Since he was invited to participate in the conception of the work, Pedro Burmester has fully assumed the objective of making Casa da Música interact with the city and boost its musical experience, giving priority to the effects that would result from it and resulted, as he says, in the local cultural panorama, more than national or even international. A former student of the German College of Porto and having been trained to be one of the best at what he did, he considers that "it's a matter of wanting". He declared this as early as 1999 when he accepted the responsibility of defining what was intended with Casa da Música and what programmatic policy it should correspond to, well beyond being "just" the headquarters of the National Orchestra of Porto. In fact, it was at the instigation of Pedro Burmester that it became the Porto Symphony Orchestra Casa da Música. But the pianist fought to "build" a House that could accommodate different musical expressions, including to a large extent the contemporary ones. An orchestra for young people and a platform for their passage to the professional level, spaces for pop-rock music, choir, chamber opera production were some of the realities that Burmester wanted to provide a cradle, along with the institutional and artistic articulation with the other facilities in the city, but also with major institutions at an international level. A philosophy that he adapted from the "Cité de la Musique", in Paris, to the reality and the feasible in Porto. He did not want a monumental building in the classical sense of the term, formal and contemplative, advocating instead a structure with "attitude" that would assert itself and intervene in the city. This was the goal he pursued in the various roles played over several years at the institution, from administrator under the presidency of Teresa Lago, through consultant in the years of cultural divergence with the Porto City Council and even Artistic and Education Director between 2006 and 2009. Even in the early days, Burmester's suggestion that the calls for proposals include the OMA studio, by a then relatively little-known architect Rem Koolhaas, was consistent with another of his premises for the future use of the building: attention to young musicians, which he continues to consider a fundamental vector in the concept of the House. The equipment was, therefore, built with the direct participation of the award-winning pianist and music teacher who, with the huge group of engineers from different specialties called to intervene, brought large numbers of doses of objectivity and pragmatism. Burmester, who had in mind to develop a bold program, pointed out the demands of a house that was intended to be multipurpose in terms of musical shows, with the specific needs of each genre, the different audiences and each type of musician or training, seeking and finding feasible answers and solutions that were often innovative and even precursors in various areas. He did so with an enthusiasm that was also contagious. From this perspective, many details are remembered as examples of the creativity underlying the innovative character of the solutions found for the House, discussed and negotiated in detail with the engineering teams. These were the cases of the "invented" corrugated glass for two tops of the Suggia Room, the gold leaf pattern on the wall panels, which was inspired by the camouflage of the American military uniform (the imminent 2nd Gulf War was the order of the day), or the installation of the two fake organs, among several. But the small big problems to be solved were not limited to the main room and were almost a constant in the whole of the work, all of it unique. Where everything was new, details of great consequence followed one another if they were not corrected, solved or solved. transformed with imagination and rigor, such as the need to install an essential "giant" elevator with capacity for several grand pianos, which was not foreseen, or to adapt the design of the stairs on site, defined in a project with measures corresponding to Dutch regulations, therefore, not in accordance with the national reality. Or even the observation of spaces that, in the transition from architectural originality to construction work, revealed themselves to be "blind" corridors, nooks and crannies or rooms with no occupation or intended use, for which it was found multipurpose and coherent with the building, from rehearsal places to public areas, support areas or for small-format events. Especially because Pedro Burmester advocated a building that had music everywhere, he wanted it to be possible to make music throughout the house. Hence the multiplication of educational spaces, rehearsal rooms, etc. And his vision of a "house open to the outside" materialized at the point of even music happening in the surroundings of the building. Everything thus contributed to democratize music and its various genres and to put the building in dialogue with the city - two premises of Burmester. One of them, in fact, was announced in advance by Koolhaas when he predicted the adhesion of skateboarders to the waves of travertine marble in the outdoor area, taking with them the rap and other sounds. It stands out.