O processo de construção de um icone urbano

Abstract

How does one create an urban icon? Firstly, it is necessary to consider that the conception of a exceptional urban is powered by acquiring the classification as a World Heritage Site, becoming the venue to a political congress like the Cimeira Ibero-Americana, hosting programs like Polis, or even cultural and sportive events which is the case of Porto 2001 and Euro 2004. All these circumstances came together in the city of Porto, fuelling the need to create iconic buildings for its area that would have been unplanned under the regular flow of urban development but ended shaping a new dynamic and cityscape. In the competitiveness panorama amongst cities, distinctions are only achieved by valuing specific cultural sites and in parallel their emblematic architecture. These display a more globalised culture and uniform territorial marketing strategy while at the same time standing out as daring and unique architectonic pieces adverse to clichés. When conceiving a city as a product or a brand it becomes essential to define a strategy to improve the context of the former among other world-class cities. Porto made use of the financial possibilities brought with its title of European Culture Capital in 2001 to make start a plan to promote the city ranking ' Casa da Música was part of it. If this opportunity came along as Porto was announced 2001's European Culture Capital, what factors contributed to make Casa da Música an iconic building in the city capable of defending this title? First, its ambiguous and extravagant shape makes it an unmistakable and curious piece. Similarly, the fact that an internationally renowned architect designed the building adds to its prestige and mediatisation. This can be considered enough to get Casa da Música featured in music, architecture and local magazines or newspapers for a short period of time, but to keep it an attractive landmark throughout the times there is the need of an on going set of cultural events. Even though not being new, the concept of an urban icon relates itself with the notion of a society of the spectacle and the glorification of the capitalist system, in which the architect is seen as an egoist and capricious agent. What is important is to measure the multiplicity and diversity of factors that define and validate the urban icon, thought a critical and careful attitude. However, is undeniable that, the privileged position which Casa da Música as conquer thought the last years, is due to the fact that was designed by a well-known international architect, and at the some time because it has been able to develop a rich and diversified cultural agenda. This way, it becomes in an unique and new touristic stimulus, triggering an international interests in the city of Oporto and also offering, to the city and its inhabitants, a democratic space excellent for musical experimentation.