INTRODUCTION

At a time when society is devoid of distinctive identity, in which increasingly appears that our identity is mixed and diluted with so many others, and the boundary between what is ours and the other is attenuated rises increasingly problematic identity, of what we are and what identifies us as an integral member of a society.

This problem means that it is a growing concern for the preservation of our values, culture, and heritage because these identified our local identity and distinguish of others.

In these context concepts such as culture, heritage and identity and interleave-disclosure oc-curs in the same global channels. The local identity is based, often in historic buildings and her-itage landmarks.

This heritage gives us information about our history, our culture, our origin, thus contributing to the identity of a group, locality, place or country where it has a key role in our connection with the past and with our origins. These factors should mean the recovery of degraded histori-cal centers, the revitalization of old industrial areas, consider a reuse and recovery of these for cultural use, thus making them an asset, a differential factor.

To speak of heritage often joins material heritage (physical objects that inherit), but the herit-age is more than, are memories, individual and collective experiences, our heritage, our heritage immaterial.

As UNESCO recognizes, it is essential to preserve heritage because it reflects the socio-cultural identity and a place, a people or community, since through it the society recognizes and identify its own history.

For the above material or immaterial assets (whether built, architectural, archaeological, reli-gious or artistic) is a key part in representing the cultural identity of a place.

Heritage and Culture through design C.Rijo Faculdade de Arquitectura de Lisboa, CIAUD, Lisbon, Portugal

ABSTRACT: According to UNESCO convention, heritage has changed the concept, where this term no longer refers only to the built heritage and extended the concept to Common Heritage of mankind, which refers to this as a legacy indispensable to the survival of all people in their relationship with the world, where heritage emerges as one of the most important concepts in building a global citizenship. In this paper we intend to reflect the importance of heritage preservation with essential factor in preserving the memory of our culture and identity. Whether culture are one of the common heritage and should be recognized and affirmed for the benefit of present and future generations. At a time when we rediscover the value of heritage, as an element of cultural identity, it becomes crucial to your recovery, preservation and dissemination. The designer, while professional design contributes to this element of cultural identity to be understood and perceived by a lot of people in order to preserve it at intangible level .

CULTURE & IDENTITY: CONCEPTS THAT MERGE

"The national culture produces feelings about the nation, sentiments with which we identify ourselves and pod, identity building this way."

(Hall, 1996)

Culture and identity are two terms that go hand in hand, i.e. often arise interconnected, where often a term is used in order to define the other, so it is necessary to identify the signify cate of each individually to better understand the concept of their union.

There are various definitions of culture, the author Rocher defines culture as “a bound set of ways of thinking, feeling and acting more or less formalized, being seized and shared by a plu-rality of persons, serve a both objective and symbolic way to organize these people in a particu-lar and distinct community” (Rocher, 1977).

Following the previous definition and pondering its anthropologic meaning Culture will be able to define culture as a “set of material and immaterial that identifies a particular communi-ty”1 and can be interpreted according to different aspects: through the comport mental charac-teristics that are unique human beings, through the analysis that must be bro u h to generate be-haviors, and through the ability of the human mind in create an infinite flexibility of reactions, through its symbolic potential and linguistic (Santos, 2005).

According to the anthropological definition mentioned above, and n so we can differentiate two distinct forms of culture: material and immaterial.

“A significant amount of capital cultural movable and immovable any country is performed in public institutions or semi-public as museums, galleries, archives, sanctuaries, historic build-ings, historic sites, etc. In common, these institutions are also often repositories of cultural capital intangible, such as local sheets, for example, the mind that are linked its history and the rituals and customs with which they are associated. Such institutions contribute cultural pro-duction pressing form services, consumed by both No dwells local actors and visi-tors”(UNCTAD, 2010).

Material culture is any product that results from human production, is the set of artifacts that combine the raw material and technology, and is different of fixed structures because of their mobility. Already immaterial culture and refers to knowledge that was not transmitted through books or any other records or forms, but by cognitive that is transmitted through the generations in practice. “Models, values and symbols that make up the culture include the knowledge, ideas, thought, cover all forms of expression of feelings, and the rules governing the observable ac-tions objectively” (Rocher, 1977).

For these reasons, the tradition and knowledge are factors impress fissile for the continuance of intangible culture and the construction of identity of a community or people.

In order that we can say culture “(...) encompasses both intangible aspects - beliefs, ideas, values that constitute the content of culture - as the tangible aspects -. Objects, symbols or tech-nology that represents the content”(Giddens, 2009).

As previously mentioned when speaking of culture, inevitably we come across the term iden-tity, this because there are many questions about contemporary culture that relate to issues of identity. The culture can “(...) There is no awareness of identity, whereas identity strategies can manipulate, modify and even a culture that no longer have much in common with what it was before. The culture is largely unconscious processes. The identity, in turn, refers to a standard of belonging necessarily conscious, because based on symbolic opposition "(Cuche, 2003).

In the broadest sense, identity is essential and distinctive set of characteristics (physical and psychology) someone from a social group or something.

For Castells the identity "is a source of meaning for the actors themselves, originated by them, and constructed through a process of individuation. (...) The construction of identity draws on the raw material provided by history, geography, biology, productive and representa-tive instructions, memory c the teaching and personal fantasies, the apparatus of power and revelations of a religious nature. But all these materials are processed by individuals, social groups and societies, which organize their meaning in terms of social tendency"(Castells, 2006).

In this context the identity of a person, is the set of attributes that makes it special and unique. Different people may have some characteristics in common to others, however what differenti-

ates them is precisely how these features are articulated in their training individual, "(...) Specif-ically construction that human is expressed through all those universal symbols and meanings socially shared, allowing a company start "Be" all that was built as a people and on which builds a referent speech of belonging and difference: Identity" (ARIAS, 2002).

Following the same reasoning will be possible to affirm that the identity of a place is the summary of their intrinsic characteristics, which in turn, the values, signs, representations iden-tify their cultural identity or human expressions that distinguish and identify.

Both culture and the identity of a place are a result of the crossing of its heritage with its his-tory and evolution over time.

“Culture is not a given or a biological heredity, it is a social construction in a located histo-ry, consequently it is a concrete historic product inserted in a history, more specifically in the history of the interactions that diverse social groups establish with.”(ARIAS, 2002)

Given a certain place the inhabitants attach a meaning that is closely linked with the identity of the subject, i.e. the place affects the way people represent themselves to themselves. This sense of belonging is developed by the various sensory experiences that the user experiences on site, these experiences originate feelings and emotions that mark, causing a sense of belonging through which to take root’s Inhabitant, while humans only enhances, protects and preserves the meeting, with this knowledge that leads to feeling (liking or not) and consequently the owner-ship of the website. In short, urban identity is characterized by the sum of the relationship be-tween the inhabitants with the buildings, the streets, the squares, i.e., the spaces and the profile of the city its identity.

In urban identity consider the forms and the physical elements that define its architectural ty-pology, this configuration has a historical dimension, which promotes collective memory in its inhabitants. Perception associated with the site identity is conditioned by prior knowledge of cultural, artistic, architectural, geographical (among others) that the inhabitant / user has. Only thus is it possible to compare with other urban spaces, and through this, to create an identity based on the specific cultural features of the site.

CULTURAL HERITAGE AND IDENTITY: ISSUES OF GLOBALIZATION

"The heritage has this quality, both visible and opaque, to stand out, be in its material and physical expression, whether in speech coding

that organizes and makes that always seems to be beyond us." (Brito, 2005)

Both culture and cultural identity of a community resulting from the crossing of its heritage with its history and evolution over time, which belong to a particular local identity means the meet us and be different from global.

On the other hand the economic and cultural instability hinders the maintenance of identity symbols, the constant mutation of the urban environment leads to a loss of identity by the inhab-itant.

According to Hall, one of the aspects of globalization is the issue of strengthening local iden-tities, or creating new identities, because the tradition that was characterized by stability is now replaced by cultural tradition.

According to Stuart Hall, currently the national cultures are a union of the main sources of cultural identity "national culture produces feelings about the nation, sentiments with which we can identify, so building this identity"(Hall, 1996).

The National Culture is composed not only of cultural institutions, but also symbols and representations that produce the feeling of belonging towards the site, sentiments with which we identify, thereby constructing identities. These feelings are contained in the stories that are told about the place, memories that relate the present to the past from which images are constructed (Hall, 1996). In addressing this issue the author argues that one of the consequences of globalization is the strengthening or creation of new national and local identities, ie globalization produces a new interaction between the global and the local.

Local diversity plays an important role in this process of globalization because it discloses the local culture on a global level, conveying to others their unique and distinctive characteristics, leading to a collective recognition of the same. Thus it could be said that society is an isolated identity of the other existing companies. Currently we are rediscovering local as opposed to global, cultural events, traditions and interpret the equity as an asset that is externalized identity and that the value of a culture.

According to Peralta, the heritage is closely linked to identity "(...) all asset building is a symbolic representation of a given version of the identity, an identity" manufactured "by this that idealizes. (...) The cultural heritage and comprise n so all those elements that underlie the identity of a group and that differentiate it from others "(Peralta, 2000).

As already mentioned in this article in the UNESCO 2003 convention changed the concept of heritage, which no longer refers only to the built heritage and extending the concept for "Com-mon Heritage of Mankind". In this convention UNESCO, takes on this new concept as crucial to the survival of all peoples in their relationship with the world, where heritage emerges as one of the most important concepts in building a global citizenship legacy.

This document (approved in October 2003 by UNESCO) heritage is valued at an immaterial dimension, from which local and / or cultural objects that target designation acquire a global dimension, and the responsibility for its preservation becomes globally shared:

"The monuments: architectural works, sculpture or monumental painting, elements or struc-tures of an archaeological nature, inscriptions, caves and groups of elements are of outstanding universal value from the point of view of history, art or science; Clusters: Groups isolated or assembled buildings which, because of its architecture, homogeneity or their place in the land-scape, are of outstanding universal value from the point of view of history, art or science; Plac-es of interest: works of man or the combined works of man and nature, and areas including ar-chaeological sites with outstanding universal value from the historical, aesthetic, ethnological or anthropological points of view."

Following the definition given by UNESCO, equity can be defined as a cultural asset, tangi-ble or intangible, that arouses feelings of worth and identity while culture expresses itself. Cul-tural heritage is the link between the past and present at the same time it gives us to know the tradition and culture.

According to Silva cultural heritage is represented, as is the identity, an incomplete process, constantly changing and therefore subject to continuous review, and involves a set of experienc-es and feelings of one or more groups that seek to represent symbolically what distinguishes them from the other, using for this the recognition of a common past (Silva, 2000).

For these reasons the property is an architectural representation that arouses the feeling of ide n taken and belonging and became a form of protection of local identities, with an intensity that is proportional to the consequent reinvented mischaracterization of globalization.

At a time when we rediscover the value of heritage as element and cultural identity, it be-comes crucial to your recovery, preservation and dissemination. No. However this recovery should be achieved without losing the identity of the place and you can assign it urban sustaina-bility and globalization (Gospodini, 2004).

Thus, the preservation of material culture and not local material leads to its global identity while contributing to the formation of the feeling of belonging in the community and perhaps why we are witnessing today will generalize a set of initiatives that for the preservation of herit-age in its various aspects, which seem to correspond to local the phenomenon of cultural global-ization reactions, and homogenization of the spectrum of effects attached thereto (Silva, 2000).

For all this must be considered that when it comes to heritage preservation should be borne in mind that identity is constantly changing and construction, will soon be important to leave open the possibility that the property itself is modified, if transform, suits and values.

THE DESIGNER AS A TRANSMITTER OF COMMUNITY IDENTITY

"Design is a means, not an end in itself" (Tibor Kalman)

The designer is an active agent in the cultural construction because the choices we make and the messages they convey are a component of a public cultural reality.

The Office of the designer is crucial in communication, the symbolic relationships and the re-lationship of individuals to society.

According to Costa " (...) Identities are constructed in society through processes of social in-teraction, becoming a double series of mechanisms, symbolic and relational, which are decisive in the catalog and classificatory assignments from third parties on the cross itself and this about yourself compared to other. "(Costa, 1999).

The designer should have the ability to convey the feeling of belonging to citizens / clients and highlight this added value communicating it to the outside.

Increasingly s cities are concerned to be represented visually s with the objective of economic growth and attracting investment. For this and visually communicate through texts, symbols and pictures convey their distinguishing characteristics. The local identity is therefore a representa-tion constructed from the attempt to unify numerous identities presents it (Hall, 1999).

According to Kevin Lynch's neighborhood are middle regions of a city where the observer mentally enters and recognizes that represent common characteristics. These features are identi-fied internally (i.e. to its inhabitants), the designer should use these elements in the representa-tion of local identity, and they are the benchmark that allows external recognition. The problem of this kind of representation is that needs to be understood equally to all receivers, however the same reality can be described or interpreted in different ways. Thus it is extremely important that the designer can find a consensus so the greatest number of people will also understand message.

However the city is a space that is constantly changing, whether urban, sociological or mor-phological level, is a living element. The cities awaken their inhabitant’s behaviors since they produce stimuli, these stimuli often associated with the communication we have with the space. One could say that the city has a defined by the association of its character features: urban, cul-tural, religious planning, combined with individuality of its inhabitants. Whenever we move through the city we found ourselves with an undetermined number of stimuli that awakens in us emotions, thoughts, sensations, reflecting the emotional and intellectual character of an area (Ribeiro, 2004).

Locals can be interpreted as extremely complex brands, because they are constantly chang-ing, and your variables are much harder to control than one of the variables that the corporate domain, however the construction of identity is required to be waking up to the fact that it does not communicate the same way as a corporate brand, this because the identity of the city is not in the market.

In calculating the construction of identity representation, the designer cannot forget that this should result in a "reassuring and representative picture of the collective and timeless values, with which the community identifies and feel like his" (Fragoso, 1999). For this it is important to consider their physical features (architecture, urbanism, transport, monuments, among others), their geographic location as well as its cultural events, as these contribute decisively to their identity and must be integrated into the core brand positioning of the site.

CASE STUDY: HERITAGE AND IDENTITY OF ALCÂNTARA

As already mentioned, the identity of a place or site is connected to the historical surroundings (heritage) to their intrinsic values (culture), in short, to the point that define the associated vision that users have about their identity.

Culture is the most relevant factors, it is one that allows us to understand how the site relates to the citizens in the past present and future, since culture is not copies or imitates (Elizagarete, 2003). Thus, the historical and cultural heritage is, of all the elements, the one that most identi-fies a city; it is through him that the place is different from other.

By the above, to analyze the cultural heritage of a city or place a multidisciplinary approach to the subject is needed.

Located in West Lisbon, Alcântara portrays the diversity of Lisbon, with the presence of three distinct architectural components: initially religious and aristocratic, that after the industri-al revolution took a worker character.

The most obvious and significant this location in March is the origin of its name, when in mid-century was built a stone bridge in the river, after the Muslim occupation that began to be called Al-Qantara name of Arab origin "Al-sung" which means "the bridge".

Over the centuries, Alcântara has undergone several transformations to reach the day with a privileged opulent memory of events and experiences.

It was under the Filipino domain Alcântara suffered its first urban development resulting from the emergence of convents and the Royal Palace. The convent of the Flemish, also known as the Convent of Our Lady of Caring, was the first convent Alcântara birthplace; this front later founded the Monastery of Mount Calvary by D ª Violante de Noronha in 1617. This century were also founded the Convent of Deliverance in 1610 and Sacramento in 1612.

Many were the nobles who chose to come and live or have their summer homes in this locali-ty, hence the century. XVII has been rich in building Palatial, should this respect, too, the exist-ence of farms and many palaces in this area, including the Quinta dos Saldanhas and Caldas, in Junqueira, the palace and fifth of Oaks (later called Fiúza), the fifth Cabrinha writer D. Francis-co Manuel de Melo, among others.

The Calvary Convent was built in 1617, the abilities of the Royal Palace of Alcântara and Palace of the Counts of Bridge both the end of the century and the Royal Palace of Alcântara, situated in the current off of Calvary.

With the 1755 earthquake Alcântara missed the Royal Palace, but apart from this, few other buildings were damaged, leading to an increase of population, since many of the people who lost their homes have made this city their new home.

Alcântara, who previously had about 600 inhabitants, saw due to weathering, its population growing to 4769 inhabitants.

With the increase in population and the remodeling of the parishes in 1770 the parish of S. is created Pedro Alcântara, formerly located in Alfama. The new parish of Alcântara in 1801 had 9830 inhabitants.

Not only grew the number of inhabitants, as well as the number of factories that they settled here, you'd be cotton, furnaces for the manufacture of lime (in Alvito), the Dyeing of Real Silk Factory, the Royal Gunpowder Factory, Company Spinning and Lisbonenses Fabrics, Wool Factory and some plants outside the chemical industry, production of soap, candles between others

This industrial growth was a key factor in population of this parish, to be registered as a not so common Alcântara concentration of workers' villages.

This large manufacturing focus led to another great need: the industrial schools. The social climate and labor requirement applied at that time in contrast to the level of very

precarious life fulfilled the conditions that led to the formation of a discontented and often nick-named revolutionary community. This was accentuated after the implementation of the Repub-lic, when between various strikes stand out the strike of the workers of CUF, the March 27, 1911. Even during the Salazar dictatorship this neighborhood remained faithful to him, partici-pating in the opposition movements.

For the growth of this parish was determining the development of the public transport net-work. Notice that in 1864 there was a subsidiary of the Company Carriages Lisbonenses, in 1870 the 'American' pulled by mules emerged as the Companhia Carris de Ferro de Lisboa was founded in 1876. Ten years later (1886) the cars that transported the Jacinto passengers in 1887 the first train journey, from 1895 to 1897 Estoril railway line in 1901 and was inaugurated arise tramway.

However, the nineteenth century was defied by declining population, in 1950 Alcântara had 34,161 inhabitants. However, after this decade, the number of inhabitants decreased dramatical-ly. This is due to three key factors: a new delimitation of the parish in 1959, where it is reduced significantly, the works of the 25 de Abril bridge, which forced removal of residents and closure of most factories.

Alcântara was many years without any urban investment, which led to an aging population and a population loss, due largely to the plant have been decimated tissue, promoting the com-mon population desertification to the center of Lisbon. However "Alcântara will resist the mis-

characterization, because it has a precious heritage of the old neighborhood and popular work-er who can not miss" (Consiglieri, 1993).

The Lisbon Municipal Council together with private companies felt the need to change the situation it was in this place and with some projects (some already made, some not) predict the development of this locality by exploiting the real estate sector network transport among others, taking advantage of the great location.

In 2002, the CML recognizes the extreme importance of existing patios and villas in Alcânta-ra, the municipality signaled five courtyards and houses as an object of study for future rehabili-tation, among which are: Vital Villa Teixeira; Patio Fiuza; Cabrinha Patio, Patio of the Flemish and Vila Teixeira. All these interventions have undergone a major overhaul, except Vila Teixei-ra, which was demolished.

The level of urban renewal objectives of the Plan of Urbanization claim that this parish con-stitutes a new centrality in the city, featuring new areas of equipment, services, commerce and technology-based activities. However, this is one of the projects despite already having been approved yet to materialize fully.

Also innovative is the project LX Factory (pole connected to the creative sector businesses - art, design, dance, fashion, architecture, advertising, music) open to the public since 2008, who revitalized the old wiring and Fabrics Company Lisbonenses that before being subject to reclas-sification stood almost abandoned.

No less important is the presence of Pestana Palace Hotel located in a privileged area of Alcântara. This hotel unit 5 stars is headquartered in the old palace Valflor. The Pestana Palace is a member of "The Leading Hotels of the World" and since 1997 its gardens are classified as "National Monument". Due to this hotel unit, are numerous celebrities when they come to Lis-bon choose to stay on this site.

Note that there are innumerable properties of historical interest present in this locality, they are catalog 67 buildings in architectural heritage and Alcântara currently has approximately 13 911 inhabitants.

We ran into this mode with two distinct situations: Alcântara as Historical Heritage is urgent that promote / preserve and Alcântara as new residential area that seeks to be a new center of Lisbon, for its supply of space available for housing construction (excellent location) as well as the old housing estate with potential for redevelopment.

Inserted inside the capital city of Lisbon, Alcântara proves to be a surprise by presenting such an ancient and diverse heritage. By understanding by Lisbon as a city, "she becomes a whole set, a monument not only to understand how architectural allegory, but also means that the city head of a universal or particular community is, as a collective monument" this monument re-garded as "the work of art that spans the centuries preserving and transmitting their own ideo-logical value" (Pereira, 1989). HERITAGE STILL EXIST:

Religious heritage: It is still visible through the presence of churches and chapels

Figure 1. Chapel of Santo amaro, first picture as unknown date and secund is from 2013.

Aristocratic heritage: There are several palaces present in this parish

Figure 2. Burnay Palace, first picture date from end of the nineteenth century and secund one from 2013. Industrial heritage: Major factories that were adapted to functions of a cultural nature

Figure 3. Napolitana Factory, first picture is from nineteen hundred and secund one from 2013. CONCLUSION The meaning of heritage and culture is closely linked with the definition of identity, which brings us back to a sense of belonging towards something and that places us in a group or loca-tion. This is our identity represented symbolically by May's many tangible and intangible ele-ments that belong to our culture or heritage which were being built at the crossroads of demo-graphic, geographic, economic and social factors.

The architecture, art, history, landscape, climate, local culture is what defines its history, where they’re identity trying to be the ultimate expression of the imaginary and the first element of communication. This differentiation is a cultural as well as it promotes the site making it more attractive for the development of new economic activities, encouraging self - esteem of the inhabitants, as it leads to its recognition.

The loss of these referrals leads to a feeling of loss of identity, as we let the site know that we belong.

The heritage and culture play a key role in identifying the individual at a locus is n Bone duty as citizens to preserve and promote this our legacy for future generations, thereby preserving the identity of the site which summarizes itself in its history with a code that evokes your personali-ty.

Each city or location and design should communicate their gains through a strong visual rep-resentation that reflects your identity, easy to understand and interact with the public in order to

create an emotional relationship. These visual representations should contain the most repre-sentative features of the site articulated with contemporary and appealing graphics while sum-marizing the history of the site providing a new insight to citizens, tourists and investors. Visu-al construction of identity is crucial in recognizing the personality of place because only in this way it may be designed and understood at a global level.

The designer is responsible for in your work, try to decode and transmit culture and our cul-tural diversity so that it is perceived and apprehended by the society in which it operates.

REFERENCES

Hall, S. 1998. A identidade cultural na pós-modernidade. Rio de Janeiro: DP&A, p.51. Rocher, G., 1977. Sociologia Geral. Lisboa: Ed. Presença, p.198 Santos, R. 2005. Antropologia para quem não vai ser antropólogo. Porto Alegre: Tomo Editorial. UNCTAD. 2010. Creative Economy Report 2010. United Nations, Geneva, p.116. Rocher, G., 1977. Sociologia Geral. Lisboa: Ed. Presença, p.200. Giddens, H. 2001. O Mundo na Erra da Globalização. 3ª edição. Lisboa:Editorial Presença, p.22. Cuche, D., 2003. A noção de Cultura nas Ciências Sociais. Lisboa: Fim de Século Edições, p.136. Castells, M. 1999. A era da informação: economia, sociedade e cultura. Vol. I, A Sociedade em Rede.

São Paulo, Paz e Terra. P.23. Arias, P. 2002. La cultura. Estrategias Conceptuales para comprender a identidad, la diversidad, la al-

teridad y la diferencia. Escuela de Antropologia Aplicada. Ediciones Abya-yala, p.103. Arias, P. 2002. La cultura. Estrategias Conceptuales para comprender a identidad, la diversidad, la al-

teridad y la diferencia. Escuela de Antropologia Aplicada. Ediciones Abya-yala, p.9. Brito, J. 2005. Patrimónios e identidades: a difícil construção do presente, Patrimónios e Identidades. Ficções Contemporâneas, Oeiras: Celta, pp. 43-54. Hall, S. 1998. A identidade cultural na pós-modernidade. Rio de Janeiro: DP&A, p.51. Hall, S. 1998. A identidade cultural na pós-modernidade. Rio de Janeiro: DP&A, p.77. Peralta, E. 2000. Património e identidade. Os desafios do turismo cultural. p.21 I

http://ceaa.ufp.pt/turismo3.html UNESCO 2003. Convenção sobre patrimonio Cultural Peralta, E. 2000. Património e identidade. Os desafios do turismo cultural. p.220 in

http://ceaa.ufp.pt/turismo3.html Gospodini, A. 2004. Morfologia Espaço Urbano e Local em Cidades-identidade europeia, p.95 Peralta, E. 2000. Património e identidade. Os desafios do turismo cultural. p.219 in

http://ceaa.ufp.pt/turismo3.html Costa, A. 1999. Sociedade de Bairro, Oeiras: Celta, p.493 Hall, S. 1998. A identidade cultural na pós-modernidade. Rio de Janeiro: DP&A, p.38. Ribeiro, A. 2004. Abrigos – Condições das Cidades e Energias da Cultura. Editor Cotovia, Fragoso, A. 1999. Imagem instituicional das cidades. Lisboa: Universidade Aberta, p.21 Elizagarate, V. 2006. Estrategias de marketing para las ciudades: el turimo y la organizacion de eventos

en la Europa des S. XXI. Consiglieri, C. 1993. Pelas Freguesias de Lisboa. Lisboa: Câmara Municipal - Pelouro da Educação, p.62 Pereira, J. 1989. Dicionário da Arte Barroca em Portugal. Lisboa: Presença, pp. 23-24.