Consolidating Fragments, Intervention on the Santa Marta Convent, Lisbon. MSc Arch Thesis by Oriana Fenesan

CONSOLIDATING FRAGMENTS INTERVENTION ON THE SANTA MARTA CONVENT Coordinator: PALLINI CRISTINA Student: ORIANA FENESAN MATRICOLA 850781

POLITECNICO DI MILANO Scuola di Architettura Urbanistica Ingegneria delle Costruzioni Architectural Design Course AA 2015/2017 GRADUATION SESSION: DECEMBER 2017

TABLE OF CONTENTS

3 ABSTRACT 7 RESEARCH BASIS 9 METHODOLOGY 11 PRINCIPAL MOVEMENTS AND TRANSFORMATIONS 12 LISBON | A MULTI-LAYERED CITY 15 A BRIEF TIMELINE 19 URBAN MORPHOLOGY AND DEVELOPMENT 25 THE COLLINA DE SANTâ&#x20AC;&#x2122;ANA 30 GEOGRAPHICAL MAKE-UP 33 AXIS AND ROUTE 37 URBANIZATION 39 THE CONVENT ERA 43 THE HOSPITALS 46 U1. HOSPITAL SAO JOSE 49 U2. HOSPITAL MIGUEL BOMBARDA 51 U3. HOSPITAL SANTO ANTONIO DOS CAPUCHOS 53 U4. HOSPITAL DE NOSSA SENHORA DO DESTERRO 55 U5. HOSPITAL DE SANTA MARTA 57 THE DEBATE 60 ESTAMO PROPOSALS 69 U1. HOSPITAL SAO JOSE 71 U2. HOSPITAL MIGUEL BOMBARDA 73 U3. HOSPITAL DE NOSSA SENHORA DO DESTERRO 75 U4. HOSPITAL DE NOSSA SENHORA DO DESTERRO 77 U5. HOSPITAL DE SANTA MARTA 79 PROJECT BASIS 80 CHRONOLOGY 85 FRAGMENTS OF MEMORY 91 ARCHITECTURAL PRECEDENCE 99 THE WALL 101 HORTUS CONCLUSUS 103 CONNECTIONS 107 GENIUS LOCI AND ZEITGEIST 107 COWORKING AND STUDY CENTERS 113 WORKSHOPS 117 FINAL CONSIDERATIONS 119 PROJECTUAL REFERENCES 121 ALVARO SIZA 121 ALDO VAN EYCK 123 REFFERENCES 126 ANNEXES 129

TABLE OF FIGURES

FIGURE 1:MAP OF CITY OF LISBON FROM CIVITATES ORBIS TERRARUM BY GEORG BRAUN, 1541-1622 AND FRANZ HOGENBERG, 1540-1590 14 FIGURE 2:LISBON (BY JCN FORESTIER) 18 FIGURE 3:PLANO GERAL DA CIDADE DE LISBOA EM 1812 20 FIGURE 4:MAP OF THE CITY OF LISBON, C. 1786 22 FIGURE 5:ANTIQUE TOWN CITY MAP PLAN. INSET ENVIRONS. PANORAMA. SDUK 184 24 FIGURE 6:MAP OF THE CITY OF LISBON WITH INTERVENTIONS IN RED 26 FIGURE 7:THE CITY,PERSONAL PHOTO 32 FIGURE 8:TV DE SANTA MARTA, PERSONA PHOTO 34 FIGURE 9:THE STREETS AROUND THE SANTA MARTA HOSPITAL, PERSONAL PHOTO 36 FIGURE 10:THE EVOLUTION OF THE COLINA AND CONVENTS (1) 38 FIGURE 11: THE EVOLUTION OF THE COLINA AND THE CONVENTS (2)40 FIGURE 12:HOSPITAL SAO JOSE 48 FIGURE 13:HOSPITAL MIGUEL BOMBARDA 50 FIGURE 14:HOSPITAL SANTO ANTONIO DOS CAPUCHOS 52 FIGURE 15:HOSPITAL DE NOSSA SENHORA DO DESTERRO 54 FIGURE 16:HOSPITAL DE SANTA MARTA 56 FIGURE 17:SANTA MARTA INNER CONVENT GARDEN, PERSONAL PHOTO 58 FIGURE 18:EXPRESSO, COLLINA DE SANTA ANA 24 08 213 PAGE 1 62 FIGURE 19:XPRESSO, COLLINA DE SANTA ANA 24 08 213 PAGE 2 64 FIGURE 20:DEBATER LISBOA - CASA DA CIDADANIAA NOVA FACE DA COLINA DE SANTANA 10-12-2013 NOTICIA E INFOGRAFIA DN , DN 66 FIGURE 21:ESTAMO MASTER PLAN FOR THE COLLINA INES LOBO ARQUITECTOS 68 FIGURE 22: UNIT 1. HOSPITAL SAO JOSE ESTAMO PROPOSAL, TERESA NUNES DA PONTE ARQUITECTOS 70 FIGURE 23:UNIT 2 HOSPITAL MIGUEL BOMBARDA ESTAMO PROPOSAL, BELÃ&#x2030;M LIMA ARQUITECTOS 72 FIGURE 24:UNIT 3 HOSPITAL SANTO ANTONIO DOS CAPUCHOS, INES LOBOS ARQUITECTOS 74 FIGURE 25:UNIT 4 HOSPITAL DE NOSSA SENHORA DO DESTERRO ESTAMO PROPOSAL, BAK GORDON ARCHITECTS 76 FIGURE 26:UNIT 5 HOSPITAL SANTA MARTA, ESTAMO PROPOSAL, ATELIER BUGIO 78 FIGURE 27:HOSPITAL SANTA MARTA, CHURCH ENTRANCE, PERSONAL PHOTO 82 FIGURE 28:MAPS FROM 1785 TO 1958 SHOWING THE EVOLUTION OF THE SANTA MARTA CONVENT 84 FIGURE 29:SECTION AND ELEVATION OF THE CHURCH. SIPA ARCHIVE CODE 00024100 86 FIGURE 30:PERSPECTIVE OF THE RUA DE SANTA MARTA. SIPA ARCHIVE CODE 00526100 88 FIGURE 31:HOSPITAL SANTA MARTA, CONVENT CORIDOR, PERSONAL PHOTO 90 FIGURE 32:HOSPITAL SANTA MARTA, CONVENT GARDEN, PERSONAL PHOTO 92 FIGURE 33:HOSPITAL SANTA MARTA, CONVENT CORRIDOR, PERSONAL PHOTO 94 FIGURE 34:HOSPITAL SANTA MARTA, CONNECTION BETWEEN CONVENT AND HOSPITAL AREAS, PERSONAL PHOTO 96 FIGURE 35:AXIS ELEMENTS (HTTPS://GHARPEDIA.COM/IMPORTANCE-OF-AXIS-IN-ARCHITECTURE/) 98 FIGURE 36:SONSBEEK PAVILION IN ARNHEM, ALDO VAN EYCK (1966) 100 FIGURE 37:BELVEDERE COURT IN THE VATICAN PALACE BY DONATO BRAMANTE (1444-1514). 102 FIGURE 38: GENERATORS AND TRANSMITORS, APPEARANCE OF SPATIAL FORM 104 FIGURE 39:PISCINAS DAS MARES (1961-1966), ALVARO SIZA 106 FIGURE 40:CONGRESS BUILDING BY ALDO VAN EYCK IN ALDO VAN EYCK: WORKS, VINCENT LIGTELIJN (ED.) 1999, P. 115 108

ABSTRACT La tesi raccoglie il ragionamento e il contesto storico, metodologico e progettuale dell’intervento nell’Ospedale Santa Marta, situato sulla Colina de Santa’Ana, nel centro storico di Lisbona. La collina di Santa’Ana è sempre stata caratterizzata dalla presenza di numerosi insediamenti conventuali, che fino alla riforma del 1834, quando furono trasformati in ospedali, sono stati centri della comunità che rappresentavano. Dopo la loro riconversione in ospedali hanno acquisito una nuova vita e presenza nel tessuto urbano, mantenuto fino ad oggi. Negli ultimi anni si è dato inizio a politiche locali che cambieranno la continuità di questi stabilimenti. Le funzioni di queste strutture frammentate verranno trasferite in una nuova locazione: l ‘Hospital de Lisboa Oriental, nella parte orientale della città. Questo, naturalmente, ha portato a una serie di domande sul destino di questi complessi. La prima risposta è arrivata dalla società immobiliare Estamo, che ha presentato un piano per rinnovare le future aree libere. Il piano include massicce demolizioni degli edifici storici e dei loro edifici ausiliari, anche se sotto un ordine di conservazione. L a loro proposta è quella di erigere per lo più edifici residenziali e alberghi, senza fornire alcun altro tipo di funzione che si

adatti meglio alle esigenze della comunità che la circonda. Il progetto presentato in questa tesi si propone come alternativa a quello di Estamo riguardante uno dei cinque conventi storici che si stanno osservando, ovvero l’ospedale di Santa Marta. Il lavoro che si presenta è stato basato su una ricerca approfondita circa la situazione esistente e pervenuto da valutazioni locali che meglio potrebbero adattarsi all’area. Il progetto si compone di spazi di studio e di co-working, sale per le conferenze, aree per il tempo libero all’aperto e al coperto e un auditorium open-air. Queste funzioni e il design complessivo vogliono ricollegare la vitalità del quartiere, che circonda il nucleo dell’ospedale, alla struttura stessa ricomponendo in questo modo i suoi frammenti per abbattere la “fortificazione” che ad oggi le mura dell’ospedale rappresentano, per ricreare uno spazio d’uso per la comunità.

ABSTRACT The paper at hand covers the reasoning, methodology and background of the intervention project on the Santa Marta Hospital, located on the “Colina de Sant’Ana” in the historical Centre of Lisbon. The Hill of Santa Ana has always been characterised by the presence of numerous Cloisters, that until the reform of 1834 that transformed them into hospitals have been centres of the community they stood for. After their change into hospitals they gained a new life and presence in the urban fabric, that has been maintained to this day. In the past years, a new movement has started that will alter the continuity of these establishments. These fragmented facilities will have their functions transferred to a new location, the “Hospital de Lisboa Oriental” in the eastern part of the city. This, of course, has led to a series of questions about the fate of the remaining cloisters. The first answer came from the real-estate company Estamo, that presented a plan to renovate the future vacant areas. The plan includes massive demolitions of the historical buildings and their auxiliary edifices, even though they are mostly under a preservation order. Their proposal is then to erect mostly residential buildings as well as hotels, while not supplying any other type of functions that would better suit the needs of the community that surrounds it.

Meanwhile, the project at hand wishes itself an alternative to the Estamo proposal concerning one of the historical convents out of the five that are being looked at, namely the Santa Marta Hospital, based on a thorough research of the existing situation as well as the activities that would better suit the area. The project consists of study and co-working spaces, conference halls, outdoor as well as indoor leisure areas and an openair auditorium. These functions and the overall design want to re-link the vitality of the neighbourhood that surrounds the hospital nucleus to the structure itself and while piecing together the fragments to open the “fortification” that the hospital walls now mirror into a space that is of common use.

RESEARCH BASIS To conclude a two-year long studio, it was interesting to focus on the reality of how architecture can change the fate of a piece of urban fabric, that belongs both to a historical building and to a neighborhood in one of Europe’s largest capitals, recognized as an alpha-level city by the Globalization and World Cities (GaWC) Study Group. Lisbon’s long and storied history can be seen in its architecture. Inhabited since the times of Roman and Moorish conquest, it became a Christian monarchy, a republic, a dictatorship and today is the buzzing capital of Portugal – as well as a major European tech hub. And its geography is as distinct as its buildings. Built on seven hills with the river Tagus flowing through its heart, the city is blessed with an unusual light, which reflects off the water onto white tiled streets. Its architecture makes the most of this, with buildings designed around luminosity, shade and shadow and often searching out river views. Based on a natural fault line the city is also prone to earthquakes – the most infamous being the Great Lisbon Earthquake of 1755 – which have devastated it in the past and its architectural legacy contains both reminders and responses to the awesome power of nature. Also defined by the political climate of the Estado Novo until the mid-70’s, that closed Portugal off to the openness and cultural

scene of the international world, the arts and architecture specifically suffered until the fall of the regime when they were finally allowed to flourish once more. Furthermore, the Expo of ’98 and the European Football Championship of 2004 were a sign of the newfound vivacity of the country and of the city itself. The Portuguese capital is now confronted with a new wave of changes, that have been empowered by the vitality of the city itself and have brought into question new topics in the architectural world. These new topics that are of actuality in several capitals around Europe, are what have brought on this research. Its appeal comes not only from the morphology of its architecture, streets and geography but also by the creativity and will to rebuild that the city has proven capable of, time and time again.

METHODOLOGY The project is based on the work done in Prof. Palliniâ&#x20AC;&#x2122;s Architectural Design Studio. The topic was headed-off by extensive research and analysis of both the city and the project intervention area. The most important step was to understand the city and its history, both architecturally speaking as well as in a sociological sense to better grasp the debate that is ongoing on the sites. The first half of the Studio year was spent analyzing the city in an urbanistic approach, and zeroing in on the historical sites of the Colina and furthermore the Santa Marta Hospital as the intervention area. This involved several overlapping studies of the local history, architectural background, geomorphology and socio-cultural aspects. The second half was focused on the design principles, approach and the intervention itself with the guidance of the professor. This also involved a trip to the Hospital to get on-site photos and a better sense of the scale the project needs to be on to respond to the community and its needs. Finally, after careful consideration and the definition of the project extents, conclusion to the research and while being attentive to the delicate intricacies of what such an intervention entails, the new proposal hopes to respond to the new life of the city.

PRINCIPAL MOVEMENTS AND TRANSFORMATIONS

Figure 1:MAP OF CITY OF LISBON FROM CIVITATES ORBIS TERRARUM BY GEORG BRAUN, 1541-1622 AND FRANZ HOGENBERG, 1540-1590

LISBON | A MULTI-LAYERED CITY

“To write a history of a city is to write about a person as well as a place. When the city is ancient, like Lisbon, its personality will be complex and many-layered.” (Malcom 2007) When re-telling the story, some of it will be repetitive, while others will seem ephemeral, but not without impact. From sellers of holy relics on the city streets that have now been replaced by another type of vendor who tout the latest fashionable wears or gadgets at bargain prices, the city shows a recurrent theme of layers being built upon by modern equivalents.

Chagas e Sant’Ana — all of them visible when arriving in Lisbon by river. To the west, tracts of the Atlantic bring an oceanic coolness and dampness to soften the severity of the southern climate. Exceptionally mild winters with no snow and little frost give it a coveted position, although the geological make-up is seismic in nature. 1775 marked the destruction of a large chunk of the city due to an earthquake.

Looking chronologically at the history of Lisbon as a city we overlook an important part of the city itself: the personality, a concept that transcends a certain chronological order and is mostly defined by themes that can be pursued over the historical ages. Connecting nodes such as the Roman Catholic Church, foreigners, sailors and industries that come and go are all an integral part that combined exhibit the true vibrancy of Lisbon.

These general facts combined with a political history that has focused Portugal’s efforts towards overseas rather than the continent give us an insight to the city’s nature. Due to its position and proximity to Spain, the fear of being annexed (that came true for a period of sixty years in the sixteenth century) and its nationhood threated, Portugal was virtually cut-off from the European Mainland. Thus, Lisbon became a city stretched outwards, towards Brazil on one hand and towards the Cape of Good hope and from there to Asia.

Another factor that must be taken in consideration when discussing Lisbon and the layers it is built upon, is its geographical morphology. Like Rome, Lisbon is perched upon hills, seven to be more precise. The seven giants — São Jorge, São Vicente, São Roque, Santo André, Santa Catarina,

During medieval times, several chronicles talk about the details of the city in great amount, but it was the chronicles written by Damião de Góis in 1554that give us the best look at what Lisbon was really like: “ the city has always appeared to them […] as a labyrinth : outward voyaging from the

port is matched by inward-looking streets, hidden gardens, stairways that do not seem to lead anywhere.” (Malcom 2007). The city is characterized by roads that are steeply inclined, asymmetrical disposition of streets that zig-zag around the Other scholars have also tackled the complexity of Lisbon. Olisipography, as the study of Lisbon was now referred to, became a scholarly subject due in no small measure to the nineteenth century writings of Julio de Castilho. Writers, poets and musicians did not take a back seat, and particular areas of the city were their main inspiration: from the fadistas singing of the Alfama, the Romantics that focused on the moon reflecting on the Tagus to Fernando Pessoa that could be seen back and forth on the streets of the Chiado, all the specific entities within the city were constitutive parts of the whole. Perceived through many eyes and experienced through different ages, Lisbon’s Identity is rooted in the imagination of the people that inhabit it.

“City Mournful and gay, once more I dream in you” – Fernando Pessoa.

Figure 2:LISBON (BY JCN FORESTIER)

A BRIEF TIMELINE

Regarding its history, Lisbon can be followed through history from prehistoric times to the present. During the Neolithic period, tribes of pre-Celtic people built religious and funerary monuments, megaliths, menhirs and dolmens , that still survive to this day on the fringe of the city. Around the 1st millennium BC, Indo-European Celts invaded the area, mixed with the pre-Indo-European population and gave rise to Celtic-speaking local tribes such as the Cempsi. “Although the first fortifications on Lisbon’s Castelo hill are known to be no older than the 2nd century BC, recent archaeological finds have shown that Iron Age people occupied the site from the 8th to 6th centuries BC.” (Wikipedia 2017). This period is characterized by its mythology as an elaborate fabled city of pre-classical origins having its hearthstone on the Tagus estuary, a history that imprints on the character of present day Lisbon. Next came the Roman Imperium, a phase in which Lisbon was not only coopted in the world empire but also became a Latinized city, adopting a vernacular version of Latin. After the collapse of the Roman Empire and a descent of Europe into barbarism, Lisbon joined the league of “Christian kingdoms of Iberia”, that were later overrun by the Moorish invasion of the eighth century. Although physically this period has few traces, it does impact the city in one major way: The Church becomes a leading institution, right up to the Muslim invasion. The

Moorish Caliphate, once established, has a profound impact not only in revolutionary sophisticated sciences and technologies but also in a more relaxed character, that can still be seen today in the Alfama district. In the 14th century, Christianity is restored as the head religion with the coronation of Afonso Henriques, after his campaign to conquer Portugal. During this time, the city expands considerably towards a more commercial port from which large exploration voyages towards the new world overseas have set sail, and whose return have enabled an even more spectacular growth of the city into the cosmopolitan leading trading center of Europe in the 16th century. The Renaissance brought forth and cemented the city’s foundation as being related to the story of Ulysses and his myth. Camoes, with his famous work Lusiads (1572), imparts the story of the Portuguese explorations of the Indian sea routs, and mentions in passing that Lisbon was: “Named after her founder, that coiner of words Through whose cunning Troy was burned And the city was founded by Ulysses on the exact spot Where the Tagus mingles its fresh water And white sands with the salt sea.” (Camoes 1572)

Figure 3:PLANO GERAL DA CIDADE DE LISBOA EM 1812

Later, other myths about the city pop-up such as Ulisseia (1636) by Gabriel Pereira de Castro, that wanted to adapt Homer’s famous Iliad to the Portuguese experience similar to how Virgil’s Aeneid was an inspiration for the Lusiads. The areas that these myths use as a backdrop, coincide with the areas where the oldest evidence of human habitation was found, that show a large population being settled north and west of the existing city, on the cusp of the Tagus estuary. Plans to reconstruct the findings are being made inside the City Museum (Museu da Cidade), the sites being looked at dating to a time when the area was inhabited by the Neanderthal man, prior to the arrival of the Homo sapiens. Prior to the 18th century, Lisbon had experienced several significant earthquakes – eight in the 14th century, five in the 16th century (including the 1531 earthquake that destroyed 1,500 houses and the 1597 earthquake in which three streets vanished), and three in the 17th century. On 1 November 1755, the city was destroyed by another devastating earthquake, which killed an estimated 30,000 to 40,000 Lisbon residents. (Pereira 2006) By 1755, Lisbon could have boasted as occupying the position of one of Europe’s largest cities. Unfortunately, the catastrophe of the earthquake and the tsunami

that followed decimated the populations, shocked the continent, destroyed several important buildings (Ribeira Palace, Hospital real de Todos os Santos, etc.) and left a deep impact on the psyche of the collective. The city was then rebuilt according to the plans of the then Prime Minister, Sebastião José de Carvalho e Melo, the 1st Marquess of Pombal. The Marquis’s plans were what he called “enlightened” and the lower area became known as the Baixa Pombalina. Instead of doing extensive renovation and concentrate rebuilding efforts on the medieval town, Pombal decided to demolish whatever was left standing and rebuild the city center with the new modern principles of urban design in mind. Thus, the two main rectangular squares take life the Praça do Rossio and the Praça do Comércio. The first was designated as a commercial district while the latter became the city’s main access to the Tagus and was later adorned by a triumphal arch (1873) and a monument to King Joseph the First. In the 19th century, Portugal was invaded by Napoléon Bonaparte, forcing Queen Maria I and Prince-Regent John to flee to Brazil, and by their return, a large part of the buildings and properties were pillaged

Figure 4:MAP OF THE CITY OF LISBON, C. 1786

and plundered by the invading forces. The Liberal movement then changed the face of the urban landscape, the Baixa and along the Chiado district having the most obvious face change. Industry and commerce also encouraged a growth spurt and the Passeio Público, a Pombaline era park, was transformed into the Avenida da Liberdade, as the city grew farther from the Tagus. World War II saw the city as one of the few neutral, open European Atlantic ports, a major gateway for refugees and a haven for spies, inciting a slew of novels to be based inside the city perimeter. Later during the Estado Novo regime (19261974), Lisbon expanded at the cost of other districts, resulting in grand scale projects. Residential and public developments were being erected along the periphery and the Belem area was modified for the 1940 Portuguese Exhibition. With the opening of the bridge over the Tagus, the new face of Lisbon was handed over to rapid development and expansion. During the 20th century, Lisbon was the backdrop of three separate revolutions. First on the 5th of October 1910, that led to the end of the Portuguese monarchy and established an unstable Portuguese First Republic. The second on the 6th of June 1926 that marks the end of the First Republic and replaces it with the Estado Novo as

the ruling regime. And the third and final, the Carnation Revolution that took place on the 25th of April 1974, taking down the right-wing Estado Novo and creating the current Portuguese Third Republic. 1988 saw the demise of the historical district of Chiado, many of the Pombaline style buildings necessitating large restoration works to bring the area back to its former glory and then convert it to a highscale shopping district. Many historical districts were altered and modernized during the early 1990s, historical patrimonial buildings were renovated and the northern margin of the Tagus river was re-purposed for leisure. The Vasco da Gama Bridge was constructed; and the eastern part of the municipality was re-purposed for Expo ‘98, to commemorate the 500th anniversary of Vasco da Gama’s sea voyage to India, a voyage that would bring immense riches to Lisbon and cause many of Lisbon’s landmarks to be built. (Wikipedia 2017)

Figure 5:ANTIQUE TOWN CITY MAP PLAN. INSET ENVIRONS. PANORAMA. SDUK 184

URBAN MORPHOLOGY AND DEVELOPMENT

When looking at a topographical map of Lisbon one can note the diversity of the urban fabric. Due to various successive expansions and developments. The layers of the city can be seen juxtaposed and superimposed one over the other during different times and with different orientations that were considered, at the time, to be most beneficial.

bal have given the historical center a very recognizable shape and pattern. With the vision of the Marquis and the figures of Eugenio dos Santos, Carlos Mardel, Elias Sebastiao Poppe with supervisor Sebastiao Josè de Carvalho and Melo and architect and engineer Manuel da Maia, the Baixa Pombalina is an extremely recognizable area.

This merger of fabrics has also been molded by the geographical morphology of the terrain: various hills, valleys and water courses have influenced planning and the city’s design and shape.

Manuel da Maia proposed four ways to reconstruct the city of Lisbon:

The historic Lisbon, founded between the banks of the river Tejo and the Collina di Sao Jorge had evolved along the river banks and when it proved impossible to go past this natural border it started to spread towards the mainland, in a radial fashion in respect to the original center. It then later engulfed the surrounding hills giving it a stable placement since the areas early colonization period. Furthermore, the medieval city is then depicted as a dense and well-defined network. Though the urban grid is laid out in an irregular fashion, it is representative of the evolution of most Mediterranean cities. After the 1755 earthquake, massive reconstructions under the Marquis de Pom-

• simply reconstruct, following old plans; • improving on the existing plans with widening of the existing roads; • reconstruction of the main neighborhoods with a totally new plan and design; • the construction of a new city, around Belem, that had been remarked as not being prone to the devastation of the earthquake. In the end, the solution taken was that of a compromise between the two latter solutions: the historical areas were rebuilt in accordance to the inhabitant’s wishes, while a new city was being built towards the east of the center. The reconstruction plan was then devised in three phases: the first involved the reconstruction and extension of the traditional urban area by acting in three sepa-

Figure 6:MAP OF THE CITY OF LISBON WITH INTERVENTIONS IN RED

rate areas: the first being the central, Baixa and Chiado areas, the second to the east including the old town and the oldest districts of the hill and of the castle, the third to the west. Only the first part was completed, while the eastern part was later built according to specially tailored plans.

Palazzo Real, while the eastern side would change in appearance, adopting a new form, protruding towards the waterfront. Terriero do Paço thus gain its definitive urban form and becomes the fulcrum of the area, the project itself becoming one of the Enlightenment urbanism’s most representative.

The plan proposed by the Marquis de Pombal is architecturally significant in both architectural aspects as well as what it meant for the city. With an accurate set of new construction techniques and a clear idea of infrastructure, the new, modern way of planning is shown off. Rational and functional are the goals that the new orthogonal mesh, structured with neighborhood and standardization of manufacturing wants to reflect.

New technology was also being used on the building site: wooden structures, foundation supports to better support the walls and roofing and provide greater elasticity as a means of protection against earthquakes. Firefighting techniques were also being implemented, by the lateral extensions of the walls towards the roof to prevent the propagation of fires.

Dimensioning, height, façade choice, and decoration is strictly monitored. Two story housing becomes norm, while the links between the Paço and Baixa, the choice of the Palazzo Real site that will be moved to the Campo de Ourique and the reconstruction of public buildings and the Stock Exchange are the main concerns. The true author of the final version of the square at the end of the Baixa area is considered, however, Eugenio dos Santos. According to the project, the western limit of the square was to be the façade of the

From the 1760s onwards, the streets were traced and the land parceled. The Marquis decrees the installation of shops and workshops in such a way that each street of the Baixa would have its characteristic activity. Also under him, the Terriero do Paço becomes the Praça do Commercio. Made up of subtle arcades resting on massive pillars, ten Torreoes and with a triumphal arch towards the end, the plaza becomes one of Europe’s most interesting examples of 17th century design. Moving on to the Rossio piazza, we can see that before the earthquake it was rectangular in shape, with a 180x90m dimen-

sion. The focus was on the Palazzo dellâ&#x20AC;&#x2122;Inquisizione (XV century) and on the Palazzo del Senato. On the Eastern part, there was a Dominican denomination convent and the hospital, everything destroyed during the earthquake. Alongside the Fernandina Wall, rise several orchards with factories, the Hortas de Valverde. After the catastrophe, the Valverde becomes a bourgeoise, and a new Opera is built instead of the gardens. The construction of the first public garden starts in 1764, the Passeio Pubblico: a large road, delimitated by secular trees, to contrast with movement the regularity and order of the Pombaline design. It also featured several statues, fountains and decorations. From 1850 onwards, due to the more stable political climate, the old urban fabric becomes noticed once more, more specifically, there are talks regarding the transformation of the Passeio Pubblico, which was far from public and rarely used, into a Parisian style boulevard. With this context, architect Federico Ressano Garcia starts building the Avenidas Novas in 1874. Without disturbing the old neighborhoods that survived as well as the Pombal intervention, he develops a Haussman-style project. The new city limit is then defined by the creation of a new belt-road. The city then expands further in 1895 and limiting its

sprawl at the beginning of the 20th century, creating the current borders. The Estado Novo regime, established in 1926, had a polarizing and decisive take on the urbanization of Lisbon. It coincides with the Modernist Movement in architecture, and plans were made for a largescale intervention in the existing 18th century city fabric. Under minister Duarte Pacheco, between 1938 and 1948, a sectorization plan was completed. In this framework and with the help of the urbanist E. de Gror that projects new roads that will intersect the radial arteries already in place, the city becomes zoned and largely divided into sectors of activity, with the eastern area of Lisbon being designated for industrial development, the industrial Park dos Olivais is created here.

THE COLLINA DE SANTâ&#x20AC;&#x2122;ANA

Figure 7:THE CITY,PERSONAL PHOTO

GEOGRAPHICAL MAKE-UP

The first consideration when approaching the subject of building on the Collina is taking in consideration its influence on the city as an integral component of the greater Lisbon area. With its own history, marked by several factors that make up an image that seems fragmented and with its specific charm, winding roads, colorful buildings and a logic that has evolved alongside the people and their histories, it is now discernable that the Sant’Ana Hill, now very different from other peripheric areas, has its peculiar characteristics that distinguish it easily from the other similar sites. We must first take a gander at the most obvious component of the site: its geography. Facing one of the most obvious and visible hills in Portugal’s Capital, one must ascertain its geological tissue. Determined by two water flows, that have carved out two wide and open valleys and flanked by steep slopes, the city of Lisbon was established. These two water lines (one now being the Avenida da Liberdade and the other the Almirante Reis) used to meet in the current area of Rossio, forming a wide alluvium that drained into the Tagus, now the area known as the Baixa. The spring and the west of this stream are two hills that still mark the valley, in which the city developed (from east to west), both united and separated by this low territory that became the urban centre,

through the axis Terreiro do Paço / Rossio. To the north, a third hill was defined as a spur between these two water lines, and it may be asked pertinently why this third hill, which we now call Sant’Ana, played no greater role in the articulation of the urban fabric given its indisputable centrality, in the natural follow-up of the aforementioned north / south axis. An answer lies in the central element, the city’s prime reason for success over time: the Tagus. Both the city limits and its layout are determined by the boomerang-like shape of the curved estuary. The valley of the Baixa and the two hills that border it, overlooking the river, were prime real-estate for settling an urban agglomerate whose logic was articulated from the imposing mass of water of the estuary, point of convergence of the multiple lines transiting it in all directions. Another factor not to be overlooked is the fact that Lisbon is, in fact, a port. It is therefore closed towards the north, a condition that is obvious with the 1373 construction of the Cerca Nova (new fence). This condition is also evident in the later sensibility of the Pombaline reconstruction towards the area, creating a buffer with the Passeio Publico between the urban nucleus and the northern side.

Figure 8:TV DE SANTA MARTA, PERSONA PHOTO

The sprawl towards the hinterland, now an integral part of the city, started around the mid nineteenth century and would later define the transformation of the Passeio Publico into the Avenida da Liberdade. This specific geographic morphology dictated the marginal role that the Santâ&#x20AC;&#x2122;Ana hill possessed in the process of urbanization. It was slowly and gradually integrated, first as a designated farming area, orchards and olive groves later on, and then as an ideal territory to carve out a vast network of convents. However, its low banks, along the banks that flowed in the valleys, became desirable, especially from the population boom dictated by overseas expansion, covering some urban nuclei that, like the city in relation to the Tagus, stretched in a narrow line on the slope of the hill. Therefore, the first concern to take into account when trying to understand this territory is to define with some precision the main roadways that conditioned its occupation. Many times, in a zigzagging trajectory that remains today, dictated by the need to climb considerable slopes, the roads pose a considerable challenge.

Figure 9:THE STREETS AROUND THE SANTA MARTA HOSPITAL, PERSONAL PHOTO

AXIS AND ROUTE

The main axis, most marking and significant in the history of the city, is undoubtedly the long axis connecting Rossio and Benfica toward the north, known as the Estrada de Sintra, one of the three main Roman routes connecting Olisipo with the fertile suburbs. With many names associated to it, Portas de Santo Antão, Rua de São José or Santa Marta, this road runs parallel to the old water line of Valverde and is accompanied by the source to the core of Santa Marta, by the slope that rises towards the plateau of the hill, dubbed the Field of Sant’Ana. The Regueirão dos Anjos (today more or less Almirante Reis) delimits the urban unit, but, at the end, it is crossed by another road coming from the old Porta da Mouraria (from the New Fence), which, after crossing the line of the aforementioned Regueirão (Rua da Palma), climbs a skewed slope and also reaches the top of the hill. There was, therefore, an almost imperceptible trace of a sort of first avant-la-lettre circular that crossed the edge of the city longitudinally, sometimes connecting the Rato and its surroundings. Little, indeed, is this undulating axis, which is certainly unnoticed by the modesty of the roads which compose it, in fact, a little more at the beginning than frenetic waters. The truth, however, is that all of them are still there and, although the original logic be-

hind them is lost, they still play an important role in the day-to-day traffic of the city. The other road that went up the hill to its plateau was a twisted snail that was born on the São Domingos, near the Rossio. It was (and is) the Calçada do Garcia, which, after winding up the steep slope, was divided into two: the street called Arco da Graça, which continued on the slope to the north, connecting at its terminus, also tortuous , to the aforementioned Rua de São Lázaro; and the Calçada, later called Sant’Ana, which ran along the hill in a straight line as far as possible (hence the name Rua de Sant’Ana), following the crest of the aforementioned spike that formed the hill in the confluence of the two valleys . It will be from these main paths, structurally empirical form of the physical reality of the hill, that it will begin its urban occupation, process long and instalment that will be tried to describe as succinctly as possible.

Figure 10:THE EVOLUTION OF THE COLINA AND CONVENTS (1)

URBANIZATION

Without detailed knowledge, we can assume hypothetical occupation of this vast area in earlier times due to the importance of the confluence of water lines, but the first palpable beginning stems from the construction of the Cerca Nova or the Fernandina (1373/75). Still noticeable today due to its ruins, the Cerca Nova wall descended from the castle following the St. Lourenço tower towards the valley, along the current Escadinhas da Saúde, crossing it, and opening on the stretch of the Mouraria Gate (or St. Vicente, latter dubbed Arco do Marquês de Alegret), climbing once more towards the west slope of the Sant’Ana Hill, intersecting the Rua do Arco da Graça and the Calçada de Sant’Ana, the arches of which were the primitive doors of the wall. Then it descended again to the present Recollection of the Incarnation towards the west valley, where the door (or Portas) of Santo Antão was located, the most important exit north of the city.

Another such phenomenon occurred in the areas where the perimeter of the wall was a part of the hill. The housing that winds along the Calçada do Garcia, and the part of the street of the Arco da Graça and that of the Calçada de Sant’Ana, was quickly expanded, all the way to the wall gates that acted as both a closure and a separation, in a very clear and definite way. The urban nucleus and the rural area was thus prominently marked in the fifteenth century.

The royal and municipal orders, from D. João I to D. Manuel, are a constant presence when talking of the urbanization of the intra-mural lands, pressing the removal of the rural remnants, with special attention to the olive groves still existing in more peripheral areas. One of these acts is well known: the urbanization of the convent of the Trinity, that maintained, instead of its olive trees, the toponym Oliveira.

The construction on the top of the hill of the convent of Sant’Ana determined the rapid extension of the public road, the Calçada de Sant’Ana, to the top, gradually becoming the old gate in the later celebrated Arco de Sant’Ana. Even today, the division of the sidewalk into two sections is very sensible, even though the arch has disappeared. From the place where it stood, the road is no wider, and above all,

The situation changes drastically throughout the sixteenth century, with the transformation of Lisbon into the main trade hub through the Atlantic with Africa, the Indies and Brazil. Due to the rapid increase in population, housing becomes an issue. Therefore, the re-parceling of former rural estates, owned by private individuals or by parishes, becomes a necessity and increases the urban sprawl of the city outside the historic walls.

Figure 11: THE EVOLUTION OF THE COLINA AND THE CONVENTS (2)

the re-parceling is quite different. From this point on, another parallel road to the Calçada can be traced, namely the Rua de Martim Vaz, that makes up a complex urbanistic presence, defined by the two parallel roads, where the future Jesuit College of Santo-Antão-o-Novo, now São José Hospital will later be built. The rapid pace of this urbanization is clear, and the need to establish a new parish in 1564, in the already present convent of Sant’Ana, that would later be the toponym of this new vast consolidated area, was evident. In 1564, with the help of several fires, a new parish is imposed. Thus, in the middle of the sixteenth century, as indicated by the dates of the founding of the parishes, several urban areas had been consolidated on the hill, forming a wraparound crown, occupying its south, east and west slopes, around the vast plateau alone already timidly filled up at one end by the convent of Sant’Ana, origin of the toponym that would henceforth identify the whole complex. This presence of the convent of the nuns is a clear signal of departure for competing over these large and fertile lands by other religious congregations, determining a new significant phase in the hectic life of the hill.

Although the secular constraints of the old roads did not undergo major alteration or significant improvements, it is evident that these northern openings created a new reality regarding the more harmonious integration of the hill into the urban whole. They were like a definitive rip in a roadway, suffering from marked sclerosis.

THE CONVENT ERA

Due to the vast extents and fertility of the land, the Sant’Ana hill’s plateau has been a vied spot for all kinds of endeavours.

road, such as Calçada do Lavre, it was still not easy to reach the top, keeping the atavistic tendency of ghetto.

The most striking among these, is that of the religious orders, that desired to take advantage of the favourable soil conditions and topography to set up their conventual houses. However, they are not alone in this strife, as several other institutions would lay claim on the same areas. Notable are the Sociedade de Corte that took advantage of the area to raise their noble houses and a few palaces on the hill, that were surrounded by the noisy activities of the lower classes: that of the butcher shops and the cattle fair, since the central clearing of the irregular plateau was the Campo do Curral, where, since the end of the sixteenth century, the entire meat trade for the supply of City was provided.

In 1562 the modest convent of Sant’Ana, belonging to a parish of Franciscan Nuns, was established on the hill with more religious house to follow, with a more imposing footprint and architectural dimension. At the top of the Rua das Pretas, which is now the top of the Rua Santo António dos Capuchos, the construction of the Franciscan convent of Capuchos begins in 1570 with the same evocation. With a strong fence and prime location at the bottom of a beautiful Alameda, this convent, of the patron saint of the Senate, marks the turning point in the continual occupation of the plateau.

The image of the hill is that of an animated area, where the sound of praying calls, church bells, angry elegies and the less aesthetic practices and odours from the butcher shops mingle. In spite of the communicating routes to the city area, that were cluttered along the serpentine roads by the circulation of the cattle coming from the field, narrowness of the design, or steepness of the streets, making all traffic dreadful, the field of Sant’Ana was integrated into the urban dynamics. Taking the opening of one or another secondary

The Nossa Senhora do Desterro convent, founded by the White Benedictines of Alcobaça, that worked for more than a century, is founded on the hillside facing the spring. In 1591, the ambitious project was still under construction. With the help of D. Sebastião and Cardinal D. Henrique, the southernmost part of the Curral Field was donated in 1576 to the Jesuits to erect their main College of Lisbon. It was to be home of the priests of Saint Anthony. The imposing building of Saint-Antão-o-Novo, whose corner stone was laid as early as 1578, will be erected

with the help of the donation in 1612 of the Countess of Linhares, D. Filipa de Sá. The full donation comes into play with the death of the Countess in 1618. The base of the west slope, on the then Rua de São José (now Santa Marta), following the Bairro do Andaluz, is adorned in 1612 with a convent of nuns dedicated to Santa Marta, with a large imposing fence, sloping on the hill, approaching towards the top the fence of Santo António dos Capuchos. The last and most recent addition to the convent apparatus is in the eighteenth century, more precisely 1725 (with definitive authorization in 1738), on the vast cliff between Santo António dos Capuchos and the Carreira dos Cavalos. The convent, intended for the Congregation of the Mission of Saint Vincent de Paul, was rather modest in its architecture, and was only completed after the earthquake of 1755. To these convents, the Recollection of the Incarnation, of the Commenders of the Order of St. Benedict of Avis, next to the Calçada de Sant’Ana, begun to be built in 1617, at the site of the old houses of D. Aleixo de Meneses. In broad strokes, the evolutionary dynamics of this specific area of the city that is now intended to be rethought are laid out. In addition to the functional improvements

that technologies and modern approaches can provide to increase and preserve this very important nucleus of Lisbon, it is important to never lose sight of the idiosyncrasy of the evolution and the characteristics that define some of the areas of this set. The period between the end of the fifteenth and the sixteenth centuries is associated with one of the moments of great dynamics in the construction of convents [GASPAR, 2002]. The position they occupy in the territory or in the urban network of cities is usually determined by the characteristics of the religious order (more urban or rural), but there have been times when social, political and urban dynamics have determined some exceptional situations. D. Manuel, who intends to densify the city intra-muros, do not allow the construction of convents inside the fence. Since this is a condition at the beginning, the convents occupy the outskirts of the city, becoming an important driver of urban expansion, creating new dynamics of growth in the fringes of the city

THE HOSPITALS

48 Figure 12:HOSPITAL SAO JOSE

U1. HOSPITAL SAO JOSE

R. Jose Antonio Serrano Established in 1492 Converted in 1770 Ceasing of activity: 2019 Speciality: • • • • • • • • • • • • • • • • • •

Anesthesiology; General surgery; Maxillofacial surgery; Plastic surgery; Stomatology; Gastroenterology; Immunotherapy; Physical medicine and rehabilitation; Internal Medicine; Neurosurgery; Neurology; Neuroradiology; Ophthalmology; Orthopedics; Otorhinolaryngology; Clinical pathology; Radiology; Urology

The Society of Jesus came to Portugal shortly after its foundation, called by D. João III, who assigned the Convent of St. Anthony to Mouraria, where the first Jesuit college was founded in 1552. Located in Campo de Sant’Ana, overlooking Rossio, the Colégio, classified as a property of public interest by Dec-Law 8/83, would be completed with a grandiose church, begun in 1613 and finished on July 31 of 1652, the day of Saint Ignatius. In the middle of the eighteenth century, the Jesuits left our country and the famous College began to house the sick from the Hospital of All Saints, then destroyed by the earthquake of 1755. Thus, emerges the Royal Hospital of Sao Jose. Little is known about the internal organization and the assistance movement at the end of the 18th century, notwithstanding the fact that H. de S. José, in the wake of All Saints, continued to be the great school of sur-gery in the country. In recent years the Hospital has been modernizing itself with the limits deriving from its conventual origin. As in all other hospitals of the group, a modern medicine is practiced in old and rebuilt buildings. Joining science and art in one of the most important monuments of Lisbon.

50 Figure 13:HOSPITAL MIGUEL BOMBARDA

U2. HOSPITAL MIGUEL BOMBARDA

(Convento do Rilhafoles) R. Cruz da Carreira Established in 1757 Converted in 1848 Ceasing of activity: 2009 Speciality: • Psychiatry At the origin of the Hospital Miguel Bombarda is the Convent of the Congregation of the Mission of the Fathers of St. Vincent de Paul, installed in the farmhouse of Rilhafoles, which since its foundation in 1717 had hosted the compulsory hospitalizations of young people condemned by the Holy Office for crimes against morality and good manners. With the extinction of religious orders in Portugal, the installations were occupied by the Royal Military College, which was installed in the period from 1835 to 1848. Later legislative changes led to the transfer of this military unit to Mafra. be used for an entirely different purpose: to welcome the alienated, the term used to designate the mentally ill. The Miguel Bombarda Hospital, founded in

1848, was the first Psychiatric Hospital in the country. It was a large hospital, from the outset sized for 300 patients and where the “crazy” people were transferred in subhuman conditions in the Hospital Real de S. José. Having been the scene of one of the most important moments of the convulsive period that led to the implantation of the Republic in Portugal: the murder of Miguel Bombarda (1851-1910), the doctor and scientist who directed the Hospital de Rilhafoles between 1892 and October 3, 1910, the day he was killed by a mentally ill at the beginning of the revolutionary process that after two days culminated in the fall of the Monarchy by which Bombarda had so much been beaten down.

52 Figure 14:HOSPITAL SANTO ANTONIO DOS CAPUCHOS

U3. HOSPITAL SANTO ANTONIO DOS CAPUCHOS

Al. S. Antonio dos Capuchos Established in 1570 Converted in 1928 Ceasing of activity: 2019 Speciality: • • • • • • • • • • • • •

Anesthesiology; General surgery; Dermato-venereology; Gastroenterology; Clinical haematology; Physical medicine and rehabilitation; Internal Medicine; Neurology; Neuroradiology; Ophthalmology; Medical oncology; Clinical pathology; Radiology.

The main hospital building is the result of several transformations that the old Convent of Santo António dos Capuchos inaugurated in 1579 and handed over to the Fathers Recoletos of the Custody of St. Anthony. This convent, which was partially destroyed by the earthquake of 1755, has undergone several transformations throughout the centuries. In 1836, the queen D. Ma-

ria II founded in its facilities the Asylum of Mendicidade of Lisbon. The space occupied by the Asylum was increased by the construction of several pavilions and by the purchase, in 1854, of the Palace of the Counts of Murça, dating from the seventeenth century. This historical evolution of the physical structure of the hospital justifies the dispersion of the various services by several buildings. This has led to the Hospital being grown conditioned by the management of existing physi-cal spaces, some of which are considered national heritage. The Hospital was officially created in 1928 with 9 clinical services at the time of its creation. It has a very rich tile heritage especially in the part corresponding to the old Palace. It is still in this hospital that one of the old-est sundials exists in Portugal. It was also in this hospital that in 1930 was inaugurated the nursing school Artur Ravara, that until then it worked in the Hospital of San Lázaro.

54 Figure 15:HOSPITAL DE NOSSA SENHORA DO DESTERRO

U4. HOSPITAL DE NOSSA SENHORA DO DESTERRO

R. Nova do Desterro Established in 1591 Converted in 1797 Ceasing of activity: 2007 Speciality: • • • • • •

Internal Medicine; Urology; General Surgery; Intensive Care Unit; Laboratory; Bio-medical imaging.

The hospital is located on the premises of the former Convent of the Desterro, founded on April 8, 1591, under the responsibility of the congregation of St. Bernard. Courtyard of the Hospital of Desterro, former Cloister of the Convent. Thus, in 1750, after the fire in the Royal Hospital of All Saints, the patients who were there were displaced to the former convent of the Desterro and the friars therein moved to the Palace of the Archbishops of Lisbon. In 1755 it was partially destroyed by the earthquake, remaining of the original

building and the marbles of its interior. After the reconstruction and until 1816 it housed nuns of the Order of Cister. In September 1797, the Navy Hospital was created by a charter that operated in the convent of the Desterro until 1806, at which time the existing facilities were inaugurated in Campo de Santa Clara. In 1814 the Colegio dos Meninos Orfãos (founded in 1273 by Queen D. Beatriz, wife of D. Afonso III) was annexed to the Real Casa Pia, both institutions being operated at the premises of the convent of Desterro. For decades, the Convent of the Desterro functioned as a barracks the middle of the nineteenth century. It was officially recognized as an annex to the Hospital of Sao Jose in 1856. Despite this, he performed hospital functions early on.

56 Figure 16:HOSPITAL DE SANTA MARTA

U5. HOSPITAL DE SANTA MARTA

R. de Santa Marta Established in 1583 Converted in 1903 Ceasing of activity: 2019 Speciality: • • • • • • • • • • •

Anaesthesiology; Vascular surgery; Cardiology; Pediatric cardiology; Cardiothoracic Surgery; Immunotherapy; Physical medicine and rehabilitation; Internal Medicine; Clinical pathology; Pneumology; Radiology

The Convent of Santa Marta, founded in the 16th century, began to function at the service of health in 1890, when it became the Hospício dos Clérigos Pobres. Created to receive and treat the victims of the Great Plague of Lisbon in 1569. Existing first as the Recollection of Santa Marta de Jesus and years later, as early as the seventeenth century, as Convent of the same name.

From Mannerist architecture, with an initial project of Nicolau de Frias, the convent was built from 1612. The cloister, the church and the Chapter Hall stand out from its set, as well as an impressive work of Portuguese seventeenth and eighteenth century Azulejos tiles. The cloister and the church today maintain their original structure intact On 1 November 1755, the earthquake, fire and tsunami caused that caused the devastation of almost two-thirds of the city’s streets, made the Convent of Santa Marta one of eleven of the sixty-five convents existing in Lisbon that, despite the damages, remained habitable. From the Church of the Convent of Santa Marta, classified as a Property of Public Interest since 1946, little is visible from its original splendor. Predominantly Baroque, it was built between the 17th and 18th centuries. It has a longitudinal plan, opening the austere main façade to Rua de Santa Marta, from which are visible four windows separated by buttresses, In 1890 the building was used as an improvised hospital to house the many victims of an outbreak of influenza that upset the city and later as a hospital for venereal diseases.

Figure 17:SANTA MARTA INNER CONVENT GARDEN, PERSONAL PHOTO

In 1910, the Hospital Surgical School of Lisbon was officially assigned to the Santa Marta Hospital assuming an important role in the teaching of Medicine in Lisbon. It maintained this function until 1953, date in which the university clinic is transferred to the newly created Hospital of Santa Maria. With this transfer the Hospital of Santa Marta joins the group Hospitais Civis de Lisboa where it was maintained until the end of the 20th century. Considered as one of the leading schools of Internal Medicine during the second half of the twentieth century with the figure of Carlos George, a special differentiation in the cardio-vascular area with the innovation brought by Machado Macedo was gained. It enters the 21st century as one of the main centers of reference in the diagnosis and treatment of cardiovascular diseases nationwide. It is this convent/hospital that was chosen as work for the studio and the thesis project

THE DEBATE

Figure 18:EXPRESSO, COLLINA DE SANTA ANA 24 08 213 PAGE 1

In recent years, the fate of the Colina has been an interesting topic for debate in the city of Lisbon. Its transformation is an ongoing process headed by several departments. In 2008, the first call for proposals for the Todos os Santos hospital was launched. This new structure was to be built on the eastern part of Lisbon according to the “Plano Organizar de Lisboa Norte”, with the first deadline being 2012. However, in 2009 the name of the institution changes to Hospital de Lisboa Oriental and with a 3year delay the deadline is pushed to 2019. The municipal plan states that the structures and the functions they now serve as the city’s hospital have to be gradually moved to the new Hospital de Lisboa Oriental, and all the former hospitals on the Colina de Sant’Ana will be abandoned. To date, two of the former hospitals have been abandoned, Hospital Miguel Bombarda in 2007 and in 2009 Hospital do Desterro, while the others have until 2019 as a deadline for ceasing activities. Many discussions have been raised about the future of the Collina, the main topics being the disparaging opinions of what should be the fate of the former hospital buildings as well as how to provide access to medical aid to the population after the movement of activity.

The inhabitants of the city have raised some very poignant questions. Indeed, how does the movement affect the localss? Will this improve the healthcare system of Lisbon? Why do the central hospitals have to be closed with the building of a new center? How does the distance of the new hospital center hinder access to healthcare for the population? Were proximity and immediate access considered when taking this decision, as the new Hospital de Lisboa Oriental forces residents to travel outside their immediate area for treatment in case of emergencies? Due to raising concerns over the intervention in the Collina de Sant’Ana, the CML, after a public debate held by the Lisbon Municipal Assembly, prepared a territorial plan for the area that includes the following guidelines: • regenerate and rehabilitate the hill; • rebuilding and rejuvenating the center of Lisbon; • promote the construction and / or rehabilitation of socially viable and economically accessible residences; • to protect and enhance the historical and architectural patrimony; • to promote the safeguarding of mobile furniture of cultural interest, a testimony to hospital history; • promote the enhancement of cultural tourism;

Figure 19:XPRESSO, COLLINA DE SANTA ANA 24 08 213 PAGE 2

• to support the opening of the ancient hospital enclosures to the city; • improve the Colina’s accessibility conditions; • to ensure that no hospital closes until the new hospital’s post comes into operation; • ensuring proximity health care; • promote the creation of conditions for the installation of new economic and service activities; • deepen the appreciation and monitoring of natural and man-made resources; • develop a global eco-Bairro project in the historic area. HORIZON 2020 The EU’s financial instrument for implementing the “Innovative Union” program is called Horizon 2020. With a budget of 80 billion euros, this single program combines the current financial funding guidelines in the field of research and innovation. Since its creation, the purpose of the programme was that to implement the EU growth strategy for the next decade, that envisions an intelligent, sustainable and inclusive economy. Horizon 2020’s goal is to promote research and development on a European and Global scale by overcoming obstacles

that impede the private and public sector’s growth. The program is open to all: small and medium-sized businesses, universities, technology sector companies, research institutes, individuals in the research field, etc. Among its primary objectives, the Horizon 2020 programme takes a look at the challenges that society is faced in the areas of health and demographic change. The challenge is to improve the health and well-being of the individual throughout life. It is therefore crucial to understand which types of housing, transport and urban design policies are the most effective in ensuring the independence and autonomy of the population despite aging. Quality of life is heavily dependent on the physical environment, which is shaped by a complex mix of factors throughout history. These include a system of local and regional planning and policies, the design and adaptability of residences and the transport system, the availability of assistive technologies, individual housing or urban level. as these can be developed in a coherent and economically viable way.

Figure 20:DEBATER LISBOA - CASA DA CIDADANIAA NOVA FACE DA COLINA DE SANTANA 10-12-2013 NOTICIA E INFOGRAFIA DN , DN

Figure 21:ESTAMO MASTER PLAN FOR THE COLLINA INES LOBO ARQUITECTOS

ESTAMO PROPOSALS

After the implementation of the new territorial plan, several institutions have jumped at the opportunity of redesigning the spaces of the former hospital/convents, one that stands out being the real-estate group Estamo that with Ines Lobo as head propose an upgrade plan for the whole Collina. The group have bought six ex-convent complexes between 2008 and 2010, out of which five are ex-hospitals, three of them still in activity. The price came to a whopping 125 million euros, and an individual plan has been developed for each of the sites bought. The plans mostly consist of reconverting the hospital structures into either a residential building or a hotel. The impact of the projects is still debated, mainly since, in their proposals, the focal point was to address the needs of the private sector, while mostly disregarding the public sector and the heritage of the sites that are being looked at, an obvious conclusion from their master plan. This was likely another one of the triggers of the citywide debate. By an extensive analysis of the Estamo project, we notice a significant demolition percentage, most of which are then to be replaced by luxurious hotels or residential quarters, that completely miss the mark of the territorial organization planâ&#x20AC;&#x2122;s guidelines for the area.

Figure 22: UNIT 1. HOSPITAL SAO JOSE ESTAMO PROPOSAL, TERESA NUNES DA PONTE ARQUITECTOS

U1. HOSPITAL SAO JOSE

COST: 40 million euros as of 2009 TOTAL SURFACE: 50381 m2 BUILT UP AREA: 5234 m2 DEMOLITIONS: 29600 m2 RESIDENTIAL AREAS: 31355 m2 COMMERCIAL AREAS: 5507 m2 COLLECTIVE SERVICES: 20344 m2 PARKING SPACES: 16527 m2 PRIVATE SPACES: 3848 m2

Parallel to the conservation of existing buildings, previously described in the Conservation and Demolition Plan, the proposal devises the creation of strips of essentially residential character that respect the secular spatial organization of the site. These strips extend north-south, parallel to the college building, with slight inflexions in the sense of creating approximations to the remaining constructions that are preserved, and that present twists resulting from their integration in the surrounding streets, as is the case of the building facing the Rua do Instituto Bacteriolรณgico. Construction strips flank the north-southfacing roadways and form major axes, interrupting the definition of lines of view in the transverse direction, East-West. They also make the transition between terrain squares, adjusting and modeling the existing topography, in both directions. The buildings have dimensions that intend to approach the extension of the Nascent facade of the college, taking up, although modestly, its scale. Regarding the heights, the construction does not exceed the height of the college, having a maximum of 6 floors. Its coverings accompany the slope of the terrain, reducing the height by modules, both to South and East.

Figure 23:UNIT 2 HOSPITAL MIGUEL BOMBARDA ESTAMO PROPOSAL, BELÃ&#x2030;M LIMA ARQUITECTOS

U2. HOSPITAL MIGUEL BOMBARDA

COST: 25 million euros as of 2009 TOTAL SURFACE: 44633 m2 BUILT UP AREA: 24272 m2 DEMOLITIONS: 11877 m2 RESIDENTIAL AREAS: 31578 m2 COMMERCIAL AREAS: 6336 m2 COLLECTIVE SERVICES: 4101 m2 PARKING SPACES: 22692 m2 PRIVATE SPACES: 0

The current proximity of existing buildings to the convent fence provokes in the proposal a move away from the new buildings, generating, along this limit, a buffer area of public access, green tree drapes, arched viewpoints with the lower levels north of intervention area. The new urban meaning of this space for Lisbon is rooted in the connotations of the times by the philosophy and the history of the place in the reinterpretation of inheritances and values. The building of the Historic Hospital, now already disaffected, would be converted into a hotel, integrating, among other things, the Balnearo and the Office where the doctor Miguel Bombarda died. Properties classified as protected will be retained, while the others will be demolished. The Panoptic retains its museum function, the new residential edifices will be four stories tall with a seven-story tower.

Figure 24:UNIT 3 HOSPITAL SANTO ANTONIO DOS CAPUCHOS, INES LOBOS ARQUITECTOS

U3. HOSPITAL DE NOSSA SENHORA DO DESTERRO

COST: 28.7 million euros as of 2009 TOTAL SURFACE: 31956 m2 BUILT UP AREA: 31300 m2 DEMOLITIONS: 23636 m2 RESIDENTIAL AREAS: 25972 m2 COMMERCIAL AREAS: 7087 m2 COLLECTIVE SERVICES: 7998 m2 PARKING SPACES: 16310 m2 PRIVATE SPACES: 0

The program that is intended to be implemented in this area has a predominantly housing component, associated with areas of commerce and equipment, but mainly focusing on the functional reconversion of this spatial unit, establishing residents in this privileged area of the city. This operation is associated with two other similar operations in Colina de Santana, which have similar program objectives Hospital de S. JosĂŠ and Hospital de Miguel Bombarda - so that, overall, this global operation will have the capacity to effectively carry out the functional reconversion of Santana Hill, introducing new ways of inhabiting this territory. It will be a place with a huge daytime load, derived from the existence of many hospital equipment on the Hill, for a more homogenous use associated with the housing function in the area.

Figure 25:UNIT 4 HOSPITAL DE NOSSA SENHORA DO DESTERRO ESTAMO PROPOSAL, BAK GORDON ARCHITECTS

U4. HOSPITAL DE NOSSA SENHORA DO DESTERRO

COST: 9.2 million euros as of 2008 TOTAL SURFACE: 12617 m2 BUILT UP AREA: 19660 m2 DEMOLITIONS: 8866 m2 RESIDENTIAL AREAS: 4512 m2 COMMERCIAL AREAS: 0 m2 COLLECTIVE SERVICES: 107 m2 PARKING SPACES: 4778 m2 PRIVATE SPACES: 10794 m2

With the identification of the qualified and unskilled architectural heritage, it was possible to establish a demolition plan to clarify the territory and to calculate, from the instruments available in the PDM, the Pavement Surface that can be built there. The presence of the monastery is striking and unavoidable as the epicentre of the entire operation, despite being an unclassified building. The Estamo project proposes, once more, a residential function. However, the definitive version comes from Bak Gordon Architects, that also provide a co-working function for the larger spaces and temporary housing for the rest. It is the only one of the sites that work has already begun on.

Figure 26:UNIT 5 HOSPITAL SANTA MARTA, ESTAMO PROPOSAL, ATELIER BUGIO

U5. HOSPITAL DE SANTA MARTA

COST: 17,9 million euros as of 2009 TOTAL SURFACE: 18233 m2 BUILT UP AREA: 24300 m2 DEMOLITIONS: 9882 m2 RESIDENTIAL AREAS: 10708 m2 COMMERCIAL AREAS: 1937 m2 COLLECTIVE SERVICES: 1585 m2 PARKING SPACES: 4332 m2 PRIVATE SPACES: 12834 m2

In the context of a dynamic focused on pedestrian circulation, the dissemination of an inclusive mobility and the motivation of using public transport, to the detriment of individual transportation, it was considered important to re-establish accessibility between the lower part of the hill defined by the contiguous streets: Santa Marta, São José and Portas de Santo Antão and the high point of the Martyrs Field of the Motherland. The proposal for the Santa Marta is the to convert the historic convent into a hotel that will seize the former church space in its layout, while the other buildings will face demolition. In place of the back buildings, a garden will be marked out that will be handed over to city custody, while the main built unit will be a residential L-shaped block. It is also proposed to create new paths to increase the pedestrian mobility between the low and high part of the hill, with the positioning of a new elevator connecting the streets of Santa Marta and Luciano will also be included.

PROJECT BASIS

Figure 27:HOSPITAL SANTA MARTA, CHURCH ENTRANCE, PERSONAL PHOTO

SANTA MARTA | FRAGMENTED EVOLUTION

Between the Middle Ages and the Seventeenth Century, the convents were marking nodes of urban growth in Lisbon, as well as the first to be built outside of the Fernandina Wall. Out of the 88 convents, 68 still stand today, and special attention is paid in recent times to 7 of these, on the Sant’Ana Hill. All of these seven convents have had their function changed into that of a hospital after the extinction in 1834 of religious orders. (Caeiro 1989) According to Caeiro (1989, p.11), the convents served as “centers of religious, civil and artistic life”. They were the ones who promoted the settlement of people, strengthened public wealth, and with their studious nature, conservatories and libraries have acted as important keepers of legacy and history. Often accompanied by schools, hospitals, places of worship or pilgrimage, the character of the places where they were established was marked by the conventual presence. Streets and areas were named after the convents that rose on the spot; the fact that the Convent of Santa Marta became a toponym for the street it has its main façade towards, demonstrates the impact it had on the identity of the neighborhood and area of the city. In a time where the area was mostly farms and orchards, the Rua de Santa Marta

was one of the main access roads towards Lisbon. The Convent itself was growing alongside these farms, with buildings being added as well as backyards and walls, that shaped the site into its present iteration. The medieval axis of the streets of Santo Antão - São José - Santa Marta - São Sebastião was however changed with the opening of the Avenida da Liberdade in 1885, that gave rise to new urban concepts, and relegated the medieval axis towards the background, making way to the then modern, bourgeois city and its growing traffic. Paradoxically, instead of being abandoned, the axis welcomed between 1890 and 1925 a new addition: important urban equipment was installed that connected the past and the present. The narrow streets welcomed new faces like that of the Santa Marta Hospital. A diversity of urban equipment such as commercial institutions, housing projects, small offices, theatres and clubs now invited all social classes to enjoy what the city had to offer, each of these having their own take on the urban space it encompassed. (Villaverde n.d.)

84 General Map of the city of Lisbon 1785

Map of the city of Lisbon 1904-1911, Silva Pinto

Map of the city of Lisbon 1856-1958, Filipe Folque

Figure 28:MAPS FROM 1785 TO 1958 SHOWING THE EVOLUTION OF THE SANTA MARTA CONVENT

CHRONOLOGY

Asylum of Santa Marta Foundation The site of the present-day Hospital of Santa Marta was first occupied by an asylum for the daughters and widows of the servants of the king D.Sebastião in 1576 and victims of the plague that devastated Lisbon in 1569. The reconversion project for the asylum first began in 1580, shortly after the ascent of cardinal D. Henrique to the throne. The construction began in 1587 with the project by Nicolau Frias and contributions from D. Helena de Sousa towards the main chapel. Her donations also provided funds for the acquisition of several neighbouring lands (still delimited by the convent today). In exchange for her generous patronage, the countess demanded a house on the sacristy and the opening of a rostrum to attend the liturgical functions. Towards the end of the seventeenth century, D. Catarina de Bragança also requested an opening to be able to attend the liturgical acts from the Palace of the Condes Redondo. The first expansion of the convent thus dates between 1616 and 1632, when Pedro Nunes Tinoco took over the project and conferred it the style that is recognizable to date. Starting with the body of the church, low choir and conventual premises (vestry, lavatories, wheel of the settlers, dining halls, etc.) work began on was to be the new modernised building. The res-

toration of the church was completed in 1630, as can be seen by the inscription on its portal. Decoration and maintenance works, however, began only in the second half of the seventeenth century when the tiling lining and the carved works that adorn the church altar were installed, as well as the ceiling of the base-choir. The tiles of the cloister and adjoining facilities were most likely installed around this time. Design of the cloister, made in 1701 by Pedro Nunes Tinoco, Pedro Manuel Pereira and João Antunes, the latter of which designed the baroque art piece, central fountain and the baroque ornamentation pieces in the traditional mannerist scheme of the twentieth century . *

The Convent of Santa Marta The auxiliary buildings of the cloister were distributed around the convent area. Although the remaining complex tiling is not entirely original and some of it has been misplaced, the tile set that exists in the old church, on the ground-floor of the cloister, in the bass-choir and the concierge room of the Hospital originates from the first application in the seventeenth century, while that from the chapter room, is mostly from *

Veríssimo, Â. (s.d.). O Maneirismo em português, http://isa.utl.pt/ campus/3w_manei.htm “Mannerism is a game of codification of aesthetic and artistic recipes, with ambiguous solutions; is the convergence of different scales and the complexity of decorative rhythms; is the spatial ambivalence, the taste for the bizarre effect and play with the classical norms, being expressed according to the “way” of each artist”.

86 Figure 29:SECTION AND ELEVATION OF THE CHURCH. SIPA ARCHIVE CODE 00024100

the eighteenth century.

demic Hospital

The second expansion of the Convent complex was the dormitories. Constructed in 1719, they were located in the two upper floors, each with 48 rooms. Although information is not available regarding the specifics of the Santa Marta, it is thought that the rooms would have been common, where the nuns would have slept in a canopy on the ground. In other convents, the typological evolution of these rooms was into single-units, that later received a kitchen and living room, like those seen in the Convent of Santa Clara do porto.

In 1903, with the new health reform, the works to adapt the hospice into a hospital began, and the former convent became an annex of the Hospital of San José, works that definitively compromised the interiors in the adaptation of buildings to the treatment of venereal diseases.

Post the 1755 earthquake, the complex of the convent was badly damaged, and restoration works had to be undergone. Fortunately, until their expulsion from Portugal in 1834, this was the last hardship the Poor Clares (Clarissas) had to endure, this leading to the forced closure of the convent and placing it in the care of the State. The Hospital of Santa Marta Fifty years later, in 1889, following an influenza epidemic, the convent building was passed to the Brotherhood of the Poor Clerics (Clérigos Pobres), to serve as a shelter and hospice. The same happened to the other convents on the Sant’Ana Hill. Hospital for venereal diseases and Aca-

Two large pavilions were also erected, destined for the operating theatre, infirmaries and other medical utility rooms. In the front yard, facing the Rua de Santa Marta, the External Consultation building was erected, later on, in 1970, being rebuilt. The cloister body was also enlarged by one floor, and tiles made by by Vitória Pereira in 1906 were placed, trying to reproduce the design of the tiles of the ground-floor of the cloister. “In 1908, when the works were finished, this new hospital was one of the best and most equipped in Lisbon. It had 15 wards and 34 private rooms with capacity for 700 patients and all necessary support services for its proper functioning, namely laboratories, pharmacy, linen and kitchen. It was equipped with elevators and electric light, what for the time constituted a great innovation” (Veloso 1996, p38) In 1910, the hospital was transferred to the Medical-Surgical School of Lisbon and,

88 Figure 30:PERSPECTIVE OF THE RUA DE SANTA MARTA. SIPA ARCHIVE CODE 00526100

in 191, joined the Civil Hospitals of Lisbon (HCL). However, with the reform of 1918, the hospital returned to the possession of the Faculty of Medicine of Lisbon, and in 1922, acquired financial and administrative autonomy. The church was then ceded to the hospital in 1927, devoid of objects of worship, these having been relocated to other churches (CortesĂŁo 1995, 66-71). The nave of the church then becomes the archival space for the hospital. Later on, in 1970, in an attempt to create more archival space, a row of houses was demolished and a new building erected, unfortunately to no avail, as the space proved insufficient. The nave continues to serve as an archival storage space. Civil Hospital With the transfer of the Faculty of Medicine to the Hospital of Santa Maria, in 1953, the Hospital of Santa Marta was again delivered to the Civil Hospitals of Lisbon, a hospital group of which it is still part. In 1996, the church was classified as Special Protection Zone, and the original ceiling of the chancel was discovered after restoration work.

Figure 31:HOSPITAL SANTA MARTA, CONVENT CORIDOR, PERSONAL PHOTO

FRAGMENTS OF MEMORY

The convent and the hospital “The convent church with the choir; the cloister on the ground floor where rooms for other community acts were opened; the chapter room for the solemn meetings of instruction and correction, from which the library was usually erected; on top of it, all the way around, the dormitories ran, with individual cells; around the building, there were the fields for recreation and cultivation. “ (Matela 2009, p35) Founded in 1212 Italy by St. Francis d’Assisi, the Poor Clares (Clarissas) were a group of mendicant order of the Friars Minor, better known as Franciscans. On Portuguese soil, the first convent built for the order was in Lamego in1257, totalling in their heyday to 76 convents. The life of the Poor Clares is an adoration towards the Blessed Sacrament through prayer, contemplation and fieldwork. Their lifestyle is perfectly mimicked by the spaces they reside in. The monastery of the order is distinguished by the simplicity of the exterior spaces while the inner spaces are that of exuberance and higher quality. The seclusion of the order is reflected in the ground-floor: it is closed to the outside through the solid materiality of stone, while entrances are not perceptible. The upper floors were those of sight and contemplation, in wooden, lighter floors.

Taking in consideration the concept of Genius Loci (Norberg-Schulz 1980), it can be seen that, in the interior spaces, by their size and height in relation to the pavement, the presence of light was tenuous and distant, appealing to the closure and to the connection of the interior more so to the sky than to earth. In the contemplation of the divine, they also noticed that, through light, the isolation of the whole complex and its activities in relation to the exterior fence and in relation to the urban surroundings becomes evident. The spatial organization, due to the uniformity of religious life in strict communal order, the Convent of Santa Marta maintains the characteristics of most convents, although different in architectural style between each other, by having the Cloister, its dependencies of the convent towards the north south and east wings, the church occupying the west wind, etc., a very typical layout. Having undergone several changes in values, the cloister remains by its formal unity, despite most of its dependencies being unobservable today. Nevertheless, through a research in the history of the convent of Santa Marta and consultation of existing documents, we can get a clear picture. The refectory, now gone, was located on the ground floor opposite the church façade, to decrease the proliferation of

Figure 32:HOSPITAL SANTA MARTA, CONVENT GARDEN, PERSONAL PHOTO

odours. The ceilings were vaulted and white, with tables running alongside the walls. The pulpit was located on the side walls for reading during meals. The kitchen was connected to the dining room by a span or a wheel. They were usually tall, square and vaulted, in stone or brick. In the case of the Santa Marta Convent, as in many others, there were two kitchens. They were organized with an oven in the middle and with fireplaces in all four corners, as visible in the convent of Santa Clara-a-Velha. It was also built in the corner of the convent, to be near the water supply and vegetable gardens. In addition to the spaces now defunct and void of memory, other cloister rooms are conserved and reused by the hospital. The chapter room, where the weekly meetings of the Clarissas were held, is now the Hospital Chapel. The church, although currently archival storage space, remains intact and retains its original access to the exterior, which is raised by two symmetrical flights of stairs parallel to the façade. The cloister structured the whole organizational system of the monastery, materializing the idea of freedom inside the cloister, that of paradise on earth, in an environment of silence, meditation and recollection, in which water assumed a role of fundamental transport of bright-

ness, in communion with nature, in the hortus conclusus . The idea of recreating and interiorization of Paradise, a utility garden protected by a fence, without connection to the outside world. *

The monastical settlement varies not by the place they occupy but by the monks use of them and their proximity to water, in the definition of the paths and function of the spaces, according to necessity. The fields were places of recreation and cultivation, where “monks cultivated not only the plants which were to produce the flowers for the ornamentation of the altars, but a whole complex of medicinal and aromatic plants from which they were to extract the simple ones for the pharmacy of the convent “ (Araújo 1962) “The Sant’Ana Hill was the largest and most important set of medical and health heritage in our country. (…) In addition, the Hill was also the place where the teaching of medicine was born in Lisbon (…) As a group of about twelve heritage units, the Hill preserves the memory of this long history whether in magnificent buildings, many * Hortus conclusus is both an emblematic attribute and a

title of the virgin mary in medieval and renaissance poetry and art, suddenly appearing in paintings and manuscript illuminations from about 1330, as well as a genre of actual garden that was enclosed both symbolically and as a practical concern, a major theme in the history of gardening.

Figure 33:HOSPITAL SANTA MARTA, CONVENT CORRIDOR, PERSONAL PHOTO

rare in the European context, or in the vast collections of scientific instruments and equipment, anatomical waxes, sculptures, archives and libraries and a unique tile heritage in the countryâ&#x20AC;? (ICOM-Portugal 2011) For nearly three decades, the Medical School of Lisbon hosted in the Santa Marta convent had the best doctors and received some prestigious figure (such as Egas Moniz , who worked there for 37 years). Although the structure was purely conventual at start, its iteration as a Hospital created a history not only in the Conventual timeline, but also a marking its place on the Santâ&#x20AC;&#x2122;Ana Hill, constituting the identity of the place that should occupy its rightful place in the rehabilitation of the complex. **

Evolution and conservation A site that began its five-hundred-year life span as a Convent, with iterations that were specific to the zeitgeist of each time, not always respecting architectural form or the pre-established social and cultural meanings, but with a higher awareness of each iteration with the rehabilitation work of the following. (Cesari 2006) states that all ** Egas Moniz recieves the Nobel Prize in Medicine and Physiology in 1949; made the first cerebral angiography of the world (visualization of cerebral vessels) and the first lobotomy, and the instruments that he used are still stored today in the Chapter Room (Sala do CapĂtulo) of Santa Marta Hospital.

work regarding restoration of an art piece must be done without erasing the traces of the passage of time, without committing false artistic or historical conservation. Observed in the International Letters for the Restoration of Historical Monuments, conservation is a discipline of evolving values through its life-span, and should be done with the protection of the jurisdiction it falls under. The convent, with its remarkable isolative quality and the implementation of the activities of the space, where only vegetable gardens and orchards existed, was, since its first occupation by the young women and widows, a place of meditation. The gathering, the communion with nature, the gardens and the enclosure had made it a place that turned the inhabitants towards the religious denomination it belonged to. From the perspective of urban morphology, however, the site is now surrounded by a complex urban fabric, isolating it from the rest of the city. The transformation now needs to propose a solution for the recovery of past values as well as the addition of new values that propel it to the present. With the previous historical analysis in mind, the understanding of the importance of spaces, the evolution of the construction

Figure 34:HOSPITAL SANTA MARTA, CONNECTION BETWEEN CONVENT AND HOSPITAL AREAS, PERSONAL PHOTO

of both the convent and hospital complex, the sentiments they evoke, will now better allow us to requalify the architectural complex, not only from the perspective of present values but also from the memories of the culture that existed. (Coelho 2010)

98 Figure 35:AXIS ELEMENTS (HTTPS://GHARPEDIA.COM/IMPORTANCE-OF-AXIS-IN-ARCHITECTURE/)

ARCHITECTURAL PRECEDENCE

“In the cities one can find buildings of perfect architectural design, perfect in their proportions, in the materials used; buildings that mean something because they are more than a mere interpretation of a building type or of a function.” (Fiorese, Ferro and Pallini 2012) Le Corbusier notes that “geometry is the language of man” (Corbusier 1989, p72). With that consideration, the geometry as language means that form is vocabulary. Architects have always used the poetic approach to this language of shape, with success directly depending on the coherence of their sentences and correctness of their well selected vocabularies. Several key geometrical features come to mind. AXIS Used to align elements in both design and geometry, an axially arranged design pleases the human eye and conveys order, making the subject look more stable, comfortable and approachable. By surrounding the edge of an axis with well-defined elements, we can reinforce it. This is obvious in structures like urban grids, street patterns, rows of housing, etc. The fortitude of the shape and its visual cues are reinforced by the elements that flank it.

Movement can also be implied, as the human eyes has the tendency to follow visually a pattern or direction. When viewing the endpoints of a street, the way in which this particular endpoint is defined will signal either a place to stop or a new start, and will move the onlooker towards or backwards. If an endpoint is undefined, however, the onlooker will most likely follow the axis until a destination is reached. The concept of an undefined endpoint, in architecture, is quite common, as an architectural design is not likely to go on for an indefinite space. Several methods of attracting attention to an axis can be seen in the architectural form: “Gateways that open outward a view or vista beyond.”(1) “Points in space established by vertical, linear elements or centralised building forms.” (2) “Vertical planes, such as symmetrical building facades or fronts, preceded by a forecourt or similar open space”.(3) “Well-defined spaces, generally tralised or regular in form.”(4)

cen-

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Figure 36:SONSBEEK PAVILION IN ARNHEM, ALDO VAN EYCK (1966)

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THE WALL One of the noticeable features of the Santa Marta Hospital complex is its imposing fence, that compliments the thematic of the wall. The structure generates an interval that both fragments and unifies the complex with the surrounding fabric. While working on the permeability of the site, the links between the fence and the top-ic of the wall have been allowed to emerge, as a space that will be once more offered to the community. In the collective mindset, the “wall” has often a pejorative connotation, that of a rupture, restraint and con-finement. However, throughout history, another meaning has been attached to the negative “absence of freedom” one: that of the wall as an element that establishes a set of relations more complex than those of a simple division. In her book “Le mur un itinéraire architectural”, Évelyne Péré-Christin reflects on how walls express the life of the everyday man, his beliefs and aspirations, while simultaneously possessing a singular material identity and a complex symbolism. The most common elementary form of spatial organization that humans use it the drawing of a wall. The wall names, orga-

nizes and structures the surrounding site, it’s main functions being that to delimit, protect, enclose and sustain. (Péré- Christin 2001)The act of delimitation is the most elementary function of a wall. It constitutes and hierarchizes entities, and societies organize themselves in relation. The simple fact that the wall delimits the spaces will differentiate them and identify them, generating points of reference for social practices. The wall establishes relationships between the individual and the community, and between the nearby compound and the extended territory. Playing with proximity, absence and presence, interior and exterior, known and unknown, the wall defines differences in state, between what is on one side or the other, sustaining the difference it creates. Walls are seen as limiting: to construct a wall is to establish a boundary, but for Heidegger, the limit is not the end of one thing, but the exact opposite, where the essence of things begins. For Van Eyck, the wall has “the capacity to re-establish the connection between all the polarities of reality.” (Strauven 1998, p. 256). In Complexity and Contradiction, Venturi presents elements that are “double”, that allow the inclusion of uses and the various systems, that are neither one or the other (structural, formal, spatial and functional). He is interested in examples where “continuity of space” by the manifestation of contradic-

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Figure 37:BELVEDERE COURT IN THE VATICAN PALACE BY DONATO BRAMANTE (1444-1514).

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tions. (Venturi 1966)

HORTUS CONCLUSUS By definition, gardens are safe havens, places of tranquillity, order and pleasure in a chaotic world. â&#x20AC;&#x153;Places where nature is at once excluded and brought into view in water and coolness, fertile ground and a fine prospect. At times, these two worldsthat of the unworldly ideal and that of the real landscape- come together, as in the enclosed garden, the hortus conclususâ&#x20AC;?. (Aben and de Wit 1999) In spiritual terms, both religious and philosophical, the garden was a space for interiorization. The spiritual dimension was explicit in discussing and planning the space of the garden. Spiritual refreshment is still a role of gardens today. An interesting example is the Belvedere Court in the Vatican Palace by Donato Bramante (1444-1514). The project was designed with a great empty court at the lowest level, an open-air theatre, connected by stairways to two higher levels of the formal gardens with box-outlined parterres and fountains. The point was to create a great vista: the stairs and the gardens, combined, created a view that moved the eye over the whole garden complex, creating the sensation of a great construction, impressive by both scale and taste,

the best view, however, is from the papal apartments. The project uses the newest innovation in the visual arts in the period of the Renaissance: linear perspective. The complex is meant to be experienced as a Renaissance painting. (Cunningham 1996) Another garden also stands out in the Belvedere Court, the enclosed garden. It was the first of many statuary gardens, but it was never to be excelled, as it held some of the most important and beautiful statuary art that had been recovered from the ancient world. These two are a perfect example of walls playing with perspective and gardens, all elements combining to create spiritual exaltation. Bramanteâ&#x20AC;&#x2122;s project, however, was never fully finished according to his design, and the higher gardens were later appropriated to build the Vatican library. The contemporary city is an impenetrable fortress of chaos; while the medieval societies had to deal with the chaos of nature, the present-day population deals with a jungle of its own making. The hortus conclusus appeared as a defence mechanism of the medieval society against the unruly powers of nature a way of having greenery with nature shut out. The introverted space of the hortus conclusus evokes a different passage of space and time, nature and culture, paradise and everyday life, separate from the

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Figure 38: GENERATORS AND TRANSMITORS, APPEARANCE OF SPATIAL FORM

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urban struggle. It is, however, a paradox, both infinite and finite. Corporeality, light and space form the intention of the space. The meaning of the designer is evident when these elements are included in the spatial division/adition, and their use is in pleasure not purpose. Coherence of sequence, however, is required. â&#x20AC;&#x153;The hermetic world of the labyrinth, where the very limitations imposed by space offer freedom is the same as that of the enclosed garden which, in its finitude admits infinity, freedom in constraint. The enclosed garden can be conceived as a microcosmos.â&#x20AC;? (Aben and de Wit 1999)

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CONNECTIONS

GENIUS GEIST

LOCI

AND

ZEIT-

Genius Loci is a term that translates to “spirit of place” and means, according to Norberg-Schulz (1980, p.5), to understand each place as unique, containing elements that characterize it, identify it and distinguish it from other places. The feeling of belonging to a place presupposes the internalization of these factors, which will be stronger for man the more characteristic the place is “to gain an existential foothold man has to be able to orientate himself; he has to know where he is. But he also has to identify himself with the environment, that is, he has to know he is a certain place.” (Norberg-Schulz 1980, 19) An architecture that pursues the Genius Loci, the function of the architect is to intervene to continue to allow the understanding of the place, allowing man the ability to truly inhabit it. As Norberg-Schulz (1980, p. 23) points out, it is the architecture that formalizes the spirit of the place, Architecture comes into being when a total environment is made visible” and for this purpose to be considered what has already been done, analyzing the buildings and the characteristics of the place. The German word Zeitgeist literally means “the spirit of time” or the “spirit of the age.”

It is defined as the spirit of a given time, the set of cultural, intellectual, ethical, spiritual and political climate of a nation or a set of groups (Architecture Dictionary). The concept was first referred to in the work of the philosopher Christian Adolph Klotz by Genius Saeculla, Latin term that is translatable by “Genius” - “genius” or “guardian spirit” and “Saecula” - “of the century.” Developed by Johann Gottfried Herder and other Romanesque Germans, such as Cornelius Jagdmann, the concept becomes better known in Hegel’s work. However, it is Herder who, in 1769, introduces the name as we know it today, Zeitgeist. The Genius Loci defends the permanence of historic structures as well as the continuation of their functional characteristics for the new constructions, both fundamental concepts for the construction of the identity of a place, of cultural representation of a time. Throughout the history of architecture, there has always been a typical, unitary and therefore unique manifestation of the organization of each time and place, a manifestation of the Zeitgeist, a spirit that seeks to characterize events of a certain time and to which architecture seeks to characterize physically. The Zeitgeist seeks the transformation and identity of an epoch as a response to the

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problems of today’s society, and architecture, like all disciplines, has always had this connection with the concept of transformation. However, unlike Zeitgeist, the Genius Loci concept argues that these architectural constructions should conform their surroundings, establish order, while in Zeitgeist this factor is not mandatory, each building being able to act individually and independently of the urban surroundings. Both stances affirm the importance of the primary elements, though. They act as icons of a city, which, more than a function, represent a history of a place, that in turn symbolizes the spirit of a time. These primary elements are seen as points of reference in time, an emergence of value of the city, as well as being the main responsible for generating urban ambience. The interactions that each individual establishes with the architecture is what creates this ambience. When rehabilitating structure, assuming the reconstruction of these primary elements of old values is somewhat controversial. Lynch (1972, p.37) states that there are three ways of intervening on a place, namely: preserving what has not yet been destroyed with minor repairs, trying to represent what previously existed using the

same materials and lastly eliminating the monument. “(...) the patina of time can be preserved, imitated or eliminated.” Respecting the history of the place is not only related to the aesthetic values of the building, but also to the response to the present of a society, to political, economic or social values, valuing the city and encouraging its transformation, the implementation of new architectures that respond to the current problems of society (Eisenman, Latenness and the end of the crisis, 2010). Choay (1996, p228-323) refers to the six possible asset valuation operations: a) Conservation and restoration: basic operation that guarantees the continuity of assets; b) Staging: According to the author, Viollet-le-Duc and Sitte considered the foundation of urban art; defended the presentation of the monument as a spectacle, and it should be made known to the most favored way, through the nocturnal illumination, making the building seem “to shine eternity”; c)Animation: function that the building entails and also contagious urban life in its transporting this activity to the outside of the building;

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d) Modernization: like the staging, it distracts attention, inserting the present in the past, but in the form of a constructed object and not a spectacle; modernizing is then understood as putting in the body of old constructions a regenerating implant; e) Monetization: evaluates from the rental capacity of the building to its use flow, fundamental factors to keep alive the spirit of the monument; f) Delivery: the profitability of the building depends more and more on the easy accessibility, such as proximity to public transport, existence of parking lots or streets with easy access. It is therefore important that heritage be integrated into the context in which it is inserted, symbolizing its relation to the present life. To isolate or “liberate” a monument eventually means, in most cases, to mutilate it. As a rehabilitation project, ancient urban settlements require conservation and restoration procedures, and must also incorporate the character of “transformation” that transports the building to the present time. The intervention must be guided by a critical value judgment, an awareness of the importance of matter, which can not be an individual process but a collective interest.

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COWORKING CENTERS

AND

STUDY

Due to the rise in free-lancing and the focus of groupwork in most modern universities, the necessity for a new type of space had arisen. In 2006 the first co-working dedicated spaces appear, and by 2015 they doubled in number each consequent year. Credited with starting the movement is Brad Neuberg, with his San Francisco based “Citizen Space”. Neuberg decided to combine the independence of freelancing with the community of an office space, and then invented the term “coworking”, with no hyphen. Most coworking spaces though, were popularized by the Internet Nomads, entrepreneurs in the IT environment, seeking an alternative to working in coffee shops or to being isolated in the privacy of their own homes. However, coworking is not only about the physical place, but also establishing a community. Real-estate centric coworking space are about selling the desk space, and building a community is a secondary goal. The targets of said spaces are freelance professionals, remote workers, and small to medium enterprises (SMEs) who need a space and seek a community with a collaborative spirit. Customers also often

benefit from professional services such as printing or incorporation or consulting. Since Neuberg’s started the movement in 2005, San Francisco continues to be one of the biggest hubs for coworking communities and places. The demand for such spaces is almost never ending due to the rise in the Millennial workforce, where one in 10 workers work from home, either full time or part-time. In Europe, the first coworking space opened in 2007 in Marseilles, France, called la Boate. Two more opened a year later in Paris: la Cantine and la Ruche. The UK however, is the most representative European country to the idea of collaborative working spaces, with its central hub of London. “The city leads the coworking market not only for the large number of coworking places it offers but also for the variety of places that exist to fit the differing needs among start-ups, entrepreneurs and freelancers. Camden Collective is a regeneration project in London that re-purposes previously vacant and underused properties, and opened its first ‘wire-less wall-less’ coworking space in 2009.” (Financial Times n.d.). Continental Europe is also catching up, most noticeably in Berlin, the newest start-up metropolis. These kind of working spaces are not, however, limited to big cities, as smaller urban

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areas with many young creatives are following the lead of the capitals. Most noticeable is the presence of such spaces in university cities. Cooperations between coworking spaces and academic environments are focused. (deskmag 2013) In the context of the Santa Marta Convent/ Hospital, its proximity to the UAL (Universidade Autonoma De Lisboa), the Nursing School (Escola Superior de Enfermagem São Francisco das Misericórdias), both attached to the site and the CECOA (Centro de Formação Profissional para o Comércio e Afins), make it a perfect choice for a coworking space, while also playing upon the historical timeline of the unit first a convent, then a hospital, then a teaching hospital and now a hospital again, only to be transformed into a working/teaching environment once more. The convent building is especially well suited for these kind of activities, as the nuns had already partitioned the upper floors into dormitories, that with new considerations and alterations, can be changed into smaller open offices, while keeping he memory of the space, solidifying their presence in the unit.

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WORKSHOPS A big part of coworking spaces and environments is community and having a desk, but another less talked about aspect is the freedom of space. To this extent, in the old Edificio do Coracao, a workshop environment is proposed, where layouts and functions are interchangeable and adaptable to the people renting the units. Workshops started with the Industrial Revolution era, where a workshop was a room, rooms or a building that provided both tool areas as well as machinery areas, and were the only places of production until the advent of industrialization and the development of larger factories. Recently, attention has been called by historians to the significance of the workshop as a space, as something more than a geographic entity and physical objects. In a historical sense, space also entails specific places where people work and live. A consensus among historians is that experts played a key role in creating places of such nature, because they possessed the necessary knowledge. Their proposals and plans defined spaces of work, delimited their boundaries and defined their inner order.

Until the late 19th century, it was mainly construction managers that and engineers who influenced the form and appearance of said spaces, but immediately after WW 1, architects that had been academically trained started to demand a say into the workshop spaces. The paradigm shift is embodied in projects such as those of Walter Gropius, Adolf Meyer and Albert Kahn. The work of these architects corresponded with new scientific management theories such as Taylorism and Fordism, which placed a great deal of emphasis on the organization of spaces. The principles of modern architecture and the new economy of space soon expanded beyond the realm of industrial buildings. The goal now is to achieve a workspace where students and professionals are to engage each other, help each other, and inspire each other while working.

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FINAL CONSIDERATIONS

When considering the fragmented history of most buildings, we realize their memory is closely tied to their identity. With various interventions, buildings, like cities, are the scene of numerous events and turning points, cultural beliefs as well as social practices. All these combined, result in several temporal fragments that do not allow an immediate distinction from place to place. In this way, if restoration of homogeneity in architecture is not possible, rehabilitation should seek to enhance the identity of the place in the singularities of the urban events where it operates (Genius Loci). At the dawn of rehabilitation of the spaces, one must take in consideration and reflect upon the empowerment that can be given to these historical structures. Transformation should not be taken on as merely a material consideration, the physical restoration, but also as a cultural construction for contemporary reality. As discussed, architecture must be seen as an opportunity to create the experience of space, culture and customs, with the enrichment of urban activities and ambiences while intensifying local practices. Located in the center of Lisbon, the enclosure of the Santa Marta hospital, that will soon cease its hospital activity, should, through a greater connection between its historical values and adaptation to the

present physical structure, consolidate a fragmented area. The proposed Coworking and Study center transforms the former occupation in contemporary, spatially appropriate usage, while brining value to the city and intensifying the urban experience and the identity of the place of Santa Marta.

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Figure 39:PISCINAS DAS MARES (1961-1966), ALVARO SIZA

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PROJECTUAL REFERENCES ALVARO SIZA Piscinas das Marés (1961-1966) Critical opinion of the work Las Piscinas das Marés are born to generate a safe bathing point in the tourist area of Leça da Palmeira. The program is summarized in a line built with cafeteria, changing rooms and bathrooms, next to two swimming pools, children and adults. The first part is arranged linearly parallel to the road of the beach, perceived as an alteration of the parapet that separates sidewalk and rocks. The descending access leads to a succession of shaded spaces, where there are changing rooms and toilets. This penumbra marks with its strong contrast the transition between two spaces of clarity, the road and the pool area. These spaces of darkness have an enormous sensory unity; the coarse materials - concrete and tarred wood - the dimensions - low ceilings and narrow corridors with the most concrete and thoughtful slits of light, give rise to shady but deeply welcoming spaces, perhaps in contrast to the vast external clarity, perhaps by analogy with the first inhabited caverns. With the exception of the cafeteria, all the walls are arranged parallel to the urban road, preventing any vision of the landscape, until it is in the landscape itself. The building fulfills its function and the landscape is enjoyed from within, from the

landscape itself -as it enjoys such an opportunity.

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Figure 40:CONGRESS BUILDING BY ALDO VAN EYCK IN ALDO VAN EYCK: WORKS, VINCENT LIGTELIJN (ED.) 1999, P. 115

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ALDO VAN EYCK Van Eyck’s thinking fundamentally proceeded in terms of reconciling opposites. Throughout his career, he applied himself to the exploration and the relationships between polarities, such as past and present, classic and modern, archaic and avant-garde, constancy and change, simplicity and complexity, the organic and the geometric. The divergent appreciations of the authors appear to stem from their concentration on only half of these polarities, whereas Van Eyck considered them to be complementary. He saw that maintaining the dialectics of these opposing factions was a necessary condition for the development of a genuinely contemporary architecture.

As he explained at the final CIAM congress in 1959 at Otterlo, Aldo van Eyck intended his work to be based on three great traditions: the classical, the modern and the archaic. He visualized his credo with a striking two-circle diagram. In the first circle he characterized each of the three traditions with a fitting paradigm: the classical, ‘immutability and rest’, with the Parthenon; the modern, ‘change and movement’, with a counter-construction of Van Doesburg; and the archaic, ‘the vernacular of the heart’, with a Pueblo village. He held the view that these three traditions should not be considered mutually exclusive but should be reconciled in order to develop an architecture with a formal and structural potential sufficiently rich to meet the complex reality of contemporary life.

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REFFERENCES Aben, Rob, and Saskia de Wit. 1999. The Enclosed Garden. Araújo, Ilídio. 1962. Arte Paisagista e rte dos Jardins em Portugal. Lisboa: Direcção-Geral dos Serviços de Urbanização. Caeiro, Baltasar. 1989. Os Conventos de Lisboa. Sacavém: Distri. Camoes, Luis Vaz de. 1572. The Lusiads. OUP Oxford, 2001. Cesari, Brandi. 2006. Teoria do restauro. Lisbon: Orion. Choay, Françoise. (2013). L’allégorie du patrimoine. Seuil, 1996. Coelho, Alexandra. 2010. “O que fazer aos antigos hospitais de Lisboa?” Publico. 12 12. Accessed August 5, 2017. https://www.publico.pt/2010/12/12/jornal/o-que-fazer-aos-antigos-hospitais-de-lisboapatrimonio-20807483. Cortesão, L. 1995. O antigo Convento de Santa Marta. Monumentos nº2. Lisbon. Cunningham, Arthur. 1996. “The Culture of Gardens.” In Cultures of Natural History, by N. Jardine, J.A. Secord and E.C. Spary, 38-58. Cambridge University Press. deskmag. 2013. Will Coworking Spaces Be The New Classrooms? 30 01. Accessed 08 20, 2017. http://www.deskmag.com/en/will-coworking-spaces-be-the-new-classrooms-university-school-686. Financial Times. n.d. “London’s Camden reinvents itself as hub for emerging businesses”. Accessed 08 30, 2017. https://www.ft.com/content/2a843076-4a6f-11e5-b558-8a972297718 9#axzz3qWfNZuwH. ICOM-Portugal. 2011. “ICOM Portugal.” Preservação e Valorização do Património da Saúde na Colina de Santana, Lisboa. Accessed 2017. http://www.icom-portugal.org/multimedia/ ICOm-PatrimonioHospitalaJan11.pdf. Malcom, Jack. 2007. “Lisbon: City of the Sea : A history.” In Lisbon: City of the Sea, A history, by Jack Malcom. I.B.Tauris.

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Matela, Raquel. 2009. O papel dos conventos no crescimento urbano. Tese de mestrado. Lisboa: Instituto Superior Técnico, Universidade de Lisboa. Nobbs, Percy Erskine. 1923. “Architecture and Literature.” JAIA 11, September: 343-346. —. 1921. “The Architects: a Talk to Clients.” JAIA 9, July : 227-32. Norberg-Schulz, Christian. 1980. .Genius Loci.Towards a phenomology of architecture. Academy Editions. Péré- Christin, Evelyne. 2001. Le mur. Un itinéraire architectural. Editions Alternatives. Pereira, A.S. 2006. The Opportunity of a Disaster: The Economic Impact of the Lisbon 1755 Earthquake. York: Centre for Historical Economics and Related Research at York. Rossi, Aldo. 2001. A arquitectura da cidade. Lisboa: Cosmos. Seyffert, Oskar. 1904. A Dictionary of Classical Antiquities. Mythology, Religion, Literature & Art. London: Swan Sonnenscheim and Co. Lim . Silva, Lígia. 2009. A arquitectura dos conventos de clausura das clarissas em Portugal. Corunha: Universidade da Corunha. PhD Thesis. Strauven, Francis. 1998. Aldo van Eyck: the shape of relativity. Architectura & Natura. Veloso, Isabel. Barros, A.J. 1996. Hospitais Civis de Lisboa- história e azulejos. Lisboa: INAPA. Venturi, Robert. 1966. Complexity and Contradiction in architecture. New York. Villaverde, Manuel. n.d. “Rua das Portas de Santa Antão e a singular modernidade lisboeta.” Revista da História de Art, p. 143-144. 2017. Wikipedia. Accessed January 20, 2017. https://en.wikipedia.org/wiki/Lisbon#History.

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ANNEXES BOARDS 01_ LISBON Project Framework 02_EVOLUTION OF THE COLLINA ( boards A and B) 03_ESTAMO PROPOSALS 04_STATE OF THE ART 05_MASTERPLAN 06_PLAN COTA 52 07_PLAN COTA 49 08_PLAN COTA 32 09_ELEVATION AA, SECTION AA 10_ELEVATION BB, SECTION BB 11_Board Banners PHYSICAL MODEL

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