PTEN
Trienal de 
Alberto Souza Oliveira (architect)
Municipality of Lisbon (promoter)
An example of modernist architecture, Capitólio has an international style, a rational aesthetic and refuses architectonic ornament. This project by Cristino da Silva, inaugurated in 1931, envisioned the construction of a large theatre with a terrace on top, open to the citizens. The large room communicated with the exterior through three large panes made of glass, on each side of the building. In 1936, the theatre is adapted to sound film through the installation of a counter and two lateral foyers, an intervention that detracted its character.
The changes made by Souza Oliveira's project targeted the partial restitution of the 1931 features: the elimination of the 1936 intervention, restoring the large room and rehabilitating the building, improving its performance, and obtaining a versatility that is compatible with the new demands of contemporary productions. This meant increasing the capacity and providing the building with added technical features. The building's aesthetic rationality demanded the compatibility of heavy technical infrastructure with the former's lightness and simplicity.
Pedro Lagrifa Carvalhais de Oliveira (architect)
Universidade de Lisboa (promoter)
The proposal comprises the building's rehabilitation by restituting its original characteristics, removing from the façades and the roof the elements that detracted its character throughout the years. Simultaneously, a new spatial organization was established inside, adapting the building to its new functions, according to two distinct areas: commercial and academic. These spaces are designed in an hexagonal matrix, revealing its structure and opening towards the garden. The main access to the Academic Centre is located under the sort of porte-cochère that marks the entrance and materializes a new exterior lobby that connects to the garden and esplanade over the lake. This new element prolongs the interior shading to the exterior area and establishes a new moment; a veranda over the lake, simultaneously a place of contemplation and part of the garden's routes.
Amanda Jane Levete (architect)
EDP Foundation (promoter)
Communicating with the Tejo Power Station through a garden designed by landscape architect Vladimir Djurovic, this museum has four exhibition spaces: Oval Gallery, Main Gallery, Video Room and Project Room, in a total of roughly 3000 m2. The range of programmes and spaces explores the confluence of architecture, technology and contemporary art as a field of cultural practice that hosts a transdisciplinary programme of exhibitions, public events and the engagement of the community. Inspired by Lisbon's rich tangible heritage, the Portuguese pavement is subtly reinterpreted at our feet and used to merge the new public spaces (over 7000 m2) with the existing texture of the city's streets.
For the year of 2016, the jury was Lisbon Mayor, Dr. Fernando Medina, the Councillor of Culture, Dr. Catarina Vaz Pinto, the Councillor for Urbanism, Arch. Manuel Salgado, and representatives of Academia de Belas-Artes, Arch. Francisco Berger, the Association of Architects, Arch. Cândido Chuva Gomes and from the Architecture Faculty of the University of Lisbon, Arch. João Pardal Monteiro.
Álvaro Siza with Carlos Castanheira (architects)
Municipality of Lisbon (promoter)
Surrounding the Convent of Carmo, in the patios previously occupied by various construction, there are now routes that culminate in the viewpoint of Terraços do Carmo (Carmo Terrace). This intervention concludes the Plan for the Rehabilitation of the Damaged Area of Chiado — a project by architect Álvaro Siza — initiated after the great fire that happened in 1988. The built ensemble wisely rebuilds the memory of the city. Coming up from Pátio B, we discover what laid hidden, observing the magnificent south gate of the church and experiencing the terraces, only previously known in the representations of Lisbon's Topographic Atlas of 1856, by Filipe Folque. The route created conquers the existing topography, enabling the access to Rua do Carmo or Rua Garrett from Largo do Carmo, through ramps, stairs and a public elevator incorporated in the rehabilitation of the Leonel Building, which partially supports the bridged access to the Santa Justa Elevator. Articulating the various spaces in an integrated fashion, this intervention allied the site's patrimonial valorisation to the creation of a public leisure area with esplanades, contributing to its urban integration and stimulating its experiencing.
Ana Mafalda Sequeira Batalha (architect)
Terraquinta, Gestão e Administração de Património Imobiliário, S.A. (promoter)
The building is developed in four stacked floors. The ground floor is distributed through two different heights: the living room communicates with the plot at its lowest point and the dining room, kitchen and library do so at the highest point. The requirement of having a house that could be completely shut was the starting point of the design of the shutters, integrated in the walls, and the façade's coating. Corten steel was chosen for its durability and resistance, and because its looks strenghten the relationship with the terrain. At the two top floors, the construction is made of exposed white concrete, with recessed and protected openings. The typology of two volumes that connect through half-floors allowed for the building to answer the proposed programme, nonetheless assuming a non-imposing presence and integrating in the terrain.
Paulo Mendes da Rocha, Bak Gordon and João Ferreira Nunes (architects)
DGPC (promoter)
This museum adopts a criterion that is centred on the idea of definitive preservation, of the well-kept treasure, visited all at once. Art and technique in constant motion. Exhibitions and workshops, scenarios that change. Sound and virtual images associated to original artefacts. The construction is proposed in a dual-mode: main pavilion, with its elevated nave, for exhibitions; and an annexe, gathering the reception, administration, restaurant, auditorium and educational services, which strategically supports, in ramps, the pedestrian and cycle public access route to the river.
For the year of 2015, the jury was Lisbon Mayor, Dr. Fernando Medina, the Councillor of Culture, Dr. Catarina Vaz Pinto, the Councillor for Urbanism, Arch. Manuel Salgado, and representatives of Academia de Belas-Artes, Arch. Francisco Berger, the Association of Architects, Arch. Cândido Chuva Gomes and from the Architecture Faculty of the University of Lisbon, Arch. João Pardal Monteiro.
João Pedro Falcão de Campos and Gonçalo Byrne (architects)
Bank of Portugal (promoter)
Guaranteeing the conditions necessary for the operation of the institution, the project sought to open the building to the city. The public space of Praça do Município and Praça de São Julião is prolonged in the spatial sequence of the old church and extends to the inner yard, carrying the light with it. A clear longitudinal axis is thus defined — complemented by stairs and elevators — which structures the whole building, determining its uses and accesses.
Archaeology takes an active role in the intervention — revealing and gathering the site's consecutive layers of occupation, dating back to the 1st century — but also informing project decisions; particularly, the proposal to create a small museum that incorporated the wall of King Denis of Portugal, national patrimony discovered during the intervention. Visual artist Fernanda Fragateiro collaborated in the design of the curtains made of pure silk that circumscribe the area of the church and rectify its acoustics.
Luís Maria Belo Rebelo de Andrade (architect)
Sigma Pax Investimentos, S.A. (promoter)
This building with a clearly modern design stands out from the surrounding architecture, even though it doesn't clash with it. Four storeys high, this dwelling has a green façade composed of roughly 4500 plants of Iberian or Mediterranean climates. Inside, the straight stairs go through all floors, all the way to the roof. The glazed opening on the roof, over the stairs, allows for the entry of abundant light, shining through the three inner floors. The building's top floor has a longitudinally laid out pool.
Daniela Hermano and João Carrasco (architects)
Municipality of Lisbon (promoter)
This monument is part of a post-Pombaline urban tissue, located at Colina do Castelo. An in situ museum, it should be understood as a continuum of vestiges, composed of routes within an archaeological site, without restraining the existing urban tissue. The design brings together a built ensemble, composed of a post-Pombaline building, part of the reception, with access to the terrace and the old Casa de Fresco. From here, one has a privileged view over the archaeological site, to the north, and over the river, to the south. A level below takes us into a building of industrial architecture, corresponding to a mezzanine that was added in the early 20th century and overlooks the lower floor, which is dominated by a central exhibition nave that gathers most of the archaeological findings.
For the year of 2014, the jury was Lisbon Mayor, Dr. Fernando Medina, the Councillor of Culture, Dr. Catarina Vaz Pinto, the Councillor for Urbanism, Arch. Manuel Salgado, Arch. Sérgio Melo, nominated by the CML and representatives of Academia de Belas-Artes, Arch. Francisco Berger, the Association of Architects, Arch. Cândido Chuva Gomes and from the Architecture Faculty of the University of Lisbon, Arch. João Pardal Monteiro.
Frederico Valsassina, Manuel Aires Mateus, e João Ferreira Nunes (architects)
SimTejo (promoter)
In the operation for the modernisation of Alcântara's Waste Water Treatment Plan there was a need to create roofing that promoted environmental preservation. This project is born to answer that premise, a solution that simultaneously allows for the integration of the whole programme of water treatment monitoring and related utilities. On a territorial scale, this green roof, rich in its diversity, visually extends the green hills of Alcântara's valley, reducing the impact of the road infra-structure present in the area. The construction was integrated in the thickness of its roof, hiding the vastness of technical areas. By means of shaping the slopes, adequate habitability and a hierarchy between spaces were achieved. The orthogonal mesh of the green roof areas is traversed by routes that allow for access, ventilation and natural lighting of the interior spaces. A project that reveals the urgency and adequacy of merging the contributions and skills of architects, landscape architects and engineers.
João Luís Carrilho da Graça (architect)
Novasede – Actividades Imobiliárias, S.A. (promoter)
The workspaces were designed to be brightly lit, organized around a green patio, opening to the exterior in a relationship mediated by large openings, with many opportunities for shade and privacy. The black façades — where the openings exist as a round inspection windows, during the day, and as light beams, during the night — stand out in the context of an "incomplete" technological allotment, which the vacant plots help ameliorate.
José Mateus (architect and promoter)
Designed for the architect's own family, the nature of this house results of a reflection over Lisbon's architectural identity, in a recurrent plot typology that is 6 metres wide by 15 metres deep, ending in a small garden in the backyard. It is a five storey building with two radically different façades: the "public" façade, in white limestone, and the posterior façade, made of glass, connected by an interior world of exposed concrete punctuated by elements made of birch wood. The concrete structure, comprising only three planes — two side walls and a transversal slab — is thought and totally exposed in order to define the essential space of the residence.
José Adrião (architect)
Municipality of Lisbon (promoter)
The original building presented different structural problems and scarce habitability. In order to adapt the existing space to the new public programme, the architect chose to demolish the building's interior while keeping its exterior, preserving its strong urban identity. Access to the cafe/restaurant — the building's main area — is made directly from the public space by means of a staircase that is simultaneously an exterior living area. The main room takes advantage of the available interior space, having a 6,50-metre floor-to-ceiling height. All of the programme's technical areas, such as kitchen, toilets and storage, are located at the ground floor.
For the year of 2013, the jury was Lisbon Mayor, Dr. Fernando Medina, the Councillor of Culture, Dr. Catarina Vaz Pinto, the Councillor for Urbanism, Arch. Manuel Salgado, Arch. Sérgio Melo, nominated by the CML and representatives of Academia de Belas-Artes, Arch. Francisco Berger, the Association of Architects, Arch. Cândido Chuva Gomes and from the Architecture Faculty of the University of Lisbon, Arch. João Pardal Monteiro.