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The 28 tram path is the start to a wide reflection of its surrounding territory. The articulation with the built spaces, full of urban and architectonical references, and topography is undeniable. Also transports the symbolic value of modernity and progress it once meant, acquiring new meanings related to Lisbon’s urban image. The studied universe corresponds to the spatial succession in between Camões and Graça, along with its visual permeability.
The 28 tram path is the start to a wide reflection of its surrounding territory. The articulation with the built spaces, full of urban and architectonical references, and topography is undeniable. Also transports the symbolic value of modernity and progress it once meant, acquiring new meanings related to Lisbon’s urban image. The studied universe corresponds to the spatial succession in between Camões and Graça, along with its visual permeability.

As if a ramification of the 28 tramway it were, another route, conveniently named ‘Rua da Saudade path’, proposes a set of interventions – Archaeological Investigation Centre and Ruins Coffee House – in an attempt to resolve a vast patrimonial context. A wide reflection on the subject is, thus, the purpose of the present work.
As if a ramification of the 28 tramway it were, another route, conveniently named ‘Rua da Saudade path’, proposes a set of interventions – Archaeological Investigation Centre and Ruins Coffee House – in an attempt to resolve a vast patrimonial context. A wide reflection on the subject is, thus, the purpose of the present work.

For the Ruins Coffee House, an accessible platform was designed to provide shelter for the Roman Theatre testimonies and also to show some characteristics of its limits and proportions, based on the measure of what is thought to have been its height. The volume next to the Lóios wall allows access to the Coffee House, restaurant and accessible platform, at the same time it suggests the rings of the theatre’s benches, in a reference to its foundations.
For the Ruins Coffee House, an accessible platform was designed to provide shelter for the Roman Theatre testimonies and also to show some characteristics of its limits and proportions, based on the measure of what is thought to have been its height. The volume next to the Lóios wall allows access to the Coffee House, restaurant and accessible platform, at the same time it suggests the rings of the theatre’s benches, in a reference to its foundations.

For the Archaeological Centre, a ponctualy excavated lioz plinth was designed in order to reveal two patios and a public stair (passage and permanence element). Another volume appears, in red concrete, which looked like a typical roof of the Castle hill. This dichotomous aspect, both of integration, through the color and morphology of its top, and of conflict through the roughness of the texture of the material, ends up representing its mediating role.
For the Archaeological Centre, a ponctualy excavated lioz plinth was designed in order to reveal two patios and a public stair (passage and permanence element). Another volume appears, in red concrete, which looked like a typical roof of the Castle hill. This dichotomous aspect, both of integration, through the color and morphology of its top, and of conflict through the roughness of the texture of the material, ends up representing its mediating role.

For the Archaeological Centre, a ponctualy excavated lioz plinth was designed in order to reveal two patios and a public stair (passage and permanence element). Another volume appears, in red concrete, which looked like a typical roof of the Castle hill. This dichotomous aspect, both of integration, through the color and morphology of its top, and of conflict through the roughness of the texture of the material, ends up representing its mediating role.
For the Archaeological Centre, a ponctualy excavated lioz plinth was designed in order to reveal two patios and a public stair (passage and permanence element). Another volume appears, in red concrete, which looked like a typical roof of the Castle hill. This dichotomous aspect, both of integration, through the color and morphology of its top, and of conflict through the roughness of the texture of the material, ends up representing its mediating role.

The auditorium is the main element of the red volume due to its iconographic mediating role of the place, but also to confront its elevation and balance with the Roman Theatre nearby, which adapts to the topography. The monolithic volume is opposed by its organic interior, in an interior/exterior dichotomy trough morphological and chromatic aspects.
The auditorium is the main element of the red volume due to its iconographic mediating role of the place, but also to confront its elevation and balance with the Roman Theatre nearby, which adapts to the topography. The monolithic volume is opposed by its organic interior, in an interior/exterior dichotomy trough morphological and chromatic aspects.

The sliding window allows the full openness of the auditorium window, retracting to side stage supports. That fact can be seen in musical events: the musician could play “at the window” to the audience on the exterior stairs, patio or street. The concept lays in an ordinary neighbourhood image of these inhabitants.
The sliding window allows the full openness of the auditorium window, retracting to side stage supports. That fact can be seen in musical events: the musician could play “at the window” to the audience on the exterior stairs, patio or street. The concept lays in an ordinary neighbourhood image of these inhabitants.

The sliding window allows the full openness of the auditorium window, retracting to side stage supports. That fact can be seen in musical events: the musician could play “at the window” to the audience on the exterior stairs, patio or street. The concept lays in an ordinary neighbourhood image of these inhabitants.
The sliding window allows the full openness of the auditorium window, retracting to side stage supports. That fact can be seen in musical events: the musician could play “at the window” to the audience on the exterior stairs, patio or street. The concept lays in an ordinary neighbourhood image of these inhabitants.




PROJECTINDEX
NOMINATED
PELO CAMINHO DO 28
Universidade de Lisboa -
Faculdade de Arquitectura

Imaginar sobre o vazio da Rua da Saudade
Lisbon, historic city, tells the story of the connection between its numerous parts and support of singular topography. Amongst the built spaces, its paths intersect in the territory, creating an either compressed or decompressed sensory game of spaces, that represent a particular route: tram 28.
It articulates places, memories, urban fabric and distinct relief, revealing a city made of articulations. ‘On the 28 way’ ambitions to elaborate a critical speech regarding the urban voids surrounding the tramway, tying them to its path. Such forgotten places pose the opportunity to be punctuated by architecture realizations, becoming, thus, a part of the consolidated city.
One void in particular, which benefits from the proximity of the Roman Theatre ruins, is relevant to the current work. This space suggests the possibility of drawing an Archaeological Investigation Centre, in an attempt to establish a dialogue with its urban surroundings, while revealing the distinctive layers of history overlapped.