I Premio de Arquitectura Miguel Martín-Fernández de la Torre

regulations and the event could not interfere in any way
with the normal working of the docks.
The stage is conceived as an ephemeral place with close
ties to the surrounding port, and its construction follows
the same industrial procedures that create the confection
of the docks.
The idea was to create a design that could be easily built
and unbuilt within four days as the whole operation had
to be carried out between the sailing of a ship and the
arrival of the following ship to the same dock. Therefore,
the whole operation is conceived thoroughly in order to
coordinate the performance of such a complicated task.
The documents could be understood as the music sheets
and the construction, the musical piece that, upon its
conclusion, is only left in the memory. A fleet of public
buses would be in charge of taking people in and out of the
port area.
All elements used to build the stage, the front and
backstage, are objects that can be found at any port. This
is the reason why it was decided that this stage should
be included within the “Urban design and landscape”
section. Taking each of the elements that make up the
project out of their context provides another insight over
this environment. The reinterpretation of the existing
industrial landscape means that, for a couple of hours,
a new life and a different point of view is brought to the
area. Here, barriers disappear between art, architecture
and engineering, between port and city, between private
management and public initiatives.
Cranes, containers, machinery, beams, docks are
reorganised to create a unique place to listen to music
under the summer sky. The employees of the company
itself are involved in the turning on and off of the dock
lights and of the enormous cranes under which the
musician and audience sit themselves to create such a
unique atmosphere.
The collocation of each of the elements and cranes is
aimed at protecting against the wind and avoiding
parallel faces that can create static waves to the sound.
The red colour of the cranes conditions the colour of the
containers and creates the feeling of unity once built.
Over three thousand people flock to the port to listen to
the concert each year in order to experiment first-hand the
inherent attractiveness of the ports, hence, they perceive
these installations as powerful and, despite their industrial
configuration, they do not stop being beautiful, because
these gargantuan structures are capable of housing the
most spectacular works of composers such as Beethoven,
Verdi, Wagner, Bizet, and Prokoviev, to name a few.
201