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We have known this boat since the day it was delivered to our marina in 2008 as we are friends with the owner. Just 6 weeks after delivery to every ones surprise, the boat was suddenly arrested due a Leasing scam by the selling dealer. It was then held by the bank for 9 years while the legal investigations were carried out. Recently the boat was released and 'legally' handed over/back to the owner. He has immediately instructed us to sell the boat 'as is-where is'.
I took the 219 images myself (available through our website) the day the boat was finally released… and spent most of the day on-board and apart from being a little rough around the edges its in very good condition all things considered.
The water stains that you can see in the engine room images are from freshwater/rainwater flooding, which was caused by the cockpit drains becoming blocked, then water overflowing into the engine room. Again, it is rainwater, NOT Sea-water. (because of the 'arrest' no-one was allowed on-board to keep on-top of the boat).
A great project for someone...
Manufacturer: Bertram
Model: 410 Convertible
Name: Moppie
Build Year: 2008
Model Year: 2008
Hull Identification Number: US-BERM2004A808
Build Number: 04
Flag: Italy (IT)
Lying: Rimini, Italy
Asking Price: €290,000 VAT Paid
Length overall (incl. pulpit) 43ft 6in (13.3.48m)
Beam 14ft 5in (4.42m)
Draft 4ft 0in (1.22m)
Displacement approx. 19.6 tonnes (43211lbs)
Fuel capacity 449 gallons (2043 litres)
Water capacity (incl. calorifier) 100 gallons (455 litres)
Manufacturer: Cummins
Model: QSC8.3-600 HO-435
Power: 600hp each (@3000rpm)
Transmission/Ratio: ZF/2.39:1
Props: 25x36.5 5-blade Michigan Nibral
Speed range: 33-35 knots
Hours: 097
2 Berth forward double cabin with en-suite bathroom
2 Berth double cabin with en-suite bathroom
U-shaped sofa in Saloon converts to double berth
Bomar powder-coated hatches
Molded nonskid
FRP fuel tank
Recessed trim tabs
35-lb. Delta anchor
Powder-coated handrails
Cockpit coaming
Removable cockpit fishbox
4 x Fishing rod holders
Transom door
In-transom fishbox
Aquamet shafts
11-gallon hot-water heater
10-kW Kohler diesel genset
15" Sharp LCD TV in saloon w/ CD/DVD player
Wood blinds
Cherry paneling
Amtico teak-and-holly sole
Two-burner Ceran ceramic cooktop
Corian countertops
2.0-cu.-ft. Refrigerator
GE microwave
Awlgripped bilge stowage below saloon
15" Sharp LCD TV in master
2/Tecma MSDs
Cruisair A/C
Simrad AP26 autopilot
Northstar 6001i plotter w/ 7" display
Raymarine E140 plotter
Furuno RD-30 depth / emp
VHF GEONAV RO4800 Radio
Raymarine E140 plotter
3rd Station Engine Controls with Bowthruster
Sidepower Bowthruster
C/M Smartcraft Engine Monitors
X Change R Oil change system
Glendinning CableMaster installation
SMX11 Control systems for Air-conditioning
Shurflo Extreme Pro blaster wash-down pump
Dometic Eskimo Ice-maker model 600
Polk Audio in-wall speakers
Clarion Stereo Control to Flybridge
2/Release helm chairs
Rupp outriggers
6/rocket launchers
Eskimo ice maker plumbed to transom fishbox
The boats we present are direct with the bank, factory, company or private seller. We do not co-broker our yachts or share our images with other brokers. If you receive our images from another broker, it is possible they have not visited the boat.
Via Ortigara, 80
Marina di Rimini


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Sedation is a beneficial treatment aid for patients with varying dental health needs, such as those who require longer dental appointments for major smile reconstruction or patients who are anxious about trips to the dentist. With relaxing sedation through nitrous oxide and oral conscious (pill form) treatment, we make dental procedures a more positive experience for all.
Contact Us Schedule An Appointment
Dr. Cho typically utilized sedation in conjunction with oral surgery or longer procedures that require more comprehensive care. As sedation shortens the perceived length of treatment, patients do not have to worry about sitting uncomfortably in a dental chair for longer appointments. For treatments that include implant placement, wisdom teeth extraction, or placement of multiple restorations, our Long Beach dental practice provides:
Nitrous Oxide – This method of sedation produces a feeling of relaxation and wellbeing that typically has a short half-life or duration. Nitrous can be used on its own for a lighter level of sedative or in conjunction with oral conscious sedation, to ease nervous patients while the effects of the pill form sedative take effect.
Oral Conscious Medication – For patients in need of sedation care that creates more lasting effects of relaxation, oral conscious medication is typically recommended. Using one or two doses, depending on patients' levels of anxiety, oral conscious sedation creates a pleasant amnesiac effect. Patients do not remember their appointment and return to full awareness with a treated smile.
Even patients who have no issues with dental care, in general, can find themselves feeling antsy about more complex treatment. Sedation makes these treatment processes a simpler and more relaxing experience, so seeking necessary dental care for the rejuvenation of their oral health does not feel intimidating.
Our sedation dental services are also available for patients who typically avoid the dental office for all procedures due to poor past experiences and an aversion to oral health treatments. These fears are understandable, but avoiding dental care creates significant wellness problem that can eventually call for the removal of severely damaged teeth.
Dr. Cho makes dental treatment more accessible for highly nervous patients through sedation. Even treatments as simple as a routine teeth cleaning can create anxiety for some, but dental sedation can be applied to all treatments to create better in-office comfort. By establishing a positive track record with patients who have dental phobias, Dr. Cho is able to ensure they can confidently return for any additional treatment they may need.
For more information on incorporating sedation into your next dental appointment, contact Dr. John Cho today!
"Dr. Cho is the best dentist I have ever had. After years of bad dentists, and even some that I thought were very good, only this man stands above the rest. He holds a unique philosophy of preventative dentistry and wants his clients to understand the full benefits of the methods involved. You will also see proof that he invests in superior technological advancements, such as electronic x-rays. I had never heard of such a thing, but it allows the patient to see high-resolution results of an x-ray in mere seconds on the LCD screen. He may also take pictures of all your teeth using a special oral digital camera. Now I call that attention to detail! He also has an amazingly well-balanced personality with interests in varying fields. You might even learn something new just by chatting with him in between your cleanings."
"I must recommend Dr. Cho to anyone in the Orange County area looking for a great dentist. I hope your visits are as enjoyable as mine. Good luck!"
-- K. Hermans
"I hate going to the dentist… more than anything in the world. I have been needing to go to the dentist for a long time, and finally decided to gather up courage and go. As soon as I called to make an appointment I had a great feeling. The woman on the phone was extremely nice and helpful. I went to my appointment (palms sweating) and was warmly welcomed by that same woman whose voice I remembered from my previous call. I met Dr. Cho and I have never felt so comfortable in a dentist chair. He was very caring and understood my immense fear of the dentist and did a wonderful job of making me feel at home. He definitely knows what he is doing. He explained everything and was very patient with all of my questions. He is personable, smart, and kind, and most of all..GENTLE! I look forward to my future appointments with him! The dental hygienist only works 2 days a week but I had the pleasure of being her patient. The entire staff is amazing!!! There aren't enough nice words for the people at this office! Needless to say..I am no longer scared to go to the dentist! Thank you guys!"
— Ashley P

subset: commoncrawl


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She's the One OST
Artist: Tom Petty and the Heartbreakers
$21. 98 | Buy Now
Condition: New & Sealed
Label: Island Records
Aww man, not Tom Petty. Just awful news on the day in early October of 2017. Petty and the Heartbreakers music lives on though. This is one of his many tremendous latter day records from his career. It's the "She's the One" soundtrack, the Edward Burns film. Don't worry, it's not full of sappy instrumentals like some soundtracks, it's a full-on Tom Petty and the Heartbreakers record. Includes "Walls", "Climb That Hill", "California", "Zero From Outer Space", "Hope You Never" and the Lucinda Williams-penned tune "Change the Locks". It's really a great record, you should own it. There, that settles that.
© 2018 All Rights Reserved.


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MOUNT PROSPECT --The search is for a man who attacked a woman in northwest suburban Mount Prospect while pretending to be a police officer.The 23-year-old woman says the attack happened early Tuesday morning in the 1200-block of South Elmhurst Road. She says the man claimed to be an off-duty, undercover officer.
The man reportedly grabbed her by the neck. But she was able to break free and run for help. She was only able to give investigators a vague description of her attacker.


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Saw four extraordinary movies today. Tomorrow more about those.
In the meantime I just wanted to signal that Brian De Palma's The Black Dahlia, the fifth movie I saw today, is outright one of the most ridiculous movies I've ever watched from a director with such a reputation. I stand corrected: it is one of the most ridiculous movies ever, period.
Each and everyone of the actors is either miscast (Hillary Swank! Josh Hartnett!!) or not up to his task (most of the others). Some of them have on top of that fallen prey to some of the worst overacting in cinematic history (Aaron Eckhart! Fiona Shaw!!!). Scarlet Johansson may be considered the most sexy woman gracing the screen today, but her part is virtually nonexistent, unless you define a part as holding a cigarette and a succession of outrageously cliché sexy looks. De Palma even succeeds in making her look like a pastiche of a sex doll, with those hellishly red lips, that hair so platinum blonde that it seems to radiate and a face make-up that is more suited for a death mask. And, lest I forget, the dialogues were positively ludicrous. Add to that the part of KD Lang as a lesbian singer and a lesbian ballet dance number (if you have to believe this movie half the population of Los Angeles in the fourties consisted of lesbians) and you do not know whether to laugh or to cry.
The greatest disaster of all was the plot. I dare not even coin the term 'screenplay' here. When you adapt a novel by James Ellroy, famous for his protracted and intricate plots that span years and years of interwoven personal histories, either you rein in the plotting, dropping along the way a few subsidiary storylines, or you make a three hour movie so you can do all those storylines justice. Instead the movie compresses everything into ninety minutes. The consequence: At the end of the movie so much enigmas need to be resolved that the last fifteen minutes constitute the most contrived piece of cinema I've ever had the occasion to view.
Obviously a disaster of a movie calls for a disaster of an ending too. Of course Hartnett and Johansson get together after all they've been through. Which is rather pathetic, considering the dark and perverse atmosphere that De Palma has, in vein, tried to convey during the movie with the help of horned dildo's, lesbian sex scenes and his usual explicit horror that is boring rather than shocking.
This director needs a) a retirement b) a shrink c) a ban from directing. Teeth-grindingly bad.
Sunday, October 08, 2006
The Black Disaster
Posted by Fire in The Mind at 12:29 am
1 comment:
- Reel Fanatic said...
Wow .. great review ... I'm glad I decided to stay away from this one, since I don't think I could take this apparent massacre of one of my favorite Ellroy books
- 3:10 pm
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Sometime around 1920s everything was changing rapidly in the creation of lingerie. For the early time machine-made underwear became a lot more affordable price-wise although ever being made out of the same fine and luxury fabrics as the high-end hand-made undergarments.
During the thirties, fitness became chic and under the demand from the hungry-for-change customers, manufacturers finally started producing smaller, lighter and foremost – better-fitting lingerie.
At the same time new fabrics (nylon and elastane) were introduced and they were a absolute agree for the developing era of new – fitted underclothes. Women wanted more acrobatic foundations and all the basics were transforming into their lightest form yet.
Sleepwear was changing as well.Made out of transparent fabrics, with around or V necks, night-gowns became narrower and more revealing. Fashionable Oriental kimonos had richly quilted cuffs and collars although dressing jackets were hip-level long but short-lived as the new star (pajama) took over the stage.
Sandy Sah is a highly qualified blogger. He owns many blogs on variety of topics. He has expertise in the health, education and entertainment field. This site is owned by him. He did his doctorate in health sciences. He also accepts request for guest blogging.


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Elena Castro was born in Salamanca, Spain, in 1979. She attended Medicine School at the Universidad de Salamanca from where she received her MD in 2003 with first class honours. As undergraduate student she was awarded with training fellowships in cancer research from "Instituto Salud Carlos III" in 2001, Spanish National Cancer Research Centre (CNIO) in 2002 and "Centro de Investigación del Cancer - Universidad de Salamanca" in 2002-2003.
Dr. Castro trained as Medical Oncologist at the Hospital Universitario de Salamanca, obtaining her license in 2008. She also received her PhD from the Universidad de Salamanca in 2010 for her work in the role of DNA repair polymorphisms in the breast cancer response to cytotoxic chemotherapy. She has also obtained a Master degree in Molecular Oncology from the Spanish National Cancer Research Centre (CNIO).
In early 2009 Dr. Castro joined the Cancer Genetics department at The Institute of Cancer Research, United Kingdom, where she worked as post-doctoral researcher in Professor Rosalind Eeles group. During her 4 years at this group her research focused in the clinical impact and molecular characterisation of Prostate Cancer in BRCA mutation carriers. She was also coordinator for several targeted screening studies for familiar Prostate Cancer lead by Professor Eeles. Dr. Castro also complemented her laboratory training with a clinical fellowship at the Royal Marsden hospital Academic Urology Unit where she acquired a broad experience in the treatment and management of Prostate Cancer and was involved in several Phase II and III clinical trials.
Dr. Castro has authored several papers in peer-reviewed journals, including first author manuscripts published in top cancer journals. She has received several grants and awards including an ESMO Research Fellowship (2010-2011), a SEOM Young Investigator award (2006), two ASCO merit awards (2011 and 2012), and an IMPAKT-ESMO merit award (2009). Dr. Castro joined the Prostate Cancer and Genitourinary Tumours group at CNIO in January 2013.


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A Flying Jatt Movie Review
A Flying Jatt Movie Review
Hi dear visitors. This video is A Flying Jatt Movie Review
Starring - Tiger Shroff , Jacqueline Fernandez,Directed By Remo D'Souza
STORY: Aman fears heights, dogs and baron Malhotra who sends barbarous Raka to grab Aman's acreage - but what happens if Aman discovers his own all-powerful powers? Can he defeat Raka - and the adeptness abaft him?
REVIEW: So, beeline away, the best affair about A Aerial Jatt is the averseness Jatt played by Tiger Shroff. Wicked baron Malhotra (Kay Kay) wants Aman's family's lands, which authority a angelic tree, for his communicable industries. Aman's mother, Mrs. Dhillon (Amrita), berserk opposes Malhotra - but Aman quakes afore him, abashed by a lot of things on earth, including his own aggressive arts students.
Can Aman anytime angle up to Malhotra and his huge abettor Raka (Nathan) - and can he action his own fears?
Tiger does a accurate job as Aman, algidity superhero who fights abomination but aswell buys 'do kilo lauki' on the way home. Tiger's evolution, from a affectionate but abashed kid on the block, to a focused and angry fighter, comes beyond able-bodied as do the film's ablaze moments, including Aman as 'Sunny Leone'. Amrita Singh, actually arena a Tiger Mom, displays angry panache, accusation her son for accepting 'dole-shole, no jigra', carrying acumen with slaps and acquisitive drinks galore. The badinage amid her, Tiger and Aman's alert brother Rohit (Gaurav) is beginning acceptable fun.
Sadly, as Aman's adulation absorption Kriti, Jacqueline adds little back-bite to this affair - her role consists of animated endlessly and carrying mystifying dialogues ("I like karate - it's like, so, hah!") in an emphasis that reminds you - with anxious - of Katrina Kaif. Kay Kay is abundant too leashed - admitting his ability, Malhotra's crime artlessly doesn't alluvium through. As Raka, who actually enjoys baneful power, Nathan Jones growls, grunts and cool in a berserk array of way. These don't accomplish him alarming - just cartoonish.
And there lies the agitation with A Aerial Jatt - the full, abrupt shebang of a superhero against super-dark admiral never comes through. The villains abide agenda cut-outs and the affray grows predictable. These thrills don't chill. On the upside, for children, A Aerial Jatt provides apple-pie ball - with its innocence, it evokes added Haathi Mere Saathi and beneath cool-cat Krrish. The blur takes off alone because of its artlessness - a aerial jatt who's abashed of heights, a aberration in aphotic times of Udta Punjabs.
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Visit us at…
Spirit's Promise Horse Rescue – December 3rd and 4th
Join us for a weekend of winter fun at the Spirit's Promise Horse Rescue in Riverhead, NY. Visit Santa and his helpers at this beautiful farm, meet the horses, shop local businesses and spend some time enjoying the East End! Visit Spirit's Promise for more information.
The Ronkonkoma Famers Market – December 11th and 18th
Check out this is a brand new indoor market located at the corner of Portion Rd and Hawkins Ave in Lake Ronkonkoma (Lake Ronkonkoma Fire House Community Center). Everything you need for the holidays will be right here!
Don't miss our Black Friday Sale! Starting November 25th!


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The importance of adopting a quality data backup system was highlighted in a recent report by an IT solution provider, as many IT administrators said backup failure has led to revenue losses and important company documents disappearing. In some cases, there is no fix for this type of data loss, something that could take years to recover from.
Statistics from this survey showed:
- 53 percent said they don't conduct daily backups
- 32 percent of IT admins believe the biggest reason for not backing up every day is that they do not believe it is an efficient use of time
- 23 percent said there is not enough data to backup while 10 percent say they have too much
"A company's data is essential to its day-to-day operations and, ultimately, to the success of the business," said an executive from the company who produced this report. "As such, organizations need to be able to rely upon secure backup solutions that are cost-effective and efficient. Speed is the number one factor IT administrators said they wish they could improve about their current backup process."
One sure sign that data backup is essential for business comes in a recent report from The Hartford, which said 71 percent of small business owners experienced power outages due to Superstorm Sandy, with 52 percent experiencing loss of sales or revenue.
Only 11 percent suffered structural or property damage, so The Hartford vice president Ray Sprague said organizations should take steps to protect their business, including backing up critical data and having an emergency communication system. Only 36 percent of businesses said they were significantly impacted by this storm, but that is still more than needed to be, as there are quality online data backup solutions these businesses can use to stay afloat during hard times.


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Serving Greater Houston, Katy, Bellaire, Houston
Below are some of the people you may come into contact with when working with us.
We are very proud of our team and the great service they provide to our customers.
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© 2018 Dr. Energy Saver by STX Efficiency Experts 13701 Hycohen RoadMailbox 59Houston, TX 77047


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(Psa 7:15) He who digs a hole and scoops it out falls into the pit he has made.
Wednesday, November 26, 2008
Here's a news clipping about the trial and execution of the man (Nazi-sympathetic mayor of IJmuiden) who betrayed Taeke to his death. Here and here are photos of the much-despised Tjeerd O. van der Weide, born 27 oktober 1885 and shot dead 6 juni 1947.
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Right now, every business is looking at the online landscape and likely wondering where they fit in. Although different aspects of modern technology may not have the same benefits for every industry, having an online data backup solution is one way every company should be able to see some positives. Business IT, a website that features articles on how technology relates to companies today, said cloud backup is one way a company can backup its data. Companies can also rent storage space that behaves like a shared file on a local area network.
"Among the advantages are that you can use one program for your local and cloud backups, and it is easy to move to a different storage provider," according to the news source. "A variation on the theme is to use a backup program specifically designed to work with cloud storage. … Again, you'll need an account with the storage provider."
Another approach businesses can take is to subscribe to a backup service that will provide the software and storage, allowing the company to pay for the solution as a subscription instead of upfront. To properly move information into any system, the company will need to be sure that it has a good network connection in place. The business also needs to know that backing up data for the first time will likely take a while, so there may need some necessary steps to take before the cloud backup job is started.
After an initial backup, Business IT said the company needs to have a system in place that allows changes from any files they use to easily be saved so there will always be the most up-to-date backup files stored. This way, companies will not lose any information central to the operation of their business simply by not updating the backup in time.
Cloud adds speed, agility
BizTech Magazine said adding an online backup infrastructure will make a company that has the right setup for it more agile. The business can have added flexibility with its data restoration process with faster recovery times, something that was merely a hope in the past.
"An on-demand, cloud-based service model can also be better than on-premises purchased and installed software because the service provider is able to distribute new functionality transparently without IT department intervention," the website said. "As a result, users often receive more frequent and more timely updates as well as new functionality without the company's own IT staff having to test, schedule and provision each rollout."


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Fundação Champalimaud1 Fundação Champalimaud Belém e Ajuda Equipamentos 2000 – 2017 Charles Correa, 2010 reservas marcação pré-marcação This research centre is a prime example of Lisbon's renewal and expansion. A centre of excellence in biomedical research, it reopened to the public an important waterfront zone in Pedrouços, which neighbours Belém. The complex embraces the Tagus estuary, occupying a plot of 65,000 square metres and consisting of three main areas: the main building housing an oncological clinic and research laboratories for cancer and the neurosciences; the public building (with an auditorium, the Darwin restaurant and an exhibition centre); and the open-air amphitheatre.
Altis Belém Hotel & Spa2 Altis Belém Hotel & Spa Belém e Ajuda Comércio e Serviços 2000 – 2017 Atelier Risco e FSSMGN Arquitetos, 2009 Margarida Grácio Nunes (FSSMGN) and João Almeida (RISCO) Designed with the express aim of building a strong relationship with and respect for its natural and built surroundings, this hotel is located right on the riverfront among the main monuments to and of the period of the Discoveries. Open to the waterfront walkway, its main public areas are concentrated on the ground floor. The main volume in glass, which becomes a huge box of light at night, reflects the scale of the nearby dock.
Centro Cultural de Belém3 Centro Cultural de Belém Belém e Ajuda Equipamentos 1950 – 2000 Manuel Salgado e Vittorio Gregotti, 1990 Acesso apenas à coleção Berardo e espaços exteriores Pedro Rodrigues, ponto de encontro: recepção do primeiro andar Approaching the ripe age of 25, the Belém Cultural Centre (CCB) remains a reference building in the city of Lisbon. Since its inauguration, it has been the venue of countless performances, exhibitions, conferences and other events. Guided tours focus on the Great Auditorium and the new technical equipment that now means this iconic space is also a cinema theatre. The CCB has a built area of 97,000 square metres on a plot of some six hectares; the complex is divided up by two internal walkways, with the central and unifying José Saramago path creating continuity with Praça do Império square.
Museu Nacional dos Coches4 National Coach Museum Belém e Ajuda Equipamentos 2000 – 2017 Consórcio PMBP - Paulo Mendes da Rocha + MMBB Arquitectos + Bak Gordon Arquitectos + AFA Consult, 2012 Acesso apenas à exposição Visita das 12h00 com Nuno Costa (Ricardo Back Gordon Arquitectos), Visitas das 10h30 às reservas do Museu e exigem reserva por email firstname.lastname@example.com, existem apenas 7 vagas A unique collection in a unique museum that has been successfully integrated into the surrounding public space areas of Praça do Império, Jardim de Belém and Jardim Afonso de Albuquerque. The National Coach Museum building itself is not just a cultural venue, but also a public space. Two separate buildings – one white and opaque, the other made of glass and exposed concrete – house the programme and define new exterior spaces. A large nave stands out as the main exhibition area, and a public walk/cycle path leading to the River Tagus is yet to be built. The street is extended by and merges and interacts with the museum.
MAAT - Central Tejo5 MAAT - Central Tejo Belém e Ajuda Equipamentos 1900 – 1950 Vieillard e Touzet, 1908 vários autores,1951 12h00, 15h00 - Percurso Monumental; 18h00 - Percurso Secreto A unique building in the context of the architectural heritage of Lisbon, the Central Tejo power plant is one of the most beautiful examples of early 20th-century industrial architecture in Portugal. Its structure adopted the iron architectural style common in Western Europe at the time, and was given a solid brick cladding, which configures and decorates the façade in artistic styles ranging from Art Nouveau to Classicism. Today it is a museum that documents the history of electricity, with its original machinery totally intact. It also serves as a large exhibition space linked to its new neighbouring building.
MAAT - Edifício Novo6 MAAT - New Building Belém e Ajuda Equipamentos 2000 – 2017 Amanda Levete Architects, 2016 Fabrícia Valente This iconic project has very rapidly changed the Lisbon waterfront. Linked to the Central Tejo (see above) through a garden designed by landscape architect Vladimir Djurovic, the new Museum for Art, Architecture and Technology houses four exhibition spaces: the Oval Gallery, Main Gallery, Video Room and Project Room, totalling 3,000 square metres. The diversity of its programmes and spaces has made it an essential element in the cultural life of the city, with its walkable roof providing an ideal spot to take in the views of the Tagus and the opposite bank.
Casa das Galeotas - Casa da América Latina e UCCLA7 Casa das Galeotas - Casa da América Latina e UCCLA Belém e Ajuda Equipamentos 2000 – 2017 Appleton & Domingos, 2016 (reab.) João Appleton This building is located near the river between Rua da Junqueira and Avenida da Índia, on a practically flat site facing land reclaimed from the river in the late 19th/early 20th century. Its occupation by two distinct entities – headquarters of the Casa da América Latina and the UCCLA (Union of Portuguese Speaking Capital Cities) – has resulted in a specific design programme that includes a cafeteria and an exhibition area with an auditorium. The remodelling project has unified a group of diverse neighbouring structures that expanded over time: a warehouse from the 18th century, a 19th-century building and another structure from the early 20th century.
Palácio Nacional da Ajuda8 National Palace of Ajuda Belém e Ajuda Palácios e Conventos Equipamentos Séc. XIX Manuel Caetano de Sousa, José da Costa e Silva, Francisco Xavier Fabri, séc. XIX Não inclui acesso à exposição temporária Emanuel Gomes A Neoclassic building from the early 19th century, it was designed as a Royal Palace following the destruction of the former palace at present-day Praça do Comércio in the earthquake of 1755. For a number of reasons only half of the original design was built. The palace served as the official residence of the Portuguese royal family from the reign of Luís I to the end of the monarchy in 1910. Opened to the public as a national monument in 1968, it maintains the original layout of the royal family quarters and decoration of the day, as it awaits proposals for completion of the original project.
Escola Francisco de Arruda9 Francisco de Arruda School Belém e Ajuda Equipamentos 1950 – 2000 2000 – 2017 António José Pedroso, 1953 José Neves, 2011 (reab.) José Neves "If you don't have a village, child, go in search of one!" This quotation from João dos Santos served as inspiration for the remodelling and extension of this primary school. The original structures, built around a courtyard, looked as if they were from different periods, creating a village of its own. The new design built discreetly on that idea; the various construction phases are noticeable but the elements are in harmony with each other and respond uniformly to the complex's differing needs and stages. This school building won the Secil Prize in 2012.
Apartamento Arriaga10 Arriaga Apartment Belém e Ajuda Habitação 2000 – 2017 Embaixada, 2017 (reab.) Paulo Albuquerque Goinhas The designers for this project had to work with a labyrinthine apartment that was highly fragmented, lacked proportion and suffered from poor lighting. Their design focused on understanding what was important and making the respective choices, recycling the rest. A glass and metal curtain wall now opens onto a patio and the spacious living room has a raised ceiling. The old internal walls have given way to mezzanine floors, original furnishings have become decorative architectural elements and the once unnoticeable solid stone elements have been used to create a patio.
Gare Marítima da Rocha do Conde de Óbidos11 Gare Marítima da Rocha do Conde de Óbidos Belém e Ajuda Infraestruturas 1900 – 1950 Porfírio Pardal Monteiro, 1948 Ana Tostões This cruise terminal building is dominated by a large square-plan hall with a meticulous lighting design, which combines zenithal and lateral lights. It is a good example of how architects and engineers can and should work together. It also features two triptychs by Almada Negreiros, depicting aspects of everyday life in the vicinity of the dock – from an evocation of saltimbanques to Sunday walks along the river and the construction of the terminal buildings and to farewell scenes depicting the sadness of those leaving Lisbon and anxiety of those left. Both in this and the later Gare Marítima de Alcântara building, the main spaces are on the first floor, as it was from there that luggage was loaded on to the ships and the customs offices were located. The first steam liner to moor at the dock was the "North King", belonging to a Portuguese-Panamanian company, on 19 June 1948.
Convento das Bernardas - Museu da Marioneta12 Convento das Bernardas - Museu da Marioneta Estrela e Cais do Sodré Palácios e Conventos Séc. XVII – XVIII Séc. XIX Vários autores, Séculos XVII - XX Access only to the cloister Teresa Duarte, António Tudela and Sofia Ferreira Pinto This convent is a building of indisputable historical and architectural value, first and foremost its cloister forming an irregular square. Founded in 1653 and rebuilt after the earthquake of 1755, the convent was occupied by nuns up until the dissolution of the religious orders in Portugal. It has served as a school, a polytechnic college, a cinema and theatre, and the headquarters of a philharmonic band. Today, after renovation carried out by its owner, Lisbon City Council, it is home to the Puppet Museum, a restaurant, housing and local community groups, and plays a central role in the life of the Madragoa neighbourhood.
Apartamento na Estrela13 Apartment in Estrela Estrela e Cais do Sodré Habitação 2000 – 2017 Aurora Arquitectos, 2016 (reab.) Sérgio Antunes and Sofia Couto "It is not necessary to create a world, but the possibility of a world." This line by Jean-Luc Godard provides the motto for this intervention that redefined the configuration of the apartment: the former private area, made up of three bedrooms, gave way to one large living space; the reception areas, a living room and a study, were used to create two bedrooms and a closet. This reorganisation saw the removal of walls and the insertion of a new one that now separates the bedrooms: each of these interventions is marked in the space by formal elements and references that seek to respond to the question: how to unite what was once separate or divide what was always one?
Apartamento na Calçada da Estrela14 Apartment in Calçada da Estrela Estrela e Cais do Sodré Habitação 1900 – 1950 2000 – 2017 ASPA, 2014 (reab.) José Maria Cumbre This apartment was very compartmentalised, making it unsuited to contemporary living. The new design strikes a delicate balance between conservation and the recovery of the original essence, introducing elements that respond to modern demands. The living room is now the nerve centre, connecting to all remaining areas: kitchen, bedrooms and bathrooms. The central space also incorporates the interior yard space, opening up onto a new patio that includes a small swimming pool.
Atelier-Museu Júlio Pomar15 Atelier-Museu Júlio Pomar Estrela e Cais do Sodré Equipamentos 2000 – 2017 Álvaro Siza, 2012 (reab.) includes access to the exhibition "Júlio Pomar e Cabrita Reis: Das pequenas coisas" Originally meant as a studio for the artist, Júlio Pomar, this space is now a museum promoting the painter's work in its consistent and regular programmes. It is now part of Lisbon's public-owned cultural spaces managed by the municipal company EGEAC. What was once a warehouse was renovated with great simplicity and mastery to conserve the essence of the original building – the structural walls and the roof. Highlights of the intervention are the new access patio with a ramp, a mezzanine floor (in the central void) that links the two floors, and the restoration of the roof and wooden rafter structure.
Atelier Reabilitado em Madeira, Terra e Cal16 Studio remodelled using wood, earth and lime Estrela e Cais do Sodré Habitação 1900 – 1950 2000 – 2017 CAS studio, 2016 (reab.) Alina Jerónimo and Paulo Carneiro This studio is like a real-life model where the architects also became artisans, experimenting with and testing building techniques using raw natural materials, such as wood, earth and lime. It is a space of reflection and experimentation that has become a prototype for new renovation projects in the city and a laboratory for the continued use of rapidly disappearing building materials and methods, which have been employed here to meet contemporary challenges, such as environmental impact and spatial comfort.
Casa Zero17 Zero House Estrela e Cais do Sodré Habitação 2000 – 2017 Pedro Oliveira, 2004 (reab.) Pedro Oliveira e Fábio Silva An unusual project that unites two spaces that normally don't mix so well with each other – essentially a garage that has been turned into a garage/house. It consists of one single space divided into two parts – one for the car, the other for living – through a central element that houses the entrance, a bedroom and a small bathroom. This element functions as a solid but permeable body that enables transition between the two ambiences. The house space meticulously orders the various human activities: sleeping, cooking, eating and living.
Rua das Gaivotas 6 - Teatro Praga18 Rua das Gaivotas 6 - Teatro Praga Estrela e Cais do Sodré Equipamentos 2000 – 2017 Artéria, 2015 (reab.) Artéria - Ana Jara e Lucinda Correia Known by the name Escola das Gaivotas, for having been a primary school for some 50 years, the former Palácio Alarcão now serves new purposes. The main floors of the former school building are now occupied by the Gaivotas Creative Hub, and the Teatro Praga has installed itself in the palace building with the street number 6, taking on the name Rua das Gaivotas 6, a venue for visual art shows, performance art, conferences, literature, cinema and workshops. The aim of the remodelling project was to create a space of continuity with the building it is part of, reflecting an overriding desire for adaptation, improvisation and interaction with the city.
Palácio Almada Carvalhais19 Almada Carvalhais Palace Estrela e Cais do Sodré Palácios e Conventos Até Séc. XVI 2000 – 2017 Pedro Reis, 2017 (reab.) Pedro Reis Many will already know the vaulted tunnel-like space in this building on Largo do Conde Barão (it was formerly the entrance to the well-known nightclub B.leza). But few will be aware that the building has been listed as a National Monument since 1919, and is one of the city's rare examples of civil architecture from the 16th century. Commissioned by Rui Fernandes de Almada around 1545, the palatial building was partly destroyed in the earthquake of 1755 and underwent significant reconstruction work in the late 18th century. The new intervention was aimed at recovering the former palace's central nucleus and linking it to a new extension that is part of a new garden to be created in the courtyard.
Nova Sede EDP20 New EDP Headquarters Estrela e Cais do Sodré Comércio e Serviços 2000 – 2017 Aires Mateus, 2015 Francisco Caseiro (atelier Aires Mateus) This emblematic building shows how there is a place for new construction in Lisbon that can also change, improve and renew the city. The very history of Lisbon and this area of land reclaimed from the Tagus dictated a layout of structures that are perpendicular to the river and the creation of a square as a public space. The external aspect of the built structures changes whether in full light or half or full shade, and the work spaces are sheltered with patios on the various floors, with the public services part open to the horizontal square.
Second Home Lisboa21 Second Home Lisboa Estrela e Cais do Sodré Equipamentos 2000 – 2017 SelgasCano, 2016 (reab.) A communal workspace full of plants and small trees. This coworking project by Sam Aldenton and Rohan Silva, already established in various locations in London, is an offshoot of the redevelopment of the historic Mercado da Ribeira market hall, giving the space a new use and offering new synergies and ways of working. The greenery in the interior contrasts with the iron beams and rafters of the building's original structure, and the use of radiant floor heating and thermal and acoustic insulation has made it possible to reduce energy consumption and create exceptional conditions of comfort.
Banhos de S. Paulo - Sede Nacional da Ordem dos Arquitectos22 Banhos de S. Paulo - Sede Nacional da Ordem dos Arquitectos Estrela e Cais do Sodré Equipamentos Séc. XIX 1950 – 2000 Pierre-Joseph Pezerat, 1850 Manuel Graça Dias e Egas José Vieira, 1994 The old Neoclassical building for the São Paulo baths, built over a source of chlorinated and sulphur-rich waters, was commissioned by the Santa Casa da Misericórdia de Lisboa in 1850. Today it is listed as a Building of Public Interest. Extensive remodelling work was begun in 1991. The central patio was maintained as the dominant space and the original chimneys were restored. Contrasting with the austere Neoclassical façade, the building's interior is full of formal exuberance and colour. Now the headquarters of the Association of Architects, the building maintains its original name in spite of the remodelling project and change of use.
Atelier Oporto23 Oporto Estrela e Cais do Sodré Equipamentos Alexandre Estrela and Ana Baliza During the day, this former home to a merchant sailor association, which has been kept in its original state with its murals, service counters, ring buoys and secret passageways, serves as the studio of the artist Alexandre Estrela. But now and again, at night, this "port" becomes a safe haven for cult sessions of experimental films and videos produced by national and international artists. The unconventional screenings are part of a rigorous programme outlined by Alexandre Estrela and the graphic designer Ana Baliza. Having begun in 2007, the cult film sessions have since built up a loyal group of hard-core fans.
Hotel Verride - Palácio Sta. Catarina24 Hotel Verride - Palácio Sta. Catarina Estrela e Cais do Sodré Palácios e Conventos Comércio e Serviços 2000 – 2017 Teresa Nunes da Ponte, 2017 (reab.) Teresa Nunes da Ponte Protected by the statue of Adamastor, and in a privileged location on the square above the Santa Catarina belvedere, this palace has finally been remodelled and converted into a luxury hotel. To maintain the palatial quality of the surroundings, guests can choose between booking the 18 rooms individually or, for even more luxury, entire floors. The hotel has a restaurant that can be directly accessed from Travessa da Portuguesa which uses the original vaulted ceilings and masonry arches to excellent effect. There is also a surprising breakfast room clad in azulejo tiles. It faces east and extends onto the outside terrace that ends in a pool overlooking the Bica neighbourhood and the River Tagus. At the top there is a small lookout point that provides 360º views over Lisbon, but with restricted access.
Teatro do Bairro25 Teatro do Bairro Bairro Alto e Baixa-Chiado Equipamentos 2000 – 2017 Alberto de Souza Oliveira, 2011 (reab.) Alberto Souza Oliveira This black box in the heart of Bairro Alto has established itself as an essential stop on the Lisbon nightlife circuit, not just as a theatre but also as a bar and entertainment spot. The space was formally the printing room of this 20th-century concrete industrial building, where the Lisbon newspaper Diário Popular (1942-1992) was printed. The inherent constraints and possibilities of an old printing house guided the conversion to a 110-seat theatre, 80 of which are retractable seating with the rest in fixed boxes.
Mercado do Bairro Alto26 Bairro Alto Market Bairro Alto e Baixa-Chiado Equipamentos 1950 – 2000 Carvalho Garcia, 1962 Melo Carvalheira, 1991 a visita de sábado com Jorge Fonte e no domingo com Pedro Reis Gomes At the heart of an historic neighbourhood, this traditional market building from the 1960s underwent extensive remodelling work to a design by Melo Carvalho in 1991, which saw the addition of one more floor. The commercial space was altered with the introduction of proper shops to replace the former stalls. The most recent intervention by the Fundação Ricardo Espírito Santo Silva is designed for the installation of the Arts and Crafts Network in the space.
Igreja de São Roque27 Igreja de São Roque Bairro Alto e Baixa-Chiado Equipamentos Até Séc. XVI Afonso Álvares e Filippo Terzi, Séc. XVI as visitas livres dão apenas acesso à igreja Filomena Brito e Maria Lino; nas visitas comentadas é visitado o forro do telhado The guided tours of this church dedicated to St. Roch include a visit behind the scenes and a walk over the roof of this iconic building. Built on the site of an old Manueline chapel, it is the work of the architect Afonso Álvares, but the roof and old Mannerist façade were designed by the Italian Filippo Terzi. A prototype for Portuguese Jesuit churches, it belonged to the Society of Jesus before it was donated to the Santa Casa da Misericórdia charity in 1768 after the Jesuits were expelled from Portugal. Featuring a single nave with interlinked side chapels, the church's interior is richly decorated in a Baroque style: gilt wood carving, paintings azulejo tiles and marble elements.
Loja Claus Porto28 Claus Porto Shop Bairro Alto e Baixa-Chiado Comércio e Serviços 2000 – 2017 João Mendes Ribeiro, 2016 (reab.) João Mendes Ribeiro Claus Porto is a Portuguese toiletries brand whose 130-year history served as inspiration for the design of its first store in Lisbon. The intervention focused on conserving and restoring the existing structures. The old shop interior consisted of two spaces on different levels that were linked by a flight of stairs; both spaces could be accessed directly from outside from two different streets. The space opening onto Rua da Misericórdia was for many years a pharmacy, from which it inherited the wood-framed vitrines lining the walls and the ceiling decorated with white stucco featuring geometric and botanical designs.
Apartamento ao Chiado29 Apartment in Chiado Bairro Alto e Baixa-Chiado Habitação 2000 – 2017 Alberto Caetano and João Vaz, 2014 (reab.) Alberto Caetano The kitchen is where it all happens in this remodelled apartment. It serves as the entrance hall, living room and central space, providing access to the other rooms. This apartment in an old Pombaline building in the heart of Lisbon was used as an office space in the 1990s, this new project returning it to its original function. The number of rooms was changed and the space was adapted to contemporary living. Another peculiarity is the independent entrance to the apartment directly from Rua do Loreto via a staircase in Portuguese limestone leading to the first floor.
Palácio Chiado30 Chiado Palace Bairro Alto e Baixa-Chiado Palácios e Conventos Comércio e Serviços Séc. XVII – XVIII 2000 – 2017 Frederico Valsassina, 2016 (reab.) Frederico Valsassina Arquitectos The former Barão de Quintela palace now provides gastronomic delights over roughly 1,000 sq. m. Visitors can dine or snack in an ambience of decorated ceilings, murals, stained glass windows and grand marble staircases – reflecting the fact that this 18th-century palace was once home to prominent figures of the Portuguese aristocracy and served as a residence for General Junot during the French invasion in the Napoleonic wars. The new intervention added new flooring which conceals all the infrastructures, leaving the magnificent walls and ceilings untouched. Solid and effective, the intervention is also reversible in the sense that the palace can be returned to its original form.
Teatro Nacional de São Carlos31 Teatro Nacional de São Carlos Bairro Alto e Baixa-Chiado Equipamentos Séc. XVII – XVIII José da Costa e Silva, 1793 Pedro Fidalgo reservas marcação pré-marcação This visit will take you behind the scenes of Lisbon's opera house, to areas normally not open to the public. The theatre's interior, in a late Baroque style, which is acknowledged as a perfect example of theatre architecture, underwent a number of adaptations over the years. The auditorium itself features a flamboyant aristocratic décor, with ornamental elements by Giovanni Appianni and a ceiling painted by Manuel da Costa and Cirilo Wolkmar Machado. Listed as a National Monument in 1928, the building's extraordinary value and architectural beauty, and its annual programming, have made the São Carlos opera house an inescapable institution in Portuguese cultural life.
Teatro Nacional D. Maria II32 Teatro Nacional D. Maria II Bairro Alto e Baixa-Chiado Equipamentos Séc. XIX Fortunato Lodi, 1846 inclui acesso à exposição 'Teatro em cartaz: A coleção do D. Maria II, 1853-2015' Guias do Teatro Nacional D.Maria II; levantamento de bilhetes uma hora antes do início das visitas guiadas; limite de 2 bilhetes por pessoa This National Theatre was built to "contribute to the civilisation and moral betterment of the Portuguese nation", in the words of Almeida Garrett who idealised this creative space and inaugurated it on 13 April 1846 to mark the 27th birthday of Queen Maria II (1819-1853). Built in a Neoclassical style, the building's original design was by the Italian architect Fortunato Lodi. Following its construction, the theatre underwent a number of renovation interventions, including an interior reconstruction project under the guidance of Rebelo de Andrade after a serious fire in 1964. It did not reopen until 1978.
Sede do Banco de Portugal - Antiga Igreja de S. Julião33 Banco de Portugal Headquarters – former Igreja de São Julião Bairro Alto e Baixa-Chiado Comércio e Serviços Equipamentos Séc. XIX 2000 – 2017 Reinaldo Manuel dos Santos e Honorato José Correia, 1810 Gonçalo Byrne e João Pedro Falcão de Campos, 2012 João Pedro Falcão de Campos no domingo às 11h30; restantes visitas com os guias do Museu Set in the urban grid of the Baixa district, the Church of São Julião and the attached block were a product of the reconstruction project for the area after the earthquake of 1755. The whole block has belonged to Banco de Portugal since the 1930s, with the church having been converted to office space. After the remodelling and restoration work on the whole block the church is now a cultural space open to the community. It houses the new Money Museum, which displays its permanent collection in a number of nuclei using interactive technology, hosts other temporary exhibitions and is also home to the King Dinis Wall Interpretation Centre.
Paços do Concelho34 Lisbon City Hall Bairro Alto e Baixa-Chiado Equipamentos Palácios e Conventos Séc. XIX Domingos Parente da Silva, 1874 / José Luís Monteiro, 1900 outros, 1996 Ezequiel Marinho, Marina Gonçalves e Maria Louro It was here that the Portuguese Republic was proclaimed on 5 October 1910, an event that will always be part of the history of this building. The original building, erected at the time of the post-earthquake reconstruction under Pombal, was totally destroyed in a fire in 1863. The current structure was built in the late 19th century, with contributions by diverse Portuguese artists. Another fire, in 1996, destroyed the upper floors, which have been restored in accordance with the original designs. For that restoration project a number of contemporary architects and artists were asked to participate, adding to the building's acknowledged architectural and artistic value. The visit takes in the archive room, the main staircase and the belle étage with its allegorical representations of the city.
Supremo Tribunal de Justiça35 Supreme Court of Justice Bairro Alto e Baixa-Chiado Equipamentos Séc. XVII – XVIII Eugénio dos Santos, Séc. XVIII Luís Lameiras e André Capricho The Supreme Court building is the third of 6 Pombaline blocks on the northeast side of Praça do Comércio, built after the earthquake of 1755 on the site of the former Terreiro do Paço square. It is part of the ministerial complex around the square, the architecture of which is defined by repeating arcades. Mouzinho da Silveira was the great reformer of the judicial system, including the Supreme Court, which has been based at this site since 1833. It is worth noting that, in contrast to other ministries and state institutions, the uppermost echelon of the Portuguese judicial system has remained in the same premises for almost 200 years.
MUDE – Visita de Obra36 MUDE – Building site tour Bairro Alto e Baixa-Chiado Equipamentos Séc. XVII – XVIII 1900 – 1950 1950 – 2000 2000 – 2017 Eugénio dos Santos Séc. XVIII / Tertuliano Lacerda Marques, 1930 / Luís Cristino da Silva, 1964 RCJV Arquitectos, 2009 / Luís Sariva, 2017 Bárbara Coutinho e Luis Miguel Saraiva reservas marcação pré-marcação Occupying the former Banco Nacional Ultramarino premises in Rua Augusta since 2009, the Museum of Design and Fashion is currently undergoing renovation work. The "raw" state the building was left in when the museum moved in, which was maintained in the first remodelling intervention, remains its brand image. All ongoing alterations will be kept to a minimum and focus on functional issues, such as improving accessibility and fluid, safe circulation to and in the various zones of the museum, removing any architectural barriers for persons with disabilities. As this is a tour of a construction site, it provides a unique opportunity to get to know the building.
Sede da Fundação Millennium bcp37 Headquarters of Fundação Millennium bcp Bairro Alto e Baixa-Chiado Comércio e Serviços 1950 – 2000 InterGaup Gabinete de Arquitetura, 1992 (reab.) acesso apenas ao Núcleo Arqueológico da Rua dos Correeiros; as visitas têm início de hora a hora; entrada pela Rua dos Correeiros, 21 Diogo Lima Mayer no sábado e por Rui Carvalho no domingo The foundation premises are part of a typical but renovated block in Lisbon's Pombaline Baixa district and occupy a considerable amount of surface area. The Pombaline façade was maintained and recovered, as well as part of the supporting walls and the remarkable brickwork vaulted ceilings resting on stone pillars that define the ground floors of these buildings. The remodelling project showcases important archaeological finds on the site. The airwell space remains a defining element, with the addition of a translucent roof creating diverse visual links and bridges, and structuring the occupation and functioning of the building as a unit. The new architectural elements are visually discreet but also mark a clear distinction from the materials of the original building.
Percurso Pedonal Assistido da Baixa ao Castelo de S. Jorge38 Assisted Walkway from Baixa district to Castelo de São Jorge Bairro Alto e Baixa-Chiado Conjuntos Urbanos 2000 – 2017 João Pedro Falcão de Campos, 2013 Atelier João Pedro Falcão de Campos Negotiating the hills and slopes of Lisbon – climbing uphill and going downhill – can be a veritable "cross-country" experience. For a long time now the city has used mechanical means to make certain urban itineraries easier. Awarded the FAD 2014 Prize, this pedestrian course connecting Lisbon's Baixa district and its castle, brings together in one building the public lifts, private housing and the local Parish Council offices. The previous flooring was replaced by slabs of Lioz limestone with a matte honed finish, adding a level of comfort and becoming a leitmotif for the whole project.
Casa Pascal Lobry39 Casa Pascal Lobry Castelo e Graça Habitação 1900 – 1950 2000 – 2017 José Neves, 2017 (reab.) José Neves Located in a "gaioleiro" building [unreinforced masonry buildings with flexible timber floors] close to the walls of Castelo de São Jorge, the remodelling design for this apartment was both surgical and insightful, while introducing profound alterations to the use of the spaces. The design was based on four relatively simple operations: a set of new elements in painted wood on the walls and ceilings that reorganize the dwelling; a door that was reintroduced to add new possible courses; walls clad in textured paper hand painted in varying colours; and the bathroom ceiling transformed into a skylight.
Atelier Calçada do Correio Velho e Porta 1440 Atelier Calçada do Correio Velho and Porta 14 Castelo e Graça Equipamentos Séc. XVII – XVIII 2000 – 2017 Pedro Pacheco, 2014 (reab.) Pedro Pacheco In the course of the renovation of this former shop/storeroom, now an architectural studio, an inscription was discovered: "Goods were placed here for the first time on 10 July 1799, signed T.C." it reads. Part of the history of the rebuilding of Lisbon after the earthquake in 1755 is inscribed on the foundations of Pombaline buildings such as this one. The space is a testament to the solidity of those foundations, and the remodelling and restoration project sought to emphasise those qualities – highlighting the clarity of the space and construction. Sharing the same space, and visible from a shop window onto the street, is Porta 14, a project that showcases works of art and architecture.
Museu de Lisboa - Santo António41 Museu de Lisboa - Santo António Castelo e Graça Equipamentos Séc. XVII – XVIII Séc. XIX Site Specific Arquitectura, 2014 (reab.) Site Specific e Pedro Teotónio Pereira The presence of a perforated metal panel revealing behind it the already existing entrance to the museum, reinforces the museum's visibility in the context of the small square it shares with the church next door. Designed to conceal the infrastructural installations, this element is part of a recent intervention that doubled the museum's space, creating for new exhibition potential. By making use of part of a neighbouring residential building, the identity of the place was redefined whilst maintaining the original geometry and removing decharacterising elements. The new design adds large-scale exhibition panels that emphasise the interior volumes and reinforces the use of original interior elements.
Museu de Lisboa - Teatro Romano42 Museu de Lisboa - Teatro Romano Castelo e Graça Equipamentos Até Séc. XVI Séc. XVII – XVIII Séc. XIX 2000 – 2017 Daniela Ermano e João Carrasco, 2015 (reab.) Lídia Fernandes às 11h00 e por João Carrasco às 17h A visit to this space located on the slope below the castle becomes a journey back in time to the early 1st century AD. The museum's activities centre on the discovery and interpretation of the remains of the Roman Theatre, which was abandoned in the 4th century AD and rediscovered during the reconstruction work after the 1755 earthquake. Fast forward to the 21st century and the creation of a small museological nucleus that has since grown and is now part of the Museum of Lisbon and its wider scope. Along the visitor course, which begins with a surprising tour of the city, the journey through time reveals the Roman ruins and other spaces taken under the museum's wing, such as a 17th-century building and a large industrial space from the late 19th century.
Fundação José Saramago - Casa dos Bicos43 Fundação José Saramago - Casa dos Bicos Castelo e Graça Equipamentos Até Séc. XVI 1950 – 2000 2000 – 2017 Francisco de Arruda, 1523 Manuel Vicente e José Daniel Santa-Rita, 1981 / João Santa-Rita, 2011 João Santa-Rita às 12h30 e por Sérgio Machado Letria às 14h30 e 16h30 Commissioned by Brás de Albuquerque, the son of the first Portuguese Viceroy of India, and built between 1521 and 1523, the Casa dos Bicos stands out for its unusual façade covered in "diamond-like spikes", known by the popular term "bicos" [Portuguese for spikes or beaks]; the façade takes its inspiration from Italian Renaissance models. The earthquake of 1755 did considerable damage to the building. Later, after partial reconstruction, it housed a salt cod trader's warehouse, which remained there well into the 20th century. In 1983, on the occasion of the 17th European Exposition of Arts, Science and Culture, a renovation project by Daniel Santa-Rita restored the building's original volume. However, it remained unfinished, a testament to the memory of what had since disappeared. Subjected to further renovation work from 2008 to 2012, Casa dos Bicos is now the headquarters of the Fundação José Saramago and home to the Casa dos Bicos archaeological nucleus.
Campo das Cebolas44 Campo das Cebolas Castelo e Graça Conjuntos Urbanos Espaços de Lazer 2000 – 2017 João Luís Carrilho da Graça, 2017 (reab.) Victor Beiramar Diniz The Portas do Mar plaza, which includes the current Campo das Cebolas and the space known as Ribeira Velha, next to the Praça do Comércio buildings, is seen as an opportunity to rethink the relationship between the city and the River Tagus. The intervention strategy includes creating a large open space – an opening up that makes it clear that the old city went as far as the line of the ancient walls, where Casa dos Bicos now stands – with a slight inclination upwards to Cathedral slope and the castle. At the other end, next to the waterfront avenue, is a flat area that establishes a direct relationship with the river. Underneath the new square is an underground parking facility with roughly 210 spaces, occupying the space between the old shorefront and the wall of the old Ver-o-Peso quays.
Terminal de Cruzeiros de Lisboa45 Lisbon Cruise Terminal Castelo e Graça Equipamentos 2000 – 2017 João Luís Carrilho da Graça, 2017 Luís Cordeiro, para o acesso à visita é necessário apresentar o Bi ou Cartão de Cidadão On its site between Avenida Infante Dom Henrique and the Tagus, and between Praça do Comércio Santa Apolónia station, the new terminal is framed by the walls of the old docks which still remain there today. It will also serve as a kind of viewing point below the slopes of the Alfama neighbourhood and over the river, providing views of the city upwards – similar to that the perspective from large cruise ships – and taking in the impressive aspect of the huddled housing above which the silhouettes of the churches of São Vicente da Fora and Santa Engrácia and the castle stand out.
Apartamento em Alfama46 Apartment in Alfama Castelo e Graça Habitação 2000 – 2017 atelier RUA, 2016 (reab.) Francisco Freitas Located in the heart of the Alfama neighbourhood, this small apartment (55 sq. m) is on the second floor of a 4-storey building. While it was not possible to determine the year of construction, it was clear that over the years the apartment had undergone various interventions and extensions. The space is organised around the kitchen at its centre. Windowless, it provides access to all other rooms, thus adding the role of distributing space to that of its natural function of kitchen. From the apartment's central point one has a full understanding of the entire living space. The marble used for the kitchen worktops and storage units and the bright yellow flooring are the eye-catching details in the apartment's wet zones.
Santa Clara 172847 Santa Clara 1728 Castelo e Graça Comércio e Serviços 2000 – 2017 Manuel Aires Mateus, 2016 (reab.) João Rodrigues e Manuel Aires Mateus On its doorstep are the Santa Clara market, the National Pantheon and the River – and the Feira da Ladra flea market on Tuesdays and Saturdays. This 18th-century palatial building was converted to a sumptuous hotel of only six rooms, with a large communal dining room and secluded garden. Recreating the ambience of old Lisbon mansion houses, the remodelling project focused on already existing elements and used local, authentic materials, such as Lioz limestone, traditional azulejo tiles and wood.
Centro de Inovação da Mouraria48 Mouraria Innovation Centre Castelo e Graça Equipamentos 2000 – 2017 DNSJ Arquitectos, 2014 (reab.) Nuno Simões The MIC is a strategically important facility for the urban regeneration of this part of the city, functioning as an incubator for creative and cultural undertakings. Occupying a former mansion house from the 15th century (of which only the structural walls remained) in the Mouraria neighbourhood, the renovation sought to conserve the original morphology and character. The most prominent elements of the building were recovered, such as the stairways and wooden structures, and contemporary materials were introduced to explore the natural lighting potential and create a clear contrast between new and old.
Palácio da Bemposta - Academia Militar49 Palácio da Bemposta - Military Academy Av. Liberdade e Príncipe Real Palácios e Conventos Séc. XVII – XVIII João Antunes / Manuel Caetano de Sousa, Séc. XVIII Coronel Marçal Lourenço e Coronel Amado Rodrigues; inclui acesso à exposição "Marquês de Sá da Bandeira, o antiesclavagista" Though it has witnessed many decisive periods in the history of Portugal, the Bemposta palace will always be associated with Catarina de Bragança, who became Queen Catherine, wife and widow of Charles II of England. Since the installation of the Portuguese Military Academy in 1851, it has been occupied by the Officer's Schools of the Portuguese army, integrating in recent years officers of the Republican National Guard. Part of the civil parish of Arroios, its importance was recognised through its listing as a National Monument in 2001. It currently houses the Military Academy Command.
Igreja Sagrado Coração de Jesus50 Igreja Sagrado Coração de Jesus Av. Liberdade e Príncipe Real Equipamentos 1950 – 2000 Nuno Portas , Nuno Teotónio Pereira, Pedro Vieira de Almeida e outros, 1970 Cátia Santana Integrated in a larger parochial complex, this church dedicated to the Sacred Heart of Jesus, easily goes unnoticed by even the most attentive passer-by along the nearby street. Breaking with religious tradition, Nuno Portas and Nuno Teotónio Pereira returned to the original model of the Romanic church, emphasising the relationship between the sacred space and the surrounding community, in this case taken to the limit by the naked and urban character that the exposed concrete confers. Refined in its work with space, details and lighting, the church surprises the visitor with its monumental interior volumes. In 1975 it was awarded the Valmor Prize and it has been a National Monument since 2010.
Hotel Britânia51 Hotel Britânia Av. Liberdade e Príncipe Real Comércio e Serviços 1900 – 1950 Cassiano Branco, 1944 Luís Alves de Sousa A stand-out design by modernist architect Cassiano Branco from the 1940s, the Britânia is the only hotel building from that period that has survived intact to the modern day. Restored in accordance with its original Art Deco style, the hotel's distinctiveness led to it being listed as a Lisbon historic building. When it opened on 13 October 1944, it was called Hotel do Império and it soon became a favourite haunt for high society, politicians and intellectuals. In 1950 the poetess Natália Correia married the hotel owner and manager and moved into the building next door, with the hotel becoming a natural extension of her literary salons attended by Portuguese artists and writers such as David Mourão-Ferreira, Almada Negreiros and Mário Cesariny, as well as international authors such as Marguerite Yourcenar, Henry Miller and Graham Greene.
Memmo Príncipe Real52 Memmo Príncipe Real Av. Liberdade e Príncipe Real Comércio e Serviços 2000 – 2017 Samuel Torres de Carvalho, 2016 Samuel Torres de Carvalho Located in the Príncipe Real district, this new building was designed to meet the new overwhelming demand for tourist accommodation in Lisbon. A five-star hotel with 41 rooms, accessed via a narrow passageway and a small tunnel leading to a private viewing point offering panoramic views of Lisbon. The hotel has been ingeniously integrated into this vantage point, almost levitating at the top of the slope. The building materials include Lioz limestone, so characteristic of historic buildings, palaces, monuments and squares in the city, in a design that combines classical and contemporary styles.
Reservatório da Patriarcal53 Patriarcal Water Cistern Av. Liberdade e Príncipe Real Infraestruturas Séc. XIX 1950 – 2000 Louis-Charles Mary, 1864 Mário Varandas Monteiro, 1994 The majestic stone chamber that constitutes the tório da Patriarcal (water cistern) is located below the Príncipe Real garden. Built between 1860 and 1864, the water cistern was once the most important point of water distribution for the lower-lying inner city. Octogonal in form, it features 31 pillars measuring 9.25 metres supporting stonework vaulting, giving the space an air of grandiosity. Fed by the Águas Livres aqueduct, it was deactivated in 1949. It also provides underground access to the Galeria do Loreto, which extends for 410 m, connecting to São Pedro de Alcântara garden.
Palacete Barão de Santos54 Barão de Santos Palace Av. Liberdade e Príncipe Real Palácios e Conventos Séc. XIX 2000 – 2017 Barbas Lopes Arquitectos e HAHA Arquitectura Paisagista, 2017 (reab.) Sérgio Catumba Built in 1862 by the widow of the Baron of Santos, Carolina Augusta de La Rocque, this small palace building in Príncipe Real has served as the seat of the Japanese Legation, the Casa de Braganza Foundation and Instituto Camões. It was abandoned in 2000. Though eclectic in style, it has a pronouncedly Classical decorative idiom, including a vestibule, a grand stairway and spaces that determine the organisation of the rooms on all the elevations. The ongoing remodelling project seeks to conserve as much of the original state as possible. This is a unique opportunity to see this renovation project, as the building will soon be divided into four private dwellings.
Laboratório Chimico - MUHNAC55 Chemistry Laboratory – MUHNAC Av. Liberdade e Príncipe Real Equipamentos Séc. XIX 1900 – 1950 Pierre-Joseph Pézerrat, 1857 Adelino Nunes, 1940 Maria do Carmo Elvas This building is a rare example of the large-scale teaching and research laboratories belonging to European universities. Thanks to its monumentality, functionality and elegance, the Laboratory space offers the visitor a unique ambience that recalls past glories. Although it no longer functions as a laboratory, visitors to the space have the opportunity to experience its original purpose. On this particular visit the focus will be on the teaching of chemistry and the scientific instruments used in the 19th century.
Imprensa Nacional56 Portuguese Official Printing Office Av. Liberdade e Príncipe Real Equipamentos 1900 – 1950 Domingos Parente da Silva, 1913 Guias da Imprensa Nacional reservas marcação pré-marcação Designed by the architect of the City Hall, this state institution occupies a site where the Royal Printing Office had been located since 1769. A number of alterations were made to the original design by the engineers responsible for the construction of the various wings, and the building was finally opened in 1913. The main façade, looking onto Rua da Escola Politécnica, reflects an attempt to reinterpret Pombaline architecture. In 2013 the building was listed as a Monument of Public Interest.
Escola de Hotelaria e Turismo de Lisboa57 Lisbon School of Hospitality and Tourism Campo de Ourique e Amoreiras Equipamentos 2000 – 2017 Teresa Nunes da Ponte, 2009 (reab.) Teresa Nunes da Ponte Now approaching its 100th anniversary (it was opened in 1958), this school remains a benchmark for vocational training in the tourism sector. It now occupies the former premises of Machado de Castro Industrial School and includes a training hotel – the Hotel da Estrela (housed in an 18th-century palace building) – where the content of the courses are practised in a real work context. The most recent remodelling project maintained the grandiose façade and struck a new balance between the new and pre-existing elements. This visit will focus on how a school of this type is structured and on its main pedagogic activities.
Casa Fernando Pessoa58 Casa Fernando Pessoa Campo de Ourique e Amoreiras Equipamentos 1900 – 1950 Daniela Ermano, 1993 (reab.) It was here, in the Campo de Ourique neighbourhood, that Fernando Pessoa lived the last 15 years of his life. This lively cultural venue contains a library and Pessoa's original bedroom, with some of the writer's original furniture and diverse personal objects, such as his typewriter, glasses and notebooks, on display. Opened in 1993, the renovation project on the building retained the original façade, central staircase and the poet's room. On the façade, quotations from Pessoa's work occupy the spaces between the windows and door openings, and on the floor of the entrance one can find the writer's astral chart engraved in stone.
Cemitério dos Prazeres59 Prazeres Cemetery Campo de Ourique e Amoreiras Equipamentos Séc. XIX vários autores, 1833 Ema Câmara e Sérgio Palmeiro A great example of the Romantic style in Portugal, Prazeres Cemetery is the final resting place of many of the country's most illustrious figures. A kind of open-air museum, it is a repository of important information on Portuguese modern history, architecture, urban planning, sculpture, as well as the changes approaches to the idea of death over the years. With its ambience marked by the serenity of the impressive cypresses, to walk through this space is to learn the history documented on its countless tombs. This tour will visit a number of tombs, in particular the interior of the Palmela Tomb, the largest private tomb in Europe.
Panorâmico de Monsanto60 Panorâmico de Monsanto Campo de Ourique e Amoreiras Equipamentos 1950 – 2000 Chaves da Costa, 1968 No view over Lisbon can match that from the Panorâmico de Monsanto. Built at an altitude of 250 m above sea level, the building opened in 1968 and has served as a fine dining restaurant, a nightclub, a bingo hall, not to mention stints as office space and a store for building materials. Now empty for more than a decade, this outstanding work of architecture features in its interior ceramic panels by Manuela Madureira and a mural by Luís Dourdil. For now, Lisbon City Council aims to ensure that the building is safe and can be visited by all, thus returning this belvedere to the city and its residents.
Centro de Meditação61 Meditation Centre Campo de Ourique e Amoreiras Equipamentos 2000 – 2017 PLCO Arquitectos, 2013 (reab.) Pedro Oliveira Hidden away in a cellar space in very nondescript area on the western edge of Lisbon lies a space made for meditation. Two doors mark the different programmes of the building in question: one provides private access to the living quarters; the other opens onto a succession of spaces at different levels on a descending course that ends on a veranda overlooking Monsanto forest park – the Meditation Centre. Lighting is a decisive element in creating the various interior ambiences and erasing the boundary between interior and exterior. The meditation space allows the exterior landscape and the half-shade of the interior spaces to coexist in a shared place.
Aqueduto das Águas Livres62 Águas Livres Aqueduct Campo de Ourique e Amoreiras Infraestruturas Séc. XVII – XVIII Séc. XIX Vários autores, Séc XVIII e XIX Commissioned by King João V in 1731, the aqueduct was the first regular water supply system for the city of Lisbon. It extends to a total length of 58 kilometres. The monumental section included in this visit is the most iconic element of Lisbon's old water distribution system and it withstood the earthquake of 1755. It spans the Alcântara valley over a length of 941 metres with the aid of 35 huge stone arches. The largest arch is 65 metres high and 32 metres wide. Deactivated in 1967, the aqueduct is one of the most remarkable works of hydraulic engineering ever realised.
Amoreiras 360º Panoramic View63 Amoreiras 360º Panoramic View Campo de Ourique e Amoreiras Espaços de Lazer 2000 – 2017 Tomás Taveira, 1985 Frederico Valsassina, 2016 Carlos Pires Located on top of one of the emblematic Amoreiras Towers, this 360º viewpoint is one of the city highest points – 174 metres above sea level. From this magnificent vantage point one enjoys breath-taking views over Lisbon spread over its seven hills to the River Tagus, Monsanto park, and the city's most important monuments – the Castle, Belém Tower, Estrela Basilica, the Cathedral, the 25th April Bridge and the Christ the King statue on the river's southern bank. The more curious visitor can avail of high-powered viewers, as well as maps with information on the city's most iconic sights.
Reservatório da Mãe d'Água das Amoreiras64 Mãe d'Água das Amoreiras Water Cistern Campo de Ourique e Amoreiras Infraestruturas Séc. XVII – XVIII Carlos Mardel, Séc XVIII First proposed in 1746 and completed in 1834, the Mãe d'Água das Amoreiras water cistern collected and distributed the water brought into the city via the Aqueduto das Águas Livres (see above). With a capacity of 5,500 m3, it is 7.5 metres deep. The space features vaulted ceilings of great beauty, and a terrace on the roof affords magnificent views over Lisbon. Completed after the death of Carlos Mardel, it is a veritable "cathedral to water" that goes much further than serving its original function – it is one of the city's most emblematic historic monuments.
Galeria do Loreto65 Galeria do Loreto Campo de Ourique e Amoreiras Infraestruturas Séc. XVII – XVIII Carlos Mardel, 1746 Bárbara Bruno The Galeria do Loreto is one of five tunnels included in the Aqueduto das Águas Livres water supply system. The underground system extends to a total of 2,835 metres, including all branch tunnels. This tunnel supplied water to a number of public institutions, including the Official Printing House, the Public Promenade, the Casa da Misericórdia, the garden at São Pedro de Alcântara and the Municipal Guard barracks in Largo do Carmo. It is a unique space that begins at the Casa do Registo next to the Mãe d'Água water cistern and ends at the square in front of the Teatro de São Carlos.
Apartamento na Rodrigo da Fonseca66 Apartment in Rodrigo da Fonseca Campo de Ourique e Amoreiras Habitação 1900 – 1950 2000 – 2017 Aboim Inglez Arquitectos, 2016 (reab.) Maria Ana Aboim Inglez e Ricardo Aboim Inglez Built in the late 1930s, this apartment with unusual interior dimensions was defined by its gloomy 15-metre-long corridor. The recent intervention rebalances the space and adapts it to contemporary living. The corridor, which now receives much more light and features a bench lining it along one side, is now almost a living space in its own right, and not just a link between the reception rooms and the bedrooms. The apartment's new luminosity was achieved through specific spatial adaptations and creating a visual connection between the kitchen and the living room.
Hotel Ritz67 Hotel Ritz Campo de Ourique e Amoreiras Comércio e Serviços 1950 – 2000 Porfírio Pardal Monteiro, 1959 Teresa Fonseca reservas marcação pré-marcação Designed by Pardal Monteiro with collaboration from Jorge Ferreira Chaves (who designed the Pastelaria Mexicana), the Hotel Ritz is one of the most important examples of Portuguese modernist architecture and the first large luxury hotel to be built completely new in Lisbon. The design for such an imposing site over the inner city was governed by the principle of functional organisation, which is still the basis for the hotel's excellence of service. The building is an excellent example of how a private owner can modernise and conserve a listed property, particularly one operating in such a demanding sector as hospitality. In its interior the Ritz also features an extensive and noteworthy collection of art works by Portuguese artists. It remains a benchmark for luxury hospitality in the city of Lisbon.
Palácio da Justiça68 Palácio da Justiça Campo de Ourique e Amoreiras Equipamentos 1900 – 1950 Januário Godinho e João Andresen, 1970 João Rodeia The Lisbon Civil Courts building, designed by Januário Godinho and João Andresen, represents a break with tradition, as it adopts a modernist language of great conceptual originality. Its urban setting, volume, expression and functionality, together with the new materials used in its construction, make it a building that stands on its own and for itself, even though it was designed as part of a larger complex that was to form the Lisbon Justice Forum. The significance and force of its monumental aspect are undeniable, and heightened by its location at one of the highest points in the city, at the same elevation as the Castelo de São Jorge.
Fundação Calouste Gulbenkian69 Fundação Calouste Gulbenkian Avenidas Novas e Benfica Equipamentos 1950 – 2000 Alberto Pessoa, Pedro Cid e Ruy D'Athouguia, 1969 Sir Leslie Martin, 1983 Acesso apenas às zonas comuns do edifício e jardim Jorge M. Lopes This building and its garden, which merge perfectly to form a unit, are regarded by Lisboans as theirs and used intensively on a daily basis. Opened in 1969, the Gulbenkian was listed as a National Monument on the basis of the recognition of its outstanding architectural and landscaping qualities. The most recent landscaping intervention in the gardens was the work of Gonçalo Ribeiro Telles. Recently the name of the Centre for Modern Art (opened in 1983) was retired and Calouste Gulbenkian Museum is now used for both buildings and the collections they house: the Founder and Modern collections.
Corredor Verde70 Green Corridor Avenidas Novas e Benfica Conjuntos Urbanos Espaços de Lazer 2000 – 2017 Gonçalo Ribeiro Telles, 2012 EliseuBike&Co Attention all cyclists! This visit will take place on bicycle along the Green Corridor originally idealised in 1976 by Gonçalo Ribeiro Telles but not completed until late 2012. The tour will last roughly 60 minutes, taking in the Eduardo VII Park and Amália Rodrigues Garden and heading towards Monsanto. It is limited to 25 persons. For those interested who do not have a bicycle of their own, the Velocité Café (the meeting point at Avenida Duque de Ávila, 120A) has kindly offered to provide 8 bicycles and helmets.
Casa-Museu Dr. Anastácio Gonçalves71 Dr Anastácio Gonçalves Museum House Avenidas Novas e Benfica Equipamentos 1900 – 1950 Norte Júnior, 1904 Ana Mantua Built to a design by Norte Júnior in 1904/05, this house was commissioned by the painter José Malhoa to serve as his residence and studio. The first artist's house in Lisbon, and winner of the Valmor Prize in 1905, in urban development terms it reflects the plans for expansion of the city and is an important example of late 19th-century Portuguese architecture. In 1932 the "Malhoa House" was purchased by Dr Anastácio Gonçalves, who lived and organised his collection there until his death in 1965. It was inaugurated as a Museum House in 1980 and underwent extension and renovation works in 1996, which included the annexation of a new house to the original building.
Casa da Moeda72 Casa da Moeda Avenidas Novas e Benfica Equipamentos 1900 – 1950 Jorge Segurado, 1941 Guias da Casa da Moeda reservas marcação pré-marcação Occupying a whole block, the Portuguese Mint building is made up of two programmatically distinct but interlinked bodies, housing the administration offices and the production spaces, without a loss of architectural consistency. Its construction was determined during the early phase of the Estado Novo regime, under Minister Duarte Pacheco, and it began operating in 1941. The building is a perfect example of the work of Jorge Segurado, where experimentations with the modernist lexicon were reflected down to the smallest details. What remains in the memory of the visitor are the rhythmic façades with sequences of pilasters, the exterior cladding in beautiful green azulejo tiles and the detailed main entrance. It was listed as a Monument of Public Interest in 2012.
Teatro Thalia73 Teatro Thalia Avenidas Novas e Benfica Equipamentos Séc. XIX 2000 – 2017 Fortunato Lodi, 1842 Gonçalo Byrne e Barbas Lopes Arquitectos, 2012 Built in 1820 by the first Count of Farrabo, the Teatro Thalia underwent renovation work in 1842 for the installation of gas lighting. In 1862 it was destroyed by fire and remained in that state until 2009. The space as it is today is the result of a reimagining of the auditorium and stage. The ambience of a ruin remains visible in the interior, itself constituting an imposing theatrical setting. On the façade the peristyle is marked by four white marble columns with sphinxes at their base. The triangular pediment, with a plain tympanum and topped with a statue of Erato, bears the Latin inscription Hic Mores Hominum Castigantur (Here the mores of men shall be punished).
Praça Fonte Nova74 Praça Fonte Nova Avenidas Novas e Benfica Conjuntos Urbanos Espaços de Lazer 2000 – 2017 José Adrião Arquitectos, 2017 (reab.) José Adrião The reinvention of an urban plaza. This project sought to achieve a new balance in the plaza's already established functions and to promote the use of the public space as a place of relaxation and leisure over its use as a parking lot. The large open space has been turned into a platform that unites the two sections of Estrada de Benfica separated by the motorway viaduct, allowing for continuous pedestrian circulation from east to west. A new relationship between the Fonte Nova shopping centre and the neighbouring services and commercial buildings was defined, with the aim of supporting local business.
Centro Ismaili75 Centro Ismaili Avenidas Novas e Benfica Equipamentos 1950 – 2000 Raj Rewal Associates e Frederico Valsassina Arquitectos, 1998 Guias do Centro Ismaili Lisbon's Ismaili Centre was the first facility in Continental Europe that combined meeting spaces for Ismaili Muslims with the installations of an international social, cultural and economic development network for people of all faiths, backgrounds and origins. Built around a number of patios, the buildings integrate multi-use spaces and open areas designed for social functions and cultural and educational events. The design, a rare example of Islam-inspired architecture in Portugal, nods to the geometric patterns in traditional Muslim arts while allying contemporary building techniques and local materials.
Biblioteca Nacional de Portugal76 Biblioteca Nacional de Portugal Avenidas Novas e Benfica Equipamentos 1950 – 2000 Porfírio Pardal Monteiro, 1969 João Pardal Monteiro e Maria Inês Cordeiro reservas marcação pré-marcação The last large-scale design project by Porfírio Pardal Monteiro, with the work continued on by his nephew António Pardal Monteiro, this was the first dedicated building built completely new for the National Library. Opened in 1969, with a built surface area of some 60,000 sq. m, this book depository was extended and remodelled between 2008 and 2012. The building stands out for its functionality, which still meets today's standards, scale and the light in its interior space, as well as the interior design of the main public zones by Daciano da Costa. This tour will take visitors through the public spaces, but also to areas behind the scenes, such as the archives and conservation areas.
Escritório Pure77 Pure Offices Avenidas Novas e Benfica Comércio e Serviços 2000 – 2017 Sílvia Rocio e Mariana Póvoa + esse studio, 2016 Sílvia Rocio e Mariana Póvoa The brief for this design was by all means original: to create intimate and private office space for a dating app called Pure. In creating this work ambience the designers used one specific structuring element: curtains. Various spaces in the offices can be separated off by curtains, creating shapeshifting spaces and guaranteeing informal and flexible use. This thematic design element makes it possible to open the space up and experience it as one single unit or divide it into dedicated spaces: work room, conference room, lounge and break room.
Galeria Quadrum78 Galeria Quadrum Avenidas Novas e Benfica Equipamentos 1950 – 2000 Fernando Peres Guimarães, 1971 Inês Cabral Fernandes The realisation of a dream by the artist and collector Dulce D'Agro, the Quadrum gallery had its opening exhibition in November 1973. Installed in the Coruchéus palace and designed by Fernando Peres, Quadrum became a laboratory for Portuguese experimental art in the 1970s and 80s. It featured important Portuguese artists such as Alberto Carneiro, Ana Hatherly, Ernesto de Sousa and Helena Almeida, as well as the international artists Vasarely, Gina Pane, Ulrike Rosenbach and Dany Bloch. After a period in which it was closed, Quadrum reopened under the management of EGEAC. Today, as part of the Coruchéus art studio complex, it remains a space of experimentation on and for contemporary art.
Apartamento na Av. Estados Unidos da América79 Apartment in Av. Estados Unidos da América Avenidas Novas e Benfica Habitação 1950 – 2000 2000 – 2017 José Segurado e Filipe Figueiredo, 1957 ARX, 2017 José Mateus The four buildings on the intersection of Avenida de Roma and Avenida dos Estados Unidos are one of the most important works of Lisbon architecture from the 1950s. This visit will focus on one apartment originally designed as an art studio that has breath-taking panoramic views. It has now been converted to an apartment, with the intervention focusing on removing elements added to the original space over the years (glassed-off balconies, air conditioning, dividing walls and lowered ceilings) and highlighting the original characteristics, as well as the extraordinary light and views over the city, which are major arguments in favour of the original architecture.
Apartamento Estacas80 Apartment Estacas Avenidas Novas e Benfica Habitação 1950 – 2000 2000 – 2017 Rui Atouguia e Sebastião Formosinho Sanches, 1952 atelier RUA 2014 Rui Didier The "Bairro das Estacas" [a complex of apartment buildings raised on round pillars] is regarded as a milestone development for modern architecture in Portugal. This renovation project set out to completely remodel the apartment, adapting it to contemporary living and reinstating the original interior relationships by restoring the original balconies over the gardens that characterised the urban plan for this estate. The interior is now defined and structured by a new body – a line of closets that organises and provides support to the dwelling's various spaces (storage space was a fundamental aspect of the new programme). The parquet flooring, also in the kitchen and the bathrooms, unifies the space and lends an image of continuity.
Museu Nacional do Azulejo - Convento da Madre de Deus81 Museu Nacional do Azulejo - Convento da Madre de Deus Oriente Palácios e Conventos Equipamentos Até Séc. XVI Séc. XVII – XVIII Séc. XIX vários autores Séc. XVI, XVIII, XIX e XX As visitas livres dão acesso apenas à exposição temporária e Convento da Madre de Deus Alexandre Pais The history of the azulejo tile in Portugal from the late 15th century to the present day is told in the former Madre Deus convent that was founded in 1509 by Queen Leonor. The convent was always received special attention from the Portuguese royal family and underwent several renovations over the centuries. Thanks to the interventions in the 17th and 18th centuries, the convent church, originally from 1550, is recognised as one of the foremost examples of the Baroque decorative style in Portugal.
Ar.Co - Centro de Arte e Comunicação Visual82 Ar.Co - Centro de Arte e Comunicação Visual Oriente Equipamentos 1950 – 2000 2000 – 2017 João Santa-Rita, 2017 (reab.) João Santa-Rita The former Xabregas Market, built in 1956 to a modernist design, now houses the Ar.Co Art and Visual Communication School. The remodelling project adopted a new idiom, with steps and ramps in concrete, steel grid rails and elements in painted steel sheeting reflecting the choices made to redesign and revitalise the space. Where once fresh produce was sold, now Photography, Painting, Drawing, Illustration/Comic, Jewellery, Cinema, and Art History and Theory classes are given. This project is part of the overall plan to transform this part of East Lisbon into a new urban and cultural hub.
VERTIGO83 Vertigo Oriente Comércio e Serviços 2000 – 2017 Atelier João Quintela Tim Simon, 2014 (reab.) João Quintela, estas visitas incluem escalada (necessário sapatos de escalada ou ténis) Occupying a large industrial warehouse on the riverfront, Vertigo is not just a climbing space but also an architectural design project. As a symbolic memorial to Lisbon's industrial past, a structure made of stacked pieces of concrete and blocks of pinewood painted red marks the entrance to an interior space where black metallic elements dominate. A flexible approach has been taken to the layout, allowing for differing uses, including a cafeteria and visitor reception area. Visiting the Vertigo centre also means being able to try out the climbing walls (on indicated tours only).
Loja Sotheby's84 Sotheby's Offices Oriente Comércio e Serviços 2000 – 2017 João Mendes Ribeiro, 2016 (reab.) João Mendes Ribeiro The interior design brief for these estate agent premises in Parque das Nações was to reinvent the interior space of a pre-existing shop located in an office building. The client required a number of individual offices and conference rooms with support zones, as well as a public zone in which to receive clients. The layout strategy freed up as large a space as possible for the public area, with the double ceiling height adding to the feeling of space and abundance of light. Given the inspiration for the reception area was as a public space, it contrasts with the private, secluded character of the offices and other work spaces, which seem to evoke the idea of being a small building of their own.
Pavilhão de Portugal85 Pavilhão de Portugal Oriente Equipamentos 1950 – 2000 Álvaro Siza, 1998 This building is a symbol – an icon – of the exposure and expansion Expo '98 meant for the city of Lisbon. Immediately recognisable by its huge curving reinforced concrete roof, it consists of two separate areas: the Ceremonial Square, which is a generous sheltered outdoor space, and a two-storey building (plus a basement level) structured around an internal patio. Creating a visual association between earth and water, the pavilion's monumental scale seems to play with traditional forms and the modern lines of modernity.
Central Norte de Recolha Pneumática de Resíduos Urbanos86 Pneumatic Solid Waste Treatment Plant Oriente Infraestruturas 1950 – 2000 AB Centralsug e Parque Expo, 1997 Rita Miranda Few cities can boast of having a solid waste treatment system like this one, and this is the world's largest. An intricate and complex work, it is a system for the collection of treatment of urban solid waste by vacuum serving a large area of the Parque das Nações north zone. The plant has two storeys and is equipped the latest and most innovative technology and equipment. This is a rare opportunity to observe the workings of such an impressive infrastructure from close up.
Aeroporto Humberto Delgado87 Humberto Delgado Airport Oriente Infraestruturas 1900 – 1950 Keil do Amaral, 1940 João Leal; For security reasons, the visits are only for over 18 years old reservas marcação pré-marcação The Lisbon Airport is one of the largest public works projects undertaken in the Estado Novo period. Of the original design one should note that the architecture was characterised by a reformist approach, seeking a return to new, modern forms and abandoning the preferred styles and models. In this sense, the airport was one of the most positive moves towards reforming architecture for public works. The tour takes in Terminal 1 (including the baggage reclaim areas and central control and management zones), the airport apron and service areas for the apron and runways.


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Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
Starting January 1st 2018 GMT each participant will upload one finished composition per week. Any style of music or selection of instruments are welcomed and encouraged. Sign up or Login to get started or check our FAQ for any help or questions you may have.
WeeklyBeats.com / Music / bryface's music / twisted registers (famitracker VRC6 121Hz)
thought i'd experiment with famitracker again - I think i finally managed to come up with something i'm really happy with; most other NES tunes i've made in the past were only "serviceable" at least from a sound design perspective.
prior to this i hardly ever used the DPCM channel, so this tune began mainly as an experiment to learn the wave import workflow. i started with the modulated chord stabz - those were rendered via Charlatan VST running through reaper. i spent most of the time tweaking the parameters to get a feel for which frequencies would most likely survive the DPCM conversion.
i was also hoping to make a hardware recording of this, as i fixed my famicom to provide a cleaner mic-less signal out of the TNS-HFC3 unit that i have. what i didn't realize though was that the cart doesn't actually support custom NSF timer speeds. darn! hopefully next week i'll record something that doesn't cause the cart to die.
This submission is licensed by author under CC Attribution Noncommercial No Derivative Works (BY-NC-ND)
Maaaaate. Close to the deadline ;-) Would love to hear this running a real NES cart!! Sounds super tight
Maaaaate. Close to the deadline ;-) Would love to hear this running a real NES cart!! Sounds super tight
upload progress bar finished with 8 seconds to spare =P i actually tried recording it using the TNS-HFC3 cart that Vanno gave me, but it slowed down and sputtered a few seconds in. time to invest in a powerpak
Sounds great, especially that angry muffled chord and the spicy noise channel action.
Awesome vibe. The DPCM stuff sounds good to me.
Cool groovin' vibe here, really like it!
twisted funk, i dig. awesome work man
cool tune!
Feel the battle of the theme.
Mmmm such tasty dissonance. I've strayed away from chip music lately, but this right here has me wishing there was a repeat button!


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Welsh Dragon Salt & Pepper Set
- Brand: Clara
- Product Code: RT-73-105
- Availability: Out Of Stock
The design on these Salt and Pepper pots depicts the Welsh dragon. This was chosen as a symbol of Wales in the time of Henry VII (15th century). This was done in tribute to the Welsh people who had made his victory possible, as he fought the Tudor claim to be the true rulers of Britain.
Height 8 cm