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The amphitheater is located north of the oppidum of Conimbriga and implanted on a natural topographic bowl, over a water line. The amphitheater volts are preserved exactly over this water line axis, also know as “Condeixa’s vale”. These volts are located on opposite sides, three at east and three at west. The last, formed by a set of three deep vaulted spaces, establish the base of a house in Condeixa-a-Velha. The volts at east are implanted over one of the main accesses to the amphitheater, in a fluvial depression connected to the topographic bowl. The vaults location and it’s relation with the city’s access, suggest this to be the main entrance to the amphitheater with the Triumphanis Door in the center.
The amphitheater is located north of the oppidum of Conimbriga and implanted on a natural topographic bowl, over a water line. The amphitheater volts are preserved exactly over this water line axis, also know as “Condeixa’s vale”. These volts are located on opposite sides, three at east and three at west. The last, formed by a set of three deep vaulted spaces, establish the base of a house in Condeixa-a-Velha. The volts at east are implanted over one of the main accesses to the amphitheater, in a fluvial depression connected to the topographic bowl. The vaults location and it’s relation with the city’s access, suggest this to be the main entrance to the amphitheater with the Triumphanis Door in the center.


The Project consists in a critic reconstruction, instrumental measure in the relation with the patrimony, which intends in: recover the perimeter of the augustanian wall; recover the area of the city in the Augustan Period; strengthen the connection route along the coast to Lisbon; create an urban equipment that allows the performance of shows of various types as defined by the Verona Charter; to allow a clearer reading of the processes of appropriation of the amphitheater after the fourth century, through the construction of houses on top of the building at west and at north.
The Project consists in a critic reconstruction, instrumental measure in the relation with the patrimony, which intends in: recover the perimeter of the augustanian wall; recover the area of the city in the Augustan Period; strengthen the connection route along the coast to Lisbon; create an urban equipment that allows the performance of shows of various types as defined by the Verona Charter; to allow a clearer reading of the processes of appropriation of the amphitheater after the fourth century, through the construction of houses on top of the building at west and at north.

The building forms from the idea of evoking a part of the old Roman amphitheater’s volumetry, reset the great landmark of the city's urban mesh. The existing vaults are the most important element of this intervention. They are the elements that define a present past and allow a simpler reading and interpretation for visitors.
The building forms from the idea of evoking a part of the old Roman amphitheater’s volumetry, reset the great landmark of the city's urban mesh. The existing vaults are the most important element of this intervention. They are the elements that define a present past and allow a simpler reading and interpretation for visitors.

This new structure is composed of two volumes: the first is settled on the podium of the arena, molded directly on the ground, constituing the ima cavea; The second, which constitutes the media cavea and the summa cavea, is placed on ima cavea and on the existing Roman vaults. A light structure of wood is positioned on the ima cavea, formed by the set of the media cavea and summa cavea, separated, however, by a metallic profile, which creates a shadow line, separating two distinct materialities (stone and wood).
This new structure is composed of two volumes: the first is settled on the podium of the arena, molded directly on the ground, constituing the ima cavea; The second, which constitutes the media cavea and the summa cavea, is placed on ima cavea and on the existing Roman vaults. A light structure of wood is positioned on the ima cavea, formed by the set of the media cavea and summa cavea, separated, however, by a metallic profile, which creates a shadow line, separating two distinct materialities (stone and wood).


The structure of the amphitheater consists of a basement in gabion walls that mold in the ground and form the ima cavea. Prefabricated concrete slabs are the base of the cavea seats and allow the same monochromatic visual reading of the stone. On this first ring lie a light wooden structure that starts from the structural principle of the cross-sectional drawing by Serlio. The whole structure of the amphitheater allows its reversibility.
The structure of the amphitheater consists of a basement in gabion walls that mold in the ground and form the ima cavea. Prefabricated concrete slabs are the base of the cavea seats and allow the same monochromatic visual reading of the stone. On this first ring lie a light wooden structure that starts from the structural principle of the cross-sectional drawing by Serlio. The whole structure of the amphitheater allows its reversibility.




PROJECTINDEX
HONOURABLE MENTION
CRITIC RECONSTRUCTION OF THE ROMAN AMPHITHEATER OF CONIMBRIGA
Universidade de Coimbra - Faculdade de Ciências e Tecnologias

It is in the village of Condeixa-a-Velha where the ruins of the Roman Amphitheatre of Conimbriga are located. These, consisting of two sets of three vaults at each end of the major axis, are implanted in a topographic bowl with a slope of 15 meters from the top of the plateau. The proposal of the Critical Reconstruction of the Roman Amphitheatre of Conimbriga is based on the ruins, creating a new volumetry that interprets the ancient amphitheater. This new structure solves several problems of the archaeological site, such as: retrieving the perimeter of the august walls, which gives other viewing points of Conimbriga; strengthen the connection route along the coast to Lisbon; create an urban equipment that allows the realization of shows of various types; allow a clearer reading on the amphitheater appropriation processes after the fourth century, through the cons¬truction of dwellings on the building. Furthermore, this project is justified by the necessity of a better articulation of visit courses integrating Condeixa-a-Velha. This new building, which interprets the ruin and the exceptional implementation of the ancient Roman Amphitheater of Conimbriga, besides having its own auto¬nomy, is part of a global intervention strategy in the archaeological site.