Lisbon’s Palácio Condes da Ribeira Grande is many things: an art museum, a sumptuous five-star city hotel and a palace by the great River Tagus for the region’s count, per its name. It’s a survivor of Lisbon’s devastating 1755 earthquake. And it’s a superlative example of adaptive reuse in a city filled with sensitive conversions — one worth travelling for, which is a rare thing.

It was also a massive undertaking by its owner, the property developer Armando Martins, who purchased it nearly 20 years ago through his company, Fibeira Group. When Martins first acquired the 18th-century palace, it had been derelict for years, following a stint as a public school and a period of neglect. Today, as MACAM, the Museu de Arte Contemporânea, it’s a vibrant reminder of the city’s glory days and its rosy future.

The Restoration of Palácio Condes da Ribeira Grande

‘As with any historic building restoration, the Palácio Condes da Ribeira Grande presented a unique challenge, given its severely deteriorated state, bordering on ruin,’ says Martins. ‘Consequently, utmost care was taken to restore the building to its original splendour, while incorporating subtle modifications to facilitate its dual function as a museum and hotel, all without compromising its inherent historical character.’

MACAM’s dual purpose is partly down to Martins’ long-held pastime as a collector of Portuguese art, chronicling the nation’s recent past. His cache of 600 pieces—including paintings by Maria Helena Vieira da Silva and the world’s most important private collection of works by Robert and Sonia Delaunay disciple Eduardo Viana—deserves to be enjoyed by the public. This grand symmetrical palace is as dignified a venue as one could ask for, though its bedrooms seem better suited to showcasing the building itself. The solution? Use them to host overnight guests and integrate fine art into the design.

Art from Martins’ warehouses is shown in every room of the place, even its gardens. Meanwhile, 2,000 sq m of space to either side of the majestic reception is given over to curated exhibitions accessible to the public as well as guests. One contains the international portion of the collection. To celebrate the art hotel’s opening, Martins also commissioned new work from the Canadian sculptor Angela Bulloch and Jose Pedro Croft, from Portugal. The former palace kitchen has a display of historic art called Figuration Reinvented.

Working with MetroUrbe, Martins redeveloped the main home section by section—there are 15 overall—focusing much attention on the monumental staircase. The highlight is the meticulously restored baroque chapel, which rises to a frescoed dome. The team increased the scope for creativity by adding a modern annexe connected by a glass atrium. Hotel guests can stay in either structure. Many rooms in the old palace have their original decorated ceilings and Portuguese tiling. Rooms in the new building have balconies with diagonal shading louvres that overlook the courtyard sculpture garden and complement the long façade, designed by Portuguese artist Maria Ana Vasco Costa with white 3D tiles. One of the few studios, equipped with its own kitchenettes, has a work by well-known Portuguese artist Jose de Guimarães.

‘[Guests] can enjoy a unique and enriching art experience, with MACAM’s collection woven throughout the corridors, guest rooms and outdoor terraces,’ says Martins. ‘They can also have exclusive access to the museum’s exhibitions and art programmes.’

In May, the art hotel will open its new rooftop swimming pool, with views of the Tagus River and over the Alcântara neighbourhood. Nearby are other esteemed institutions like the MAAT and MAC-CCB museums. The Jerónimos Monastery and Belém Tower, in the art-filled district of Belém, are within walking distance.

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