ruins, but even so one could understand that is was the result of a careful original solution. The rehabilitation project crossed the premises of the new programs with the singular values identified on the site – the double-patio, the structures of storage, the constructive methods… And it made possible a new inner life, anchored in Casa da Arquitectura, the Matosinhos Jazz Orchestra and the other commercial and multifunctional spaces.

21 S. João Baptista da Foz Fort Porto Equipamentos Séc. XVI-XVIII Francesco de Cremona Séc. XVI-XVIII Visit accompanied by Architect Marta Oliveira This fort hides in its interior what is left of the renaissance palace and the abbey church that Dom Miguel da Silva, Bishop of Viseu, built there in the first half of the 16th century to be his home and place of worship. In truth, these two architectural elements are an integral part of a wider set that Dom Miguel da Silva planned and had projected through an Italian architect Francesco de Cremona (that, certainly, he brought with him from Rome) and that forever marked the configuration of that place that they both founded. In the second half of the 16th century, Dom Miguel da Silva’s palace was integrated in the fort erected by the court that, in its interior, hides this History. The tiles of the church’s nave were taken out and the new one was built from the walls of the pre-existing church, in other words, the church exists today in its absence, open sky, converted in an inner patio of the fortress.

26 Dehoniano Centre Porto Equipamentos 1900 – 1950 2000 – Presente - / Nuno Valentim e Frederico Eça Séc. XX / 2011 Visit accompanied by Architect Frederico Eça Built in the 1930s as single family housing, this building was intervened in 2012 to house theology students and some priests of the Dehonian congregation. The profound transformation and extension of the building is not visible from the outside – reinforcing the surprise when they visit its inner life. The land’s natural orientation allowed the setting of the extension of the basement floor – cut from this layer that grows from the ground but that also becomes a roof, comes a central patio with a square plan, reminding us of a cloister, that inverts the former absence of natural light of the ground floor. The new student rooms open up into this space, each with its own colour, an exterior sign of the diversity and identity of each one. Let us highlight finally the Chapel, the centre of the house and meeting point of the community: space that welcomes each member, in the colour of each bench (that mirrors the colour of each room), “forming one sole body”.

30 Pink House, Mews and Carlos Ramos Pavilion Porto Equipamentos 1950 – 2000 - / Álvaro Siza - / 1985 Sat 11h00, Architect José Miguel Neto Rodrigues / Sun 11h, Architect Luís Urbano This house was built at Gólgota Street by Gwyn Jenning, for her family. Like other nearby houses on Campo Alegre Street, all of them overlooking the river and its mouth, this was also the initiative of an Englishman connected to Port wine (Sandeman). The house is an example of adaptation of the building system of Porto houses to the comfort and atmosphere of classic English interiors, still visible today in the scale of the spaces, in the carpentries (turned white by Siza Vieira), in the wooden floors worn out by time and in the stoves from the original occupation that still persist. The wall and garden plateau that raps up Quinta da Póvoa [Póvoa Farm], that is the way people call it, constitutes an authentic botanical oasis with rare trees and vegetal species. In the 1980s, Álvaro Siza completes the project (formed by the house, the mews, greenhouses and garden) with the new Carlos Ramos pavilion implantation in a U shape, which confirms and accentuates the original direction of the axis that makes the drawing of that garden.

31 FAUP Building Porto Equipamentos 1950 – 2000 Álvaro Siza 1999 Building with partial access to people with reduced mobility Sat 11h, Architect Ricardo Leitão / Sat 16h, Architect Maria Sofia Santos / Sun 12h, Architect Francisca Lopes / Sun 17h, Architect Alberto Lage This group of buildings was made by the university to install the “school of Porto” as it got to be known in international architecture reviews. Following the Casa Cor-de-Rosa [Pink House] (mother-house of Quinta da Póvoa and later FAUP), Siza Vieira’s project marks the landscape with isolated volumes, four towers and one “non-tower” that would be known as dry-pool (a place of student meetings). At the back, a building follows the contour line struggling to accompany its natural movements. The bar and terrace (some say “the best terrace-cafe of Porto”), the noble hall, the services, the auditoriums, the library, the exhibition room, etc. inhabit this continuous volume that, only now and then, searches for connections with the exterior. The auditorium is a space of metamorphosis: a wall comes down silently to the basement and the Távora auditorium is prolonged to the “sala plana”. The lights are turned off for the conference and a window opens up over the wild nature that surrounds the building in a peripheral slope like a “painting in an exhibition” and, at the same time, conferring the space with the necessary aura.

39 Building of the UP Rectory Porto Equipamentos Séc. XVI-XVIII 2000 – Presente Carlos Amarante / António Portugal e Manuel Maria Reis Séc. XVIII / a decorrer Building with partial access to people with reduced mobility Sat 11h, Vice Reitora Prof. Fátima Vieira / Sat 15h, Vice Reitor Prof. António da Silva Cardoso and Architect Manuel Maria Reis / Sun 15h, Architect Manuel Maria Reis There are buildings that fuse themselves with their names… or there are institutions that get mixed up with their buildings. This happens with the University of Porto [UP] – for many residents of Porto (but not only) to speak of the “University” is to refer to its historical building on Leões Square. The history of this construction (1803) is very rich, full of events, interventions, programs and even catastrophes. And its interior reveals this process, keeping extraordinary surprises – like the library of the “Fundo Antigo” [Old Fund], the Noble Hall, the Patios or the Ferreira da Silva Laboratory recently rebuilt. The several invited specialists for the guided tours will tell us what’s at stake: not only about the story and architectural heritage but also about the exceptional collections and objects kept here. Today, the building houses the UP Rectory and the Natural History and Science Museum (central hub undergoing a process of installing articulated with the Biodiversity Gallery and the Botanical Garden of Porto).

40 S. Bento da Vitória Church and Monastery Porto Equipamentos Séc. XVI-XVIII 2000 – Presente Diogo Marques Lucas / Carlos Guimarães e Luís Soares Carneiro Séc. XVII-XVIII / 2001 Visit accompanied by Guides // Visits without booking but with ticket distribution 30 minutes before This is the first Benedictine male monastery of Porto and simultaneously the last of this ancient Portuguese Congregation – that installed itself near the Olival door of the Gothic wall, after the royal authorization given in 1598. Amongst the many occupations and transformations during its history, we can highlight that in 1808 during the Peninsular War, the Monastery was converted in a Military Hospital, and in 1835 after the expulsion of the Religious Orders, it became a Military Court and Reclusion House as well as a Barrack for the Infantry 31 and engineering. More recently, the Monastery was subject to rehabilitation works conducted by architects Carlos Guimarães and Luís Soares Carneiro. We can highlight in their intervention the roof of the noble cloister – a metal acoustic shell that with great attention to pre-existing values, radically amplifies the possibilities of use through a proposal that is as discreet as effective.

41 S. Nicolau Wash Houses, Bathrooms and Bath Houses Porto Equipamentos 1950 – 2000 Paulo Providência e Rosário Abreu 1993 Building with partial access to people with reduced mobility Visit accompanied by Architect Paulo Providência The relationship of Porto [port] with water (fresh or sea water) is intimate and goes back a long way. Its own toponymy invokes that connection by also meaning a place near water destined for boat docking. Despite the proximity, the water distribution network took time to reach everyone’s house, and during this period water could be found in collective infrastructures like Bathhouses and Wash houses. This space, the result of an exemplary architectonic intervention, is excavated in an old street of the 19th century. The different quotas allow the roof of the building to design the public space, which precedes the immersion in its interior, being itself the apparently invisible elevation that communicates with the city. The authors translated for contemporary times the essential values of these type of buildings: from the popular gathering of women who washed clothes, remembered by the square; to the classic evoking of the public baths through the darkness that potentiates noise and the value of water in its interior.

42 Port Wine Museum Porto Equipamentos 2000 – Presente - / Camilo Rebelo - / 2018 Building with partial access to people with reduced mobility Visit accompanied by Architect Cristina Chicau This museum dialogues in a very literal way with the city, namely with Reboleira Street (downtown Ribeira) that draws the space “between” the two buildings of the group. In the pre-existing main building the intervention is chirurgical, leaving the space to communicate its history and taking advantage of the pictorial ornament in the mediation between exhibition displays and the manifestation of the architecture itself (old and new). The reception of the museum plays a pivotal role whether for the program, or for the two buildings. From the other side of the street, the Espaço Dois of the museum is a scenographic place in the several meanings the term evokes. On the ground floor of the centenary house a multiuse space develops, designed with a concrete structure, a kind of petrified scenario that uses as a mold walls and arches built in granite, in other words, its very own pre-existence. It is a stage, an ephemeral structure with the weight of architecture (and the heritage of the Douro river).

43 Bishop's Palace Porto Equipamentos Séc. XVI-XVIII Séc. XIX Nicolau Nasoni / Miguel Francisco da Silva Séc. XVIII-XIX Sat 10h30, Architect José Quintão and Dr. Manuel Joaquim Rocha / Sat 15h, Dra. Francisca Antunes Guimarães reservas marcação pré-marcação This is the house of Porto’s bishop built in the baroque period in the place of the old medieval Episcopal palace. With an initial project by Nicolau Nasoni, it started being built during the 18th century, from 1737, under the guidance of architect Miguel Francisco da Silva, until reaching its current state. In the 19th century, the building was no longer inhabited by the bishop of Porto and stayed abandoned until 1916, when it started functioning as the city hall until 1956. During this period, a significant part of its belongings were lost, namely, interior elements of the chapel. Within the city’s skyline, its relevance maintained itself unshaken: a powerful white cube in the granite landscape. As Siza Vieira says, “that building needs a big statement (…). The answer is undoubtedly exceptional. (…) No one is going to criticize the bishop’s palace, in the centre of the city, for being an immense mass that has nothing to do with the surrounding houses.”

45 Fenianos Club of Porto Porto Equipamentos 1900 – 1950 Francisco Oliveira Ferreira 1926 Visit accompanied by Fenianos Portuenses Club // Building with partial access to people with reduced mobility Clubs were the great centres for meeting and socializing in the last century. Gathering in the Porto Café, at Aliados Avenue, a group of locals created the Clube Carnavalesco Fenianos Portuenses [Fenian Carnival Club of Porto] in 1904, with the plan of bringing the sophistication of carnivals of other capitals to the city. Rafael Bordalo Pinheiro, Teixeira Lopes or Almada Negreiros were some of the well-know names to design fenian parades. In this club resides also the oldest choir of Porto and much more: illusionism, ballroom dancing, theatre, billiards, artistic residences, auditorium, rooms and halls, unique views facing the Aliados Avenue, a first edition of Voltaire amongst the 40.000 books in the library, the reading room… the inner life of a centennial club.

46 Porto City Hall Porto Equipamentos 1950 – 2000 António Correia da Silva / Carlos Ramos - / 1957 Sat 10h and 11h, Architect Domingos Tavares / Sat 15h and 16h, Architect Pedro Baganha It’s the home of the local administration of the municipality, which means, the house that represents every inhabitant of the city, a symbolic building that occupies a featured place in the north top of the Aliados Avenue. This implantation is the result of a long process of urban expansion made by English architect Barry Parker. The plan for the new civic centre, approved in 1916, predicted the demolition of the area that defines today the wide avenue, including the building which before held the city hall and that defined the D. Pedro Square, today’s Liberdade Square. This square opens up today to the grand scale axis that culminates, at the end, with the new building projected by António Carreia da Silva. The compact volume with a tower as axis (started in the 1920s and concluded, years later, by Carlos Ramos), only in 1957 houses the city hall services, meanwhile transferred to the Episcopal building (see nº43). Even though the elevation only reveals the existence of three floors (a ground floor, a noble floor and an attic) the volume develops in six floors and a basement, there are unexpected spaces when you go into the surprising interior of the building.

47 S. João National Theatre Porto Equipamentos 1900 – 1950 1950 – 2000 José Marques da Silva / João Carreira 1920 / 1995 Visit accompanied by TNSJ Guides // Visit without booking but with ticket distribution 30 minutes before 221 years ago, at Batalha Square, S. João Theatre was inaugurated. An “Italian Theatre” projected by Marques da Silva after a violent fire that occurred on April 11th 1908, that destroyed the former building. The S. João Royal Theatre (what it was called then), built in 1798, followed the model of theatre buildings developed in Italy from the end of the 16th century, which means, the confrontation of two elements (the stage and the room) articulated by the “front of the stage”, framing it. Even if following the same model, from a formal point of view, the language proposed by Marques da Silva for the new project turns away radically from the building rooted in a contained pombaline style. The sculptural ornament has now its time of glory and the formal options reveal the eclecticism of the author. In 1992, after many years of degradation, the building is bought by the state, refurbished and re-equipped, according to the project of architect João Carreira, returning to activity in 1995. In the front of the stage, over it, there is a “magical box”, a web of surprises to unveil.

48 Porto Ageas Coliseum Porto Equipamentos 1900 – 1950 Cassiano Branco, Júlio de Brito, Mário Abreu, José Porto, Yan Wils e Charles Siclis 1941 Free visits are only in part of the space Building with partial access to people with reduced mobility Visit accompanied by Prof. Eduardo Paz Barroso > These visit require RESERVATION, in the link below; reservas marcação pré-marcação This is a huge privilege. For the first time we have the most emblematic theatre of the city – the Porto Coliseum. The building is much more than an architectural reference – it has won a place in the heart and the memory of every person from Porto and its visitors. The coliseum happened from a complex process of formal proposals initiated in 1937 with solutions presented by José Porto, Jan Wills and Júlio de Brito’s rejected project. In 1939, Cassiano Branco is invited to solve the project reintegrating already built elements. It is not possible to be indifferent to the modern radicalism of its exterior design (very clear in the composition of the façades/tower and the relation with the Passos Manuel Street) and its interiors (in the sequence of spaces, architectural promenade and extraordinary main room with a singular geometry generated from a circular shape). But the coliseum has an inner life that we should know and that normally we cannot access…

58 Serra do Pilar Monastery Vila Nova de Gaia Equipamentos Séc. XVI-XVIII 2000 – Presente Diogo de Castilho e João Ruão / Maria João Marques e Paulo Freitas 1537 / 2012 Building with partial access to people with reduced mobility Sat 17h00, Architects Paulo Freitas e Maria João Marques / Sun 15h00, Márcia Santos > These visits require RESERVATION, in the link below; reservas marcação pré-marcação Male monastery of the Order of Santo Agostinho that started being built in 1537. It stands out from a morphologic point of view, for its church and cloister, both with a circular plan. The cloister with a domed surrounding gallery is sustained by ionic columns carved in the difficult granite stone that builds the city. Whether it’s the circular interior of the church, with a dome on top, or whether it is the exterior also circular of the cloister, open to the sky, (both with the same dimension on the plan) create a sort of allegory of a world apart, closed in itself, a space of inner thought, introspection and silence. Two wings compose the rest of the monastery in particular the north sleeping quarters, with a rhythmic and repetitive façade only interrupted now and then by volumes that mark vertically the dominant horizontal of the building that overlooks the river and the city.

59 Serra do Pilar Barrack Vila Nova de Gaia Equipamentos Séc. XVI-XVIII Frei Brás de Barros 1538 Visit accompanied by Major Orlando Panza Because of its geographical position the monastery reveals itself along history as a strategic building, decisive in the defence of the territory. It is in its premises that in 1809 Duke Wellington’s troops held barracks to prepare the defeat and expulsion of French invading troops. It has also an important role during the Portuguese Civil War, namely the Siege of Porto (1832-1833), won by liberals when faced with absolutist forces. The defensive vocation of the space and the buildings morphology allowed the maintaining and reinforcing of the new program of the monastery to the present day. After the extinction of the religious orders the site is elevated to Praça de Guerra de 1ª classe [1st Class War Square]. It’s there, ironically, that the Pope lands on a peace mission when he comes to Porto. On May 15th 1982, John Paul II’s helicopter landed at Serra do Pilar. On May 14th 2010, Benedict XVI lands on the same heliport. We now await Pope Francis.

61 São José Chapel Vila Nova de Gaia Equipamentos 2000 – Presente José Fernando Gonçalves 2005 Sat 15h, Architect José Fernando Gonçalves / Sun 15h30, Architect João Luís Marques An incursion to the landscape of the periphery of Vila Nova de Gaia to see this chapel in Quebrantões is well deserved. It is remarkable, the way in which architect José Fernando Gonçalves reuses religious iconography to place the chapel in a territory with no urban planning; an architectural proposal attentive to reality and for that reason it re-qualifies the site and its surroundings. Without ever imposing itself to this circumstance, it is as crucial the strategy of implantation and organization of the exterior spaces, as is the profile and the scale of the church and contiguous buildings proposed for the parish centre. For that reason there is a creative faithfulness to the liturgical program – that doesn’t seem Nordic but very much from Porto – and some of the tools are: churchyard, square, path, symbols, nature, art, bell, baptistery, light, materials, drawing, relationships and, naturally, the crucifix… or is it the cardo and decumanus?

62 Corpus Christi Space Vila Nova de Gaia Equipamentos Séc. XVI-XVIII Padre Pantaleão da Rocha de Magalhães 1675 Sat + Sun 10h and 12h-17h, Espaço Corpus Christi Guides / Sat + Sun 11h, Architects Carla Garrido e Maria José Casanova Female convent of the Dominican order, designed, in the second half of the 17th century by the priest Pantaleão da Rocha de Magalhães, to replace the primitive church of the convent that suffered a gradual degradation due to the floods of the Douro river. This monastic group of buildings results of the aggregation of a series of architectonic elements with pure shapes that are joined through connecting interstitial spaces. The octagon of the body of the church and spatially the relationship between the Dominican high choir and the low quota church floor stands out in the plan composition. Three big spans with balconies, with railings and curtains, establish visual connection filtered between the intimate space of religious women and the collective space of celebration.

65 House of the Image Vila Nova de Gaia Equipamentos Séc. XIX 1950 – 2000 2000 – Presente - / Matilde Seabra e Ivo Poças Martins 1890 / 1952 / 2012 Building with partial access to people with reduced mobility Sat 10h e 11h, Architects Matilde Seabra and Ivo Poças Martins / Sat 12h, Ana Rocha (Gráfica Rocha) / Sat 16h, Historiadora Alexandra Trevisan / Sun 14h e 15h, Artists Inês Azevedo e Joana Mateus (Mediation) / Sun 16h, Ana Rocha (Gráfica Rocha) It is a surprising group of buildings that was formed from twinned houses. Later it was occupied by a printer, and after being abandoned, it is today a living organism with an inner life of its own. It was acquired by Fundação Manuel Leão to install the Casa da Imagem that, besides the educational work, has in its possession the important archive of photographer Teófilo Rego. Architects Matilde Seabra and Ivo Poças Martins built this new story with its foundations in what was there, in the existing matter – a work that also made of demolitions, reopening again the exterior patio, looking for internal articulation of the distinct spaces. As part of this process it is worthy to highlight the creation of a kind of manual of solutions for rehabilitations (of colours, materials, etc.) that allows the work to continue, accompanying the changes in the institution (with the possible coherence) even without the direct intervention of project makers.

68 Heliântia Building Vila Nova de Gaia Equipamentos 1900 – 1950 1950 – 2000 Francisco Oliveira Ferreira / Manuel Magalhães e F. Abrunhosa de Brito 1930 / 1991 Visit accompanied by Architect José Pedro Tenreiro Projected by Francisco de Oliveira Ferreira, in 1929, this clinic is in Vila Nova de Gaia, a city with many of his built works (namely the Sanatório Marítimo do Norte Dr. Ferreira Alves (1916) [Northern Maritime Sanatorium Dr. Ferreira Alves] founded by the doctor that is also at the origin of this clinic). Heliântia is a reinforced concrete portico-like structure, developed in three layers (in which the first floor takes on the monumentality to absorb the other two), with balcony-terraces turned to the four cardinal points and a flat roof. Even if you can find clear references to the classic formal world, the exercise in abstraction is notable, whether in the drawing, whether in the colour (the same to all elements of the building). Far is the formal analogy to Palladio that we find in the sanatorium, or the eclectic nature of the Feniano club designed 10 years before. Heliântia is a totally new building, modern, and rational. Recovered and transformed by architect Manuel Magalhães into a cultural space and teaching institution, the building remains the same, an intelligent sunflower (Helianthus) looking for each seaside sunbeam.