THEME: Ribeira is the oldest district of Porto: founded in Roman times overlooks the River Douro keeping intact the chaotic charm of its small streets. low houses, colorful facades, old shops, characterize the district that was insert in UNESCO for its typical morphology. The Luis I Bridge, which connects the two sides of the city, was built in 1880 boasting a strong structure of steel trusses. Porto isn’t only the city of bridges but it is also the place of colored tiles that cover the buildings, the azulejos. Note is the facade of Sao Bento station, covered by about 20000 all hand-painted tiles. Art, history, local traditions are the ideal breeding ground for the new Escola de Artes which will become a renewal element of the historic city. Placing near the existing Escola de photograph must draw a small cultural citadel in the ancient center of Porto. Workshops and exhibitions will make the place an attraction site capable to transform instances of the past in contemporary signs.


FIRST PRIZE: Ekaterina Maximova (RUSSIA)

…..The transparent facade responds to the need to ensure continuity with Escola de Fotografia. The functions are placed below the road level while the volume above the ground is a window, a space that becomes a meeting place for the local community. The glass partitions are protected by green climbers, which change the light conditions, creating ever-different effects by changing the visual perception of the environments. the cafés and the exhibition hall on the first level find continuity with the rooms below the square; Through a system of ramps and double heights to the spaces establish a visual and functional continuity with the upper rooms. Laboratories, auditoriums and exhibition halls retain their own functional autonomy but are interconnected to allow interactive didactic enjoyment whenever necessary. The regularity of the design favors an easy perception of the paths, a classicism that, combined with the lightness of the structure, shows a contrast between present and past…..



…..The intervention area is rich in historical meanings, which has necessarily influenced the design of Escola de Artes. The building does not have to interrupt or alter the site’s morphology but give new value to the context: the non-building maintains the current layout to ensure visual and functional continuity with the site. The project maintains green space and offers fluid and dynamic circulation, all functions are placed under the cover plan. The interaction that triggers the public square continues in the interior spaces of the school, which do not represent a place for students’ exclusive use, but an attraction for the whole community. Hypogee walkways define a second level of pathways that slip along the glazed surfaces and protect the various halls of the building while guaranteeing an excellent level of interior lighting. The nearby Escola de Fotografia’s historical prospect continues to dominate the area as a sign of historic continuity with which the new complex establishes a continuity relationship…..


THIRD PRIZE: Guilherme Cunha, Igor Ferreira, Raphael Matta, Roger Peicho (BRAZIL)

…..Art does not have a single purpose: some works try to evoke emotions, others focus on the process itself. Perhaps the common ground of the arts is the multiplicity of forms that they can create. The Escola de Artes is the place where these different ideologies come together; One had to imagine an urban area where the roof rafts became open platforms on the backdrop. The ipogeo design gives visual freedom to the nearby photography school and suggests many uses of public land. In particular, at the conference room, flooring leaves the place in green areas that become the ideal place to spend your time outdoors in total relaxation. Visual permeability throughout the building allows the user to explore it in full. The clear connection between the spaces and their adaptability makes it possible for different uses; The main staircase can be used as an amphitheater for concerts. The goal is to create a space where a wide range of people can meet…..


MENTION: Akitoshi Kimura (JAPAN)

…..The area that will host the Escola de Artes is one of the central places in Porto, many of which are the historic sites around the project area. The Clérigos Tower, the University, the Clérigos Square, the Garden of Codoaria are important elements that have suggested the creation of a diagonal axis capable of connecting areas with opposite positions. Despite the layout of the space following a strong generator, the environments were designed to give a different perception to each area. In the block toward the street are the most introspective environments: laboratories and libraries are placed below the road level in search of greater privacy. In the second block the complex opens to the city becoming a public square accessible during the installation of temporary exhibitions. Transparencies and opaque surfaces follow the various functional requirements…..


MENTION: Chibani Soufiane (GERMANY)

…..The Escola de Artes fits into the ancient fabric of Porto, it is crucial to develop a project that respects the existing and better the quality of space. One of the essential aspects of the site is the role of the square that must become an urban and social connector. The key intention was to return the city to its inhabitants to foster social interaction and encourage exchanges between people. The building becomes an emblem for a modern interpretation of the Roman Agora Theater where the people converge to share the knowledge. The main entrance, the exhibition hall, the laboratories and the restaurant are designed for transparent surfaces to enjoy better exposure to light. The exterior facades are lined with Portuguese limestone, while the entrance, constantly referring to the local tradition, features great frescoes made up of azulejos. The remaining white walls give this urban grotto a sense of cleanliness and rigor…..


MENTION: Alessio Runci (ITALY)

…..It usually tends to demonize excessively the confrontation without seizing the opportunity to give new interpretation to traditions and identities. Shape and meaning must be symbiotic. Working lightly to define a new path should not be a pretext to leave the city’s mark in the hands of extravagance, but a way to undress reverence over the existing entities. Stone as architecture, overturns, loses its formal character and empties to leave room for living and sharing. The spaces are the same, the functions are intertwined to give the art of relevance. The space dedicated to greening has a unique identity with respect to the project, yet achieving a synergy with the underlying functions. The result is an atmosphere of total permeability where the city and the school find contact and sharing points…..


MENTION: Luis fernando Botero A., Juan Alberto Restrepo S., Laura Echandìa L., Camilo Zapata Z. (COLOMBIA)

…..The project is intended to be a significant presence that can give new characterization to an urban void. The square becomes a public park while the glass prism floats on the structural dunes that show the presence of hypogeal environments – auditorium, aulee and laboratories – for exclusive use of the Escola de Artes. The volumetric mass of the suspended body appears and disappears into a visual illusion that dynamizes the perception of the built-in and invites users to travel spaces at different levels. Staircases and link ramps seem to cut off the different spaces by recalling a functional autonomy of the environments that, by virtue of tangential travel, are connected to each other. The materials that cover the interiors -azulejos, transparent surfaces and even cork panels – change the perception of the places in search of an emotion that the visitor can perceive in an ever-changing way. Art is thought to be a stream flowing in multiple directions…..

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