The prevalent exposure North-South of the bigger axle and the presence of the road infrastructures consisting by the Avenue Mendes da Silva suggested a typology that characterized two situations: one visible to the urban scale and the at the speed of observation by automobile and the other to the scale of the pedestrian with a privileged relation with the building.

Especially the volumetric definition of the Conservatory is defined from the construction of a parallelepiped supported and sunk in the land that finds its relations through operations of hollowing, of opening of visual axles and joints between functions and materials.

The inclusion of the scene tower in the interior of the parallelepiped volume of the Conservatory consists as a finished architectonic option to the formal containment in logic of geometric simplification of the urban form.

A choice of urban character opposed to an internal space exception marked by the joint of the scenic tower in its contact with the different floors.

The entrance of the public opened for the Avenue Mendes da Silva is characterized for a great plan that becomes graceful for the accentuation of the opened fissure below the 0 floor.

A door to the urban scale that establishes a direct relation with the new pedestrian space that carries through with the closing of the street Garcia de Horta.

A relation strengthened by the construction of the small pawn bridge thought as a sculptural object, establishes the urban continuity with the opposing side of the Avenue Mendes da Silva, allowing a better optimizing use of the existing garden, the spaces of the car parking and a more intense use of the several buildings with public character.

A great window in the angle turned for the Mondego River establishes a deformation that corresponds to the roundabout and at the same time establishes a relation of exception to the orchestra located there.

In the North side, the sloped fissure allows the service entrances to the technical compartment and the employees, guaranteeing a service exit and parallel emergency to the stages and the two auditoriums.

At South in the fissure proportioned   by the backyard that enters in the prismatic volume, the glass walls constitute a situation of interior/exterior, determining a strong transparency where the reflex of the elements placed in the exterior produces a special form of space integration with the involving.

The necessity of a dimension with urban scale induced to carry through on the visible sides of the Avenue, apparently closed façades with the perspective to construct a strong signal on the territory.

An attitude that jointly with the necessity of a formal re-ordination of the area intends to limit the impact of the favourable solar exposition.

The South side strongly marked by the Municipal Workshop of Theatre is characterized by the pedestrian accessibility that configures itself as a moment of construction of a public space accented by the accomplishment of a great glazed backyard, which in the game of reflexes and transparencies establishes new relations with the involving.

This space consists as the entrance of the pupils of the Conservatory, establishing a privileged relation with the Intermediate School of the Valley of Flowers and articulating the interior spaces through a forecourt for which the levels open above the plaza of the Conservatory.

The perforations of the surface of the façades beyond supplying a controlled illumination to the interior spaces, through one articulated geometric disposal, evoke the image of relives of the petty cashes of music that we all have memory.

The covering functions parallel as a support to the solar panels and as a landscape ballast in a logic of introduction of alternative forms to the massive destruction of the vegetal substance of the territory of the cities, looking for alternatives of integration with the territory.

FUNCTIONAL ORGANIZATION

The different functions are articulated in six floors and are characterized by different demands of the program and for the architectural objectives of the proposal.

A differentiated accessibility allows the autonomous use of the various functions of the building preventing the constant and onerous maintenance system.

The -2 floor, to the lower quota is destined to parking park guaranteeing a load a un-load service directly to the stage ditch.

The -1 floor contains all the sanitary services, showers and dressing-rooms of support to the different functions that are established in the building.

The 0 floor is articulated in two levels with the purpose of absorb the existing unevenness in the land and in parallel to guarantee two entrances capable to assure the autonomous functioning of the main auditorium for exclusive use of the public in parallel with the normal functioning of the Conservatory.

In this floor the accesses to the audiences are privileged to the administrative services and to conviviality spaces.

The structure of the space of the 0 floor guarantees the autonomous functioning of the two audiences allowing, through a system of carried sliding, the complete closing of the spaces that serve the main audience.

A set of slopes and stairs, allow the ascent of the public to the library of the Conservatory through an autonomous circuit of students. The variety of accesses to differentiated quotas allows a clear distinction between the public zones, employee zones, student and artists the didactic spaces are located in the higher levels.