Also known as Elevador do Carmo, this lift was built at the beginning of the last century by Raoul Mesnier du Ponsard, a disciple of Gustave Eiffel, and remains the only neo-Gothic style monument in the Lisbon district of La Baixa. The streets of both La Baixa and Rossio can be seen from this unique viewpoint.
The difference in height between access to the Rua de Santa Justa and the Rua do Carmo is 45 metres, the latter and the Bairro Alto also being accessible via a long, steep climb up a spiral staircase leading to the viewpoint.
Also visible in the City of the Seven Hills are the Tagus river, the Castelo São Jorge and the ruins of the Convento do Carmo, victim of the historic earthquake of 1755, all from a unique perspective.
Forming an integral part of the triptych of Lisbon’s former line of defence, the Belém Tower was finally finished in 1520.
Its architect, Francisco de Arruda, had created a masterpiece of Manueline art with Moorish influences, not far from the no less impressive Monastery of the Hieronymites, and also classed in 1983 by UNESCO as a world heritage site.
This elegant stonework keep, which looks out over both the Tagus estuary and the nearby Atlantic, remains one of Portugal’s symbolic monuments, and a testament to the country’s golden age of expansion and discovery.
The 1st festival of the year.
Dates to be confirmed.
The Campo Pequeno Arena in Lisbon is once again hosting the Winter Festival, the 1st festival of the year in the Portuguese city. The line-up will feature numerous concerts and at least one big name.
Designed to suit all tastes, the festival aims to be different with an original concept underlying its agenda and its acts.
The body: object of desire, raw malleable material, which over the years, has been subjected to different conventions. Its shape, its silhouette, its very appearance effectively respond to more or less explicit canons.
Consisting of around thirty sculptures from the collections of the Calouste Gulbenkian Museum and the Ny Carlsberg Glyptotek (Copenhagen), the new exhibition at the Calouste Gulbenkian Foundation is all about poses, and the way in which ten or so French sculptors positioned their models to align them with or make them completely different from academic models.
At the origins of Baghdad Stadium.
This new exhibition allows Fundação Calouste Gulbenkian to delve back into its history. In the post-war period, between the late 1950s and early 1970s, it developed many philanthropic activities in Iraq, particularly in terms of knowledge sharing.
Made up of original archive materials gathered with the support of the Iraq Centre of the Modern Collection of the Calouste Gulbenkian Museum, the exhibition illustrates the benefits of collaboration and the architectural development of Iraq in the last century.