It is located in the city and municipality of Covilhã, belonging to the district of Castelo Branco, in the province of Beira Baixa, Centro region and sub-region of Beiras and Serra da Estrela
History of Praça do Município
In place of the old Porta da Vila, the most important of the five doors in the medieval walls, the Filipes ordered the construction of the Town Hall building in 1614, referred to at the time as “the most majestic in the town”, which housed municipal services, the council prison installed on the ground floor and other public services.
In front of the Paços do Concelho building opened a vast yard that would become the civic center of the city and was surrounded by houses and churches, acquiring the status of Praça do Município, known as Pelourinho where the people joined in the daily cavaqueira in festivities, demonstrations, processions, military parades, bullfights and weekly markets.
The churches built near Pelourinho include the Misericórdia Church built in the year following the Restoration and which had a hospital for the poor attached.
Praça do Município was formerly a tree-lined square with benches and in the center there was a bandstand where the city's bands played on festive days and the surrounding buildings had the Renaissance style as their essential characteristic.
The “winds of progress” that led to a profound remodeling of this square began to blow in the 1940s, which culminated in the inauguration on October 12, 1958 of the new City Hall building, with the old Philippine building being demolished.
The decanted Fonte das Três Bicas was moved close to the Public Garden and was built in 1855 in a baroque style with worked columns and triangular pediments with pilasters.
The current building of the Paços do Concelho, an example of Estado Novo architecture, should be highlighted in the Noble Hall with panels by the painter Lino António representing significant moments in the history of Covilhã and its most important economic activities.
In an adjoining room you can see a Portalegre Tapestry by Professor António Lopes “Covilhã, Cidade Fábrica, Cidade Granja” which represents various scenes from the life of Covilhã and in the vestibule there are statues of Frei Heitor Pinto and Pêro da Covilhã.
In front of the Paços do Concelho building opened a vast yard that would become the civic center of the city and was surrounded by houses and churches, acquiring the status of Praça do Município, known as Pelourinho where the people joined in the daily cavaqueira in festivities, demonstrations, processions, military parades, bullfights and weekly markets.
The churches built near Pelourinho include the Misericórdia Church built in the year following the Restoration and which had a hospital for the poor attached.
Praça do Município was formerly a tree-lined square with benches and in the center there was a bandstand where the city's bands played on festive days and the surrounding buildings had the Renaissance style as their essential characteristic.
The “winds of progress” that led to a profound remodeling of this square began to blow in the 1940s, which culminated in the inauguration on October 12, 1958 of the new City Hall building, with the old Philippine building being demolished.
The decanted Fonte das Três Bicas was moved close to the Public Garden and was built in 1855 in a baroque style with worked columns and triangular pediments with pilasters.
The current building of the Paços do Concelho, an example of Estado Novo architecture, should be highlighted in the Noble Hall with panels by the painter Lino António representing significant moments in the history of Covilhã and its most important economic activities.
In an adjoining room you can see a Portalegre Tapestry by Professor António Lopes “Covilhã, Cidade Fábrica, Cidade Granja” which represents various scenes from the life of Covilhã and in the vestibule there are statues of Frei Heitor Pinto and Pêro da Covilhã.
Currently the Praça do Município
Praça do Município, located in the heart of the city, is one of the areas of Covilhã with the greatest commercial and tourist dynamism.
In this Covilhã space you will find a group of buildings: Covilhã City Council, Teatro-Cine, Caixa Geral de Depósitos and Portugal-Telecom, which was classified in August 2003 by order of the Minister of Culture as a Property of Public Interest.
The construction of the current Covilhã City Council building began in 1949 with the demolition of the old Town Hall building from the 17th century (1614).
In Praça do Município you will find the beautiful Igreja da Misericórdia, which dates back to the 17th century, but which was restored around the 30s/40s of the last century.
Praça do Município is a space that, without losing its heritage value, has undergone some changes over time.
The last one was carried out by the architect Teotónio Pereira, and took place between 2000/2001 and was built: a new silo with capacity for 374 seats, pedestrian and leisure areas and a roundabout that is made up of a sculptural group designed by Irene Buarque.
Currently, Praça do Município is a very dynamic and pleasant space and considered by many to be the city's ex-libris, it is an asset to the entire municipality in terms of tourism, architecture and urban planning.
In this Covilhã space you will find a group of buildings: Covilhã City Council, Teatro-Cine, Caixa Geral de Depósitos and Portugal-Telecom, which was classified in August 2003 by order of the Minister of Culture as a Property of Public Interest.
The construction of the current Covilhã City Council building began in 1949 with the demolition of the old Town Hall building from the 17th century (1614).
In Praça do Município you will find the beautiful Igreja da Misericórdia, which dates back to the 17th century, but which was restored around the 30s/40s of the last century.
Praça do Município is a space that, without losing its heritage value, has undergone some changes over time.
The last one was carried out by the architect Teotónio Pereira, and took place between 2000/2001 and was built: a new silo with capacity for 374 seats, pedestrian and leisure areas and a roundabout that is made up of a sculptural group designed by Irene Buarque.
Currently, Praça do Município is a very dynamic and pleasant space and considered by many to be the city's ex-libris, it is an asset to the entire municipality in terms of tourism, architecture and urban planning.
Statue of Pêro da Covilhã in Praça do Município
In Praça do Município, in a prominent place, there is a statue of Pêro da Covilhã, who was a natural explorer of Covilhã and the first to set out in search of the sea route to India.
The explorer was unable to reach India but he gathered data that was very useful for Vasco da Gama to do so seven years later.
The granite monument is 4.67 meters high and 1.12 meters wide, a little lower there is the statue of King D. Luís who in 1870 elevated Covilhã to a city.
The explorer was unable to reach India but he gathered data that was very useful for Vasco da Gama to do so seven years later.
The granite monument is 4.67 meters high and 1.12 meters wide, a little lower there is the statue of King D. Luís who in 1870 elevated Covilhã to a city.
Statue D. Luís (1861-1889) in Praça do Município
By decree of October 20, 1870, the town of Covilhã was elevated to the category of city and on January 16, 1871, the following royal charter was issued: “Dom Luíz by grace of God King of Portugal and the Algarves N” I make it known to those who read this Letter of Mine that... my notable town of Covilhã, in the district of Castello Branco, is one of the most important in the Kingdom due to its population and wealth…”
The D. Luís Statue in Covilhã appears in front of the Misericórdia church, which dates back to the 17th century, but which was restored around the 30s/40s of the last century. On a high pedestal there is an image made in bronze showing a man dressed in a uniform with an emblem and with his left hand holding a sword on the left side.
The D. Luís Statue in Covilhã appears in front of the Misericórdia church, which dates back to the 17th century, but which was restored around the 30s/40s of the last century. On a high pedestal there is an image made in bronze showing a man dressed in a uniform with an emblem and with his left hand holding a sword on the left side.
Set of Aviz columns in Praça do Município
The development of the urban and environmental lighting project for the public space reflects the need for a transition space from the arcades and with a visual axis created by the presence of the sculpture that punctuates the entrance from the perspective that the space is to be understood in its entire scale.
The lighting of the sculpture was the defining moment of the entire project and contains within itself the concept of movement and visual progression that is reinforced with the placement of a set of recessed fixtures in the ground that ''''move'''' with the sculpture's movement.
The entrance/portal that the sculpture evokes associated with the ''''roundabout effect'''' of automobile circulation creates differentiated but conciliatory moments with the urban space.
The set of Aviz columns, made up of two adjustable projectors, allows the visualization and visual identification of trees, the wide route of the public space and is not restricted to a fixed and rigidly marked route.
The CMC, CGD arcades will then be framed as a backdrop, meaning that the appreciation of the proportion reinforces the perspective and allows the presence of the rhythm to be highlighted.
Removing the lanterns ensures that the ''''corridor'''' is marked but without disturbing the complex or the reading of the arcades.
The lighting of the sculpture was the defining moment of the entire project and contains within itself the concept of movement and visual progression that is reinforced with the placement of a set of recessed fixtures in the ground that ''''move'''' with the sculpture's movement.
The entrance/portal that the sculpture evokes associated with the ''''roundabout effect'''' of automobile circulation creates differentiated but conciliatory moments with the urban space.
The set of Aviz columns, made up of two adjustable projectors, allows the visualization and visual identification of trees, the wide route of the public space and is not restricted to a fixed and rigidly marked route.
The CMC, CGD arcades will then be framed as a backdrop, meaning that the appreciation of the proportion reinforces the perspective and allows the presence of the rhythm to be highlighted.
Removing the lanterns ensures that the ''''corridor'''' is marked but without disturbing the complex or the reading of the arcades.
