the bank of portugal’s quarter · the city, and was directed under the steady hand of the marquis...

The Bank of Portugal’s quarter

Urban rehabilitation of Baixa Pombalina

Isabel de Araújo Barreto

Extended Abstract for obtaining a Master Degree in

Architecture

Supervisor: Professora Doutora Ana Cristina dos Santos Tostões

May 2015


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ABSTRACT

This thesis is focused on the analysis of the rehabilitation project of the Bank of Portugal’s headquarters, developed by the

architects Gonçalo Byrne and J. P. Falcão de Campos. The Bank occupies an entire quarter in the historical center of Lisbon

– the area known as Baixa Pombalina – and is considered an exceptional urban complex, as it was the object of various and

diversified uses throughout time, like housing, religion (the Church of S. Julião), finance (Bank of Portugal) and culture (Money

Museum). The investigation was divided into two main parts. The first centered on Lisbon’s urban history, the reason for the

cultural and architectural value of Baixa Pombalina and the Bank’s quarter; and the second focused on rehabilitation strategies,

and particularly the one used on this quarter, in a context where interventions of this kind tend to multiply, and the Baixa’s

revitalization is an urgent priority.

Keywords: Bank of Portugal | Baixa Pombalina | Architecture | Rehabilitation | Historical Heritage

THE PURPOSE

The Bank of Portugal is the central bank of the Portuguese Republic. Its headquarters are located in one of Baixa Pombalina’s

quarters, between the streets of S. Julião, Ouro and Comércio and the small square of S. Julião. It’s also in the northern vicinity

of the Town Hall and the Praça do Município. The quarter is more than two centuries old, having been founded by the

“pombalino” plan of 1758, after the great earthquake of 1755. In 2007, the Bank launched a contest for its rehabilitation, as

well as the conversion of the Church of S. Julião (which occupies half of the quarter) into the new Money Museum.

This thesis is focused on the 2007 rehabilitation project and analyses all of its components, from the architectural to the

structural and archeological point of view. The information is presented in a chronological order, and discusses the project’s

evolution from its first contest stage to its definitive and final stage. For the purpose of comparing different rehabilitation

strategies, the thesis presents all the proposals of the contest, which were developed by four different Portuguese architectural

firms. The winner project was conceived by the team of Gonçalo Byrne (1941-) and J. P. Falcão de Campos (1961-).

To understand the importance this project holds in today’s Lisbon, its analyses was preceded by the study of the quarter’s

history, since its foundation in 1758 and even before, when Lisbon was a medieval city. Many questions arose at this point:

what is, exactly, Baixa Pombalina? What urban significance did it have when it was conceived? And what about nowadays?

Why is its revitalization so big a priority? Only with the answers to these questions is it possible to comprehend why the Bank

of Portugal should be considered a part of the historical heritage of the city. And the reasons behind the thesis’ choice of

subject will get clearer.

One of them is, of course, the fact that rehabilitation is, without a doubt, one of the most talked about subjects in modern

architecture. But the choice made about this particular case is related not only to its historical value, but also to its partial

transformation into a museum. The situation isn’t new, as there are many modern examples of old buildings converted into

museums, but this case is especially curious due to the fact that a space with a solemn and reserved character – as it’s

expected from a bank’s headquarters, and a bank of the state, and, on top of it, an ancient church – was suddenly associated


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with a new touristic attraction, where visitors are expected to roam with some freedom. This fusion, which some might consider

impossible, was indeed a great challenge for the authors of the project, especially when it was necessary to preserve the best

of the old building as well as increase the cohesion of the whole set.

In order to present the information in a coherent manner, the structure of the thesis was divided in three main chapters. The

first chapter, called General Context, tells two different stories. The first one explains the background story and the

development of the area known as Baixa Pombalina, and afterwards describes, in more detail, the evolution of the analysed

quarter, until the 2007 contest. The second one discusses the process of this contest, from the program established by the

Bank to the presented proposals. The second chapter, called From Project to Construction, enunciates and analyses the

evolution and main strategies of the winning project, concerning the architectural options as well as structure, special

installations and restoration. The third chapter, called Construction’s Development, explains all the aspects of the project

turned reality and its main alterations due to the introduction of archaeological work. In the end, the thesis is closed with a

Conclusions chapter, where it is speculated on how this project can provide clues for future interventions.

THE METHOD

According to the referred structure of the thesis, the research was divided into two main areas: a historical area and a “project”

area. The first one covers many centuries of Lisbon’s history and is highly documented, but the second one is still too recent,

so the information is scarce and can be found in a limited number of places. Due to this variety of sources, it’s important to

refer the most significant ones.

Regarding the evolution of the studied quarter, and, more specifically, the many construction that altered the Bank’s building

between the years of 1887 and 1970, the information is mainly archived in the Núcleo Intermédio of Arquivo Municipal de

Lisboa (AML-NI). It’s spread over five volumes of legal documents and architectural drawings, and was chosen according to

its impact in the building’s physiognomy. In the end, six projects were selected, which, due to a relative lack of legibility, were

transcribed by the author and presented in the APPENDIX. The architectural project of Pardal Monteiro (1897-1957), from the

years 1933-38, and equally important to the quarter’s development, is stored in another place, also belonging to Arquivo

Municipal de Lisboa. This information can be found in the Núcleo do Arco do Cego (AML-NAC), and, due to the fact that it was

conceived by a well-known author and still presents enough legibility, is included in the APPENDIX as the original drawings.

As to bibliographical sources on the subject, the work consulted, among many others, four particular books, which deserve a

reference. They were: Lisboa Pombalina e o Iluminismo from José-Augusto França (1922-), Lisboa 1758: o Plano da Baixa

Hoje, coordinated by Ana Tostões and Walter Rossa (1962-), Baixa Pombalina: Passado e Futuro, from Maria Helena Ribeiro

dos Santos and Um Sítio na Baixa: A Sede do Banco de Portugal, from José Sarmento de Matos and Jorge Ferreira Paulo.

All of them contributed to the study of the history of Baixa Pombalina, but the last one, from Sarmento de Matos and Ferreira

Paulo, gives an especially detailed account of the history of the Bank of Portugal’s quarter.

The rehabilitation project was documented in fewer areas. The main information was obtained directly with the architect J. P.

Falcão de Campos, who provided all the drawings, written documents and photographs of the project. The rest of the proposals

of the 2007 contest, from the architectural firms of J. L. Carrilho da Graça (1952-), RISCO and GRAPHOS, were consulted in

the Arquivo Histórico do Banco de Portugal (AHBP). This archive also provided information about the contest’s program and

some data on the headquarters’ history.


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THE RESULTS

The morning of the first of November, 1755, was the morning that changed Lisbon forever. Most of the city center was destroyed

by an earthquake and what little remained was consumed by a devastating fire, which lasted six whole days. But it also marked

the start of a new era, and one of those rare moments where it’s possible to let go of the past and create something entirely

new. The result was, of course, the Baixa Plan.

Baixa Pombalina covers the area between Cais do Sodré, Alfama and Chiado district, and extends northwards towards Rossio,

Restauradores and Avenida da Liberdade. The plan for its creation had the objective of reconstructing the destroyed part of

the city, and was directed under the steady hand of the Marquis of Pombal (1699-1782) (who inspired the future nickname of

the area: Baixa Pombalina). He commanded all the operations in strict dictatorship, working in close quarters with the kingdom’s

main engineer, Manuel da Maia (1677-1768). The plan went through many stages, from the written word of Manuel da Maia

to the final drawings of Eugénio dos Santos (1711-1760). These drawings represented the buildings and the streets with

rigorous measures, originating the “chess board” we know today. They planned very clearly not only the dimension and

alignment of each street, but also the exterior appearance of each building, from the height to the number of doors and

windows. Each street had its place on the general hierarchy of the area, visible not only in its width but also on the façades of

its buildings, where the doors and windows were designed accordingly (on a secondary street, the façade presented a little

more simplicity than the one of a main street).

But what was really special about Baixa Pombalina was the rationality of its design, the grid pattern that strongly differs from

the organic streetplan of the old city. It’s also one of the first known examples of earthquake-resistant construction, with the

Figure 1: Streetplan of Baixa Pombalina, drew by Eugénio dos Santos and Carlos Mardel, in 1758, in Museu da Cidade


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invention of a clever system called gaiola pombalina, formed by elements in wood and elements in masonry. It has lasted until

today, which only proves its undisputed quality.

Baixa Pombalina was inaugurated in 1775 and it constituted an urbanistic movement like no other. It’s considered the first

example of “enlightened” urbanism, by fusing Architecture and Urbanism under a very rational point of view.

The quarter which the Bank of Portugal occupied a while later has also a rather complex history. During its first years,

immediately after the earthquake, the quarter was constituted by eight housing lots on the eastern side, and the Church of S.

Julião on the western side. The fact that the church was incorporated – and almost hidden – in the quarter was another one of

those curious facts about the Baixa Plan. In fact, all the churches in Baixa Pombalina were completely absorbed in the strict

grid of the streetplan, and thus stopped being essential and central to the dynamics of the city, submitting themselves,

sometimes to the cost of their own physiognomy, to the rationality of the plan. In the case of the Church of S. Julião, it cohabited

with no problems with the housing lots of the quarter for many years. The problems began when the Bank moved its

headquarters to two of the quarter’s buildings (the ones turned to Rua do Ouro), in 1868.

This occupation by the Bank was due to the fact that its previous building (the palace it shared with the Town Hall) was partially

destroyed by a fire, in 1863. After acquiring its new facilities, the Bank started to expand, by sequentially buying the rest of the

housing lots in the quarter. In 1910, the only two buildings that did not belong to the Bank were the church and its

archconfraternity. But the people working in the Bank were complaining about lack of space, and for twenty years, the Bank

tried to buy the church and convey its worship to another place. They finally succeeded in 1933, when the purchase agreement

was signed, and the Church of S. Julião was officially desecrated and made property of the Bank of Portugal.

In the years afterwards, and until the 70’s of the XX century, the Bank made many attempts to reform, improve and even

expand its facilities. These are the projects stored in Lisbon’s archives and dated from the years 1887, 1888, 1930/31, 1948,

1965 and 1970/71. Some of them happened before the Church was bought, some of them afterwards; some of them were

really executed, and some of them weren’t. The one from the 70’s deserves a special reference for being the last project to

completely unify the quarter, by removing the church and prolonging the Bank’s building. Two other projects demonstrated the

same intention and are not included in the ones stated before. These were designed by known architects of their time but, as

Figure 2: Project by Adães Bermudes, in 1910 – side façade, in SARMENTO DE MATOS, J., & PAULO, J. F. (2013), Um Sítio na Baixa: A Sede do Banco

de Portugal, Lisboa: Departamento de Serviços de Apoio; Área de Documentação, Edições e Museu; Serviço de Edições e Publicações – Museu do Dinheiro,

p. 138


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was the case of the one from the 70’s, were never turned to reality. The first one, in 1910, was conceived by Adães Bermudes

(1864-1948) and was actually approved by the Bank, but never started. The second one was conceived between 1933 and

1938 by the architect Pardal Monteiro and was a good example of the modernist and nationalist ideals of Portuguese

architecture. But it also never left the paper.

The only visible result from all these attempts happened because of the 70’s project, which, as was said, intended to remove

the church completely. In spite of never coming to pass, the Bank managed to inscribe almost every stone of the church’s

walls, a maneuver that intended to ease the transference of the church to another location. These inscriptions remained until

the XXI century and the rehabilitation project. In the meantime, as all the Bank’s attempts to unify the quarter were frustrated,

the church became a space of storage and a garage, with many of the Bank’s vaults in its interior. The level of physical and

structural degradation the quarter presented in the beginning of this century only enhanced the need to rehabilitate. So,

following the attempts of revitalizing Baixa Pombalina (which started as a project of the municipality of Lisbon in 2006 to boost

and to “bring life” to the old center of the city) the Bank brought a new initiative to the picture. The contest for the remodeling

of its headquarters was launched in 2007, and included the restoration of the Church of S. Julião, the incorporation of the new

Money Museum in its spaces and the structural rehabilitation of the whole quarter.

Four architectural firms presented their proposals to the Bank,

each of them demonstrating different rehabilitation strategies.

The first one, by the architect J. L. Carrilho da Graça, proposed,

among other things: the preservation of the emptiness of the

central aisle, considered the noblest space of the church (to

receive temporary exhibits, concerts or conferences), and every

element worthy of historical value and visibility; the reconstruction

of the quarter’s roof and elevation of a new floor on the Bank’s side

Figure 3: Project by Pardal Monteiro, in 1933-38 – façade with a view to Rua do Comércio, in AML-NAC, Referência: PT-AMLSB-CMLSB-UROB-PU-10-250,

folha 39

Figure 4: Central aisle, in CARRILHO DA GRAÇA, J. L. (2007),

[Portfólio da proposta], Lisboa


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(this new floor would have a mansard roof and would offer space

for new offices, meeting rooms, a cafeteria, etc); and the structural

reinforcement of the whole quarter with metallic rods, adequate to

a pombalino building. So, according to Carrilho da Graça, the

transformation of the church into the new Money Museum would

simply utilize its spaces as they were, instead of altering them or

creating new ones.

The second one, by the firm RISCO, based its strategy on how

Portuguese churches usually dealt with change. The architects

developed the idea of overlapping, considering that the most

interesting churches in Portugal were the result of hundreds of

interventions throughout time, which introduced different styles

and elements on the churches’ interiors. So, at the same time that,

on the Bank’s side, they proposed only surgical-styled interventions

of structural reinforcement, on the church’s side, they proposed the

construction of a whole new volume on the central aisle. It would

consist mainly in an auditorium, laying on a structure made of

wooden platforms, almost resembling “big pieces of furniture”. To

RISCO, the best way to honor the timelessness of the church’s

pombalino style was by introducing an element of contemporary

architecture, which marked a new step in history, but only

enhanced the beauty of the old one.

The third one, by GRAPHOS, treated the problem almost like a

doctor treats his patient. They made a complete analyses of the

quarter’s status, made their diagnosis known and proposed the

appropriate treatment. In the end, they concluded that the biggest

problem of the building was the confusion and dispersion of the

technical spaces, mainly circulation, maintenance and toilets.

There, they said, resided the key to the project’s success. So,

unlike the previous contestants, GRAPHOS concentrated their

efforts on the Bank’s side. Still, they had their own singular

proposition for the church’s side. It consisted of an object of modern

architecture, which would contrast with its old environment. This

object was similar to a “gigantic glassy egg”, suspended on the

center of the aisle, and would receive two auditoriums. The natural

light from the church’s windows would reflect on this “glassy egg”,

generating a golden atmosphere. GRAPHOS subscribed the same

theory of RISCO. They also believed that overlapping was the

best way to demonstrate how the old and the new could fuse in

harmony.

Figure 5: Wooden platforms, in RISCO (2007), Portfólio e memória

descritiva da proposta, Lisboa

Figure 6: The “gigantic glassy egg”, in GRAPHOS (2007), [Cartazes

de apresentação da proposta], Lisboa

Figure 7: The central aisle, in BYRNE, G. & FALCÃO DE CAMPOS,

J. P. (2007), Desenhos da Proposta do Concurso, Lisboa


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Finally, the fourth and last proposal was presented by the joint efforts of the architects Gonçalo Byrne and J. P. Falcão de

Campos and was also based on the study of the quarter’s history. They started by identifying the main aspects that made the

quarter an astounding architectural pombalino complex, which were: the concept of “building-quarter”, an innovative variable

of that style; the hierarchy of the façades, also typical of the pombalino plan (as was explained earlier); the proportion between

the building’s volume and the public street; and that long opening in the center of the quarter, the saguão, perceived as the

element that attenuated the depth of the quarter and served as its defining axis. In the end, the architects conceived a project

that enhanced all of these aspects, and was, at the same time, a cohesive solution. The solution in the church was similar to

that of Carrilho da Graça, in the way that they both preserved its emptiness. Yet, there was one aspect that made all the

difference: the option of tearing the back wall of the church in one long gash, in order to enable the visitor to see the saguão

of the Bank and give him a sense of the wholeness of the quarter. In this way, this solution treats both the Bank and the church

not as two distinct realities, but, in a subtle manner, as one and only body. For Byrne and Falcão de Campos, the central aisle

would serve as the noble hall of the Bank of Portugal, where it would be possible to organize various activities. The exhibits

from the museum would occupy the side wings of the church.

The winner of the contest was the last proposal mentioned, presented by the architects Gonçalo Byrne and J. P. Falcão de

Campos. They closed the contract with the Bank in September 2007, and until it reached its final stages, the project had many

developments in a short matter of time. The organization of the spaces suffered many changes between the contest stage and

the licensing stage, but the main concepts of the project were maintained.

There is, however, one concept introduced by the Licensing Project that

deserves mentioning. This concept, presented and developed by the

architects and the “structures and foundations” team of A2P firm, was called

the “sacrificed-buildings”. After an extensive diagnosis of the structural state

of the quarter, with the help of a virtual model that analyzed its behavior in

case of an earthquake or any similar catastrophes, the engineers identified

the main problems of the building. They were: areas that showed great risk

of falling in the case of a medium-intensity earthquake – the lot that housed

the Counsel Room, the church tower and the church façade; a too-great

diversity of structural solutions in the old housing lots that formed the Bank’s

side; and a worrying instability on the three last floors of two of those lots,

due to lack of supporting pillars. Following said diagnosis, the engineers

conceived a solution that could fix all problems, and serve as anchor to the

whole quarter. This solution implicated the “sacrifice” of two buildings, by

destroying their interiors though keeping their façades. These buildings

occupied a central position in the quarter – immediately next to the church –

and were reconstructed in reinforced concrete, as well as nailed to the

ground with structural stakes, thus bringing the necessary stability to the

quarter. They also allowed the organization of the main technical areas and

communication routes, by receiving the main service stairs and elevators,

as well as HVAC, electrical and security infrastructures.

Figure 8: Construction work in the “sacrificed-buildings”,

in ROCHA, A. (2013), “A sede do Banco de Portugal: um

caso de arqueologia urbana em Lisboa”, in Património

Urbano e Reabilitação, nº 1, p. 135


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The rest of the structural rehabilitation work consisted of, among other solutions, the reinforcement of the building’s façades

with concrete blades; maintenance operations and surgical interventions in almost every office of the Bank; and, of course,

reinforcement operations in the church, to fix all the physical degradation the Bank had wrought upon it. One of the large scale

operations executed in the church was the reconstruction of the roof, which in the old days had been a barrel vault completely

covered in paintings. Of course, that was all lost. Its rehabilitation substituted the wood in the trusses to old riga wood (which

is considered a high-quality wood), reinforced it with a metallic structure, and reinvented the old barrel vault with plasterboard

panels (pladur), successively sectioned and folded until they reached the necessary bend.

In February 2010, the Bank’s services were transferred temporarily to the Portugal Building, on Almirante Reis Avenue, and,

one month later, construction work began. At the same time, the archaeological team began their excavations, and discovered

artefacts that greatly determined the course of the work. These artefacts allowed them to reconstruct the history of the church

and its terrain, since the time when Romans and Muslims wandered these parts.

From that first period, the archaeologists uncovered more than two

thousand fragments of pottery work, some of them belonging to the well-

known amphorae, some of them parts of tiles and marble slabs.

From the middle ages, their main discovery was the medieval wall of D.

Dinis, dated from the XIII century. This wall’s history was already known,

but the Bank’s excavations brought it to light for the first time. They

discovered two segments of the wall, one beneath the saguão and one

beneath the church’s ambulatory. Due to its dimensions and historical

value, the firm IGESPAR (Instituto de Gestão do Património Arquitectónico

e Arqueológico) stopped all construction work in order to allow for the

monument to be incorporated into the architectural project. The

adjustments were made, and the architects decided to make use of the

technical gallery they had designed beneath the saguão (where the wall

was discovered) and transform it into an exposition area dedicated

exclusively to the Wall of D. Dinis. This gallery would also present other

Figure 9: The structure of the church’s roof, in BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013), Remodelação do Edifício Sede do Banco de Portugal,

Lisboa: [CD disponível na Ordem dos Arquitectos]

Figure 10: The Wall of D. Dinis, beneath the saguão, in

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013),

Remodelação do Edifício Sede do Banco de Portugal,

Lisboa: [CD disponível na Ordem dos Arquitectos], p. 2.02


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archaeological findings, along with sounds and images of the Tejo’s old beaches.

From the pombalino years, and, more specifically, from post-earthquake construction, the archaeological investigation focused

in two areas. The first one, centered on the underground construction, uncovered two kinds of pombalino stakes. These stakes,

which wood was still in good condition, were an interesting finding, as they were living proof of the massification and

prefabrication of the pombalino construction. The second area of investigation was above ground and centered on the walls of

the church, resulting in a complete chronology of its construction and its many processes. When the archaeologists discovered

the old stone walls surrounding the altar, which the Bank had concealed with brick and concrete walls, as well as some of its

vaults, IGESPAR intervened again, demanding the preservation of these findings, considered another example of the historical

heritage of the church.

Finally, the archaeologists also uncovered an extensive necropolis under the floor of the church, with many burials from the

first half of the XIX century. They found more than 300 skeletons and 30 ossuaries, spatially organization in a rather illogical

way. The demographic characteristics of the group were also complex and varied. Some burials were made in simple fosses

and some with real coffins, made of wood and iron.

In the end, the archaeological intervention was particularly important to the rehabilitation project of the Bank of Portugal. And

it’s predictable that the same will occur in similar projects throughout all the Baixa Pombalina. It’s one of the oldest parts of

town and it also suffered many transformations throughout time. Its underground is a deposit of many memories to the past,

and its cultural and historical value should not be despised. So, the dialogue between the many teams of a rehabilitation project

is essential, as it establishes a bridge between the historical past of a building (represented by the Archaeology and Restoration

teams) and the present reality of Contemporary Architecture, Engineering and Construction. In the case of the Bank of Portugal,

they could return to the city of Lisbon two of its historical landmarks: the Wall of D. Dinis and the Church of S. Julião.

The Bank’s headquarters remained closed for construction for two whole years, only opening its doors again in the months of

September and October, 2012. In 2013, the ground floor of the church, as well as the exposition area dedicated to the Wall of

D. Dinis were opened to the public. The Money Museum is still not entirely finished, its official inauguration being foreseen in

2016.

Figure 11: The panels and silk curtains of Fernanda Fragateiro, in BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013), Remodelação do Edifício Sede do

Banco de Portugal, Lisboa: [CD disponível na Ordem dos Arquitectos]


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One last aspect which deserves honorable mention, and which is particularly representative of the final project, is the artistic

set of panels and silk curtains, silver and gold, conceived by Fernanda Fragateiro. These curtains and panels cover many

areas of the church and have not only an aesthetic purpose but also an acoustic one: for, in this point of view, they help to

correct some of the church and museum’s acoustic handicaps. On the curtain’s fabric, the artist manually painted some

excerpts of the Livro do Desassossego from the Portuguese poet Fernando Pessoa. According to the architects, these golden

curtains add something precious to the architectural spaces, something that irradiates warmth and light in contrast to the cold

and heaviness of stone.

THE CONCLUSION

When, in 2006, the city councilor Maria José Nogueira Pinto (1952-2011) presented to the municipality of Lisbon the project

for revitalizing Baixa Pombalina, she wanted to bring awareness to an area that was on a straight path to decay. Its historical

and urban significance was deserving of a better fate. The Bank of Portugal’s project started the very next year, with a clear

intention of rehabilitating one of Baixa’s most emblematic quarters. Did it mark the beginning of a tendency? Will Baixa start to

rise again? Only future will tell. But this project certainly presents some clues to future interventions in this historical part of

town.

Nevertheless, the question remains. Is there a correct way to rehabilitate? It’s a complex question, especially as there are

more and more rehabilitation projects in the world, each day. In the case of the Bank of Portugal’s project, four possible

strategies were presented in the contest, clearly distinguishable in their solutions. Were some better than others? The answer

is no. There are no predefined ways of rehabilitation, and the choice of the winner is a decision to be made in accordance to

the characteristics of each case, those being the nature of the object which is to be rehabilitated as well as the objectives of

the entity who will rehabilitate. In the Bank’s case, the winner team valued the preservation of the emptiness of the space and,

according to the object to which that prerogative was applied – an ancient church of pombalino conception, “camouflaged” in

its quarter – they were right. It was also necessary to preserve the historical heritage of a space characterized by a natural

dignity, solemnity and vastness, an old religious building, a temple, whose beauty had been seriously compromised. The Bank

only wanted to adjust it to the modern ways of building, as well as turning it into a museum, whose very nature is also to be a

witness to the past.

So, the project of Byrne and Falcão de Campos detached itself from the rest, by both respecting the historical presence of the

quarter and unifying it as one and only body. The building remains completely framed in the strict grid of the Baixa Pombalina,

but, at the same time, gained some modernity, functionality and individuality. As such, it can only constitute an asset and an

inspiration to the historical center of Lisbon.


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BIBLIOGRAPHIC SOURCES

BANCO DE PORTUGAL (2012), A Sede do Banco de Portugal, Reabilitação e Restauro, Lisboa

BANCO DE PORTUGAL (2012), Esquemas da ocupação do quarteirão pelo Banco, de 1868 até 1933, Lisboa, in Arquivo

Histórico do Banco de Portugal

Old photographs of the Church of S. Julião and Praça do Município, in AML-NF:

BENOLIEL, J. (1932), Igreja de S. Julião, Processo: AMLSB/JBN/000852

BENOLIEL, J. (194-), Praça do Município e Largo de S. Julião, Processo AMLSB/JBN/001308

BENOLIEL, J. (1910), Praça do Município, Processo AMLSB/JBN/003649

COSTA, M. (1961), Fachada principal da Igreja de S. Julião, Processo: AMLSB/FDM/001767

COSTA, M. (1961), Interior da Igreja de S. Julião, Processo: AMLSB/FDM/001777

COSTA, M. (1961), Antigo altar-mor de S. Julião com as cantarias do Convento de S. Francisco, Processo: AMLSB/FDM/001786

PASSAPORTE, A. (194-), Largo de S. Julião, Processo: AMLSB/PAS/001613

Pelourinho da Praça do Município em 1861, Processo: AMLSB/EDP/000171

PORTUGAL, E., Câmara Municipal de Lisboa, Processo: AMLSB/EDP/001613

PORTUGAL, E., Panorâmica sobre a Praça do Município, Processo: AMLSB/POR/057985

PORTUGAL, E., Fachada da Rua do Comércio, Processo: AMLSB/POR/059808

SANTOS, R. M. (1764), Prospecto de alçado da Igreja de S. Julião, visto da Rua Nova d’El Rei, Processo: AMLSB/MMM/S00051

MASCARENHAS MATEUS, J. (2004), Baixa Pombalina, 250 Anos em imagens, Lisboa: Câmara Municipal de Lisboa –

Pelouro do Licenciamento Urbanístico e Reabilitação Urbana

MONTEIRO, P. (1933), Anteprojecto do Banco de Portugal, Lisboa, in AML-NAC, Ref.: PT-AMLSB-CMLSB-UROB-PU-10-250

NOGUEIRA PINTO, M. J. (coord.) (2006), Proposta de revitalização da Baixa-Chiado, Lisboa

Projects which altered the Bank’s building, in AML-NI:

1887: Aumento de um andar, Obra 428, Processo: 6313-1ª REP

1888: Ampliação do prédio na Rua de S. Julião, anexado ao Banco, Obra 428, Processo: 3635-1ª REP

1930: Ampliação e melhoramento do 4º Andar, Obra 428, Processo: 3687-SEC-PG

1931: Ampliação e melhoramento do 4º Andar, Obra 428, Processo: 6101-SEC-PG

1948: Ampliação do 4º Andar, Obra 428, Processo: 20228-DAG-PG

1965: Elevação de um piso “amansardado”, Obra 428, Processo: 3772-DAG-PG

1970: Demolição da Igreja de S. Julião, Obra 428, Processo: 5372-DMPGU-OB

1971: Demolição da Igreja de S. Julião, Obra 428, Processo: 7342-DMPGU-OB

Gonçalo Byrne and J. P. Falcão de Campos’ project:

BYRNE, G. (2007), Memória descritiva do Concurso, Lisboa

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2007), Desenhos da Proposta do Concurso, Lisboa

BYRNE, G. (2008), Memória descritiva e justificativa do Anteprojecto de Licenciamento, Lisboa

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2008), Desenhos do Projecto de Licenciamento, Lisboa

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2009), Desenhos do Projecto de Execução, Lisboa

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013), Remodelação do Edifício Sede do Banco de Portugal, Lisboa: [CD]


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GONÇALVES, J. & GONÇALVES, L. (2008), Instalações Eléctricas. Projecto de Execução – Memória Descritiva, Lisboa: JOULE

Proposals designed by the other architects, in the 2007 contest, in Arquivo Histórico do Banco de Portugal:

CARRILHO DA GRAÇA, J. L. (2007), [Portfólio e memória descritiva da proposta], Lisboa

GRAPHOS (2007), [Portfólio, memória descritiva e cartazes de apresentação da proposta], Lisboa

RISCO (2007), Portfólio e memória descritiva da proposta, Lisboa

RÊGO, J. & RIBEIRO, S. & NETO, T. (2012), Sede do Banco de Portugal – Acompanhamento de Obra, Lisboa: Trabalho

desenvolvido no âmbito da UC de Tecnologia da Construção, do 1º Ciclo do Mestrado Integrado em Arquitectura do IST,

[Policópia]

SANTOS, A. (2013), Edifício da Central Tejo em Lisboa – Caracterização dos materiais e suas anomalias, Lisboa: Dissertação

de Engenharia Civil do IST [Policópia]

SILVA, A. (2002), A(s) Ciências(s) do Património: Notas para a fundamentação e enquadramento da conservação e restauro,

Porto: Revista da Faculdade de Letras

SILVA, R. (2007), A candidatura da Baixa Pombalina a Património da Humanidade, Lisboa: Revista de História de Arte Nº 4

– Cidades Portuguesas Património da Humanidade

BOOKS

AAVV (1924), Guia de Portugal, Generalidades – Lisboa (1º Vol.), Lisboa: Fundação Calouste Gulbenkian

ALMEIDA, F. (coord.) (1973), Monumentos e edifícios notáveis do Distrito de Lisboa, Lisboa: Junta Distrital de Lisboa

APPLETON, J. (2011), Reabilitação de Edifícios Antigos: Patologias e Tecnologias de Intervenção (2ª Ed.), Lisboa: Orion

APPLETON, J. & DOMINGOS, I. (2009), Biografia de um Pombalino, Lisboa: Orion

ARAÚJO, N. (1993), Peregrinações em Lisboa, Livro XII (2ª Ed.), Lisboa: Veja

BRANDÃO, J. (1990), Grandeza e abastança de Lisboa em 1552, Lisboa: Livros Horizonte

CARITA, H. (1999), Lisboa Manuelina e a formação de modelos urbanísticos da época moderna (1495-1521), Lisboa: Livros

Horizonte

CHOAY, F. (2010), Alegoria do Património, Lisboa: EDIÇÕES 70. Arte e Comunicação

DIAS, M. (1987), Lisboa Desaparecida, Lisboa: Quimera

FRANÇA, J. (1977), Lisboa Pombalina e o Iluminismo (2ª Ed. rev. e aum.), Lisboa: Bertrand

FRANÇA, J. (1989), A reconstrução de Lisboa e a arquitectura pombalina, Lisboa: Biblioteca Breve


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FRANÇA, J. (2008), Lisboa: História Física e Moral, Lisboa: Livros Horizonte

JANEIRO, M. J. (2006), Lisboa: Histórias e Memórias, Lisboa: Livros Horizonte

MASCARENHAS, J. (2009), Sistemas de Construção, Vol. 5 – O Edifício de Rendimento da Baixa Pombalina de Lisboa (3ª

Ed.), Lisboa: Livros Horizonte

MASCARENHAS, J. (2012), Sistemas de Construção, Vol. 13 – Reabilitação Urbana, Lisboa: Livros Horizonte

(coord.) MOITA, I. (1994), O Livro de Lisboa, Lisboa: Livros Horizonte

ROSSA, W. (2002), A Urbe e o Traço. Uma década de estudos sobre o urbanismo português, Coimbra: Livraria Almedina

SANTOS, M. H. (2000), A Baixa Pombalina: Passado e Futuro, Lisboa: Livros Horizonte

SARMENTO DE MATOS, J., & PAULO, J. F. (2013), Um Sítio na Baixa: A Sede do Banco de Portugal, Lisboa: Departamento

de Serviços de Apoio; Área de Documentação, Edições e Museu; Serviço de Edições e Publicações – Museu do Dinheiro

(coord.) TOSTÕES, A. & ROSSA, W. (2008), Lisboa 1758: O Plano da Baixa Hoje, Lisboa: Câmara Municipal

VIEIRA DA SILVA, A. (1987), As Muralhas da Ribeira de Lisboa (2ª Ed.), Lisboa: CML

VIEIRA DA SILVA, A. (1987), A Cêrca Moura de Lisboa (2ª Ed.), Lisboa: Câmara Municipal

VIEIRA DA SILVA, A. (1987), A Cêrca Fernandina de Lisboa (2ª Ed.), Lisboa: Câmara Municipal

ARTICLES

APPLETON, J. (2013), “Património urbano: boas práticas de conservação e reabilitação de edifícios”, in Património Urbano e

Reabilitação, nº 1, pp. 30-35

BARREIROS, M. H. (2013), “Apartamentos pombalinos de hoje: premissas”, in Património Urbano e Reabilitação, nº 1, pp.

24-28

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013), “Remodelação do Edifício Sede do Banco de Portugal”, in Arqa, nº 105,

pp. 72-79

BYRNE, G. & FALCÃO DE CAMPOS, J. P. (2013), “Remodelação do edifício sede do Banco de Portugal”, in Património

Urbano e Reabilitação, nº 1, pp. 128-133

FURTADO, G. & LOPES, E. (2013), “Arquitectura e Cultura: Arquitectura Portuguesa face à Cultura Global”, in Arqa, nº 105,

pp. 114-117

PINTO, S. (2014), “Sob o signo de Hermes”, in Sete - Visão, nº 1104, pp. 12-13


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ROCHA, A. (2013), “A sede do Banco de Portugal: um caso de arqueologia urbana em Lisboa”, in Património Urbano e

Reabilitação, nº 1, pp. 134-141

ROCHA, A., REPREZAS, J., MIGUEZ, J. & INOCÊNCIO, J. (2013), “Edifício Sede do Banco de Portugal em Lisboa. Um

primeiro balanço dos Trabalhos Arqueológicos”, in Arqueologia em Portugal, 150 anos, Lisboa: Associação dos Arqueólogos

Portugueses, pp. 1011-1018

ROSSA, W. (2004), “Do plano de 1755-1758 para a Baixa-Chiado”, in Monumentos, nº 21, Lisboa: DGEMN, pp. ?

TOSTÕES, A. (2014), “Un presente perfetto: cittá, memoria e reinvenzione. Il Banco de Portugal di Lisbona”, in CASABELLA,

nº 839-840, pp. 47-53

WEBSITES

A baixa segundo Maria Nogueira Pinto, in Correio da Manhã, disponível em:

http://www.cmjornal.xl.pt/domingo/detalhe/a-baixa-segundo-maria-nogueira-pinto.html [Junho 2014]

A2P ESTUDOS E PROJECTOS (2012), Portfólio: Banco de Portugal – Sede, Lisboa, disponível em:

http://www.a2p.pt/portfolio/projectos/banco-de-portugal-sede [Setembro 2014]

ADÃES BERMUDES, disponível em:

http://tracodoarquiteto.cm-sintra.pt/adaes-bermudes/projectos-de-adaes-bermudes#ler-mais-biografia [Março 2015]

ALVES, T. R. (2014), Quase metade das habitações do Porto e de Lisboa precisa de obras, in Jornal de Notícias, disponível

em: http://www.jn.pt/PaginaInicial/Economia/Interior.aspx?content_id=4009860 [Julho 2014]

ARQUEOHOJE, História, disponível em:

http://www.arqueohoje.com/index1.htm [Setembro 2014]

Breve história do Banco de Portugal, disponível em:

http://www.bportugal.pt/pt-PT/OBancoeoEurosistema/Historia/Paginas/default.aspx [Outubro 2014]

CARTA DE VENEZA (1964), Sobre a conservação e restauro dos monumentos e dos sítios, disponível em:

http://www.patrimoniocultural.pt/pt/patrimonio/cartas-e-convencoes-internacionais-sobre-patrimonio/ [Outubro 2014]

DIAS, C. M., GAMEIRO, A. R., & VASCONCELOS, E. (1921), História da Colonização Portuguesa do Brasil, Rio de Janeiro,

disponível em:

http://jcabral.info/RG/TP%200%200%20Alfredo/Coloniza%C3%A7%C3%A3o/3vTP00%20Coloniza%C3%A7%C3%A3oPB.html [Julho

2014]

Enquadramento do PDM, disponível em:

http://www.cm-lisboa.pt/viver/urbanismo/planeamento-urbano/plano-diretor-municipal/enquadramento-do-pdm


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Fernanda Fragateiro (1962), disponível em:

http://www.lisboapatrimoniocultural.pt/artepublica/azulejaria/autores/Paginas/Fernanda-Fragateiro.aspx [Setembro 2014]

GRAPHOS, Apresentação, disponível em:

http://www.graphos.pt/index_p.html [Julho 2014]

HCI CONSTRUÇÕES (2012), Obras de referência: Sede do Banco de Portugal, disponível em:

http://www.hci.pt/obras-de-referencia/2.html [Agosto 2014]

Incêndio no edifício do Banco de Lisboa, em 1863, disponível em:

http://restosdecoleccao.blogspot.pt/2010/05/ban-co-de-lisboa-e-companhia-confianca.html [Julho 2014]

JOULE, Apresentação, disponível em:

http://www.joule.pt/home.aspx [Setembro 2014]

Obra de Fernanda Fragateiro, disponível em:

http://www.fernandafragateiro.com/ [Setembro 2014]

Planta de João Nunes Tinoco, 1650, in Biblioteca Nacional Digital, disponível em:

http://purl.pt/3880/3/ [Junho 2014]

Poema de Voltaire, publicado em 1756 com o título: Poème sur le désastre de Lisbonne, disponível em:

http://athena.unige.ch/athena/voltaire/voltaire_desastre_lisbonne.html [Outubro 2014]

Sistema de protecção contra incêndios HI-FOG, disponível em:

http://www.marioff.com/water-mist/fire-suppression-with-hi-fogr-how-does-it-work [Setembro 2014]

Técnica de “tonachino”, disponível em:

http://www.casacolor.bg/Impex/tonachino-decor-finish.html [Setembro 2014]

the bank of portugal’s quarter · the city, and was directed under the steady hand of the marquis...

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