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                    <text>&lt;em&gt;Olisipo&lt;/em&gt; (1944). Nº27, July, p. 8.</text>
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              <text>Ângelo Ramalheira was born on July 27, 1908, in Ílhavo. Son of João Ramalheira, he studied until the high school in Aveiro, Viana do Castelo and Lisbon. In the capital, he studied at the Colégio Francês and showed great skills in Mathematics. From there he went to Belgium, where, at the University of Ghent, he graduated in Civil Engineering with a specialization in reinforced concrete. Bringing technical knowledge from abroad, having been a student of Gustave Magnel, expert in reinforced concrete and pre-stressed construction techniques, engineer Ângelo Ramalheira was one of the main responsible for raising awareness of the engineer figure and his importance in collaborating with the purpose of creating large spaces with large span roofs, the building of terraces that characterized the pure cubic volumes that urban modernity at the time demanded.&lt;br /&gt;&lt;br /&gt;Returning to Portugal, after graduation, he began to work in offices of competence, moving the attention of those around him by the exceptional practical sense revealed in solving problems. Construction began to seduce him and he was already a building engineer responsible for hard calculations, such as large yield blocks, multi-storey garages, and concert halls. One of his first works in Portugal was precisely the mythical headquarters of the newspaper “O Diário de Notícias”, on Avenida da Liberdade, in Lisbon. In this same work he deepened a friendship that would prove lasting with the architect Porfírio Pardal Monteiro, author of the building project.&lt;br /&gt;&lt;br /&gt;He left an extensive work portefolio, from the Instituto Português de Oncologia and Hospital de São João, true standards of civil construction, to the boldest constructions, such as the Companhia Industrial de Portugal e das Colónias, where sliding cellular molds were used, until speed disconcerting with the construction of the new Sports Pavillion of the Palácio de Cristal in Porto. Other important works of him, authentic marks of 20th century architecture and engineering, are the Ritz Hotel in Lisbon, the Atlantic Hotel in Cascais, the Cinearte and Monumental Theater in Lisbon, and the Cine-Avenida Theater in Aveiro. He was also a pioneer in the use of prestressed in Portugal, used for the first time in a structure of the Companhia Portuguesa de Siderurgia, in Leça do Balio.&lt;br /&gt;&lt;br /&gt;In 1950, the Portuguese Government, at the invitation of the European Organization for Economic Cooperation (OECE), asked him to represent the country in the centenary of the United States Association of Civil Engineers. He wrote several scientific articles, namely about his works, such as “Cinearte, o novo cinema” in &lt;em&gt;Revista Técnica&lt;/em&gt;. Angelo Ramalheira died on June 26, 1975.</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;
&#13;
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>PACHECO, A. (1997). O espírito clássico de um arquitecto moderno. &lt;em&gt;Jornal de Letras, Artes e Ideias&lt;/em&gt;, Nº687, pp. 24-25.</text>
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              <text>SILVA, F. (2014).&lt;em&gt; Entre o compromisso e a inovação, O percurso de Porfírio Pardal Monteiro&lt;/em&gt;. Master Thesis. Faculdade de Arquitetura e Artes da Universidade Lusíada de Lisboa.</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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                    <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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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>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;
&#13;
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>Roberto de Espregueira Mendes was born in Viana do Castelo on April 8, 1899. He was the son of General Roberto Rodrigo Mendes. He attended the Alexandre Herculano Highschool and the Rodrigues de Freitas Highschool, both in Porto. He then went to the Faculty of Sciences of Porto University to attend the preparatory course of engineering. He joined the Technical University in 1919 and graduated in Civil Engineering in 1922. In 1923 he returned to the academic world being named 2nd Physics Assistant of the Faculty of Sciences of Porto University. &lt;br /&gt;&lt;br /&gt;The 1920s is marked by his entrance in the world of the railroads. In 1925, already as an engineer, he joined the Minho and Douro division of the Railways. Two years later, in 1927, he went to the Companhia dos Caminhos de Ferro Portugueses. In the 1930s and 1940s he worked for the Direção Geral dos Edifícios e Monumentos Nacionais. Of the main projects that he directed, it stands out the Casa da Moeda (Currency House) directed between 1933 and 1938, but also a considerable amount of new buildings for post offices, telegraphs and telephones. In 1938 he was promoted to Undersecretary of State for Public Works and Communications, a position he held until 1944. In this context he was, for example, in 1936, jury for the competitions for the monument of Infante D. Henrique, to be built in Sagres. &lt;br /&gt;&lt;br /&gt;In the late 1940s and early 1950s he returned to the railways. Between 1947 and 1968 he was Director General of the Companhia dos Caminhos de Ferro Portugueses. In 1950 he participated in the directors of the Railways congress in the Netherlands, in 1951 he participated in the subcommittee’s meetings of the International Union of Railways, in Sintra, and in 1953 he attended the presentation of two carriages of the Sud Expresso. In 1962 he represented the company at the International Congress of Railways in Munich. At the end of the 1960s, in 1968, he was appointed a member of a committee to review the Collective Labor Agreement for the Company, ordered by the Ministério das Corporações e Previdência Social. &lt;br /&gt;&lt;br /&gt;Espregueira Mendes is also the author of several literary works, among which &lt;em&gt;Cem anos de Caminhos-de-Ferro na Literatura Portuguesa&lt;/em&gt;, from 1956, and &lt;em&gt;A evolução histórica dos caminhos-de-ferro portugueses&lt;/em&gt;, from 1957. He was several times awarded, being made knighted by the Cavalry Order of the Holy Sepulcher of Jerusalem in 1951, rank of Grand Officer of the Military Order of Christ in 1939 and the Order of Prince Henry the Navigator in 1969. In the company that represented all his life he was honoured in 1956, on the ninth anniversary of his inauguration as Director General. Roberto de Espregueira Mendes died in 1981.</text>
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              <text>D'ORNELLAS, C. (1950). Engenheiro Espregueira Mendes.&amp;nbsp;&lt;em&gt;Gazeta dos Caminhos de Ferro, &lt;/em&gt;Nº 1490, p. 814.</text>
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              <text>Raúl Lino da Silva&amp;nbsp;was born on November 21, 1879, son of José Lino da Silva, a construction materials seller. He grew up between Lisbon and São Pedro de Sintra. At the age of 11, he went with his family to England, joining a catholic school outside Windsor, the St. James Roman Catholic School. In England he contacted with landscapes, architectures and interiors from the &lt;em&gt;Arts and Crafts&lt;/em&gt;, an artistic, catholic and medievalist chain, which was affirmed in England in the late twentieth century by names like John Ruskin and William Morris. The presence in British land between 1890 and 1893 was essential to his growth as an observer of the space and to his educational values, especially the respects for others. In 1893, at the age of 13, he went with his father to Hanover, Germany, to learn the language and take a degree in architecture. José Lino enrolled his son at the Technical Institute of Hannover (&lt;em&gt;Technische Hochschule&lt;/em&gt;), a suggestion given not only from Joaquim Bensaúde, but also from Antero de Quental, both friends of his father. Here he continued to nourish a chain of medieval revivalism, under the umbrella of Albrecht Haupt, his master, a trend that was consequently beginning to raise nationalisms across the continent. Lino was in Germany until 1897, year that marked his return to Portugal. &lt;br /&gt;&lt;br /&gt;Raul Lino came to a country full of restlessness and agitation. The solution for the recent trained architect was to get to know his country better, taking a trip around the country and registering the different cultures and local realities. Between 1898 and 1900 this was the occupation of Lino. The first year of the new century marks the beginning of an intellectual dispute between him and the architect Ventura Terra, between Portuguese traditionalism and French cosmopolitanism. Both competed in an open competition for the projection of the Portuguese pavilion for the Paris International Exhibition of the same year, with Ventura Terra winning the opportunity. However, his mark would be visible throughout the hole Portuguese territory. He designed a set of houses in Estoril between 1901 and 1906, the Manor of Patudos in 1904, the House of Cipreste in Sintra in 1912, the Tivoli Cinema in Lisbon in 1925, a villa on Rua Castilho that earned him the Valmor Prize in 1930, and the pavilion of Brazil in the Portuguese World Exhibition of 1940. It is also worth mentioning his works of restoration, especially in Palaces such as Sintra and Queluz.&lt;br /&gt;&lt;br /&gt;He also held important positions, in 1932 he became a founding member of the Academia de Bela Artes, whose presidency took over in 1967. He was also director of the National Monuments in 1949. In addition to the Valmor prize he received other decorations such as Commander of the Military Order of Christ, on March 4, 1941. Raul Lino also has a large collection of published works, such as &lt;em&gt;A Nossa Casa&lt;/em&gt;, from 1918, &lt;em&gt;Casa Portuguesa&lt;/em&gt;, from 1929, &lt;em&gt;Casas Portuguesas&lt;/em&gt;, from 1933, &lt;em&gt;Quatro palavras sobre Urbanizações&lt;/em&gt;, from 1945, &lt;em&gt;Quatro palavras sobre Arquitectura e Música e sobre alguns elementos morfológicos da Arquitectura nas Artes Estáticas&lt;/em&gt;, from 1962. &lt;br /&gt;&lt;br /&gt;His existence crossed the most important moments of the whole XX century in Portugal. He lived in two centuries, having reached the age of majority in 1900. At about thirty years he witnessed the implantation of the Portuguese First Republic. From the age of 40, he accompanied the Estado Novo dictatorship, in which he was comfortably inserted, being on several occasions in the service of Salazar’s regime, from his formation as Military Dictatorship, in 1926, until the acclaimed revolution that would put an end to decades of autarchy, the Revolução dos Cravos, in 1974. He died in Lisbon, at the age of ninety-five, that same year, on July 13, 1974.</text>
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              <text>SOEIRO, J. (2012). &lt;em&gt;Espírito na Arquitectura, O pensamento arquitectónico em Raúl Lino e Lucio Costa&lt;/em&gt;. Master Thesis. Faculdade de Ciências e Tecnologia da Universidade de Coimbra.</text>
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              <text>PEREIRA, P. (2012). &lt;em&gt;Raul Lino, Arquitetura e Paisagem (1900-1948)&lt;/em&gt;. PhD Thesis. ISCTE, Instituto Universitário de Lisboa.</text>
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                    <text>Fundação Marques da Silva. (2019). José Marques da Silva numa fotografia de passe (de perfil). [image] Available at: ttps://arquivoatom.up.pt/index.php/jose-marques-da-silva-6 [Accessed 16 Jul. 2019].</text>
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              <text>&lt;p&gt;José Marques da Silva was born in Porto on October 18, 1869. On the paternal side of his family he descended from agricultural workers, except for his father Bernardo Marques da Silva, who became a bricklayer and opened a materials workshop. His mother Maria Rosa Marques had in total ten children, being José Marques da Silva the oldest. He attended primary school and highschool at Ordem da Trindade School until 1851. Having worked in his father's materials workshop, he quickly gained aptitude and taste for the area, digging ground to enter the Portuense Academy of Belas Artes, where he entered in 1882. He was a student of António Geraldes da Silva Sardinha, João Marques de Oliveira and António Soares dos Reis. In 1889 he went to Paris to further his knowledge and studies, joining the &lt;em&gt;École Nationale et Spéciale des Beaux-Arts&lt;/em&gt; in 1890. During his stay in the French capital he worked in the studio of Victor Laloux, author of Gare d'Orsay, and became friends with Teixeira Lopes, Ventura Terra, Veloso Salgado and António Nobre. He would return to Portugal in 1896, the same year he finished his degree in architecture.&lt;br /&gt;&lt;br /&gt;His activity grew quickly, having participated in both the Paris Universal Exhibition of 1900 and the Rio de Janeiro Exhibition of 1908. His designs were able to spread his mark for various decades and different cities. In the city of Porto and Braga, he designed the S. Bento Station in 1896, the working-class neighborhood "O Comércio do Porto" between 1899 and 1905, the Monument to the Heroes of the Peninsular War in 1909, the National Theater of S. João in 1910, the Four Seasons Building in 1905, the Alexandre Herculano high school in 1914, the Warehouses Nascimento in 1914, the House of Irmandade da Lapa between 1910 and 1915, the Rodrigues de Freitas high school in 1919, the Diário de Notícias building in Porto in 1825 and, among others, the House and Gardens of Serralves between 1925 and 1943. His brand was also felt in the city of Guimarães, having designed the Sociedade Martins Sarmento between 1903 and 1908, the Municipal Market between 1927 and 1947 and the Penha Sanctuary between 1930 and 1947. In Lisbon he participated in the conclusion of the works of the Jerónimos Monastery, in the revitalization of the São Bento Palace, the Lisbon Cathedral, and in the restoration of the Belas Artes School of Lisbon. Concerned for his activity, he traveled to Spain, England, France, Belgium and Germany in search of inspiration for his projects.&lt;br /&gt;&lt;br /&gt;In addition to being a great technician, José Marques da Silva was also important in the academic world. In 1900 he was invited to teach Design and Modeling at the Instituto Industrial e Comercial do Porto. In 1906 he was appointed professor of architecture at the Portuense Academy of Belas Artes, which was already called the Belas Artes School of Porto. Between 1913 and 1914 and later between 1918 and 1938 he was the director of this same school. He was also a professor and director of the Soares dos Reis Artistic School between 1914 and 1930. His connection to the drawing subject assured him the esteem of a generation of modern architects who, starting from the academic base sedimented by Marques da Silva, reinvented Porto’s architecture.&lt;br /&gt;&lt;br /&gt;Marques da Silva was, at last, involved in the Conselho Superior da Sociedade de Belas-Artes, being an associate almost all his life. He was the first associate of the Sociedade de Arquitetos do Norte. He was a collaborator in the Yearbook of the Sociedade Portuguesa de Arquitetos. He was also architect of the Porto City Hall, from 1904 to 1906. In the field of decorations, he was awarded, in 1908, the Official Degree of the Ordem de S. Tiago de Mérito Científico, Literário e Artístico. Already posthumously, he was awarded by the City Hall of Porto with the Gold Medal of the City and a street name in the Campo Alegre area. José Marques da Silva died on June 6, 1947, in Porto.&lt;/p&gt;</text>
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              <text>&lt;p&gt;Luís Cristino da Silva was born in the parish of Santa Isabel, Lisbon, on May 21, 1896. Son of Maria Antónia Augusta de Almeida Carvalhosa e Silva and João Ribeiro Cristino da Silva, professor of the Instituto Industrial and member of the " Grupo do Leão ", a group of artists responsible for the diffusion of naturalistic painting in Portugal, which included, for example, Columbano Bordalo Pinheiro. He descended from several generations of painters, gaining an early taste for art. He grew up in the neighborhood of Santo Amaro, where he became friends with Cotinelli Telmo, his neighbor. In 1907 he began studying at the Escola Industrial Marquês de Pombal and in 1910 at the Belas Artes School of Lisbon, attending the preparatory course of Civil Architecture. In 1918 he got the degree and competed for a scholarship abroad, moving to Paris in 1920.&lt;br /&gt;&lt;br /&gt;In Paris, Cristino da Silva was trained in Victor Laloux's studio while studying at the &lt;em&gt;École Nationale des Beaux-Arts&lt;/em&gt;. In 1923, he asked to be transferred to Rome for a year, studying and working at the French Academy, in &lt;em&gt;Villa Médicis&lt;/em&gt;. In the capital of Italy, he carried out archaeological reconstitution studies. After returning to Paris, in 1924, Cristino da Silva finished his studies and returned to Portugal. His professional career would start with his exhibition in the Sociedade Nacional de Belas Artes, presenting several projects carried out in Paris and having a very favourable reception. Soon, in 1925 he began designing the Cineteatro Capitólio, which would end in 1931. In this last year he worked on the entrance portico of Parque Mayer. In 1930 he worked on the extension of Avenida da Liberdade, the current Eduardo VII Park. At the end of the 1930s, between 1937 and 1938, he worked on the double staircase that linked the two garden plans of the São Bento Palace. In the 1940s several are the works of excellence. The Pavilhão de Honra e de Lisboa for the Portuguese World Exhibition of 1940, the Areeiro square, between 1941 and 1960, the branches of Caixa Geral de Depósitos of Guarda, Castelo Branco and Leiria, between 1938 and 1943, Avenida António Augusto Aguiar in 1943, and the new buildings of the University of Coimbra between 1949 and 1966.&lt;br /&gt;&lt;br /&gt;Cristino da Silva was invited by Engineer Duarte Pacheco, on behalf of the Lisbon City Hall, to elaborate some of the partial urbanization plans for the city of Lisbon. The Partial Plan for Urbanization of the Zone between Restauradores Square and D. João da Câmara Square between 1945 and 1957, the Partial Remodeling Study of Bairro Alto between 1949 and 1952 and the Building Project of the Ministério das Obras Públicas e Comunicações in Praça do Comércio and Largo do Corpo Santo between 1952 and 1958. Steel in the 1950s, he projected the monument to Duarte Pacheco in Loulé on the tenth anniversary of his death and the Marginal Zone of Belém, between 1953 and 1961.&lt;br /&gt;&lt;br /&gt;In 1933 he won the competition to teach Architecture at the Escola de Belas Artes, in Lisboa, which he taught until 1966. While being a teacher Cristino da Silva was an apologist for a model of teaching in which students studied at school and practiced in the atelier. Cristino da Silva also served as a vowel of the Conselho Superior de Obras Públicas between 1942 and 1954. His work earned him several awards. He received the Medal of Honor of the Sociedade Nacional de Belas Artes in 1943, the Valmor Prize and the Municipal Prize for Architecture in 1944, the National Art Prize of the Arte do Secretariado Nacional de Informação in 1961. he was also decorated several times. On March 4, 1941, he was made Commander of the Ordem Militar de Sant'Iago da Espada. On September 30, 1957, he was made Commander of the Ordem da Instrução Pública and on July 19, 1961, he was made Commander of the Ordem do Infante D. Henrique. A street in Marvila was also named after him. Luís Cristino da Silva died in 1976.&lt;/p&gt;</text>
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              <text>Couchinho, R. (2017). &lt;em&gt;Arquitetura no Estado Novo, A Praça do Areeiro&lt;/em&gt;. Master Thesis. Faculdade de Arquitetura e Artes da Universidade Lusíada de Lisboa.</text>
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              <text>RODOLFO, J. (1999). &lt;em&gt;Luiz Cristino da Silva, O arquitecto, a obra e o seu tempo&lt;/em&gt;. Master Thesis. Faculdade de Arquitetura e Artes da Universidade Lusíada de Lisboa.</text>
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              <text>RIBEIRO, B. (2016). &lt;em&gt;Do estudo da forma e das transformações no desenho urbano, Um novo olhar sobre o Bairro Alto&lt;/em&gt;. Master Thesis. ISCTE, Instituto Universitário de Lisboa.</text>
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