Remment Lucas "Rem" Koolhaas is a Dutch architect, architectural theorist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Ole Bouman, he is regarded as one of the most important architectural thinkers and urbanists of his generation. In 2000, Rem Koolhaas won the Pritzker Prize. In 2008, Time put him in their top 100 of The World's Most Influential People. Remment Koolhaas abbreviated to Rem Koolhaas, was born on 17 November 1944 in Rotterdam, Netherlands, to Anton Koolhaas and Selinde Pietertje Roosenburg, his father was a novelist and screenwriter. Two documentary films by Bert Haanstra for which his father wrote the scenarios were nominated for an Academy Award for Documentary Feature, one won a Golden Bear for Short Film.
His maternal grandfather, Dirk Roosenburg, was a modernist architect who worked for Hendrik Petrus Berlage, before opening his own practice. Rem Koolhaas has a brother, a sister, Annabel, his paternal cousin was urban planner Teun Koolhaas. The family lived consecutively in Rotterdam, Amsterdam and Amsterdam, his father supported the Indonesian cause for autonomy from the colonial Dutch in his writing. When the war of independence was won, he was invited over to run a cultural programme for three years and the family moved to Jakarta in 1952. "It was a important age for me," Koolhaas recalls "and I lived as an Asian."In 1969, Koolhaas co-wrote The White Slave, a Dutch film noir, wrote an unproduced script for American soft-porn king Russ Meyer. He was a journalist for the Haagse Post before starting studies, in 1968, in architecture at the Architectural Association School of Architecture in London, followed, in 1972, by further studies with Oswald Mathias Ungers at Cornell University in Ithaca, New York, followed by studies at the Institute for Architecture and Urban Studies in New York City.
Koolhaas first came to public and critical attention with OMA, the office he founded in 1975 together with architects Elia Zenghelis, Zoe Zenghelis and Madelon Vriesendorp in London. They were joined by one of Koolhaas's students, Zaha Hadid – who would soon go on to achieve success in her own right. An early work which would mark their difference from the dominant postmodern classicism of the late 1970s, was their contribution to the Venice Biennale of 1980, curated by Italian architect Paolo Portoghesi, titled "Presence of the Past"; each architect had to design a stage-like "frontage" to a Potemkin-type internal street. Other early critically received projects included the Parc de la Villette and the residence for the Prime Minister of Ireland, as well as the Kunsthal in Rotterdam; these schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York, written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman.
In September 2006, Rem Koolhaas was commissioned to develop 111 First Street in Jersey City across the Hudson River from Manhattan, working with real estate developer Louis Dubin. In October 2008, Rem Koolhaas was invited for a European "group of the wise" under the chairmanship of former Spanish prime minister Felipe González to help'design' the future European Union. Other members include Nokia chairman Jorma Ollila, former European Commissioner Mario Monti and former president of Poland Lech Wałęsa. Koolhaas's book Delirious. Koolhaas celebrates the "chance-like" nature of city life: "The City is an addictive machine from which there is no escape" "Rem Koolhaas...defined the city as a collection of “red hot spots.”. As Koolhaas himself has acknowledged, this approach had been evident in the Japanese Metabolist Movement in the 1960s and early 1970s. A key aspect of architecture that Koolhaas interrogates is the "Program": with the rise of modernism in the 20th century the "Program" became the key theme of architectural design.
The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: epitomised in the maxim Form follows function, first popularised by architect Louis Sullivan at the beginning of the 20th century. The notion was first questioned in Delirious New York, in his analysis of high-rise architecture in Manhattan. An early design method derived from such thinking was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers. More Koolhaas unsuccessfully proposed the inclusion of hospital units for the homeless into the Seattle Public Library project; the next landmark publication by Koolhaas was S,M,L,XL, together with Bruce Mau, Jennifer Sigler, Hans Werlemann, a 1376-page tome combining essays, diaries, fiction and meditations on the contemporary city. The layout of the huge book transformed architectural publishing, such books—full-colour graphics and dense texts—have since become common.
The Clérigos Church is a Baroque church in the city of Porto, in Portugal. Its tall bell tower, the Torre dos Clérigos, can be seen from various points of the city and is one of its most characteristic symbols; the church was built for the Brotherhood of the Clérigos by Nicolau Nasoni, an Italian architect and painter who left an extensive body of work in the north of Portugal during the 18th century. Construction of the church began in 1732 and was finished in 1750, while the bell tower and the monumental divided stairway in front of the church were completed in 1763; the main façade of the church is decorated with baroque motifs and an indented broken pediment. This was based on an early 17th-century Roman scheme; the central frieze above the windows present symbols of an incense boat. The lateral façades reveal the elliptic floorplan of the church nave; the Clérigos Church was one of the first baroque churches in Portugal to adopt a typical baroque elliptic floorplan. The altarpiece of the main chapel, made of polychromed marble, was executed by Manuel dos Santos Porto.
The monumental tower of the church, located at the back of the building, was only built between 1754 and 1763. The baroque decoration here shows influence from the Roman Baroque, while the whole design was inspired by Tuscan campaniles; the tower is 75.6 metres high. There are 240 steps; this great structure has become the symbol of the city. In Porto, Nicolau Nasoni was responsible for the construction of the Misericórida Church, the Archbishop's Palace and the lateral loggia of Porto Cathedral, he entered the Clérigos Brotherhood and was buried, at his request, in the crypt of the Clérigos Church, with the exact place remaining unknown. In June 2015, the Clérigos Brotherhood announced that after 250 years, the Clérigos Tower and Church will open its doors during nighttime hours. Portuguese Institute for Architectural Heritage Media related to Clérigos Church at Wikimedia Commons
Metropolitan Area of Porto
Porto Metropolitan Area is a metropolitan area in coastal northern Portugal which covers 17 municipalities, including the City of Porto, making up the second biggest urban area in the country. Porto Metropolitan Area was created in 1991, it is a union of metropolitan municipalities, comprising both former Grande Porto Subregion and Entre Douro e Vouga Subregion which were two NUTS III subdivisions as well as parts of Ave Subregion and Tâmega Subregion. The population in 2011 was 1,759,524 in an area of 2,040.31 km². The most populous municipality is Vila Nova de Gaia, located on the South side of the Douro River, on the opposite side of Porto; the original Metropolitan Area of Porto was constituted by nine municipalities: Porto, Gondomar, Matosinhos, Póvoa de Varzim, Vila Nova de Gaia and Vila do Conde. The process of enlargement: Arouca Oliveira de Azeméis Paredes São João da Madeira Santa Maria da Feira Santo Tirso Trofa (joined Vale de Cambra (joined The metropolitan area is governed by the Junta Metropolitana do Porto, headquartered in Avenida dos Aliados, in downtown Porto under the presidency of Hermínio Loureiro the mayor of Oliveira de Azeméis municipality, since the Municipal Elections held in 2013, when he succeeded Rui Rio, mayor of Porto.
The Assembleia Metropolitana do Porto is composed of 43 MPs, the PSD party has 20 seats, the PS 16, the CDS 3, CDU 3 and the BE, one. Although the government has halted the intention of creating new metropolitan areas and urban communities, it is keen to ensure greater autonomy to Porto and Lisbon metropolitan areas. Greater Porto is the second largest metropolitan area of Portugal, with about 1.7 million people. It groups the larger Porto Urban Area, the second largest in the country, assembled by the municipalities of Porto, Vila Nova de Gaia, Gondomar and Maia. A smaller urban area of Póvoa de Varzim and Vila do Conde, which ranks as the six largest in continental Portugal; the new regional spatial planning program, recognizes both urban areas and engages in their development. There are some intentions to merge the municipalities of Porto with Gaia and Matosinhos into a single and greater municipality, there is an ongoing civil requisition for that objective; the government started to discuss the merging of some municipalities due to conurbations, but gave up.
There is a similar idea for the conurbation of Póvoa de Varzim and Vila do Conde, both municipalities have decided to work as if both are the same city, cooperating in health, education and other areas. Several municipalities of the metropolitan area moved closer, thus becoming a cohesive group; the urban-metropolitan agglomeration known as Northern-western Urban-Metropolitan Agglomeration or Porto Metropolitan Arch is a regional urban system of polycentric nature that stretches far beyond the metropolitan borders, includes circa 3 million people, which takes in other main urban areas such as Braga and Guimarães, the third and eighth largest cities of Portugal. One should note that the entire region of Northern-western Portugal is, in fact, a single agglomeration, linking Porto and Braga to Vigo in Galicia Spain; the Metropolitan area is keen to develop its transportation network. Porto Metro is a Rapid transit system that links the municipalities of Porto, Vila Nova de Gaia, Gondomar, Vila do Conde and Póvoa de Varzim.
The Porto/ Francisco de Sá Carneiro Airport / Pedras Rubras, between the municipalities of Maia, Matosinhos,and Vila do Conde, is one of its greater investments. It was transformed from an old and obsolete airport to a modern transportation centre, linked to Porto Metro; the JMP is trying to pressure the government to add a TGV line to link Vigo in Galicia to Porto Airport in order to make Porto the air traffic centre of the North-Western Iberian Peninsula and to tighten its historical ties with that Spanish province. Greater Porto is served by a great number of Motorways linking the main central areas of the metropolitan region and the region with other main Portuguese cities. Main Harbour: Leixões. Motorways: A1 - Lisbon - Porto A3 - Porto - Valença A4 - Porto - Quintanilha/Espanha A7 - Póvoa de Varzim - Vila Pouca de Aguiar A20 - Carvalhos - Nó de Francos A28 - Porto - Caminha A29 - Angeja - Porto A32 - Oliveira de Azeméis - Porto A41 - Perafita - Espinho A42 - A41 - Felgueiras A43 - Porto - Aguiar de Sousa A44 - Gulpilhares - A20 Metropolitan areas in Portugal Porto Metro Porto Canal Grande Porto Entre Douro e Vouga Porto Metropolitan Area - official Porto Tourism Guide LIPOR - Greater Porto Residues Management Sá Carneiro Airport Porto Convention Bureau
José Sócrates Carvalho Pinto de Sousa, GCIH known as José Sócrates, is a Portuguese politician, the Prime Minister of Portugal from 12 March 2005 to 21 June 2011. For the second half of 2007, he acted as the President-in-Office of the Council of the European Union. Sócrates grew up in the industrial city of Covilhã, he joined the centre-left Socialist Party in 1981 and was elected Member of Parliament in 1987. Sócrates entered the government in 1995, as Secretary of State for Environment in the first cabinet of António Guterres. Two years he became Minister of Youth and Sports and in 1999 became Minister for Environment. Sócrates prominence rose during the governments of António Guterres to the point that when the Prime Minister resigned in 2001, he considered to appoint Sócrates has his successor. In opposition, José Sócrates was elected leader of the Socialist Party in 2004 and led the party to its first absolute majority in the 2005 election. By Portugal was living an economic crisis, marked by stagnation and a difficult state of public finances.
Like the preceding centre-right government, Sócrates implemented a policy of fiscal austerity and structural reforms. Among the most important reforms were the 2007 Social Security reform and the 2009 labour law reform, his government restructured the provision of public services, closing thousands of elementary schools and dozens of health care facilities and maternity wards in rural areas and small cities. Despite austerity, Sócrates's government intended to boost economic growth through government-sponsored investments, namely in transportation and energy as well as in health and school infrastructure; the government launched several public-private partnerships to finance such projects. Internally, Sócrates was accused of having an authoritarian style and of trying to control media, while internationally he completed the negotiations of Lisbon Treaty and had close ties with leaders such as the Prime Minister of Spain José Luis Rodriguez Zapatero and the President of Venezuela Hugo Chavez.
The first Sócrates government was able to reduce the budget deficit and controlling public debt, but economic growth lagged. In 2008–09, with the Great Recession starting to hit Portugal and facing recession and high unemployment, austerity was waned as part of the European economic stimulus plan. Support for Sócrates and the Socialists eroded and the ruling party lost its majority in the 2009 election; the second government of José Sócrates faced a deterioration of the economic and financial state of the country, with skyrocketing deficit and growing debt. Austerity was resumed in 2010 while the country entered a hard financial crisis in the context of the European debt crisis. On 23 March 2011, Sócrates submitted his resignation to President Cavaco Silva after the Parliament rejected a new austerity package, leading to the 2011 snap election. Financial status of the country deteriorated and on 6 April Sócrates caretaker government requested a bail-out program, conceded; the €78 billion IMF/European Union bailout to Portugal thus started and would last until May 2014.
Sócrates lost the snap election held on 5 June 2011 and resigned as Secretary-General of the Socialist Party. For most of his political career, Sócrates was associated to several corruption cases, notably Independente University and Freeport cases. On 21 November 2014 he was arrested in Lisbon, accused of corruption, tax evasion, money laundering, becoming the first former Prime Minister in the history of the country to be thus accused. On 24 November Sócrates was remanded in custody on preliminary charges of tax fraud, he was held in Évora prison until 4 September 2015 when he left the prison for a relative's house in Lisbon, where he remained under house arrest until 16 October 2015. That day, a judge released him from house arrest, allowing him to await the end of the investigation in freedom, although remaining forbidden of leaving the country and of contacting with other suspects of the case; the police investigation, known as Operation Marquis continued until his indictment in October 2017.
In 2018, Sócrates abandoned the Socialist Party. José Sócrates was born in Porto on 6 September 1957, was registered as a newborn in Vilar de Maçada, Alijó municipality, in northeastern Portugal, since the locality was his family ancestral homeland. However, the young José Sócrates lived throughout his childhood and teen years with his father, a divorced building designer, in the city of Covilhã, Cova da Beira subregion, in central inland Portugal, in the Centro region, his parents are Fernando Pinto de Sousa and wife and remote relative Maria Adelaide de Carvalho Monteiro. He has two younger siblings, António Carvalho Pinto de Sousa, born circa 1962, Ana Maria Carvalho Pinto de Sousa, died in 1988, he is a descendant of the illegitimate daughter of António José Girão Teixeira Lobo Barbosa, Fidalgo of the Royal Household and Knight of the Order of Christ. José Sócrates studied in Covilhã's basic and secondary schools, until the age of 18. In 1975, he went to Coimbra in order to attend a higher education institution.
He earned in 1979 his 4-year bacharelato degree as a civil technical engineer from the Instituto Superior de Engenharia de Coimbra. From 1987 to 1993, he took law classes at Universidade Lusíada, a private university in Lisbon, but failed to graduate. In 1994/95 a well-known pol
Guggenheim Museum Bilbao
The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, located in Bilbao, Basque Country, Spain. The museum was inaugurated on 18 October 1997 by King Juan Carlos I of Spain. Built alongside the Nervion River, which runs through the city of Bilbao to the Cantabrian Sea, it is one of several museums belonging to the Solomon R. Guggenheim Foundation and features permanent and visiting exhibits of works by Spanish and international artists, it is one of the largest museums in Spain. One of the most admired works of contemporary architecture, the building has been hailed as a "signal moment in the architectural culture", because it represents "one of those rare moments when critics and the general public were all united about something." The museum was the building most named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts. In 1991, the Basque government suggested to the Solomon R. Guggenheim Foundation that it would fund a Guggenheim museum to be built in Bilbao's decrepit port area, once the city's main source of income.
The Basque government agreed to cover the US$100 million construction cost, to create a US$50 million acquisitions fund, to pay a one-time US$20 million fee to the Guggenheim and to subsidize the museum's US$12 million annual budget. In exchange, the Foundation agreed to manage the institution, rotate parts of its permanent collection through the Bilbao museum and organize temporary exhibitions; the museum was built at a cost of US$89 million. About 5,000 residents of Bilbao attended a preopening extravaganza outside the museum on the night preceding the official opening, featuring an outdoor light show and concerts. On 18 October 1997 the museum was opened by Juan Carlos I of Spain; the Solomon R. Guggenheim Foundation selected Frank Gehry as the architect, its director, Thomas Krens, encouraged him to design something daring and innovative; the curves on the exterior of the building were intended to appear random. The interior "is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country".
The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum. When the Guggenheim Museum Bilbao opened to the public in 1997, it was hailed as one of the world's most spectacular buildings in the style of Deconstructivism, a masterpiece of the 20th century. Architect Philip Johnson described it as "the greatest building of our time", while critic Calvin Tomkins, in The New Yorker, characterized it as "a fantastic dream ship of undulating form in a cloak of titanium," its brilliantly reflective panels reminiscent of fish scales. Herbert Muschamp praised its "mercurial brilliance" in The New York Times Magazine; the Independent calls the museum "an astonishing architectural feat". The building inspired other structures of similar design across the globe; the museum is seamlessly integrated into the urban context, unfolding its interconnecting shapes of stone and titanium on a 32,500-square-meter site along the Nervión River in the ancient industrial heart of the city.
With a total 24,000 m2, of which 11,000 m2 are dedicated to exhibition space, it had more exhibition space than the three Guggenheim collections in New York and Venice combined at that time. The 11,000 m2 of exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes; the remaining nine galleries are irregularly shaped and can be identified from the outside by their swirling organic forms and titanium cladding. The largest gallery measures 130 meters long. In 2005, it housed Richard Serra's monumental installation The Matter of Time, which Robert Hughes dubbed "courageous and sublime"; the building was constructed on time and budget, rare for architecture of this type. In an interview in Harvard Design Magazine, Gehry explained. First, he ensured that what he calls the "organization of the artist" prevailed during construction, to prevent political and business interests from interfering with the design.
Second, he made sure he had a realistic cost estimate before proceeding. Third, he used computer visualizations produced by Rick Smith employing Dassault Systemes' CATIA V3 software and collaborated with the individual building trades to control costs during construction. KLM Royal Dutch Airlines donated $1,000,000 towards its construction. In the fall of 1993, architects at Gehry Partners began to utilize Dassault Systemes’ CATIA software for the schematic design phase of the Guggenheim Museum Bilbao to digitize and model the exterior of the Museum project; the architects applied Master Modeling and Virtual Build Processes they learned from Rick Smith and his use of the same techniques on the Walt Disney Concert Hall during the previous two years. The success and global awareness of the Guggenheim Museum Bilbao ushered in a new era of Virtual Building and was a catalyst for what would become popularly known as Building Information Modeling seven years later. Pulitzer prize winning architectural critic Paul Goldberger shares the words of others that Bilbao "could not have been constructed without CATIA".
He further relays that Bilbao "was the first building for which CATIA played a role in every aspect
Theatre or theater is a collaborative form of fine art that uses live performers actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place a stage. The performers may communicate this experience to the audience through combinations of gesture, song and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality and immediacy of the experience; the specific place of the performance is named by the word "theatre" as derived from the Ancient Greek θέατρον, itself from θεάομαι. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, many of its themes, stock characters, plot elements. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts and the arts in general.
Modern theatre includes performances of musical theatre. The art forms of ballet and opera are theatre and use many conventions such as acting and staging, they were influential to the development of musical theatre. The city-state of Athens is, it was part of a broader culture of theatricality and performance in classical Greece that included festivals, religious rituals, law and gymnastics, poetry, weddings and symposia. Participation in the city-state's many festivals—and mandatory attendance at the City Dionysia as an audience member in particular—was an important part of citizenship. Civic participation involved the evaluation of the rhetoric of orators evidenced in performances in the law-court or political assembly, both of which were understood as analogous to the theatre and came to absorb its dramatic vocabulary; the Greeks developed the concepts of dramatic criticism and theatre architecture. Actors were either amateur or at best semi-professional; the theatre of ancient Greece consisted of three types of drama: tragedy and the satyr play.
The origins of theatre in ancient Greece, according to Aristotle, the first theoretician of theatre, are to be found in the festivals that honoured Dionysus. The performances were given in semi-circular auditoria cut into hillsides, capable of seating 10,000–20,000 people; the stage consisted of a dancing floor, dressing scene-building area. Since the words were the most important part, good acoustics and clear delivery were paramount; the actors wore masks appropriate to the characters they represented, each might play several parts. Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE, continued to be popular until the beginning of the Hellenistic period. No tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. We have complete texts extant by Aeschylus and Euripides.
The origins of tragedy remain obscure, though by the 5th century BCE it was institutionalised in competitions held as part of festivities celebrating Dionysus. As contestants in the City Dionysia's competition playwrights were required to present a tetralogy of plays, which consisted of three tragedies and one satyr play; the performance of tragedies at the City Dionysia may have begun as early as 534 BCE. Most Athenian tragedies dramatise events from Greek mythology, though The Persians—which stages the Persian response to news of their military defeat at the Battle of Salamis in 480 BCE—is the notable exception in the surviving drama; when Aeschylus won first prize for it at the City Dionysia in 472 BCE, he had been writing tragedies for more than 25 years, yet its tragic treatment of recent history is the earliest example of drama to survive. More than 130 years the philosopher Aristotle analysed 5th-century Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics. Athenian comedy is conventionally divided into three periods, "Old Comedy", "Middle Comedy", "New Comedy".
Old Comedy survives today in the form of the eleven surviving plays of Aristophanes, while Middle Comedy is lost. New Comedy is known from the substantial papyrus fragments of Menander. Aristotle defined comedy as a representation of laughable people that involves some kind of blunder or ugliness that does not cause pain or disaster. In addition to the categories of comedy and tragedy at the City Dionysia, the festival included the Satyr Play. Finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play found its way to Athens in its most well-known form. Satyr's themselves were tied to the god Dionysus as his loyal woodland companions engaging in drunken revelry and mischief at his side; the satyr play itself was classified as tragicomedy, erring
College of the Marists
The College of the Marists is a former-college in the civil parish of Lordelo do Ouro e Massarelos, in the municipality of Porto, in the Portuguese district of the same name. Although its date of construction is unclear, there was a petition to the local government on 9 April 1895, by the builder João Gomes da Silva Guerra; the councilman Boaventura Rodrigues de Sousa, proprietary owner of the land on Avenida da Boavista and may have been the reason for the monogram inscribed on the cornices. The building and landscaping was attributed to Joel Pereira, owing to Boaventura Rodrigues de Sousa having many similar requirements for other buildings along the Praça Gomes Teixeira, including an example on the corner of Rua das Carmelitas of the same authorship whose used a monogram inscribed with the owners acronyms. From an inventory elaborated by the Repartição de Arborização e Jardinagem of Porto the site was populated with Camélias japónicas, Palmeiras spp. Rododendron, Liriodendron tulipífera, Tílias cordatas, Tílias argentea, Tílias tomentosas, Sequóia and Pitosporum.
The paintings on the walls in the Music Salon were executed in 1899 by A. Mello. Construction of the wall oriented towards the Avenida da Boavista occurred in 1900. Between 1910 and 1926, the residence was unoccupied as the owners, Adelaide Chambers de Sousa moved her residence to another building along Avenida da Boavista. Beginning between 1926 to 1958, it began to be used a college the Colégio de Nossa Senhora do Rosário, but still under the ownership of Adelaide Chambers. Between 1959 and 1991, it was the school of the Colégio dos Maristas. Owing to its several years of service and architecture, a plan to classify the building began on 22 January 1982. A dispatch was issued on 13 March by the Secretário de Estado da Cultura, yet the former residence remained unoccupied between 1991 and 1995. In 1995, the property changed ownership and began to be the title of BOAPOR, who seat was on Rua do Virgílio Correia, 49A in Lisbon. A new process was open on 9 May 1996, by the Vice-President of IPPAR, but little advanced until 19 September 2000, this after a proposal was issued on 21 August 2000, by the DRPorto to alter the classification area.
A project to rehabilitate the building, under the direction of architects António Portugal Mendonça and Manuel Amorim Reis, received the João de Almeida Prize in 2006, from the municipality of Porto. On 20 March 2012, the DRCNorte proposed classifying the structure as a Monumento of Interesse Público, which received support and was designated on 14 November 2012, along with the establishment of ZPE designation; the former-college is located in an urban context, addorssing the Avenida da Boavista and the Rua de Pedro Hispanoto the north). to the east of the avenue are other palacettes, among them the former-residence of the Viscountess of Lobõo. To the west are larger buildings, most modern, including the Hotel Meridien; the building is sited on an elevated plateau relative the Avenida da Boavista taking the form of a trapezoid, with the rear of the building limited by high, granite wall supporting the terrain. In the front, along Avenida da Boavista is a similar granite wall, but of smaller dimensions, surmounted by iron grate.
The rectangular building with basement, is two-storeys with mansard roof. A simple plan, the principal facade includes porch fronted by staircase and defined by balustrade in granite. Flanking this portico are windows on the ground and second floors framed in granite and curved lintels. On its rear profile, the building is marked by a slender and aligned aperture, while the side elevations features a ground floor with four windows and an upper floor with balcony doors; the surfaces have a continuous cornice in granite with closed and areas with vases, interrupted the main facade in the center by a small backrest surmounted by a perfect arch back inscribed with the monogram BRS. The interior space is marked in the center by a double bifurcated staircase lit wood above by a skylight; the remaining rooms are organized around the staircase in a symmetrical manner. The treatment on doors, that includes etched glass, are crafted wood. Gonçalves, Patrícia, "Reabilitação na Boavista Distinguida", O Primeiro de Janeiro - Principal