Cultural places in Portugal

Museum • Lisboa, Lisboa

On the banks of the Tagus, in Belém, MAAT shows how the idea of the future can rise from the city’s industrial memory. Opened in 2016, the museum brings together the former Tejo Power Station, a thermoelectric plant built in 1908 that supplied Lisbon with electricity for decades, and MAAT Gallery, designed by Amanda Levete to open the building to the river and to the movement of pedestrians. Between the preserved machinery of The Electricity Factory and the temporary exhibitions of art, architecture and technology, the visitor encounters two very different modernities: that of the energy that powered urban expansion, and that of today’s questions about how we live, build and imagine the future. The accessible roof, conceived as an extension of public space, strengthens this rare idea of a museum that is crossed through as much as it is visited. Along the same route, the brick of the power station and the low profile of the gallery seem to speak to one another about light, labour and transformation.

Museum • Lisboa, Lisboa

In Belém, Quake turns the most traumatic day in Lisbon’s history into an experience that brings together memory, science and imagination. Dedicated to the earthquake of 1755, it follows the chain of events that destroyed much of the city - the tremor, the tsunami and the fires - and shows how, from that ruin, a new Lisbon emerged, with the Pombaline rebuilding and the systematic use of anti-seismic solutions. Rather than simply displaying objects, the visit uses immersive rooms, simulators, video and interactive devices to convey the human and urban scale of the catastrophe. But Quake does not look only to the past. Its mission is also to explain seismic phenomena and to remind visitors that Portugal remains in an active zone, where preparation can make a difference. Between the lost city of the eighteenth century and the questions of the present, this is a place where the past appears not as a distant ruin, but as warning, knowledge and transformation.

Garden • Lisboa, Lisboa

Behind the solemn façade of Parliament, the Garden of São Bento Palace reveals a more secluded and theatrical side of this place of power. Designed by Cristino da Silva, it is arranged with French-inspired symmetry, in flowerbeds and statues set across small terraces that overcome the steep slope of the ground. A long wall, opened by sixteen niches with fountains, separates it from the Prime Minister’s official residence; at the centre, a double staircase built in the 1940s rises to the upper garden, watched over by sphinxes bearing the Portuguese shields, sculpted by Leopoldo de Almeida. On either side, the allegories of Strength and Justice extend, outdoors, the symbolic language of the parliamentary building. More than a simple green space, this garden seems to turn the rhetoric of politics into stone, water and design, with a serene order that contrasts with the bustle of the city just beyond it.

Museum • Lisboa, Lisboa

In the Palacete de Santa Catarina, the Pharmacy Museum tells the story of healthcare as a long human adventure. Opened in Lisbon in 1996 on the initiative of the Portuguese Pharmacies, it grew out of a collecting campaign launched in 1981 to save the objects, memories and techniques of a discreet yet essential profession. The visit is distinctive because it blends science, display and history: from the eighteenth-century apothecary to the Liberal Pharmacy of the early twentieth century, from a traditional pharmacy from Macao to the area devoted to military pharmacy, each reconstruction shows how ways of preparing, storing and trusting remedies have changed. Among pieces from very distant civilisations and objects linked to the Endeavour space shuttle and the Mir station, it becomes clear that the museum is not only about jars and formulas; it is about how each age tried to overcome pain, fear and disease.

Stadium • Lisboa, Lisboa

At Luz, the world of Sport Lisboa e Benfica shows how a club founded in 1904 grew beyond the pitch and became a place of memory in Lisbon. The current stadium, opened in 2003 beside the former ground of 1954, was built for Euro 2004 and quickly gained international weight: it hosted the final of that tournament and later staged the Champions League finals of 2014 and 2020. Its arched roof, designed to let light enter, helps explain why the space is experienced almost like a civic cathedral. Next door, the Benfica Museum Cosme Damião extends that story through trophies, documents and objects that tell more than a century of sporting history. Between the stands, the tunnel and the memory held here, it becomes clear that this is not only the home of a club: it is a place where collective passion, architecture and a sense of belonging have taken lasting form.

Stadium • Lisboa, Lisboa

In Alvalade, the stadium of Sporting Clube de Portugal shows how football architecture can become part of a city’s memory. Opened in August 2003, next to the club’s former ground, it was created to give Sporting a home equal to its ambition, and it quickly gained international prominence by hosting five matches of Euro 2004 and, the following year, the UEFA Cup final. Yet what leaves the strongest impression is not only the calendar of major fixtures. It is the way the stands, the pitch and the inner corridors preserve the identity of a club founded in 1906 and deeply linked to the idea of sporting eclecticism. Between the dominant green, the closeness of the crowd and the memory of decisive nights, the stadium appears not only as a stage for competition: it stands as a place where belonging, emotion and collective history continue to find a very physical expression.

Museum • Lisboa, Lisboa

In Terreiro do Paço, Lisboa Story Centre tells the story of the city without display cases or excessive solemnity: here, Lisbon appears as a living narrative. The visit, organised into six areas and seventeen chapters, follows the city from its founding myths and early peoples to global Lisbon, the earthquake of 1755 and the Pombaline rebuilding, all guided through audio and scenic, visual and sensory devices. Its most striking moment is usually the immersive experience devoted to the earthquake, which gives visitors a sense of the shock’s violence and the scale of the destruction. But the centre is not confined to catastrophe. Ending beside Praça do Comércio, it recalls that this square was a stage for power, trade and public life, and that the city itself was shaped by successive layers of destruction, reinvention and memory. More than displaying objects, Lisboa Story Centre stages the biography of Lisbon.

Garden/Park • Lisboa, Lisboa

At Tapada das Necessidades, Lisbon keeps a garden where the idea of a Romantic park still lives alongside traces of court life. Created in 1742 beside the complex of Our Lady of Necessities, it began as a walled enclosure linked to the palace and convent, and for a long time it remained a space reserved for monarchs. In the nineteenth century, the grounds gained lakes, exotic vegetation and the character of an English garden, which still gives the place the feeling of a discreet retreat within the city. Between 1855 and 1861, the circular greenhouse commissioned by King Pedro V was added; later, Casa do Regalo and other small pavilions strengthened the site’s theatrical quality. Today, among clearings, shaded paths and Romantic structures, it becomes clear that this is not simply a large garden: it is a rare fragment of Lisbon where landscape and royal memory still mingle.

Museum • Lisboa, Lisboa

In Campo Grande, Palácio Pimenta reveals Lisbon from within a place that is itself already part of the city’s history. Built between 1744 and 1748 as an eighteenth-century summer residence, probably on the initiative of King João V, it still preserves the memory of the old estate and of the aristocratic taste for gardens and retreat beyond the centre. Since the building was adapted into a museum in the 1970s, it has become the headquarters of the Museum of Lisbon, with a journey that follows the city from prehistory and Roman times to Baroque, Pombaline and contemporary Lisbon. Among archaeology, painting, cartography, tiles and the great model of Lisbon before the 1755 earthquake, visitors sense that the city cannot be told through a single monument, but through successive layers of life, destruction and reinvention. Outside, the gardens extend that reading with an unexpected calm.

Church • Lisboa, Lisboa

In Bairro Alto, the Church and Museum of São Roque show how a sober façade can conceal one of Lisbon’s greatest artistic surprises. Linked to the former Jesuit professed house, the church was the first Jesuit church in Portugal and one of the rare buildings in the city to survive the 1755 earthquake almost intact. Its single nave, designed for preaching, opens onto richly decorated side chapels filled with Mannerist tiles, painting and gilded woodwork. The most famous is the Chapel of St John the Baptist, commissioned by King João V in Rome, blessed by Pope Benedict XIV and brought to Lisbon in three ships, in an episode that gives the site an unexpectedly European scale. Next door, the São Roque Museum, founded in 1905, extends the visit with sacred art, objects from Asia and the treasure connected to the chapel, showing how faith, power and global circulation also shaped this Lisbon hill.

Convent • Lisboa, Lisboa

In Bairro Alto, the Convent of São Pedro de Alcântara preserves the memory of a war vow turned into architecture. It was founded in the seventeenth century by António Luís de Meneses, first Marquis of Marialva, after the Battle of Montes Claros, and entrusted to the Arrábidos, the most austere branch of the Franciscan family. The 1755 earthquake destroyed almost the whole complex, but the rebuilding begun in 1783 left a church where the Baroque speaks through gilded woodwork, monochrome eighteenth-century tiles and ceiling frescoes. There is also a rarer surprise: the Chapel of the Lencastres, added to the complex between 1686 and 1692, celebrated for its refined decoration and polychrome marbles. After the extinction of the religious orders, the convent passed to the Santa Casa da Misericórdia de Lisboa, which gave it new uses. Between courtyards, stairways and silence, the building shows how Lisbon rebuilt its memory without freezing it in place.

Zoo • Lisboa, Lisboa

In Lisbon, the Jardim Zoológico is an institution with roots in the nineteenth century and a role that has changed over time. Opened in 1884, it was the first park with fauna and flora in the Iberian Peninsula. After occupying other locations, it settled permanently in 1905 at Quinta das Laranjeiras. Today it presents itself as a zoological and botanical park and as a centre for the conservation of vulnerable and threatened species. Its grounds are home to around 2,000 animals, belonging to approximately 300 species, including mammals, birds, reptiles and amphibians. A visit reveals more than a zoological collection: it shows a place where animal observation intersects with research, environmental education and care for habitats. Among trees, pathways and enclosures, the Jardim Zoológico preserves the memory of nineteenth-century Lisbon and follows contemporary concerns for biodiversity.

Museum • Lisboa, Lisboa

In the west wing of the National Palace of Ajuda, in Lisbon, the Royal Treasure Museum preserves an essential part of the material memory of the former Portuguese Royal House. Opened on 1 June 2022, it presents more than one thousand pieces, including Crown jewels, insignia, decorations, coins and works of civil and religious goldsmithery. The permanent exhibition is organised into eleven sections, arranged over three floors of a large vault, following themes such as the gold and diamonds of Brazil, Crown coins and medals, honorary orders, the Royal Chapel, the Royal Table and the journeys of the Treasure. The jewellery section recalls that the “Crown Jewels” were created in 1827, after the division of King João VI’s estate, and used by successive sovereigns until 1910. In the former palace of Portugal’s last kings, the brilliance of the pieces reveals power, ceremony and private life.

Convent • Lisboa, Lisboa

In Largo de São Vicente, in Lisbon, the Church of São Vicente de Fora stands as one of the great architectural statements of the Philippine period. The origin of the complex dates back to 1147, when King Afonso Henriques ordered the foundation, outside the city walls, of a monastery dedicated to Saint Vincent, after the conquest of the city. The reconstruction of the church and monastery advanced at the beginning of the reign of Philip I, with work associated with Juan de Herrera, Filipe Terzi and Baltazar Álvares. The sober façade, with two towers integrated into the frontispiece, announces an interior with a single nave, transept and deep chancel, covered by a barrel vault with coffers. The crossing lost its dome in the 1755 earthquake. In the 17th and 18th centuries, the complex received inlaid marbles and tile panels. Classified as a National Monument since 1910, the church preserves a severe and monumental presence on the hill of São Vicente.

Museum • Lisboa, Lisboa

In the Convent of Nossa Senhora de Jesus, in Lisbon, the Geological Museum preserves a chapter of Portuguese scientific history. Its origins date back to 1859, when the Geological Commission of the Kingdom settled in this building and gathered specimens collected during the country’s geological work. Fossils, rocks, minerals and archaeological objects formed collections that remain connected to research, inherited from the Geological Commissions, the Geological Services of Portugal, the Geological and Mining Institute and today’s LNEG. Among the names associated with this early impulse are Carlos Ribeiro, Nery Delgado, Pereira da Costa and Paul Choffat. This is identified as the place where Portuguese Geology and Archaeology were born. The museum’s interest lies not only in its pieces: the arrangement of the collections, the display furniture and the interior architecture preserve the museological language of the 19th century. Part of the Portuguese Museum Network and classified in 2010 as a Property of Public Interest, it is also a rare testimony to the scientific museography of that time.

Museum • Lisboa, Lisboa

The Museum of Communications, in Lisbon, is the public face of the Portuguese Communications Foundation and preserves the material memory of a sector that has accompanied the country’s history for centuries. The collection has deep roots: in 1878, guidelines from the Ministry of Public Works, Commerce and Industry led to the creation of the “Postal Museum”, begun with thirty pieces. Today, the heritage includes objects from the 16th century to the present day and is organised into three major areas: postal collections, telecommunications collections, and artistic and philatelic collections. The permanent exhibition “Overcoming Distance – Five Centuries of Communications in Portugal” shows how writing, the post, the telegraph, the telephone and other technologies changed the relationship between people and territories. Along the route there are also the Mail Coach, linked to the transport of mail and passengers, and submarine cables, essential to understanding contemporary global communication. It is a museum about the human need to overcome distance.

Museum • Lisboa, Lisboa

In Campo Grande, Lisbon, the Bordalo Pinheiro Museum was born from the dedication of Arthur Ernesto Santa Cruz Magalhães, a collector and admirer of Rafael Bordalo Pinheiro’s work. The house intended to receive the collection was designed by Álvaro Augusto Machado, and the museum opened to the public on 6 August 1916. According to EGEAC, it was the first museum in Portugal built from the ground up to house the work of an artist. Its collection brings together the creations of Rafael and his son Manuel Gustavo, including drawing, engraving, painting, ceramics, tiles, photography, documentation and other objects. The collection, now numbering around 13,200 pieces, shows Bordalo’s satirical, graphic and decorative power, including the famous Zé Povinho, created in 1875. More than a house of homage, the museum preserves a critical and inventive view of Portuguese society in the late 19th century.

Cultural Centre • Lisboa, Lisboa

In Praça das Amoreiras, Lisbon, the Arpad Szenes-Vieira da Silva Foundation occupies the former Silk Textile Factory, a spacious Pombaline house linked to an early 20th-century industrial structure. It was Maria Helena Vieira da Silva who chose this building to hold her memory, that of Arpad Szenes and an essential part of her artistic legacy. The idea emerged after Arpad’s death in 1985 and developed from a study centre into a museum dedicated to the two painters. The Foundation was established in 1990 and opened to the public on 4 November 1994. The collection brings together painting, drawing and printmaking, covering Arpad Szenes’s production from 1911 to 1985 and Vieira da Silva’s from 1926 to 1986, with later prints by the artist. The Documentation and Research Centre preserves photographs, correspondence, manuscripts and other materials that extend the study of the couple’s work.

Science Centre • Lisboa, Lisboa

In Parque das Nações, Lisbon, the Pavilion of Knowledge – Ciência Viva occupies the building that, during the 132 days of EXPO’98, housed the Pavilion of Knowledge of the Seas. Designed by João Luís Carrilho da Graça’s studio, it was one of the most visited thematic pavilions of the exhibition, with 2,543,914 visitors. In 1999, the building was assigned to the creation of a space for scientific and technological outreach and reopened to the public, on 25 July, as the Pavilion of Knowledge. Today it is part of the National Network of Ciência Viva Centres and is presented by the network itself as the country’s largest science and technology centre. Across some 4,000 square metres, exhibitions on Physics, Mathematics, Chemistry, Biology and Social Sciences are combined with interactive modules, laboratories, talks and experimental activities. The architecture received the Valmor and Municipal Architecture Prize in 1998.

Museum • Lisboa, Lisboa

On Rua de São Bento, in Lisbon, the Amália Rodrigues House-Museum preserves the house where the artist lived for more than four decades. Open to the public since 2001, it maintains the domestic atmosphere connected to her personal and artistic life, giving concrete form to the wish to preserve and share her legacy. The Amália Rodrigues Foundation, established by the singer’s own will, has the mission of protecting, studying and disseminating her work, her contribution to fado and Portuguese culture. Inside, memory appears through personal objects, documents, photographs, letters, press cuttings, decoration diplomas, manuscripts and poems. Among these materials are versions of lyrics such as “Ó Gente da Minha Terra” and “Quando Se Gosta d’Alguém”. More than a biographical evocation, the house reveals the link between Amália’s public voice and the intimacy of a preserved daily life.

Museum • Lisboa, Lisboa

In Largo do Chafariz de Dentro, Lisbon, the Fado Museum is entirely dedicated to Lisbon’s urban song and to the Portuguese Guitar. It opened to the public on 25 September 1998, celebrating fado as an expression linked to the city’s identity and to the country’s cultural history. Housed in a former Water Pumping Station, built in the second half of the 19th century, the building was restored and extended by the architects João and José Daniel Santa-Rita. The permanent exhibition follows the history of fado and the Portuguese guitar, while the documentation centre, auditorium and school extend research, learning and practice. The collection brings together estates of performers, authors, composers, musicians, instrument makers, scholars and researchers. Since 2011, fado has been included on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity, and the museum played a central role in the nomination.

Museum • Lisboa, Lisboa

Near Lisbon Cathedral, the Aljube Museum — Resistance and Freedom occupies a building marked by a long prison history. The name Aljube itself comes from the Arabic al-jubb, associated with a dry well, cistern, dungeon or prison. According to the museum, the building dates back to the Roman and Islamic periods and was, over time, an ecclesiastical jail, a women’s prison and, between 1928 and 1965, a political prison. Created in 2015, the museum is dedicated to the memory of the struggle against the Portuguese dictatorship, which lasted from 1926 to 1974, and to resistance in the name of freedom and democracy. The long-term exhibition presents the history of the building, the regime’s mechanisms of repression and oppression, the opposition movements, the anti-colonial struggle and the path to 25 April 1974. On the lower floor, archaeological remains recall that this place of memory has roots far older than the dictatorship.

Museum • Lisboa, Lisboa

Housed in the former stables and warehouses of Belém Palace, in Lisbon, the Museum of the Presidency of the Republic brings republican history closer to the country’s public life. The idea emerged at the end of António Ramalho Eanes’s term: in 1986, the President opened a section in the Palace with 84 State gifts. In 2000, the Organic Law of the General Secretariat of the Presidency of the Republic formally created the Museum, dedicated to the dissemination and historical research of the presidential institution. The present building was inaugurated by Jorge Sampaio on 5 October 2004. The collection contains around 4,500 pieces, including State gifts, personal objects, decorations, vehicles and movable heritage from the presidential palaces. The route presents, among other sections, the Gallery of Official Portraits, the Portuguese Honorary Orders and the powers of the President of the Republic. In the same complex, Belém Palace has been the official presidential residence since the establishment of the Republic.

Museum • Lisboa, Lisboa

In Praça Afonso de Albuquerque, in Belém, the Royal Riding Hall preserves the equestrian memory of the Portuguese court and the museological birth of the National Coach Museum. The building was constructed in 1787 by the Italian architect Giacomo Azzolini and, in 1905, became the space chosen to house the Royal Coach Museum, inaugurated on the initiative of Queen D. Amélia. For this new function, the former riding hall was adapted by the court architect Rosendo Carvalheira, with the collaboration of the painters José Malhoa and Conceição e Silva. After the establishment of the Republic in 1910, the collection grew with vehicles from the former Royal House and Church property; in 1911, the museum became known as the National Coach Museum. The hall designed by Raul Lino, inaugurated in 1944, expanded the exhibition space. Today, the Royal Riding Hall retains coaches, berlins, portraits of the royal family and cavalry accessories.