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                    <text>Restos de Colecção. (2019). João Guilherme Faria da Costa. [image] Available at: https://restosdecoleccao.blogspot.com/2019/01/ [Acessed 16 Jul. 2019]</text>
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              <text>João Guilherme Faria da Costa was born on April 6, 1906, in Sintra. Son of the construction master Guilherme Faria da Costa and Maria de Jesus, he married Cristina Maria da Silva Faria da Costa, with whom she had two children, Francisco and José Faria da Costa. He attended the Afonso Domingues School, where he took a carpentry and civil construction course, and the Escola de Belas Artes, in Lisbon, where he attended a degree in architecture, that never finished. From there, he left for France to study at the Institut d'Urbanisme de l'Université de Paris (IUUP), together with Francisco Keil do Amaral.&#13;
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It was in Paris that he developed an aptitude for urbanism, having been a disciple, among others, of Henri Prost (architect-planner), Jacques Greber (landscape architect) and Donat-Alfred Agache (architect). The urbanist degree was assigned to him on June 19, 1937, with the thesis of an urban plan to the city of Figueira da Foz. On his return to Portugal in 1938, he was invited to join the technical services of the Lisbon City Hall for the preparation of urbanization studies and subsequent implementation. He later became part of the General Directorate of Urbanization and Works Services, working as a first-class urban architect. He oversaw the general plans for urbanization, among others, of Areeiro, Ajuda hillside (Restelo neighbourhood) and the south area of Alferes Malheiro Avenue (Alvalade), between 1938 and 1940. In 1945 he started teaching Urbanism in the Belas Artes School of Lisbon, resigning in 1948. In 1953 he was responsible for the urbanization studies of the south area of the Road of Benfica and in 1956 for the remodelling of the Baixa Lisboeta. In 1957 elaborates another urbanization plan, this time for Eduardo VII Park.&#13;
&#13;
However, its action spread geographically throughout the country, not only to the city of Lisbon, having made urbanization plans of Portalegre, between 1939 and 1942, Amadora, between 1944 and 1947, Costa da Caparica, in 1947, and Funchal between 1958 and 1959. With an extensive legacy, João Guilherme Faria da Costa was one of the first Portuguese urban planners. He died in 1971, in Lisbon.</text>
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              <text>MARQUES, B. (2015). &lt;em&gt;João Guilherme Faria da Costa, O caso único da Figueira da Foz. &lt;/em&gt;Master Thesis. Faculdade de Ciências e Tecnologia da Universidade de Coimbra.</text>
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              <text>SILVA, S. (2018). &lt;em&gt;O plano de urbanização da Amadora de Faria da Costa, O projecto e a sua implementação&lt;/em&gt;. Master Thesis. Faculdade de Arquitetura e Artes da Universidade Lusíada de Lisboa.</text>
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                    <text>Felino, A. (2008).&lt;em&gt; Os cinemas em Portugal: A interpretação de um arquitecto: Raul Rodrigues Lima&lt;/em&gt;. Portugal: Universidade de Coimbra, p. 11.</text>
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              <text>Raúl Rodrigues Lima was born on February 12, 1909, in Lisbon. In contact with the master José Luís Monteiro, he graduated architecture from the Escola de Belas Artes, in Lisboa. After graduation, he began his internship at the Porfírio Pardal Monteiro Atelier. He began the contact with the first modernism that was then spreading in the Portuguese architecture. With Pardal Monteiro he collaborated in the projects of the Instituto Superior Técnico and of the Igreja de Nossa Senhora de Fátima, also revealing a modernism very connected to the decorative arts, but increasingly disconnected from the past. In 1938, Rodrigues Lima was invited to elaborate a project for a cinema to build in Vasco da Gama Street, in front of Largo de Santos, the Cinearte.&#13;
&#13;
Thus, the cinemas would be one of the spaces on which he would intervene the most. He was in charge of the Império cinema, in Lagos (1943-1946), the Avenida cinema, in Aveiro (1945-1949), the Monumental cinema, in Lisbon (1944-1951), the Ruacaná cinema, in Angola (1944-1951), the Micaelense cinema, in Ponta Delgada (1947-1951), the Cineteatro de Estarreja, in Estarreja (1947-1951), the Covilhanense cinema, in Covilhã (1940s, 1950s) and the Messias theater in Mealhada (1950s). It’s already in the 1960s that Rodrigues Lima, in an initial partnership with the architect Antero Ferreira, designs a new cinema for the neighborhood of Campo de Ourique in Lisbon. Coming to replace the old 1930s Europa cinema, by the architect Raul Martins, the new Europa constitutes one of the last large rooms built exclusively for cinema. Another favourite area of Rodrigues Lima was the court rooms, having designed the Palácio de Justiça of Porto in 1961, the Palácio de Justiça of Aveiro in 1962, the Palácio de Justiça of Póvoa de Varzim, in 1965, among others, in Vila Real, Beja, Mangualde and Figueira da Foz. Finally, the last of spaces where Rodrigues Lima’s mark is visible is in prisons. He was responsible for the prisons of Pinheiro da Cruz, Alcoentre, Vila da Feira, Caxias and Soure.&#13;
&#13;
He designed other projects, namely for the Portuguese World Exhibition in 1940. He designed the fishing district in Ericeira and a building on Avenida Sidónio Pais, which earned him the Valmor Prize in 1943. Raúl Rodrigues Lima died in Lisbon, on March 3, 1980.</text>
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              <text>Porfirio Pardal Monteiro was born in Pêro Pinheiro, on February 16, 1897. Son of Pedro Manuel Pardal Monteiro and Mariana Gertrudes, his masons ancestors are essential to understand the solidity of his works. Choosing not to follow the family business, leaving it to his brothers, in 1910 he entered the Escola de Belas Artes, in Lisboa. Attending first the general bachelor, he then initiated, in 1912, the bachelor’s in architecture. He was a colleague of Luís Cristino da Silva and Cottinelli Telmo. In the years at Belas Artes he also practiced in the Ventura Terra Atlier, a great influence in his formation. With him, he began to share a rational and functional way of designing. At the end of the bachelor, in 1919, Porfirio Pardal Monteiro continued to work with the modernist architect. In the same year he married Maria Luísa Vasques Kopke Correia Pinto.&#13;
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His early works, in the 1920s, are marked by the architectonic eclecticism distinctly defined in his formation. He projected the buildings of the Caixa Geral de Depósitos agencies, in Lisboa (1921), Setúbal (1924) and Porto (1923-1928), the building no. 49 in República Avenue (1920-1923), the Adventist Temple (1923-1924), the Instituto Superior Técnico (1927-1935), here inaugurating his intervention in Public Works and an important friendship with the Engineer Duarte Pacheco, a house on 5 de Outubro Avenue (1926) and the Cais do Sodré Railway Station (1925-1928),influenced by Arts Decó. Common to these works is undoubtedly the search for modernity, throughout the use of materials such as steel, concrete and glass. In the 1930s, his mark was visible in the Ford Lusitana (1930-1932), the Instituto Nacional de Estatística (1931), the Olivais Seminary (1932), the Church of Nossa Senhora de Fátima (1934-1938), the sea ports of Alcântara and Rocha do Conde de Óbidos (1934-1945) and in the headquarters of the Diário de Notícias journal (1936-1940). These works are the reflection of the modernism that, in Pardal Monteiro, reached the peak in this decade. After an interregnum in the 1940s, Porfirio Pardal Monteiro returned in the 1950s with the projects of the Ritz Hotel (1952-1959), the Cidade Universitária (1952-1967) and the National Laboratory of Civil Engineering (1949-1952), inserted in what became known as the International Modern Movement. His last work would be one of the most important, the National Library of Portugal (1964-1969).&#13;
&#13;
Outside of architectural scope, Porfirio Pardal Monteiro also accumulated positions in the Superior Council of Public Works, the Superior Council of Fine Arts, the National Board of Education and the National Academy of Fine Arts. He was also President of the National Society of Architects between 1936 and 1944. He has awarded with several prizes, including five Valmor awards, an honorable mention Valmor and a Municipal Prize. He also held a position as a professor in Civil Architecture at Instituto Superior Técnico, where he was later appointed Full Professor in 1944, and at the Lisbon School of Belas Artes in 1933, where he would teach for only two years of his own free will. His professional career was marked by his projective and educational activity, but also by the defence of the Architect role. In 1956 he suffered the first of at least two strokes. Unable to work and plunged into depression, he ended his life on December 16, 1957.</text>
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              <text>CASTILHO, J. (2010). &lt;em&gt;Os Procuradores da Câmara Corporativa 1935-1974, Porfírio Pardal Monteiro&lt;/em&gt; [online] App.parlamento.pt. Available at: http://app.parlamento.pt/PublicacoesOnLine/OsProcuradoresdaCamaraCorporativa/html/pdf/m/monteiro_porfirio_pardal.pdf [Accessed 8 Jul. 2019]</text>
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