Articles Recognitions

Revitalizing a palace between the hill and the river

One of the most remarkable rehabilitation projects in recent years, not only because of its size but also for the challenges it presented, is the rehabilitation and conversion of a palace in Campo das Cebolas. Nestled between the Alfama hill to the north and the Tagus River to the south, the palace, which was in an advanced state of degradation, tells the story of its many lives, revealed in the architectural features of its various elements.

The project began with the discovery of archaeological remains of the Roman wall and, shortly after, the Moorish and Fernandine walls, each built atop the ruins of its predecessor and, above them, this palace. This diversity also extends to its uses, which have changed over time. On one hand, it served as an aristocratic residence, evident in the two palatial floors typical of the 19th century, and on the other hand, it incorporated a form of proto-social housing that, like several such clusters scattered throughout the city, became a source of income for the owners and home to populations migrating from the countryside to the city.

Another interesting element of this project is that the palace is owned by the client’s family, which adds a unique approach. The client, being institutional, develops an emotional connection with the project, resulting in a strong bond between teams—key to overcoming the adversities faced over the years. The project’s main inspiration stems from the value of the historical heritage being restored, but also from this emotional value and familial connection.

Miguel Martins Santos spoke with Diana Nigra about the key challenges of this unique project, which lasted a total of eight years.

This is a fantastic building that is over 300 years old and has been in your family for a long time. I’d like to start there—how did the idea to rehabilitate and convert it come about? (Miguel Martins Santos)

The building was commissioned by Dom Francisco de Assis, the forty-fifth Viceroy of India, at a time when this riverside area was lined with palaces of the high aristocracy. It started at Terreiro do Paço with the Royal Palace and the Casa da Índia, passing by the Casa dos Bicos, this building where we are now, and ending at the Chafariz D’El Rei. The Arco de Jesus is also believed to have been a primitive gate in the Moorish wall, through which Dom Afonso Henriques may have entered Lisbon. The palace came into our family many years ago, and its history is long and complex. Initially, the building had only two floors and suffered during the earthquake, but it withstood it. Like many other aristocratic palaces, it underwent a conversion into a revenue property. Around the courtyard, there were galleries, which we have preserved, with several small apartments. Initially, the building had just two floors, but later an aunt of ours added two more to create additional rental apartments. After being abandoned for many years, we felt it was time to give it a new life. (Diana Nigra)

This building is located in an area of the city with incredible historical depth. We believed that the rehabilitation of this heritage deserved to preserve its many layers. On one hand, vaults, monumental staircases, clear traces of the old palace, and on the other, we kept the gallery access on the upper floors and the rhythm of the openings. Would you say that this approach tells the story of the building? (Miguel Martins Santos)

We are situated above the Arab, Roman, and Fernandine walls, which are five meters wide—imagine the challenge of constructing within these constraints! When we conducted the initial archaeological study, we knew we would find something, but we weren’t aware of the archaeological richness. It was an extremely challenging project, but it was very well understood by everyone from the start. We wanted to preserve the memory of the building and tell its story while bringing the best comforts and finishes, so that future inhabitants can feel they are living in a palace with all the modern conveniences. Of course, we also retained its Portuguese character, with its courtyard and galleries—a kind of “courtyard of songs” that adds another layer to the building’s history. (Diana Nigra)

Good projects are made with good teams, and here the team begins with the client and the developer. Always present, always attentive, wanting to be part of the solution and not the problem. We were fortunate to work with Henrique Polignac de Barros, who is a “doctor” in real estate, and with Diana, who closely followed the entire process. How has this experience been for you? (Miguel Martins Santos)

Indeed, it’s unusual, but the developer was deeply involved in the project. It has truly been an intensive course in everything! I dedicated myself completely—my uncle Henrique (Polignac de Barros) told me he would only move forward with the project if I committed to it full-time, body and soul. And indeed, today I can say this building is like a child to me. It has been a process of determination, resilience, and patience, but also an immense learning experience with Fragmentos in architecture, with Engineer Ricardo Sampaio in engineering, and with Udra. The first time we met, Miguel said this was a rough diamond, and today we stand before a polished gem—it has been an incredible learning journey. After this, anything is possible! (Diana Nigra)

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One of the most remarkable rehabilitation projects in recent years, not only because of its size but also for the challenges it presented, is the rehabilitation and conversion of a palace in Campo das Cebolas. Nestled between the Alfama hill to the north and the Tagus River to the south, the palace, which was in an advanced state of degradation, tells the story of its many lives, revealed in the architectural features of its various elements.

The project began with the discovery of archaeological remains of the Roman wall and, shortly after, the Moorish and Fernandine walls, each built atop the ruins of its predecessor and, above them, this palace. This diversity also extends to its uses, which have changed over time. On one hand, it served as an aristocratic residence, evident in the two palatial floors typical of the 19th century, and on the other hand, it incorporated a form of proto-social housing that, like several such clusters scattered throughout the city, became a source of income for the owners and home to populations migrating from the countryside to the city.

Another interesting element of this project is that the palace is owned by the client’s family, which adds a unique approach. The client, being institutional, develops an emotional connection with the project, resulting in a strong bond between teams—key to overcoming the adversities faced over the years. The project’s main inspiration stems from the value of the historical heritage being restored, but also from this emotional value and familial connection.

Miguel Martins Santos spoke with Diana Nigra about the key challenges of this unique project, which lasted a total of eight years.

This is a fantastic building that is over 300 years old and has been in your family for a long time. I’d like to start there—how did the idea to rehabilitate and convert it come about? (Miguel Martins Santos)

The building was commissioned by Dom Francisco de Assis, the forty-fifth Viceroy of India, at a time when this riverside area was lined with palaces of the high aristocracy. It started at Terreiro do Paço with the Royal Palace and the Casa da Índia, passing by the Casa dos Bicos, this building where we are now, and ending at the Chafariz D’El Rei. The Arco de Jesus is also believed to have been a primitive gate in the Moorish wall, through which Dom Afonso Henriques may have entered Lisbon. The palace came into our family many years ago, and its history is long and complex. Initially, the building had only two floors and suffered during the earthquake, but it withstood it. Like many other aristocratic palaces, it underwent a conversion into a revenue property. Around the courtyard, there were galleries, which we have preserved, with several small apartments. Initially, the building had just two floors, but later an aunt of ours added two more to create additional rental apartments. After being abandoned for many years, we felt it was time to give it a new life. (Diana Nigra)

This building is located in an area of the city with incredible historical depth. We believed that the rehabilitation of this heritage deserved to preserve its many layers. On one hand, vaults, monumental staircases, clear traces of the old palace, and on the other, we kept the gallery access on the upper floors and the rhythm of the openings. Would you say that this approach tells the story of the building? (Miguel Martins Santos)

We are situated above the Arab, Roman, and Fernandine walls, which are five meters wide—imagine the challenge of constructing within these constraints! When we conducted the initial archaeological study, we knew we would find something, but we weren’t aware of the archaeological richness. It was an extremely challenging project, but it was very well understood by everyone from the start. We wanted to preserve the memory of the building and tell its story while bringing the best comforts and finishes, so that future inhabitants can feel they are living in a palace with all the modern conveniences. Of course, we also retained its Portuguese character, with its courtyard and galleries—a kind of “courtyard of songs” that adds another layer to the building’s history. (Diana Nigra)

Good projects are made with good teams, and here the team begins with the client and the developer. Always present, always attentive, wanting to be part of the solution and not the problem. We were fortunate to work with Henrique Polignac de Barros, who is a “doctor” in real estate, and with Diana, who closely followed the entire process. How has this experience been for you? (Miguel Martins Santos)

Indeed, it’s unusual, but the developer was deeply involved in the project. It has truly been an intensive course in everything! I dedicated myself completely—my uncle Henrique (Polignac de Barros) told me he would only move forward with the project if I committed to it full-time, body and soul. And indeed, today I can say this building is like a child to me. It has been a process of determination, resilience, and patience, but also an immense learning experience with Fragmentos in architecture, with Engineer Ricardo Sampaio in engineering, and with Udra. The first time we met, Miguel said this was a rough diamond, and today we stand before a polished gem—it has been an incredible learning journey. After this, anything is possible! (Diana Nigra)

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