A Common Urbanity

A COMMON URBANITY

Royal Institute of Technology Architecture School / Studio 8 Grahn, Kubokawa, Zinnecker

A COMMON URBANITY STUDIO 8 2016

IMPRINT A Common Urbanity ©

Studio 8, 2016 KTH Royal Institute of Technology School of Architecture Stockholm, Sweden

Published by

Sara Grahn Rumi Kubokawa Max Zinnecker

Print

Danagård Litho AB Stockholm This project was made possible by a grant from J. Gust. Richert Stiftelse.

INTRODUCTION SÃO PAULO IDEAS CATALOGUE TRAVEL REPORTS HOUSING THE PROJECT

04 I 10 II 30 III 84 IV

INTRODUCTION “Asserting the value of incomplete form is a political act architects should perform in the public realm. This means DVVHUWLQJ QRW RQO\ WKH EHDXW\ RI XQĂ€QLVKHG REMHFWV EXW also their practicality. Is a political act because it confronts WKH GHVLUH IRU Ă€[LW\ LW DVVHUWV ÂŤ WKDW WKH SXEOLF UHDOP LV a process.â€?

Richard Sennett

SĂŁo Paulo is amongst the ten largest metropolitan areas in the world. With a population of 11 million, the struggle for housing is one of the main popular movements in the city today, with an estimated 130,000 families without housing provision. The disparity of wealth lead to the proliferation of informal communities, and in the formal city the tendency of creating walled neighbourhoods has become the QRUP VHYHULQJ WKH Ă RZ WR DQG DFFHVV WR WKH FLW\ DQG consequently failing to create a coherent community.

In this context, we worked previously in analysing WKH Ă RZ RI XUEDQ UHVRXUFHV DQG WKHLU OLIH F\FOHV DQG how the resources management affect urban life and the common realm. Departing from these studies

our work has focused on the area of Republica in the centre of SĂŁo Paulo and aimed to study the different layers that superimposed give form to the rapidly changing landscape of the city: changes brought by its inhabitants striving to establish new forms of coexistence. Based on three (un)grounding pillars around the question of housing: environmental damage, social justice and inclusive prosperity, our study has examined the status of the Global Goals in the background of Stockholm and set it as a foil to the SĂŁo Paulo context, examining ways in which a design lead research can provide questions to the most pertinent issues regarding our lives in our cities today.

I

5

STUDIO 8 TEACHERS

STUDENTS

PROF. SARA GRAHN RUMI KUBOKAWA MAX ZINNECKER

AIKATERINI SYNAPALOU ALEXANDRA ROSENGREN ANA DEL RIO DEL OLMO ASHRAF ELASWAD JAKOB LUNDKVIST JAN ŠOLAR JANINA OEHLERS JULIA GUSTAFSSON KATARZYNA STACHURA KAJSA BLOHM KARL LINDSTRAND KRISTINA STONKUTE LUCIA OLAVARRI MAGNUS PERSSON MARIE ADÁMKOVÁ MATHILDE HOUDEBERT MYRIA PANTELI RASMUS ROMAN VICTORIA VOLINA-LUCHIAN WIM WIKLUND

AIKATERINI SYNAPALOU

ALEXANDRA ROSENGREN

JULIA GUSTAFSSON

KATARZYNA STACHURA

MARIE ADÁMKOVÁ

MATHILDE HOUDEBERT

I

ANA DEL RIO DEL OLMO

ASHRAF ELASWAD

JAKOB LUNDKVIST

JAN Å OLAR

JANINA OEHLERS

KAJSA BLOHM

KARL LINDSTRAND

KRISTINA STONKUTE

LUCIA OLAVARRI

MAGNUS PERSSON

MYRIA PANTELI

RASMUS ROMAN

VICTORIA VOLINA-LUCHIAN

WIM WIKLUND

7

I

SĂƒO PAULO COMMONS - IDEAS CATALOGUE

The study of urban resources was a starting point in understanding the city against the mounting challenges posed by rapid urbanization, scarcity of resources and environmental problems. In identifying main areas of concern including environmental, social and economic implications of population growth; mineral and natural resources; food, land, water and climate issues; and by analyzing and identifying relationships and juxtapositions, we recognized opportunities for action. The city is a place that presents an enormous potential, one the one hand œWKH FUXFLEOH RI WKH QHZ¡ D SODFH RI KRSH DQG RQ WKH other a dystopian picture of a globalized future. In the complexity of the city however, these are not mere opposites but exist always together, in tension WR RQH DQRWKHU 7KH SOD\ RI FRQWH[W H[HPSOLÀHV these tensions and we must ask whose order do we maintain? who sees chaos? and what is good for whom? In their essential role of bringing together the most dissimilar of people and juxtaposing their diverse worlds, cities are also the place of

antagonism and disorder, but ultimately of creativity, LQWHQVH VRFLDO UHODWLRQV œK\EULGLW\¡ 7KH TXHVWLRQ RI how this can be thought and handled spatially could suggest an architecture as a performative act, as infrastructures that aim to connect, and interventions as a direct result of ongoing cultural, social and economical struggles, an adaptive architecture.

In September 2015, World Leaders committed to 17 Global Goals to achieve 3 extraordinary things in the next 15 years: End extreme poverty. Fight inequality and injustice. Fix climate change. In the project, the students where examining the goals and how they could become catalyst to a socially and ecologically engaged design agenda. The projects investigate how the issues are manifested in a physical way in the city of SĂŁo Paulo and formulate design questions related to these issues. The designs aim to contribute to the common realm as well as “narrowing the gapâ€? between the reality and the Global Goals.

II

11

PRODUCTIVE CITYSCAPE GLOBAL GOALS 1 & 2 Kajsa Blohm | Myria Panteli This project investigates the possibilities of building farms and gardens that both meet material demand for food and also immaterial demand for health, education and connection with both nature and other people.

It searches for ways of developing more sustainable relationships between agriculture and the city, by building closed loops systems where waste of one process is the nutrition for another.

On one of the many empty lots in SĂŁo Paolo we create an intervention that serve as an educational support, improving knowledge, interaction with the environment, opportunity to observe and take part of the different workshops and classes. Helping in that way the understanding of the various factors related to the growth of plants and food security. It will be an experimental gardening place for promoting urban agriculture in the city of SĂŁo Paulo. The aim is to create a more intimate relationship between producers and consumers, between people and nature, city and the ecosystem, and to join people from different social backgrounds together.

II

13

URBAN COLONNADE GLOBAL GOALS 5 & 8 Lucia Olavarri | Rasmus Roman The marketplace as a typology was examined, both as buildings and street markets. São Paulo’s Mercado Central was the focus point. In the hectic Rua 25 de Março, one of the city’s busiest commercial streets located nearby, different actors sustain a clear system and hierarchy, a play between the established store owners, street vendors with stalls and camelôs without stalls, based on supply/demand and quality/price.

Fruit & v Fruit Fruit Parking Fruit Parking Parking Fruit

The proposal is a public colonnade and square, providing much needed infrastructure for street vendors: storage, repair workshop, restrooms and shadow where visitors of the market could wait for their ride home. The colonnade would also be able to house cultural events.

Political: Stained glas Altars of produce Opening hours Commercial: Economic transactions Mediating structures, buyer - seller Cultural: Eating Socializing Getting aware of whats up Taking part of local cuisine

Rua Comendador Abdo Schahin

II

15

ROOF KINDERGARDEN GLOBAL GOAL 5 Ana Del Rio Del Olmo | Marie Adamkova The research shows that the majority of women in SĂŁo Paulo are not able to have a stable job. One of the reasons is the lack of facilities for their children. Mothers often have to stay at home with their children longer than necessary. In the Republica district from the overall number of 4800 children aged 0-6 only 800 are placed in a nursery or a kindergarten and conditions of existing IDFLOLWLHV DUH RIWHQ QRW VXIĂ€FLHQW 7KHUH LV DOVR D KLJK number of children living in occupied buildings who may not have appropriate structure.

cinema Marroco

The project of kindergarten in the city centre uses different heights of the buildings, their roof landscape and serves as a case study of roof-kindergarten typology.

The priorities are: walkable distance, closeness of a natural element (park), safety, shelter and a social and educative stimulation.

time

to wor to study to thin

the goal >> design a place for children which will cover the basic needs shelter

w

STATE, CITY

only 600 children are placed in a nursery

Republica: 4,800 children between 0-6 years

wome

food, water, bathroom, warmth, good air space and time to themselve space to play, to run, to rest, to learn, to ght, to create

no limits no programme legal indergarten

human attention, social integration, educationam stimulation

x programme rules education structure

>> close to a piece of nature, a par ma 1 m common room for children

A GROUP OF PEOPLE IN NEED

05-0

0

II

Paulo

17

ROADS TO RIVERS GLOBAL GOALS 6 & 15

Anhangabau valley

*Topography (hills & valleys)

Magnus Persson | Aikaterini Synapalou The project focused on the protection and restoration of water related ecosystems. The research started from WKH PDMRU SUREOHP RI à RRGV LQ 6mR 3DXOR DQG WKHLU contribution to water pollution. The question of how DUFKLWHFWXUH FRXOG KHOS WR UHGXFH à RRGV ZDV IRUPXODWHG São Paulo is built upon a vast network of streams and rivers, most of which are canalised/buried. The decreased ZDWHU FDSDFLW\ FRQWULEXWHV WR à RRGV DORQJ ZLWK WKH topography, especially in the city center. The proposal DLPHG DW UHGXFLQJ WKH à RRGV LQ WKH FHQWHU E\ XVLQJ IRXU VWUDWHJLHV GHOD\ ÀOWHU DEVRUE VWRUP ZDWHU DQG LQFUHDVH water capacity. The focus was on daylighting the river that once run through the Valley of Anhangabaú and had been canalised to build a highway. Recovering the river’s natural EDVLQ ZRXOG UHGXFH à RRGV PDNH URRP IRU ELRGLYHUVLW\ improve the microclimate and connect people with cultural landscapes. The project uncovers the river basin and moves the highway underneath it. Bridges crossing the river and pathways along it were placed at different heights so that people could enjoy the new landscape irrespective of the water level.

City Center scale Absorb

Store Increase capacity

What is there......

AnhangabaĂş valley Where there was a

Floods.....Why -Burried/canalized streams and rivers > lower water capacity -Concrete river basins > no or little biodiversity (vegetation_aquatic life)

*SĂŁo Paulo has 4,000km

linear of streams and rivers, most of which we can no longer see.

water ow...

...there is a car ow....

Highway

Invisible

Filter

leads the oods from higher to lower in the city center.

dividing the area in two dominating the center

Visible

Delay

TamanduateĂ­ River

II

19

TEXTILE RECYCLING CENTRE GLOBAL GOALS 8 & 9 Jakob Lundkvist | Kristina StonkutĂŠ Brazil is the 5th largest producer of textile in the world.

In the country there are 8 million direct and indirect jobs in the textile industry. The textile industry companies in SĂŁo Paulo represent 29% of whole Brazil (iemi 2014). Only 15% of textile waste produced worldwide is reused or recycled. In SĂŁo Paulo most of the textile waste ends up in ODQGĂ€OOV 7KH SURMHFW D WH[WLOH UHF\FOLQJ FHQWUH LV ORFDWHG LQ an area with a high density of garment producers and retail where a lot of waste is produced.

The proposal is to re-use the production waste and reduce the waste that has to be transported away from the area and at the same time create job opportunities. The proposal contains facilities for education in the textile trade. The textile waste is sorted, new fabric is made from the patches and garment is sewn or repaired to be sold in the shops connected to the facility. Using to existing parking lots, the project also creates a public passage with the character of a pocket park.

Before

1200 clothing companies in the district of Bom Retiro

12 tons of textile waste in Bom Retiro discarded each day

Bom Retiro 2 3 km

Small generators

Street collectors

Landfills

Major generators

Collecting companies

Sorting

Textile industry

Textile waste produced in Bom Retiro per year represents 2% comparing with the whole country

Textile recycling industries

Before Employment in Sao Paulo (2013) total jobs 5.25M

Manufacturing industries in Sao Paulo (2013) total jobs 485k

Small generators

Street collectors

Landfills

Major generators

Collecting companies

Sorting

Textile industry

Manufacturing industries 9.2%

Garment industry, textile products, leather and footwear 21.5%

Textile recycling industries

TEXTILE MATERIAL TEXTILE WASTE TEXTILE PRODUCTS

BL

SECOND HAND SHOP

IC A LLE

NEW

Y

TAILORING SERVICE

ND

SH

OP

L

ERIA

MAT

CUSTOMIZED DESIGN

II

MATERIAL

HA

TILE

TEX

ND

FOR

CO

AND

DEM

SE

DEMAND FOR TEXTILE

PU

SO

RT

E AG

LE

TE

MA

CU S DE TOM SIG N

ST OR

AG

E

ST OR

AB

DE

ND

FO

RT

EX

SORTING OF TEXTILES

TIL

EP

RO

XT

ILE

TEXTILE WASTE COLLECTION

P

PUB

LIC

P

Y

ILE W AST

E

E

SHO

TRU C LOA K DING

RAG

P

ORK

ALL E

TEXT

STO

P

TW

SHO

MEN

SHO

GAR

SHO

P

SHO

P

P

PAT C FAB HED RIC

SHO

E

US

HO

AG

RE

KS

ST OR

NE

OR

TE

ZO

GW

RT

TE

HIN

WA S

FFE

PAT C

ILE

BU WA S

E

XT

ILE

NO TE N RE XT U ILE SAB L

XT

TR U LO CK AD ING

TE TE

PATCHING NEW FABRIC

ING

21

DU

CT

S

OFF THE STREET GLOBAL GOAL 10 Victoria Volina-Luchian | Mathilde Houdebert Among all the inequalities present in São Paulo the proposal addresses the children. Indeed, victims of the adult’s world, a lot of them do not have the chance to be educated and many face the hard life of the street and drugs. The main goal is to help those street children to improve their life’s quality with a project that provides practical alternatives to the street and substitute drugs by sports.

who spend much of the “Home children day on the street but have some support and usually return based� family home at night

of conflicts at home 63% because (argument, violence, alcohol, drugs)

The building is seen as a continuation of the street on WKH JURXQG Ă RRU SURYLGLQJ FRQWUROOHG VSRUWV IDFLOLWLHV IRU FKLOGUHQ WKH RWKHU Ă RRUV RIIHU JXLGHG DFWLYLWLHV VKHOWHU DQG support structure for the running organisation.

23,973 CHILDREN IN THE STREET

NO healthcare

NOTHING to do during the day DISCRIMINATION and lack of accessible ressources

NO education

-Both of the parents need to work and the children are left on the street -Children try to flee the violence of their home

“Street based�

children who spend most days and nights on the street and are functionally without family support

II Field sports Indoor sports // Changing room Offices // Administration

Classrooms // School playground Library // Media center Theater // Rehearsal hall Information, welcome // Health center

Public place // Surveillance

23

WALLS GLOBAL GOAL 11 Jan Ĺ olar | Alex Domin Within the theme of habitation the project focused on segregation. There are many kinds of segregations, positive or negative ones. In the city centre of SĂŁo Paulo, there is a lack of common space and intimate places. There are many empty lots, used as parking lots, or just simply fenced off areas. This may be seen as another type of segregation, where privatisation denies the real needs of the city.

Mapping the Luz district, well known for the so-called Cracolandia, now under re development, one empty lot was chosen and transformed it into a space, with no primary function. A place with different types of spaces allowing many kind of events from cultural and educational to markets or just simply allowing one to sit and rest from the fast moving city behind the wall. The approach was to contradict a principle of spatial separation. The space is walled, but in the same way, it is open, visually and accessible.

Working with references of traditional Italian squares and EDVLOLFDV WR DFKLHYH VSHFLĂ€F VSDWLDO H[SHULHQFHV RQH HQWHUV the space through a narrow “streetâ€? into the “squareâ€? with the “air above your headâ€? without any doors to get inside. This play with walls and openings create spaces with different layers of privacy, intimacy and openness or introversion. The intention was to stress the inappropriate use of space in the city, which lacks common spaces and equally create a new kind of common space, using a contradictory approach with the wall.

remove

transform

invade

use

Methods

contradict

II

25

TRANS-ACTIONS GLOBAL GOAL 12 Karl Lindstrand | Alexandra Rosengren Consumption from an urban context: how has the city become dependent on consumption and how consumption effects our public space, our commons? From a re-search on present theories, with consumption and production in a wider, holistic perspective of spatial access to our commons, the project worked with re-actualisation.

Challenging the existing situation and re-distributing the power and ownership/privatisation, thus making room for individual action. =RRPLQJ LQ RQ 6mR 3DXOR ZH LGHQWLĂ€HG DQ LQWHUHVWLQJ opposition: the AnhangabaĂş square as public/common space, clearly separated from another plaza, the part from where the city is governed. This plaza became our possible space for action, negotiating the right to the city and our commons. The proposal is a small gesture, aiming to adjust and re-distribute existing situations. Transforming existing bollards from a tangible boundary to an integrating structure, the proposal offers the possible production of common space as it is consumed.

DESIGN:

how can we create a momentum and break the resilience; achieve a common place / free space through re-distribution of consumption & production in the city?

excludable, individual

non-excludable, collective

private appropriation of public space

dwellers’ resistance to alienation of public space

co onsumption

2 km

estacion da luz

consumption 18.6

estacion da luz

18

16

praca alfredo issa

av en ida sa o jo ao

praca alfredo issa

14

av en ida sa o jo ao

12

praca julio mesquita

praca julio mesquita

6

vint e e qu at ru ro a ba de ra m sĂŠ o aio jo de m ita do rros pe a tn ru ba ni inga co de ar m

vale do anhangabaĂş

COMMON SPACE FRICTION & INTERFERENCE - CORRELATION? (SAO PAULO)

helicopter bus car walk min 0

1.4 km 2

4

6

7.1

8 8.2

10

12

13.7

a id en av

a ng ira ip

ril ab

0

praca franklin roosevelt

de

2

helicopter bus car walk

ru a

vint e

e

qu at ru ro a ba de ra m sĂŠ o aio jo de m ita do rros pe a tn ru ba ni inga co de ar m a ru

4

te se rua

ril ab

striving for common place

a id en av

a ng ira ip

a ru

largo do paisasandĂş

praca de repĂşblica

8

ru a

praca franklin roosevelt

interferers’ claim for street democracy

largo do paisasandĂş

praca de repĂşblica

vale do anhangabaĂş

ru a co ns elhe iro

confrontation: values, visions

min

confrontation: tensions, oppositions

ru a co ns elhe iro

confrontation: tensions, oppositions

de

non-rival, collective

10

confrontation: tensions, oppositions

te se rua

INTERFERING ACTORS

DWELLERS

EXISTING Praça do Matriarca perspective

‘praca do ?’

COMMON place / FREE space

II

private space / privatized space

public space

p

RE-DISTRIBUTION EXISTING Praรงa do Matriarca perspective

commons

standard bollard height sitting height

27

PRAÇA DA CONFIANÇA GLOBAL GOAL 16

cracolandia’s shifting borders STES PRES

MA AUÁ

MAU AU Á

A AÇ PR

LARGO L AR G O GENERAL ERA AL GO GENE OSÓRIO OSÓRIO

AS XI CA

MAU AUÁ

V

DE

V

V

V

Q. DU

V

V

V

.

AV

ÕES M MÕ SM GU

RU

IO ÓR OS

V

MAGALHÃES

Q.

S

RUA

RUA

PRESTES

ÚLIO JÚ

A

A UA RU

DU

S DO

A

AS AS XIIAS AX CAX

V

RU

V

A

DO

COUTO CO

V

S DO

V

CÁSP ER

A TA NT

ES NT TA ES OT PR

SA

V

LÍB BERO

ALL RA NE

GENERAL

GE

V

DA

AS

RUA

FO UNF UN RIUN TR TRI

ÊNIA IG IFF

A RU

V V

V

V

L. GA

IO ÓR OS

V

A RU

V

V

ES ÕE ÕE MÕ SM USM GUS GU GUSM

V

IO

R TÓ VI VI VIT

IA

V

A RU

A RU

V

V

DO

V

DOS O RI

DE

LÍBERO

O NFFO UNF RIUN RIU TRIUNF

DE

PRESTES

V

GENERAL

A RU

A UA RU

A DA ENID VENID AVE

DA NID NI ENI VE AV

ÓR OS

RUA

R.

V

RUA RUA

A RI TÓ VI

AD

DA IDA EN AV

AS XI CA

RUA

DR

AV

AS AS XIIAS XI CA

AVEN IDA

AN

N

V

DE

S DO

V

TOBIAS

V

V

UE QUE QU DU

BRIGADEIRO

.

RUA

IA

“OPERACÃO LIMPA” (OPERATION CLEAN) WKH ıUVW PDMRU RSHUDWLRQ LQ WKH QHLJKERUKRRG LQ FDUULHG RXW DV SDUW RI D EURDGHU HijRUW E\ WKH DGPLQLVWUDWLRQ RI WKHQ 0D\RU -RVH 6HUUD WR UHYLWDOL]H WKH FLW\ FHQWHU )DU IURP HQGLQJ &UDFROÉQGLD WKH HijRUW VLPSO\ SXVKHG WKH FUDFN WUDGH HDVW E\ VL[ EORFNV

RUA

O IO ÚL ÚLI JÚL AÇ PR

AS XI CA DE

AV

X CA

DE DE

DE DE

UE QU DU

O RI RUA

LUÍS

TON NGTO WASHIN

RU A RU

UT CO O

O NC AN BRA

LÍBERO

O NCO RA RA BR

RUA

RA OR RORA UR AU

E QU UQ DU DE

ES

OS DO

V

MAGA ALHÃ ES

V

AV. SEN. QUEIRÓS

UA RU RUA

V

V

M TIM

PRAÇ PRAÇA RA AÇA ÇA ALFREDO A LFREDO ISSA ISSA

S RA BIR

V

V

V

V

V

S

ALFREDO

AV. AV

CÁSPER

V

GUSMÕE V

OSÓRIO

RI

DOS DO

RUA

O RIO

V

DE

O

V

V

OS DO

V

V

CAXIAS

V

DOS DO

RUA

DE

CARVALHO

A UA RU

ES AS AN AIIA GUA

DA V

DE

V

V

COUTO

DO

TOBIAS

BRIG. RUA

MAIA

RUA REGO FREITAS

FREITAS

RUA

TOBIAS

MAIA

RUA

VITÓRIA

RUA

V V

V

V

V V

RUA

AVENIDA PRAÇA PEDRO LESSA

SALOMÃO

V

V

PRAÇA PEDRO LESSA

RUA

LARGO DO PAISSANDÚ

OSÓRIO

V

AVENIDA

TÚ TÚNEL

BARROS

GUSMÕE

V

CAXIAS

VITÓRIA

RUA

V V

S

GAL. GAL R.

RUA

PRAÇA RA PEDRO L LESSA

RUA

PRAÇA DA REPÚBLICA V

ABELARDO

CAXIAS

BENTO

E DE D

CRISPINIANO CONSELHEIRO

DO DOS E DE D

V

PÇ.

JÚLIO

PÇ

V

V

TE

T

PRES

PR JÚLIO

PÇ

JÚLIO

DE

RUA

JÚLIO

STE PR V

V

V

V

LÍBERO

DA

ARTHUR

PRAÇA A DO CORREIO RR

SÃO

PREST V

V

V

V

AVE ENIDA

V

TRIUNFO

AMARAL

V V

OSÓRIO

PRAÇA DO D CORREIO RE

JOSÉ

RIO

AMARAL

V

V

QUATRO

V V V V

V

ITAPETININGA

DA

GENERAL

V V

DE

REPÚBLICA ESTAÇÃO PRAÇA

RUA

BARÃO

ESTAÇÃO REPÚBLICA

PRAÇA

DO

RUA

V

V V

ITU

BUENO

PINTO

DE E V

RUA

DE

AVENIDA

VV

V

ESTAÇÃO REPÚBLICA

MARQUÊS

RUA

TÚNEL

JOÃO V

PRAÇA

V

RUA

V

AVENIDA

VINTE

IPIRANGA V

ITU

V

V

E

BUENO

AVENIDA

DA

AROUCHE

RUA

CLEVELAND

V

CAPITÃO

AVENIDA

REPÚBLICA

V

V

RUA

V

SÃO

ESTAÇÃO

V

COSTA

AVENIDA

TRIUNFO

PRESTES

PRAÇA PEDRO LESSA

SEMINÁRIO

V

IFIGÊNIA

IPIRANGA

REPÚBLICA

AS

BRIG.

AVENIDA

V

V

V

cracN use uno¿ciall\ tolerated

street IreTuentl\ used b\ cracN users

LAND

DO

V

DA

V

ISABEL

SANTA

RUA

V

ANDRAD

BRANCO

FREITAS

PÇ. PEDRO LESSA

DO

C

EL ISABE

SANTA

V

V

V V

BOTICÁRIO

V

SANTA

BRANCO

AVENIDA

“OPERACÃO SUFOCO” (OPERATION SUFFOCATE) WKH VHFRQG PDMRU VKLIW WKDW RFFXUUHG LQ XQGHU 6HUUDŖV VXFFHVVRU *LOEHUWR .DVVDE 7KH PLOLWDU\ SROLFH DQG PXQLFLSDO JXDUG VWRUPHG WKH DUHD WKURZLQJ JDV ERPEV DQG ıULQJ UXEEHU EXOOHWV DW WKH KRPHOHVV 7KH JRDO KH VDLG ZDV WR FDXVH HQRXJK ŗSDLQ DQG VXijHULQJŘ WR IRUFH WKHP WR VHHN treatment. Echoing its predecessor, this operation only succeeded in relocating crack use to within a three square block area. This zone remains the heart of Cracolândia today.

CLEVE

RIO

DO

CARVALHO

CARVALHO

DE

DE

V

DE ANTÔNIO

RUA

RUA IPIRANGA

EFIGÊNIA VIADUTO

RIO

VIEIRA

VIEIRA

V

RUA

AV.

GODÓI

V

DOS

V

SEMINÁRIO

ANTÔNIO

RUA

AVENIDA

AVENIDA

SILVA

V

RUA AV.

RUA BENTO

V

V

TIMBIRÁS PRAÇA

REPÚBLICA

NTES NTE

V

JOÃO

DO

DO

CARVALHO

FREITAS

GODÓI

DE

AVENIDA

SÃO

TIMBIRAS DOS RUA

AURORA

RUA

DA ID

BOTICÁRIO

EN AV

AV. RUA

V

E

V

S

CARVALHO

GURGEL

A BI

PEDRO

GUSTAVO

V

V

V

RUA

PROTESTA

LARGO SANTA EFIGÊNIA

V

BRANCO

NÉ

DE

V

AROUCHE

V

GURGEL

V

SANTA

S. NS CON

DE

V

BRANCO

A V

V V

JOAQUIM V

PRAÇA P RA AÇA A ÇA

RUA V V

V

GENERAL

V

AMÉRICO

RUA

RUA V

V

V

DOS DO

ENERAL GENERA

CÁSPER

RU

JOÃO

VIEIRA

V

V

LARGO

V

V

L

DUQUE

V

PRESTES

LARGO

DO

VIEIRA

V

DO LARGO DO AROUCHE

AROUCHE

DO

V

DUQUE

PASSARELA

V

RUA

RUA UA

AVENIDA

V V

V

RUA

V

V

IFIGÊNIA

AVENIDA

LARGO DO AROUCHE

AVENIDA

V

S IA

AVENIDA

B NÉ

V V V

V

V

V

LUZ

V

V

V

V

V

LÍBERO

VIEIRA

V

V

BATISTA

V

V

V

AROUCHE

AVENIDA

AV.

V

CEL.

V

V

V

V

RUA

V

V

V

DE

V

DO

V

V

DUQ. DUQ CAXIAS

V

V V

BRIGADEIRO

AROUCHE

BENEFICÊNCIA PORTUGUESA

V

A

V

V

AVENIDA

MAUÁ

RUA

RU

E DE D

RUA

A NG AN RA PIRA IP

S

V

V

V

V

V V

V V

LARGO

DA

RUA

REPÚBLICA

V V

JO OÃO V

REPÚBLICA

MENDES

RUA

CÁSPER

COUTO

RO

N RAL

L CÁ P R

UNFO

PASSARELA

O

PRAÇA

R O

DOS DO

JULHO

JULHO

RANCO

DA

L

BANDEIRA

TR

R

RIO

RUA R RUA VIADUTO

QUEDINHO

D

BARÃO

RUA

MÕ

DO

NERAL

GU

GRASSI

TV.

DO

MAJOR

BRIG.

RUA

D

ANTA

RUA

AVENIDA

LHEIRO

V V

DA

A V

RUA

NÉBIAS

RUA

MIQUELINA

RA TIM

DO

TÓR

V

A

ANTÔNIO

RUA

MARIA

RUA

ANDRADAS

RUA

RUA

TV. ANA

AVENID

CAMPINA

PRAÇA VIADUTO

CONS

D

CONS. CONS

V

AVEN

V

MANUEL

DR.

PRAÇA ALFREDO ISSA

V

AVEN

V

V PÇ. MAGDALENA TAGLIAFERRO

RUA

DA

RUA

DIOGO

RAMALHO

GENEBRA

JAPURÁ

RUA JOÃO AL ASSALAQU A PAS ÃA JO ASS RU

LESTE-OESTE

PAULA

MAGALHÃE

V

AVEN V

AVENIDA

NASCIMENTO

ABOLIÇÃO

CONS.

AV.

RADIAL

PRADO

VIADUTO

V

NAS

DO

RUA

MARTINHO

NÉBIAS

RUA

RUA

05 20

V

DA

DOMINGOS

GUAIA

DO

V

V

RUA

VIADUTO

CÁ P R

RUA

DO PRADO

RUA

AVENIDA

VIADUTO MARTINHO

RUA V

RUA

V

GUA

RUA

GOUVEIA P

V

C DO

V V

ESTEVES

P

V

L M RA

JAPURÁ

AGUIAR DE

DO

V

FRANCISCO

BIXIGA

RUA

DO

BIXIGA

V

RIO

V DO

V

R

LUÍS

O

PRAÇA DOS ARTESÃOS CALABRESES

areas IreTuentl\ used b\ cracN users

RUA

ASSEMBLÉIA

JARDIM

RAN

DO

SANTO

RUA

V

BARROS

RUA MARCOS

JANDAIA

DIOGO

RUA

FRIAS

HELOÍSA

PRAÇA RA AÇA JÚLIO MESQUITA

ABOLIÇÃO

RUA

VIADUTO

P

V

V V

RUA

FRANCISCO

JULHO

RADIAL

RANGA

A

RUA

JARDIM

NASCIMENTO

RAMALHO

QUATORZE

NESTOR NATIVIDADE

GENEBRA

RUA

V V

DR.

R.

FRANCISCA

XAVIER

DR. NESTOR R. NATIVIDADE ESTEVES

CACILDA

ANA

V

ASDRÚBAL

COMEN. JOSÉ

RUA

MAJOR

AVENIDA

CONSELHEIRO

GIFFONI

V

R.

RUA

RUA DE

PROFESSOR

AURORA

JÚLIO O

V RUA

RUA

GUAIANAS

JACEGUAI LESTE-OESTE LE

V

MESQUITA

V

DE

RUA

P

JACEGUAI

V FILHO

RUA

V V

NÉB

V

PRAÇA PÉROLA BYINGTON

V V

A

BR RIGADEIRO

AVENIDA

S SES

GUAIANA

ASDRÚBAL

PRADO

DUQU

V V V

V

PAULA

RUA MIQUELINA FRANCISCA

O

MAJ.

RANC

COUTO

RANCO

PASSARELA

TRAVESSA

MARTINHO

RUA

LU

WA HIN TON

DUQU

V

V V

MARIA

SÃO

RANCO

RUA

AVANHANDAVA

RUA

RUA

AURORA

V V

V

RUA

ROSA

D

V

N RAL

TÚNEL

CONSOLAÇÃO

IO RIO R

DA MAJOR

DA

RUA

MA ALHÃ D

TOLEDO

XAVIER

BRÁULIO

RUA

FORMOSA

CORONEL

DR.

RUA

RUA

RUA

ANHANGABAÚ

R. DR. BRÁULIO GOMES

FORMOSA

ANHANGABAÚ

STEVAUX

ADOLFO

PARQUE

PARQUE

JOÃO RUA

EUSÉBIO

PASS SA ARE R LA

QUEDINHO

MAJ.

RUA

RUA

PRAÇA PRINCESA ISABEL

RUA

V

V

DO

RO

UNAÍ

CONSELHEIRO

DE

DO

NIDA

A RUA

QUEDINHO

V

V

OSÓRIO

D

AURORA

PRAÇA MÁRIO CÂMARA

V

NOSCHESE

RUA

RUA

V

JOÃO PASSALAQUA

AV

RUA

CRISPINIANO

RUA

RUA BAIMA

TEODORO RUA

DR.

RUA

RUA

PRADO

PESTANA MARTINHO

RUARUA

NESTOR

PRADO

MARTINHO RUA

RUA

RUA

AV

V

V

V

V V

DA

DE

ACESSO

V

V

MÕ

VITÓRIA

CAXIAS

RUA

DE

RUA

V

PRAÇA RA AÇA JÚLIO MESQUITA

AMARO

SANTO

JACAREÍ

MARIA

RUA

ICABA

V

RUA

RUA

U

AVEN

RUA

LIMEIRA

AVENIDA

PIRANGA IPIRANGA

V

V

V

V

PASSARELA

LARGO FERNANDO GALLEGO

VIADUTO VIADUTO JACAREÍ

PIRAC

TÓR V

UNFO

A

NOVE

NOVE

GUIMARÃES

R

A AX CAX

DOS

V V

PRAÇA DA BANDEIRA

JACAREÍ JACAREÍ

V V

BATISTA

PRAÇA DOS ARTESÃOS CALABRESES

V

V

AVENIDA AVENIDA

V RADIAL

DO

LESTE-OESTE

RUA RUA

V

CONS V V

NÉBIAS PRAÇA ÇA

republica district

nova luz redevelopment area

N V AVEN

DAA

16-05

E

V V

TR

RUA V

V

V

AL

PIRANGA IPIRANGA

V

SÃO

PASSARELA

JD. DA DIVINA PROVIDÊNCIA

VIADUTO VIADUTO

JACAREÍ

RUA

PREST

TANTE

V

FIGÊN

SES S

RUA

O OSÓR

V V

DOUTOR

JÚLIO

PROTE

ANDRADAS

GUAIANA

NIDA AV

C

DE

ANTÔNIO

SANTO

RUA

ANTÔNIO

V V V

P

V

V

V

A

JULHO

PRAÇA GENERAL CRAVEIRO LOPES

P

PRAÇA

DO

ANTA

GUAIANAS

AS

S V V

JULHO

GAGLIOTTI

ANDRAD

CAMPINA

VIADUTO

VIADUTO

JOÃO

ALFREDO

NOVE

VIADUTO

JULHO

DE

NOVE

AVENIDA

SANTO

RICARDO

DR. RUA

E

V

NIDA AV

V

RUA

V

ÁLVARO

DE

NOVE

AVENIDA

RUA

V

V

DO

V V

RUA

RUA

MÕ

DOS

DO

RUA

V

PREST

RUA

ÓR

V

V V

NERAL V

RUA

JOÃO

CARVALHO

V

AVENIDA

O

V

V

RUA

RANCO

LUÍS

LUÍS

TÚNEL

DE

ÁLVARO

U

O V

DUQU

V

SÃO

DE

MARTINS

RUA

V

V

V

DUQU

VITÓRIA V

ESTAÇÃO ANHANGABAÚ

RUA

RUA

SANTA

SÃO

SÃO

AVENIDA PARQUE ANHANGABAÚ

LARGO DA MEMÓRIA

DE

QUIRINO

CARVALHO

D

RANCO

DO DOS

AVENIDA

V

V

AVENIDA

V

E DE D

AVENIDA

EIRO

CONSELH

V

TOLEDO

ANDRADE DE QUIRINO

RUA

ANDRADE

CONSOLAÇÃO

RUA

PC. DESEM. MÁRIO PIRES

FONTES

D

CAXIA

V

V

DE XAVIER CEL.

RUA

DA

CONSOLAÇÃO

P

V

V

RUA

V V V

PRAÇA PRINCESA ISABEL

AVENIDA E D DE

AV.

AV.

DA

12 20

SETE

LUÍS

RUA

V

AV

PRAÇA ALFREDO ISSA

V

AVENIDA

PARQUE UE ANHANGABAÚ GA

PARQUE ANHANGABAÚ

LUÍS

TÚNEL

CONSOLAÇÃO

RUA

V

RUA

SÃO

SÃO

RUA

V

TIMBIRAS DE

V

ABRIL

DA

PRAÇA FRANKLIN ROOSEVELT

V

MAUÁ

V

D DUQ

A CAX PARQUE E ANHANGABAÚ AB

DO

V

V

PRAÇA DOM JOSÉ GASPAR

P

RUA

PRAÇA FRANKLIN ROOSEVELT

T

A

RUA

AVENIDA

CONSOLAÇÃO

CONSOLAÇÃO

CAXIA AV

MAGALHÃES MAGALHÃE A

DA

TUN U EL L T TUN EL L

CA

AVENIDA

V

V

DA

MAUÁ

LARGO GENERAL OSÓRIO

PIRAC

V

V

RUA

V

FREIRE

V

RUA

RUA

T

CAXIA

D DUQ

V

RUA

RUA

PR

PRAÇA

V

V

V

VIADUTO

MAUÁ JÚL O

PRAÇA

V

GUSMÕE

DOS DO

MANTOVAN

V

DOS DO

ABRIL

ENERAL GENERA

RUA

V

T

JÚL PR

RUA

O

V

S

L

NOVA

V

V

GOMES

O

E DE D

BARÃO

AVENIDA

AVENIDA

PAULO

RUA

V

P

PR JÚL

DE

GAMA

ELEVADO

PRAÇA

DA

JOSÉ

V V

DUQUE

PRAÇA RAMOS DE AZEVEDO

V

V

V

JÚLIO

P

AURORA DUQUE

ÃO BARÃO

V V

P

RUA

PRAÇA

T

V

PARQUE UE ANHANGABAÚ AN GA

PRAÇA RAMOS DE AZEVEDO

V V

PESSOA

PRAÇA JÚLIO PREST

PRAÇA

PR

V

RUA

V V

ITAPETININGA

MARCONI

SERTÓRIO

PRAÇA DARCY PENTEADO

EPITÁCIO

P

PÇ.

COUTO

BASÍLIO

DE

RANCO BRANCO

RANCO BRANCO

SETE

V

JOSÉ

DOM RUA

MAJOR

RUA

PREST

V

DE V

V

RUA

V

PESSOA A

JÚLIO

O

BARROS

RUA

IPIRANGA V

SERTÓRIO

R. EPITÁCIO

PRAÇA

LUÍS LU

WASHINGTON

JÚL

RUA

BARÃO V

JARDIM

GABUS

PRESIDENTE

V

MAIO

RUA

ARAÚJO

V

GENERAL

RUA

RUA

FORMOSA

V

JARDIM

V V

V

PRAÇA JÚLIO PREST

PRAÇA

RIO

REGO

DOM V

V

V

RUA

The design strategy uses historical footprints from the SUHYLRXV EXLOGLQJV WR JHQHUDWH SURÀOHV RQ WKH VLWH DV WKH memorial. Small differences in height between extrusions make the space feel safe, open and accessible. The result is a pattern of what feels like hovering levels where people can position themselves in what could work as a modern amphitheater or a concert square or just walk and sit amongst the low rectangular concrete and grass “cliffs”.

PRAÇA

S DA

RUA

RA RA EIR M LIM

DO

V V

RA RO AU

V

V

The proposed space, in the beginning, could have active policing, while being used for cultural and political events.

By creating an identity to the area, it would make the inhabitants feel more connected.

MAUÁ

LARGO GENERAL OSÓRIO

CAXIAS DUQ. DUQ AV. AV A GA NGA AN RAN PIR IP

V V

RUA

RUA

PRAÇA

CAXIAS

E DE D

SES ASE AS AN AI GU

V V

V

SÃO

RUA

DO

LARGO

Civic spaces are an extension of the community, and serve as a stage for our public lives. In their true civic role, they can be the settings for celebration; a place for social and economic exchanges where friends run into each other, and where cultures mix. Thriving civic spaces creates a strong sense of community; conversely, when such spaces are lacking, people may feel less connected to each other.

The research studies the history of Republica and focus on a block in Nova Luz district, heart of Cracolandia. The QDPH RI WKH VTXDUH LV 3UDoD GD &RQÀDQoD ² &RQÀGHQFH Square. Site photos from 2011 and 2015 clearly show the area deteriorated by the time it was torn down.

V

V V

C

PRAÇA P RA RAÇ AÇA AÇ AÇA JÚLIO JÚL ÚL LIO ME MES MESQUITA ES SQUIT ITA TA

RUA

A DR AN

S NA PIN

V

A RUA

PRESTES PREST

PRAÇA

ISSA

A NT

M CA

A RU

LARGO DO AROUCHE

MAUÁ JÚLIO

RIA TÓ VIT V

JOÃO

RUA

PRESTES PREST JÚLIO

CÁSP ER

O OS DO

DE

V

SÃO

TOBIAS

V

DA ID EN AV

V

SA

RO EIR HEI ELL SE NSE ONS CON CO CONS

DE

V

DA NIDA NI ENI VE AVE AV

DA ID EN AV

AV ENID EN DA AVENIDA

AROUCHE

MAGALHÃES

V

DA ID EN AV

RUA

MÕ MÕ SM GU

OS DO

ALL ERA NERA NE GE

Katarzyna Stachura | Wim Wiklund

V

O RÃ BA

E QU DU

JÚLIO

PREST

II the site before 2011

existing (solid) and historical footprints (dashed)

proposed sequence of extrusions

29

TRAVEL REPORTS

During our travels in São Paulo, we continuously documented observations, questions and discoveries in drawings, writing and photography. The immersion into another culture and context was made productive through a collaboration with Escola da Cidade and the Habita-Cidade platform where we set the beginning of a project creating together with the UHVLGHQWV D URRIWRS JDUGHQ DQG ZDWHU ÀOWUDWLRQ V\VWHP in the Ocupação Cambridge.

The procurement of materials took us to the material recycling centers in the city, adding another perspective to reading this context and the dialogue with the residents brought about an understanding of the challenges and prospects for such collaborations.

These practices, together with the expansive architectural references in this decidedly urban environment have been source of inexhaustible learning and inspiration.

III

31

to advance with this action that is seen as an exchange rehearsal EHWZHHQ WKH VFLHQWLÀF NQRZOHGJH FKHULVKHG DW WKH $FDGHP\ DQG WKH often repressed empirical and intuitive knowledge that could be found in these popular organisations.

7KH GLIÀFXOWLHV RI VXFK DSSURDFK DUH PDQ\ 6WUXFWXUHV LQ WKH educational institutions and popular organisations (and even in the IRUP RI HVWDEOLVKLQJ UHDVRQLQJ VRPHWLPHV KDYH GLIÀFXOWLHV WKDW PDNH us think of the paradox that includes us all.

We hereby express our gratitude to KTH Institution with whom we have signed agreement, and above all, has become our partner in the search for possibilities before the challenges we face in the contemporary condition.

III

We have great gratitude for the willingness demonstrated in knowing something of the recycling system in São Paulo, understood as part of the network of possibilities that also includes the occupation actions of buildings previously underutilised that we have visited and with which we have interacted to some extent, and that has pointed to a sustainable condition as perspective shared by us and by the KTH Institution through its valuable professors and students.

Professors Rumi Kubokawa, Sara Grahn and Max Zinnecker, along with their lovely sixteen students from the KTH institution, were key players in the action promoted by Escola da Cidade through the Platform habita-cidade (which operates under its purview) ,PSOHPHQWDWLRQ RI ELRG\QDPLF JDUGHQLQJ DVVRFLDWHG ZLWK WKH ÀOWHULQJ of rainwater in the Occupation Cambridge Building downtown São Paulo.

Having been understood as a pedagogical action in various instances, since the transfer of knowledge to the residents of the Occupation, through the exchange of experience and approach to housing movements by participants of the Platform habita-cidade, students and technicians, to possibility of experience of the vicissitudes in a process of such nature by the KTH group, that is contact between academic DQG VFLHQWLÀF NQRZOHGJH ZLWK WKH G\QDPLFV SUHVHQW LQ WKH VWUXJJOHV DQG the daily lives of the occupants and participants of social movements in Sao Paulo.

Luis Octavio de Faria e Silva Architect Professor at Escola da Cidade Board member of Association Escola da Cidade Founding member and mediator of Platform habita-cidade

Participation in the start of production of the base structure for the JDUGHQLQJ DQG ÀQDQFLDO VXSSRUW IRU LWV GHYHORSPHQW ZHUH IXQGDPHQWDO 33

SPATIAL ACTS: THE BURSTING CITY CENTRE OF SĂƒO PAULO Alexandra Rosengren

When visiting SĂŁo Paulo in 2015 I was struck by the incredible complexity of the city, both in terms of urban development but also in society as such.

Still with an extensive research at hand, I had a really hard time coping with and truly understanding the underlying layers of the city, the social DQG SROLWLFDO QHWZRUNV 7KH FRPSOH[LW\ RI WKH FLW\ LV UHĂ HFWHG LQ LWV KLJK density, the unbalanced relation between mass and void, between rich DQG SRRU ² LQFOXGLQJ ERWK WKH EXLOW HQYLURQPHQW DQG WKH VRFLR SROLWLFDO circumstances. As segregation grows, and with an increased consumption of the city, the ‘void’ or the loose (1), open and permitting, unsegregated space is diminished (2). I was intrigued by the very power in this vacant VSDFH UHĂ HFWLQJ XSRQ WKH TXDOLWLHV RI ORRVHQHVV 7KLV WLPH ZLWK D SULRU understanding of the physical prerequisites, I have chosen to study the VSDWLDO DFWV ² DV SURGXFHU RI ORRVH VSDFH RU YLFH YHUVD"

The power of vacant space lies in its possibilities; its looseness and its people- produced interaction. It lies in the idea of architecture as an act, as a social and political operation. â€œâ€Ś/[Modern] architecture and planning have turned into technocratic, utopist, drawing-board activities, far removed from the problems of the real world. ‌/We have a very clear illustration RI WKLV LQ 6mR 3DXOR ² DUFKLWHFWV DUH EHFRPLQJ XWWHUO\ GLYRUFHG IURP UHDO problems. ‌/Restoring the true sense, not of design, but of the plan that addresses socioeconomic conditions, is a POLITICAL act. ‌/People should do architecture.â€?(3) This was written by Lina Bo Bardi in 1979, testifying to the problematic development of SĂŁo Paulo starting already forty years ago. Being a city of rapid urbanization, SĂŁo Paulo now suffers from the consequences of social, ecological and political loss. In the Urban Commons project, we focused on the extensive consumption of space, constantly diminishing the commons and the opportunities of acting in the city. Street friction and interference, appropriation and productive consumerism were explored and the proposal was a set of ‘trans-actions’; ways of re-actualize and re-distribute the city fabric to achieve a common place. In this project

1 | SESC Pompeia, Lina Bo Bardi, 1986 the citadela and inner street, recollection of the city; negotiating past and present

2 | SESC Pompeia, Lina Bo Bardi, 1986 silent agreement, physical manifestation of the collective consciousness

we questioned the right to the city through urban actions, in this sense the UHà HFWLRQ FDQ EH VHHQ DV D SURORQJLQJ RI WKDW +RZHYHU , ZLOO DOVR GLVFXVV a couple of studied projects in São Paulo, in the light of spatial actions and with Bo Bardi’s ideas as a foil.

With a scrambling urbanization, overcrowding and a huge increase of the urban poor (4), the city needs to offer even more in a constantly diminished space. In the case of SĂŁo Paulo, the political progress has not been following the same development, leaving a situation where housing and living conditions are on the verge of collapsing, resulting in occupation movements and a widely spread social engagement (5). The movements are spreading through levels of society, stating examples and attracting attention to the paradox of vacant buildings and an extensive housing shortage.

7KH ÀJKW LV LQ HYHU\ VHQVH D SROLWLFDO DFW QRW RQO\ DERXW WKH SK\VLFDO QHHG of a shelter but also about institutional change, against the capitalist and commercial development. It is an effort to redistribute power, taking the role of actors in a setting with the public and the society as spectators and raise the question to the political agenda. The movements have grown to become one of the strongest communities, making them a powerful force in the development of the city, especially when it comes to cultural engagement and social housing.

3 | SESC Pompeia, Lina Bo Bardi, 1986 SODQ VNHWFK UHĂ HFWLRQ RI WKH FRQWH[W DQG LWV DWWULEXWHV

In the theories of Bo Bardi, collective consciousness is a recurring expression, relating to the building of democracy and against the development of the consumer society and privatization. With the experience of present movements and actions, this idea is incredibly relevant, stating the historical progress as well as the depth of the issue at hand. Bo Bardi was in favour of spontaneous occupation, the intersection of form and OLIH 6KH IRVWHUHG œDUTXLWHFWXUD SREUH¡ ² SRRU DUFKLWHFWXUH ² SRRU QRW LQ economical terms, but in consideration of simplicity and purity. As one of several physical manifestations of this, Bo Bardi created SESC Pompeia (1986), a culture and activity centre in São Paulo. As a connector of different groups and activities, SESC works as a public space for everyday life. Partly a small scaled city, partly an intimate gathering place; Bo Bardi has with her gentle recognition of already present activities succeeded in creating a loosely programmed space, completely open for action. The mixture of art exhibitions, reading balconies, theatre, food, sports works brilliantly with the designed space. The attention to both form and looseness makes it work; large, inviting spaces between inside and outside, shelters from 35

III

sun and rain, levels of activity and calmness and the movement between WKHVH 7KH FRQFHSW RI D FLWDGHO ZLWK WKH UHĂ HFWLRQ RI HYHU\GD\ OLIH DQG WKH complexity of SĂŁo Paulo, recalls a Brazilian atmosphere. An atmosphere where the Brazilian culture, the inventiveness and freedom of the mind gathers as a joyful act within a distressed city. For me, the key seems to be this recognition and respect of the past together with the ideas of the future, shaping a different reality by the means of the present. All achieved through simple architecture, striving for the maximum interaction and dignity with minimal and humble tools. As a contrast to the culturally disrupted societies in Europe in this time, Bo Bardi aims for the legacy, craft and poetry of the Brazilian land, creating a vernacular yet modern design that engages.

Its casualness and looseness encourage a participatory approach, formally described through scale and intimacy as well as with an invitation to use and endurance. ILLUSTRATED THROUGH PICTURES 1-4.

The thoughts of arquitectura pobre and the collective consciousness is very relevant in the present discussions of occupations, social housing and the development of SĂŁo Paulo. I consider these ideas that enable the architecture to become an opportunity for action, where the actors themselves produce the space. Visiting two different projects for social housing, the difference in terms of this possibility was striking.

Residencial Jardim Edite (H+F Arquitetos, 2013) is a social housing project realized as one part in a greater operation Aguas Espraiadas initiated by the state, located within the planning program area called ZEIS (zone of special social interest). Situated in the same location and with the mission to house previous informal settlement, the project seemed to have all the prerequisites to be successful. With 500 existing families, 50% choose to stay and inhabit 252 built apartments (50% having chosen to receive a compensation and move away). Within the project, the families would also have access to common facilities, necessities as school, gardens, day care, courtyards and public walkways. Strengthening the physical features, the project was also thought to have an effective plan for maintenance, care taking etc. Sadly, ZKDW ORRNHG JRRG RQ SDSHU DQG ZKDW RQH H[SHULHQFHG DW Ă€UVW VLJKW ODWHU appeared as a failure. Only three years old, the project already seemed WR KDYH FROODSVHG ² ERWK LQ D SK\VLFDO DQG FRPPXQDO VHQVH 5HVSRQVLEOH architect Eduardo Ferroni mentioned “architecture came before programâ€?, maybe the result is a prolonging of this. It appears that few of the mixed SURJUDP EHQHĂ€WV DUH SUHVHQW DQG WKH ZKROH EORFN VHHPV WR PLVV LWV VRXO

4 | SESC Pompeia, Lina Bo Bardi, 1986 | Original drawing by Lina Bo Bardi axonometric sketch, synthesis; preservation of structure – modern additions

III 5 | Residencial Jardim Edite, H+F Arquitectos, 2013 mimicking the context, “not look as social housing”

6 | Residencial Jardim Edite, H+F Arquitectos, 2013 a collapsed community, loss of shared activities and ambitions

7 | Residencial Jardim Edite, H+F Arquitectos, 2013 site plan sketch, the block as islands – barriers and borders

37

In bright daylight, everything (materials, common rooms, communication) feels worn and torn despite no visible life. The block has been divided into separate condominiums and the proposed leisure areas have become no man’s land. One can ask how this is possible, having what feels to be the ideal combination of structure and organization.

I wonder if this statement in itself contains the problem’s very core; is it too ‘perfect’? I wonder if the statics are the problem, not absorbing the very IURQW RI WKH IRUPHU G\QDPLF W\SRORJ\ WKH IDYHOD" , Ă€QG LW WRR VWDJQDQW there seems to be no space for action, no room for innovations. Perhaps it is a lack of involvement in the process, perhaps a result of uncontrollable downsizing. Clear to me is that if a functioning community collapses from a shift from a sprawling settlement to a planned and defrayed housing structure, something is yet to be unveiled. ILLUSTRATED THROUGH PICTURES 5-9.

If the key is to design for adaptation, innovation and action, Residencial Corruiras (Boldarini Arquitetos Associados, 2013) appears to be better off. Perceived as a matter of intangible aspects, it is interesting to explore the possible differences between the two. Curiously, I also considered the Jardim Edite project to be much more successful until we visited Corruiras.

Consisting of 114 + 130 apartments, Corruiras is of the equivalent size and magnitude as Jardim Edite, also a part of the same state scheme.

Constructed in the same type of setting, it relates to an existing riverbank and informal settlement. However, the immediate context differs. In the case of Jardim Edite, the ambition was to blend into the surrounding commercial neighbourhood; Corruiras is closer related to its rougher residential area and its topography. Situated in a slope, the complex turns to and dialogue with the favela structure, connecting the hill with the hillside. Simultaneously, the central courtyard and the layers of levels mediate inwards, creating a sense of collective consciousness and a tangible yet loose common space. Here you can experience the power in the seemingly vacant or un-programed interspace that is inhabited spontaneously. It founds an atmosphere open for action, where the residents can start to mould the space needed in the moment. The foundation for this, I think, lies in the simplicity of the design, the declaration and truth in the architecture. Compared to Jardim Edite, it is not trying to blend in or mirror the surroundings but rather embrace the materiality and dynamics of its immediate context.

Important is also the fragmentation of scale, alterability and possibilities of

8 | Residencial Jardim Edite, H+F Arquitectos, 2013 site section sketch, lack of connections and integration in surroundings

9 | Residencial Jardim Edite, H+F Arquitectos, 2013 plan sketch, VWDWLF VWUXFWXUH DQG SUH GHĂ€QHG XVH RI FRPPRQ VSDFH

individualization. As a crucial part of the accomplishment in Corruiras is also the organization and follow-up on the community, initiated by the state and performed by a team of social workers. Accompanying families moving here, the social effort has been an important transitional factor. Working multidisciplinary through social events, sports, education etc., the service has helped in the negotiation of the space. Being put in front of a completely QHZ RUJDQL]DWLRQ ² QHLJKERXUV VKDUHG VSDFH HWF ² , ÀQG WKLV FRQFHSW vital for the understanding of responsibility, maintenance, care, hence WKH UHGHÀQLWLRQ RI WKH FRPPXQLW\ DQG LWV FRPPRQV ILLUSTRATED THROUGH PICTURES 10-14.

10 | Residencial Corruiras, Boldarini Arquitectos Associados, 2013 contextual relation, typological transition

With these examples, one can question where the architectonic effort ends and the social grind begin. Is there a clear boundary? Are they a dichotomy?

Or are they even completely intertwined? From the comparisons, I would at least say that there are particular material and immaterial aspects that enables and encourage looseness and thus spatial acts. It appears that the ideas of Bo Bardi’s have a certain relevancy for cultural as well as residential spaces, forming the very core of a socially prosperous intervention and spontaneous occupation. In addition to arquitectura pobre and the collective consciousness, I consider the transitional process as important in forming an open and performative space. The reverence to the past as well as the present, its actors and participation craft a project together. It is itself a SURFHVV DQ DFW ZLWKRXW D GHÀQLWH HQG RU EHJLQQLQJ 7KH HPHUJHG VFHQDULRV enable the spatial acts and thus, for me, the architecture.

NOTES: 1. Theory from Loose Space: Possibility and Diversity in Urban Life, Karen A. Franck and Quentin Stevens (eds.). Routledge, London and New York, 2007 2. City of Walls: Crime, Segregation, and Citizenship in SĂŁo Paulo, Teresa P. R. Caldeira, 2001, University of California Press, Berkeley

11 | Residencial Corruiras, Boldarini Arquitectos Associados, 2013 internal relations, communication and transparency

$UFKLWHFWXUH DQG 7HFKQRORJ\ ÀUVW SXEOLVKHG LQ $UTXLWHWXUD H GHVHQYROYLPHQWR QDFLRQDO Depoimentos de arquitetos paulistas, Lina Bo Bardi, IAB/PINI, São Paulo, 1979 4. Urban Poverty: A Global View, Judy L. Baker, The World Bank, 2008 5. Brazil Occupied Housing, Vincent Bevins, Los Angeles Times, October 2013 39

III

12 | Residencial Corruiras, Boldarini Arquitectos Associados, 2013 site plan sketch, assimilation of surrounding structures and paths

13 | Residencial Corruiras, Boldarini Arquitectos Associados, 2013 SODQ VNHWFK FRPPRQ GLDORJXH DQG XQGHÀQHG VSDFHV VFHQH IRU DFWLRQ

III

14 | Residencial Corruiras, Boldarini Arquitectos Associados, 2013 site section sketch, negotiating levels and directions, structure as an interface

41

CHAOS IN THE COMMON Ana del Rio del Olmo

PUBLIC SPACES AND CITY LAYERS Transformamos individuos en ciudadanos con la construcciĂłn de una infraestructura pĂşblica, “we change people into citizens with the construction of a public infrastructureâ€?, said Hector Vigliecca during his lecture. “When a favela meets the street, the houses change their appearance, they are dressed with Sunday costumesâ€?, he added. “People start to care about the exterior of the house, they paint and clean the façades, you can’t even distinguish where stops the favela and where starts the city.â€?

The strong believe in the power of commons of these words, sent some optimism in not such an optimistic reality. Public spaces spread up and down through Brazilian cities in a varied and, at least, apparently chaotic QHWZRUN WKDW PDNH LW GLIÀFXOW WR XQGHUVWDQG IURP D (XURSHDQ SHUVSHFWLYH 3UREDEO\ WKH GLIÀFXOW\ VWDQGV QRW RQO\ LQ SXEOLF VSDFHV DV DQ LVRODWHG concept, but in the whole system of the city and its extremely quick JURZWK %ULHà \ WKURXJK WKH KLVWRU\ RI 6mR 3DXOR LW HPHUJHG DV D -HVXLW school on the top of a hill and was founded in 1554. Located between WZR ULYHUV 7DPDQGXDWHt DQG $QKDQJDED~ LW ZDV ÀUVW FDOOHG 3LUDWLQLQJD DV WKH SODWHDX ZKHUH LW VWRRG 2QH KXQGUHG ÀIW\ VHYHQ \HDUV DIWHU LWV foundation, the name of São Paulo was stablished. The city at that time was a departure point for the bandeiras, expeditions to the interior of the country looking for gemstones and slave labour. In 1815 it became FDSLWDO RI WKH SURYLQFH DQG IHZ \HDUV ODWHU WKH ÀUVW XQLYHUVLW\ ZDV settled, becoming a political and intellectual centre. However, it wasn’t until the end of the 19th century that São Paulo became an important economic centre of coffee exportation. The city received great number of immigrants from all over the world: half of the population in 1890’s were immigrants. In the beginning of the 20th century, São Paulo’s elite class confronted the national government, leading to the Constitutionalist Revolution of 1932, where São Paulo was defeated and politically isolated.

Despite this, its educational growth continued and São Paulo’s university was founded in 1935. Great urban interventions were carried out in 1940’s FRQFHUQLQJ DERYH DOO URDGV DQG WUDIÀF LQIUDVWUXFWXUHV ,QGXVWU\ ZDV WKH main potential of the city, causing vast migrations from other parts of the country. In 1970’s the services sector became the main economical source

of the city and industries moved to the peripheries. The economical and demographical growth continued and today we see São Paulo as a global FLW\ DQG WKH PDLQ ÀQDQFLDO FHQWUH RI 6RXWK $PHULFD LQ FRQVWDQW JURZWK However, what of this history is seen when we walk through the paulistanas streets? What can our eyes perceive when we hang around? :H FDQ ÀQG GLIIHUHQW H[DPSOHV RI WKH FRORQLDO DUFKLWHFWXUH LQ 5HSXEOLFD DQG ZH HYHQ KDG WKH RSSRUWXQLW\ WR DWWHQG DQ KLVWRULFDO WRXU LQ RXU ÀUVW GD\ RI FRQWDFW ZLWK WKH FLW\ $QKDQJDED~ YDOOH\ WKH ÀUVW VWUHHWV D FRORQLDO church or the Obelisco do Piques, appear on our way as examples of São Paulo’s past times. But these historical gaps seem somehow to be under a massive predominance of 20th and 21st century layers. Far from being contradictory to its history, it agrees with the great growth of the city GXULQJ WKHVH FHQWXULHV 7KH ÀQDQFLDO QHZ FKDUDFWHU LV H[SUHVVHG LQ WKH VKDSH RI VN\VFUDSHUV DQG WUDIÀF LQIUDVWUXFWXUHV HQGLQJ XS LQ D PRGHUQ FLW\ ODQGVFDSH ZKHUH WKH KXPDQ VFDOH LV VRPHWLPHV GLIÀFXOW WR ÀQG WKH KXPDQ scale of public spaces, of habitable squares and parks, of small streets, benches, children’s play grounds and other urban furniture. Of course, there are parks, squares and pedestrian streets, but in some cases they WXUQ LQWR D SODFH RI FRQà LFW DQG EHLQJ SXEOLF WKH\ DUH QRW DW DOO FRPPRQ becoming segregation points.

This is only from the perspective of a foreigner that met the city for one week, and any conclusion or statement I could give is probably far from the vision of the paulistanos. Therefore, it should be seen only as a personal analysis for a very complex situation and not as any general WUXWK +DYLQJ WKLV LQ PLQG DQG JRLQJ EDFN WR WKH ODVW LGHD RI FRQà LFW DQG FRPPRQV WKH FRQà LFW DSSHDUV DV D UHVXOW RI WKH VRFLDO VLWXDWLRQ WKH immediate consequence of the mixture, great contrasts and inequalities WKDW LQYROYH WKH FLW\ 1RW DOO WKH VRFLHW\ VHHPV WR ÀW LQ WKH ÀQDQFLDO ZRUOG and the public spaces become bed for homeless in a critical habitational crisis.

On the one hand, this situation leads to very aggressive features on architecture. Probably, the most annoying examples are sharp iron bars to stop people sleeping in certain places. Double high fences around private properties also appear as a big opposition to the common space. The lack of benches and urban furniture, plain rough surfaces without shadows, can DOVR EH VHHQ DV DQ DWWHPSW WR DYRLG FRQà LFW WKDW DW WKH VDPH WLPH NLOOV DQ\ VHQVH RI SXEOLF VSDFH :H ÀQG WKHVH URXJK VXUIDFHV IRU H[DPSOH DURXQG the Latin American Memorial.

On the other hand, some representative spaces, the historical gaps mentioned before, like Praça da Republica or Obelisco do Piques, do not present such an aggressive character and include important elements to reach a comfortable public space (vegetation and shadow, stairs where you can seat). However, neither work completely as they theoretically should. Homelessness and a certain sense of institutional carelessness can be seen as possible reasons that makes one feel unsafe, crossing through the square quickly but not staying.

This way, the commons seem to be forgotten in some cases by the DUFKLWHFWXUH RI WKH ÀQDQFLDO SRZHU 2IÀFH VN\VFUDSHUV DQG WUDIÀF LQIUDVWUXFWXUHV OHDYH EHKLQG WKH ÀUVW DQG VLPSOHVW VWHSV RI FLYLOL]DWLRQ the public spaces where different relations come together. Standing apparently in a secondary position, for the complexity it implies, the VRFLDO FRQà LFW LV WKRXJK LPSRVVLEOH WR KLGH LQ 5HSXEOLFD GLVWULFW 7KH city centre is far from a European conception, where it is a highly cared for space, for its historical value and its touristic attraction. Here, in São Paulo, the enormous scale of the city and its social aspects involve segregation through different neighbourhoods, where the centre is not the high class living area anymore. High class and trendy shops move out to other locations, like Rua Oscar Freire, where a completely different HQYLURQPHQW FDQ EH REVHUYHG :DONLQJ DURXQG WKH DUHD IURP WKH (GLÀFLR LOEB to Oscar Freire street, I could not believe I was in the same city.

The fragmented idea I had collaged in my mind from Sao Paulo in the past days crashed down. Where we in Sao Paulo or in Serrano Street, (the main posh street in Madrid)? The metropolis turned to be even more complex and contrasted than it already was.

DESPITE A ROUGH ENVIRONMENT, PUBLIC LIFE Leaving Rua Oscar Freire, we go back to rough public spaces or FRQà LFWLYH RQHV :URQJO\ ZH FRXOG SUHVXPH WKDW D ODFN RI FRPIRUWDEOH European public spaces would cut off the development of any public life and enclose the activities behind the dark glass skyscrapers façades. ,I WKLV FDQ EH WUXH WLOO VRPH H[WHQG LQ VSHFLÀF DUHDV LW LV IDU IURP expressing the lively, changeful and varied character of Brazilian streets.

Once again, contrasts appear between social and cultural aspects, and the constructed environment. Streets and rough urban gaps become crowded by all kind of sellers and sales: from water, fruit, clothes and decorative objects, to electronic devices. Rua 25 de Março is probably

the most outstanding example of these temporal and informal street markets. Any gap or corner is occupied by a stand, bicycles attached with varied methods for carrying merchandise move all around. The municipal market, compared to the surrounding activities seems a silent place, although it is probably nosier than anywhere in Stockholm.

However, these activities are not only settled in Rua 25 de Março. In a less concentrated way, they spread all over Brazilian cities, being found not only in São Paulo, but also in Rio and Brasilia. In each case, they adapt in different ways to the built environment. In Rio for example, in the well-known beaches of Copacabana and Ipanema, ambulant sellers offer cocktails, umbrellas, t-shirts or camaraos (shrimps); while around the metro station of Carioca popular markets take place.

Informal sales, people hanging around, seating and talking on the street RQ WKHLU RZQ FKDLUV FRQÀJXUH SDUW RI DQ RSHQ DQG QRQ VWRS SXEOLF OLIH that probably relates to climate aspects. A completely different culture IURP D 6WRFNKROP SHUVSHFWLYH EXW VRPHWKLQJ \RX FDQ H[SHFW WR ÀQG there.

WITH OR WITHOUT CARS? The weirdest experience of public space that meant a completely different vision of the standard use of things was the walk over 0LQKRFmR ,W ZDV D PL[HG IHHOLQJ EHWZHHQ D IXWXULVW ÀOP RI WKH ZRUOG¡V end and the last minutes of a demonstration or event. I had never walked before on a highway and I never expected to do it; rough asphalt, WUDIÀF VLJQDOV DQG GLYLVLRQV EXW QR FDUV RQO\ RXU JURXS ZDONLQJ DQG other people practising sports. Again appears the idea of a non-human VFDOHG VSDFH WKDW KRZHYHU DW D VSHFLÀF WLPH LV EHLQJ XVHG E\ KXPDQV A certain tension is felt while walking; the one that results from doing something you are not used to; for breaking parameters, for walking where you are generally denied to do. It always felt pleasant to walk on the road, after a great event or a demonstration, when the city centre closes for cars. There is a kind of power: you see the city from the middle and not from the side, semaphores do not make sense any more, you don’t need to wait for them. You are the main character and not a secondary and vulnerable one, but at the same time you feel small, out of scale and context. You watch and think: with cars, it would be unliveable, but now it is even pleasant. The same space with different users turns into a completely different perspective.

43

III

The highway was probably the most astonishing experience in this sense, but we could also felt the difference with and without cars in the other two cities visited: Rio and Brasilia. In Rio, the maritime walk of Copacabana GHYHORSV DORQJ D JUHDW DYHQXH $YHQLGD $WODQWLFD ZLWK WKUHH WUDIÀF OLQHV LQ HDFK GLUHFWLRQ 7KH ÀUVW GD\ ZH ZDONHG WKHUH , WKRXJKW KRZ PXFK nicer it would be if cars were separated from the coast side, at least with some vegetation that absorbed the acoustic impact. In the beginning of ,SDQHPD \RX FDQ IHHO WKH GLIIHUHQFH DV WKH ZDON LV ÀOWHUHG ZLWK VRPH EXLOGLQJV IURP WKH PDLQ URDG ,Q RXU ODVW GD\ WKHUH ZDV QR WUDIÀF WKURXJK Avenida Atlantica, and the change was even more notable. We continued walking in the pedestrian side walk as it was closer to the sea, but there was QR WUDIÀF QRLVH ,Q %UDVLOLD WKH ODUJH URDGV RQ WKH UHVLGHQWLDO HGJH DOVR closed on Sunday and a similar experience to Minhocão took place.

7UDIĂ€F DQG LWV UHODWLRQV FRQGLWLRQLQJ DQG LQYROYHPHQW ZLWKLQ SXEOLF spaces became this way, one of the main issues observed during the trip.

Things seem to be scaled at the size and speed of cars: in SĂŁo Paulo in a more unplanned way, and in Brasilia, completely designed for it, as the perfect example of the city for cars. The numbers of the buildings are not small on a door, but large and placed near the road to be seen from the vehicle. It is the modern Corbusian city came true, in the time of the vehicle revolution (it was constructed in the period 1956-60). Distances

get out of scale; you see vertically the buildings’ edges as in an ideal architectonic perspective. You even feel it as a horizontal city, despite the EXLOGLQJV EHLQJ KLJK EXW LW LV GHÀQLWHO\ QRW D FLW\ IRU ZDONLQJ In Brasilia’s monumental axis, public parks and squares are plain surfaces WR DSSUR[LPDWH DQG DSSUHFLDWH WKH EXLOGLQJV WKDW WRXFK WKH à RRU DV isolated objects. In contrast, the residential edge presents a new and more humanized scale inside the superquadras. This name refers to a unit or big group of buildings in which the city is divided. Inside the superquadras, residential buildings are placed in different positions and with different VKDSHV 2QH RI WKH ÀUVW VXSHUTXDGUDV FRQVWUXFWHG E\ 1LHPH\HU DQG RWKHU architects is located in the south part of the residential edge, close to the Igrejinha Nossa Senhora de Fåtima, (a small church also designed by Niemeyer). The residential blocks follow the pilotis theory and connect directly with the garden and open spaces they leave between one another.

Shaded but open, there is a constant visual connection at the ground à RRU ZKHUH RQO\ WKH VWUXFWXUH DQG JODVVHG HQWUDQFHV WRXFK WKH JURXQG Moreover, despite from being similar one from another, their irregular disposition makes it feel neither homogeneous nor boring, and allows D PRUH à XHQW LQWHUVSDFH &KLOGUHQ¡V SOD\JURXQGV DUH SODFHG LQ EHWZHHQ The church, a school, a kindergarten together with a commercial street complete the area. This new and smaller scale, contrasts with the big DYHQXHV DQG WKH PRQXPHQWDO D[LV WKDW FRQÀJXUH WKH PDLQ OLQHV RI WKH FLW\ You get to control again the scale of things.

CONCLUSION ,W LV GLIĂ€FXOW WR VWDWH RQH JHQHUDO FRQFOXVLRQ DERXW SXEOLF VSDFHV WKHLU FKDUDFWHU WKHLU FRQĂ LFW RU WKHLU FLW\ LQVHUWLRQ LQ VXFK D YDULHG DQG changeful experience. However, it is probably the idea of change and contrast in a certain chaos, the most general conclusion we could get from the places visited. Chaos though, started to make sense in itself and WRJHWKHU ZLWK WKH FXOWXUDO DQG VRFLDO DVSHFWV DIWHU VRPH GD\V RI UHĂ H[LRQ

Brasilia

Contrast appears everywhere, starting from the idea of different scales in WKH VDPH FLW\ DQG EHWZHHQ FLWLHV +LJK GLPHQVLRQHG WUDIÀF LQIUDVWUXFWXUHV and skyscrapers are located nearby the low informal settlements of the favelas. Inside the favelas, small streets and irregular stairs connections GLIIHUV DW WKH VDPH WLPH IURP WKHLU KXJH GHQVLW\ 7KH ÀQDQFLDO metropolitan character of São Paulo also confronts to its inhabitants and the social irregular situation that covers the city (and the country).

The contrasted reality can also be seen in the black glass windows of cars and skyscrapers, and the completely exterior character of lower EXLOGLQJV 7KH JODVV KHUH GLVDSSHDUV DQG ZH GR QRW ÀQG GRRUV QHLWKHU ZLQGRZV EXW D à XHQW DQG FRQWLQXRXV RSHQ VSDFH OLNH LQ )$8 863 7KH outdoor corridors of the social housing or the constantly open windows of the buildings can also be categorized in the same way.

We are talking about the contrast between São Paulo and Brasilia, the planned and unplanned developments; the vertical growth and the plain where Lucio Costa’s designed the city. It is modernity and the abandoned occupied buildings; lush vegetation and rough asphalt surfaces; Minhocão on Sundays or on Mondays; the slogan ordem e SURJUHVVR RI WKH à DJ DQG WKH GDLO\ VLWXDWLRQ RI WKH FRXQWU\ 5RXJK SXEOLF VSDFHV DQG FRQà LFWLYH RQHV FRH[LVW ZLWK JUHDW SXEOLF buildings and interventions like SESC or the cultural centre Vergueiro.

In this case, we could ask ourselves, what’s the clue for the success of these interventions and why more open spaces like squares or parks do not work? Is it a problem of location or a question of control, direct or indirect? Does it relate to the activities we plan around a place that can make it work and keep it safe, or make it fail?

It is probably more complex than the confrontation of two opposite situations; it is the confrontation of everything towards everything, in DQ DSSDUHQW FKDRV WKDW VRPHKRZ VHHPV WR ÀW LWVHOI &KDRV LV XQGHUVWRRG in the short period of construction of the city, the rapid agglomeration of things, events and buildings, the irregularity of favelas and ocupaçþes and the informal markets; the rhythm of samba and food.

And so, even the architecture adjusts itself within this chaotic environment. MASP and the new perspective of the art works, where you see everything at the same time, follows the rhythm of the city where it is located. No white silent rooms where each drawing occupies one wall, instead, works behind one another, people crossing and children running; a multiple vision, where the attention does not focus on a single piece of art, as our eyes do not focus on a single piece of architecture while walking around. It is everything happening together at the same time, in the same dense city, but in a different world.

SESC PompĂŠia, Lina Bo Bardi, 1982

III

PAVEMENTS Jakob Lundkvist

The different pavements, mosaics and natural stone-arrangements had a big impression on me during our trip to Brazil. Walking through the streets of São Paulo was like walking on a constantly changing patchwork of pavements. I started observing all the things that were happening on the ground and was fascinated by the complexity and richness, and once I had started studying all de different pavements and details on the streets I started to think about it as a huge collage that constantly fed me new LPDJHV :KDW DW ÀUVW VHHPHG YHU\ PHVV\ DQG VFDWWHUHG DIWHU D ZKLOH VWDUWHG to work as a whole and you realized that what made up the images were really the traces of an ever changing city. Sometimes cracks in the concrete, a mended part of a street or maybe the meeting between two materials was enough to keep my eyes on the ground. Sometimes even manhole covers ORRNHG OLNH DQ RUQDPHQW RU SDUW RI D FRPSRVLWLRQ ,W ZDV GLIÀFXOW WR understand if all the things I saw in these images were intentional or just a coincidence, a lucky mistake? Often the images appeared in the frame of a photograph, the limits of the frame and the isolation of a smaller part made the motif interesting.

In São Paulo the built environment had a very rich, diverse appearance, and the surfaces we walked on were no exception. Huge contrasts in JHQHUDO ZHUH FRQVWDQWO\ WKHUH WKH EUDQG QHZ RIÀFH EXLOGLQJ QH[W WR WKH slum, the town house next to the high-rise building or the businessman next to the homeless. In front of a new building, the pavers could suddenly change to something different from its surroundings, which of course led to questions of boundaries of a certain property and its relation to the public space. In the city centre the pavements, like the buildings, were very much telling the story of how the built environment was and still is changing. I had the impression that what had happened to the streets was sometimes very separated from what had happened to the buildings and the relationship between the buildings and their immediate surroundings. The paving was at some places very much connected to a FHUWDLQ EXLOGLQJ DQ RIÀFH EXLOGLQJ IRU LQVWDQFH DQG WKHUHIRUH D SDUW RI

Parque Anhangabaú, São Paulo.

WKH VWUHHW DOVR VHHPHG WR ´EHORQJµ WR WKDW SDUWLFXODU RIÀFH EXLOGLQJ $W some places the paving seemed to be quite new, but of a cheaper and more simple kind and that could be right next to a building that should have some historic value and surely used to be surrounded by an older and maybe more exclusive type of paving. Some neighbourhoods that were very run down could still have a beautiful, exclusive paving on the street while the facades looked like they could fall off any minute.

I assume that the historical city center have the greatest variety of these different pavements, showing layers of paving used throughout the history of the city. I think that the streets reveal something about how the city center have gone through different stages of importance and also about priorities concerning economy and aesthetic values. We were told about how the historical city center in São Paulo had gone from being the most important part of the city to a decrease in population and value of properties etc. One can guess that interest in maintenance of the older natural stone paved areas have decreased as the historical centre started to lose importance as the city’s economic hub. I have also read that the city is actually consciously removing old paving for accessibility reasons, replacing

natural stones with modern concrete pavers. Notable was also the use of different patterns in the paving, sometimes indicating something like how you should behave or use a space, sometimes they didn’t seem to have any particular function besides being decorative, if even that. One thing the patterns often did was breaking down the scale of a sometimes quite large space and make the surface interesting for the human eye from different distances and viewpoints. The patterns appeared in both older kind of pavement by the use of different coloured stones and in modern concrete pavers. What I thought was most interesting about these patterns was how forgiving to different irregularities these were. Be it that the sidewalk was very dirty or the patchwork of different materials from mended parts, the result was to me mostly not interpreted as messy or ugly. I think the frequent appearing patterns and rich variety of stone and concrete blended very well together and made all the mended, SDLQWHG DQG FKDQJHG SDUWV XQLÀHG ZLWK ZKDW FRXOG EH FRQVLGHUHG DV WKH original appearance. I would say that the contrasts in the paving and the meeting of different materials on the ground enhanced each part and revealed the logic and beauty of each material. On this patchwork of different pavement thousands of interesting images appears. The patterns and layouts of a material could be beautiful in themselves, but it was really the faults, irregularities and the meeting between different materials that caught my interest, be it a crack in the concrete or a manhole cover that suddenly played a part in a bigger composition.

THE PORTUGUESE STONE I became particularly interested in the beautiful natural stone paving known as pedra portuguesa, or the “portuguese stone”. These stones appeared in many places when we moved around in the republica district, and also in other parts of Brazil when continuing the trip after São Paulo. I found it striking how the portuguese stone always seemed to have different patterns and how it was used to cover everything from a small sidewalk to a big square. The pedra portugesa has its origin in Portugal and has been used since the middle of the 14th century.

Specially trained craftsmen called Calceiteiros are being hired to lay the tiles, which is made of limestone and basalt stone. The most common colors are black or white stone, and they can also be found in red or brown. In some regions of Brazil even blue or green stones can be found.

III

Patched patterns - different paving from the brazilian streets. Feet for scale.

I also found examples of paving that wanted to imitate the portuguese stone or other mosaic or natural stone paving. These cheap, kitsch tiles appeared more often in private spaces such as shops or hotels, both indoors and outdoors. Even more interesting is how the patterns of the portuguese stone pavement from famous places like Copacabana and Ipanema beach work as a design on completely different things. For example I found towels, blankets and swimwear with the calçada pattern from Copacabana and Ipanema beach.

The paving on Copacabana beach, with its wave-like pattern, was running along and framing the 4 km long beach in a very nice way. The large pattern with the small stones seemed to break down the huge scale, 47

and gave a certain rhythm to walking on it. On the opposite side of the URDG DQG RQ WKH WUDIĂ€F LVODQGV LQ WKH TXLWH ODUJH $YHQLGD $WOkQWLFD WKH portuguese stone had a different layout and as a pedestrian it was quite hard to see any repeating pattern like the waves of the beach promenade.

Afterwards I read some more about the design and also saw aerial photos of Copaca- bana and from those images you can really see the beautiful compositions made by the landscape architect Roberto Burle Marx.

Again it is interesting to see how the paving works in relation to different scales and viewpoints. Seeing Copacabana from a window in one of the RI OX[XULRXV KRWHOV DORQJ $YHQLGD $WOkQWLFD ZRXOG PRVW FHUWDLQO\ JLYH D different understanding of the space than walking along the same avenue.

On Ipanema beach the paving had a somewhat similar pattern as the one at Copacabana. On Sundays, half of Avenida Viera Souto, the heavily WUDIĂ€FNHG URDG WKDW GLYLGHV ,SDQHPD EHDFK DQG WKH QHLJKERUKRRGV EHKLQG LW LV FORVHG RII IRU FDU WUDIĂ€F :DONLQJ WKHUH RQ WKH DVSKDOW URDG JDYH D very different experience than walking on the paved beach promenade, the distances felt longer and the human scale that the sidewalk nicely took care of were obviously not there on the car lanes. Although walking there was still a nice experience, very crowded and the people on skateboards, rollerblades and bikes seemed to particularly enjoy it.

Tiles with the portuguese stone pattern, towels, t-shirts and many other WKLQJV EHDU ZLWQHVV RI D VWURQJ LGHQWLW\ FRQQHFWHG WR WKHVH VSHFLÀF VWRQH SDWWHUQV , ÀQG WKLV PRVW LQWHUHVWLQJ WKDW WKH SDYLQJ KDV EURNHQ IUHH IURP its function and its relation to the actual site where it in a way it belongs and is transformed into an icon of a certain place. It’s easy to draw parallels to, for instance, the statue of liberty in New York or the opera house in Sidney, which have become representatives of a whole city.

For what I know it is more common that it is a building or a monument that holds the place of that representation, something monumental that works from a distance, looks good on a postcard and so on. With that in mind I think it is amazing that the pattern of a 4 km long sidewalk holds such a strong identity that it can, in a way, represent Copacbana, and be one of the strongest brand of Rio de Janeiro. While it’s not monumental while walking on it, I think it may have got this special status from being representative for the feeling of walking there and see everything around you, which is truly a fantastic experience.

7KH SDYLQJ RXWVLGH 7HDWUR 2Ă€FLQD

III Portugese stone paving meets other materials

Tiles imitating natural stone. The picture in the middle shows tiles imitating the pavement on Copacabana beach.

The versatility and beauty of the pedra portugesa was really a great thing to experience. The precision in the workmanship, the natural beauty of the stones, the possibilities to create patterns and the use in different scales was fascinating. I have learned that nowadays the portuguese stone is a less popular alternative for paving. It is quite expensive, requires very skilled craftsmen and is considered problematic for accessibility reasons (apparently it gets slippery when it rains, which was nothing I noticed though) and it’s therefore rare to choose the portuguese stone as paving these days. I even read that Avenida Paulista, the most important avenue in São Paulo, is being re-paved with another material than its current portuguese stone pavement.

Hopefully that will not be an incipient trend, the pedra portuguesa really is a cultural heritage worth preserving.

The wave-pattern from Copacabana - on Ilha Grande 49

NO CITY FOR OLD MEN

SĂƒO PAULO Jan Ĺ olar

BEING ABSORBED BY THE CITY When travelling and visiting a new city, it means for me to visit another way of life and different values. This recognition leads to a confrontation with what you know and this inner dialogue is very enriching. Arriving to a new city I like to just stroll around and sometimes intentionally even get lost in it. Just the fact of getting lost or not is very important. I think, that if the city is designed and working well, then it is conducting a person inside and preventing it from getting completely lost. I am not really interested in architecture itself yet, but I am trying to blend in the city and behave like it would like me to behave. I am passing through the streets and something is telling me to turn right or to continue. It is some kind of motivation or energy, which makes you change your direction or not. When I am in a city which gives me this motivation to move through it on some kind of an invisible path, I really enjoy this simple walk. This experience I have mostly from the cities, which have some of center of gravity. This point or points are slowly pulling you through the city fabric and they are directly and indirectly inscribed in the structure and energy of the city itself.

SĂŁo Paulo is different from most of the cities I have ever visited.

FINDING A CENTER OF GRAVITY It is important to have some center of gravity in the city. The character RI WKLV FHQWHU LQ VRPH PHDVXUH UHà HFWV KRZ WKH FLW\ ZRUNV DQG ZKDW LV the main ideal of its inhabitants. We could consider as a center the area between Cathedral de São Paulo and Praça da Republica. Here many VLJQLÀFDQW EXLOGLQJV DQG LQVWLWXWLRQV DUH ORFDWHG DQG WKH FDWKHGUDO SURYLGHV a religious ground and the origin of the city itself. This center as we read and heard from our guides was more or less replaced by Av. Paulista which is not central but linear. It´s character is purely commercial. It is a new business center, reminding us, that São Paulo is now more than ever the leading economic headquaters of Latin America. This change of center is FHUWDLQO\ UHà HFWLQJ D FKDQJH LQ WKH FRPPRQ YDOXHV DQG LGHDO RI WKH FLW\

I was speaking about some motive energy that is pulling us towards the center of gravity. To get through a city, you need to have a clear path.

You should have a freedom when choosing how to get from one point to another. The city here is interweaved with infrastructure, which is OLNH D EDUULHU WR D QDWXUDO Ă RZ 7KLV SULQFLSOH UHĂ HFWV D SULRULW\ ZKHQ infrastructure is something more than the main physical structure, which is serving the inhabitants and not the transportation or other supportive functions. But transportation here is something more than a way to get from A to B. ,Q PRUH HTXDO VRFLHWLHV WUDQVSRUWDWLRQ LV VRPHWKLQJ WKDW UHĂ HFWV D democracy and higher principles of common existence. In a perfect society for me, the rich are using the same way of transportation together with poor. The result is effective, sustainable and democratic. In Brasil the use of a car is still a demonstration of the social status. People are trying to differentiate from the others. Here this fact has gone so far, that the richest are using a helicopter as a way of daily commuting through the city.

This is a manifestation of absolute superiority and of being contemptuous to the fellow citizens. The noise of one helicopter spread much more than the noise from a thousand cars.

The high level of automobile transportation here is not of course caused only by this social argument. Very important is the quality or standard of the public transport. I can never imagine for example a senior couple in their 80´s wearing evening gowns. They are about to visit a show in the Teatro Municipal, which is only 4 stops from their home, so they decided to travel by one of the buses going that direction. Old man with a stick, holding his wife with another hand waddling towards the bus stop in the dark. Suddenly the bus arrives with a squeaking noise. Simply put, this story doesn´t make any sense, not here in São Paulo. This city is not for old people. Using the public transportation is not on a level, as we are used to here in Europe.

Traveling by bus means passing through a very strange tourniquet, that is not made for people with obesity, what a strange way of segregation.

Last, but a very important cause of a widespreaded automobile transportation is security. We have to admit, that walking around the city, especially through some districts in certain period of time can be an experience, that you will never forget, maybe even your last one. I´ve digested this experience once with my colleagues and I was staying there just for a week and it happened on the street, which is in the very center of the city. It´s very easy to be a victim of a robbery or some different crime. Simply being locked in a car means security for a lot of people.

Talking about Stockholm is a little bit harder for me, but I have been OLYLQJ KHUH IRU VHYHUDO PRQWKV DQG WKH ÀUVW WKLQJ WKDW LV FURVVLQJ P\ mind is an image of the old city, Gamla Stan. This island is working similarly like in Prague a center of gravity of the city as well a center of the power. %RWK WKHVH FDVHV DUH VLPLODU LQ RQH DVSHFW 7KH\ DUH DOVR WKH ÀUVW UHVXOW showed after searching in google search engine. I know, that this way of recognition is very shallow, but I had to try it anyway. Reason for that LV EHFDXVH , ZDV WKLQNLQJ IRU D ORQJ WLPH ZKDW LV WKLV ÀUVW LPDJH ZKHQ someone asks you about São Paulo. Even after visiting the city, I was QRW DEOH WR JLYH DQ DQVZHU E\ P\VHOI 6R , DVNHG JRRJOH 7KH ÀUVW LPDJH here is a perspective looking onto the never ending mass of the highrise buildings, continuing far behind the horizon. In the foreground of this picture there is a bridge. It is a new, impressive piece of engineering work, which must have cost a huge amount of money. The expression of the structure is directly sending a message of it´s importance in the city. It doesn´t seem strange, until we realize, that the bridge is not for pedestrians.

When I saw this image I was disappointed. Not because it was not nice,

, DP QRW VD\LQJ WKDW WKH FLW\ LV WRWDOO\ ÀOOHG ZLWK FDUV , WKLQN WKDW WKH situation can be even much worse. But the situation is critical and the number of cars is growing every year. This means, that there must be change in this aspect and I see a big opportunity to make use of it, or to completely loose it and leave the city to the mercy of its infrastructure.

IMAGE NUMBER ONE First thing, that crosses your mind, when somebody tells you to imagine Prague, most people would talk about the panorama with Prague´s Castle. This picture displays a place, which is strongly connected to the history of the nation and with the structure of the city itself. There are some of the oldest and most beautiful buildings in the city. But they are also a symbol of the state and ideology of the nation.

51

III

EXW LW VLPSO\ GLG QRW IXOÀOO P\ H[SHFWDWLRQV , ZDV H[SHFWLQJ RQO\ WKLV extensive mass, absorbing or hiding some architectural masterpieces, which FRXOG HDVLO\ EH WKH SURXG KROGHUV RI WKH ÀUVW LPDJH RI WKH FLW\ LQ JRRJOH search. I was not prepared to see this object.

But then I just realized, how symptomatic this picture of the city is. That the bridge, which is only for cars and not for the people is something completely describing a thorn in the heel of this huge city. We can see here the decision to solve problems with big gestures, that are enormous like the city itself, but without thinking deeper in the consequences and thinking of context and working with it further, than on the level of supportive functions for the structure.

7KLV IDFW ZDV LQ D ZD\ FRQĂ€UPHG ZKHQ , ZDV WKLQNLQJ DERXW DOO WKH buildings we visited during our trip. All these buildings were architectural masterpieces worth of huge appreciation. But almost all of them were also working like solitaires. Then I realized, that the whole city is somehow composed out of solitaires even though most of them are placed in the block. Their height is so different, that there is no continuous volume in the block structure. This means, that all of them are loosing their ULJKWV WR EH VROLWDLUHV EHFDXVH IURP WKH GHĂ€QLWLRQ RI WKH ZRUG LW PHDQV something, that is something standing alone in the middle of a setting without similar qualities. They are all so different, that together they are creating something completely new - the result of planning without almost any spatial regulation. One is walking through the streets permanently astonished from those incredible contrasting situations one meets during his way. Fascinating, but the result is an exhausted mind, thinking about secret courtyards, public gardens and forgotten streets in the middle of Prague.

CREATING A NEW IMAGE So I ask the question, what is the city trying to be? What are the ideals of the society living here? Is there any, or is it possible to have a city without this ideal? Would all the people like to use a helicopter as a way of transporting themselves skipping the jammed streets? Or is the city only GHVSHUDWHO\ WU\LQJ WR ÀJKW ZLWK DOO WKHVH SUREOHPV OLNH WUDIÀF ODFN RI ZDWHU FULPH RU D KLJK SULFH RI à DWV LQ WKH GRZQWRZQ"

I felt like all these serious troubles (and there is much more of them) are so advanced, that it´s almost impossible to solve them once for good.

But at the same time, the city wakes up day by day and it is working. It is producing wealth, culture, knowledge and everything that a normal city VKRXOG GR )URP WLPH WR WLPH WKHUH LV D à RRGLQJ WKHUH LV QR ZDWHU UXQQLQJ WKH WUDIÀF FROODSVHV EXW WKH FLW\ NHHSV RQ WR PRYH IRUZDUG $W ÀUVW LW IHOW OLNH WKH ZKROH V\VWHP ZDV RQ WKH HGJH DQG ZDV JRLQJ WR collapse sooner or later and even a bigger chaos than now would ensure.

But day by day, after I started to understand the force that is keeping the whole thing together, I started to believe, that this situation will never happen. This is something incredible and fascinating about SĂŁo Paulo.

Sitting in front of Engelbrektskyrkan here in Stockholm, fascinated, imagining, how each of those bricks had to be placed on its place by a KXPDQ KDQG LW OHIW PH DVWRQLVKHG E\ WKH IHHOLQJ RI DQ LQĂ€QLWH DPRXQW RI work, that had to be put in this piece of architecture. Very similar feeling I had, when I was in SĂŁo Paulo, the only difference being, that this huge cathedral of men is always under construction.

III

53

URBAN DEVELOPMENT IN THE POLITICAL ENVIRONMENT: SĂƒO PAULO - UNDERWATER Julia Gustafsson

My excitement and valued knowledge are often found in discussions with local inhabitants when travelling. I had the opportunity of collaborating in a workshop and seminar course on social housing in SĂŁo Paulo, Brazil. Additionally, I was fortunate enough to set aside some time for conversation with friends over a cafĂŠ com leite.

7KHVH LQ SDUWLFXODU DUH WKH VLWXDWLRQV LQ ZKLFK , ÀQG YDOXH NQRZOHGJH and excitement. The conversations that challenge my perspective also tend to sharpen my political opinions. When these experiences are digested in a familiar and safe climate, considerations convert to insight which consequently affects my immediate being greatly.

Alliance of Dilma and Lula presented in O GLOBO, 2016-03-19

One could think that a travel report should concern the visited places in particular. Although a place does not have the limitations of physicality, this physicality gains the main observance when changing place by travelling.

Furthermore, when visiting a place, the detection and comparison of the physicality are admirable achievements. What is rather tricky and perhaps left unobserved at times, is the immersion of the ongoing climate in which that physical space is set. Therefore I wish to spend this opportunity of UHĂ HFWLRQ ZLWK LPPHUVLQJ P\VHOI PRUH SURIRXQGO\ LQ WKH HQYLURQPHQW which Brazil (sometimes seemingly) reluctantly embraces.

I would like to stress the acknowledgement of São Paulo, the metropolis as other than strictly physical. I observed a widespread ocean, beautiful in its diversity of salt and sweet. A profound depth at its core and fringe, \HW VLPXOWDQHRXVO\ VKDOORZ &URZGHG ZLWK ÀVKHV RI DOO LPDJLQDEOH FRORUV this ocean reconciles both big and small, in fact, everything we consider to explain as humanity.

The political situation in Brazil, is nothing less than overloaded. A prime example of this overload is the monstrous protest held on Avenida Paulista during our presence in the city.

%DWKURRP Ă RRU DV IRXQG

From previous understanding and experience I have come to think of SĂŁo Paulo as a city of great tolerance. I believe nevertheless, a few things could put the Brazilian quota of tolerance at risk. Repetitive challenges RI ZDLWLQJ FRSLQJ ZLWK GHOD\ LQVXIĂ€FLHQW RUJDQL]DWLRQ RU HIĂ€FLHQF\ KDYH created a viable temperament unlikely to be encountered in my home or any other place I have visited before. This thought has due to our recent study trip matured and come to me as the reality.

Likely created by several unknown cultural and historical factors this tolerance does take part in the Brazilian way of being (or is it just swedes that have no patience at all?). Regardless of how it is created I believe the Brazilian tolerance determines the climate of its place; the waters in which WKH ÀVKHV DQG WKHLU GHQV WDNH IRUP &RXOG LW EH WKDW WKLV WROHUDQFH LV D preference of being and not an outcome due to inequality? In either case , ÀQG LW UHOHYDQW WR DVN ZK\ WKH ZHOO LQFRUSRUDWHG WROHUDQFH VHHPV WR KDYH run out this time.

Perhaps, a visit to previous political turmoil could explain in which direction the common thought is heading in São Paulo today. São Paulo suffered political instability before. More precisely, the tensions which lead to a military coup in 1964 reveal a continuous disappointment with the governors. The brazilian is no stranger to crisis, and have ousted a president before.

To me and some of my fellow students as we rode the bus alongside Tiête, the stories and sights of poverty, corruption and inequality seemed endless and untroubled. A constant blunt to your ax.

At this very moment, a dangerous tolerance arises which consequently could pollute a whole world, or ocean if you like.

Does this mean that corruption is met with the same tolerance as with waiting in a snail-speed queue in São Paulo? Certainly not if you listen to the protesters camping outside FIESP at Avenida Paulista.The present intolerance is to be a part of history, which will be discussed and presented as a turning point in the development of the city and country. I am sure.

If São Paulo is subject to greater prosperity due to the currents and waves occurring or if these rough waters serve as the perfect wave for politicians to surf even further, is yet to be announced.

The most beautiful aspects of being human, to have patience and empathy, to believe and develop are of greatest importance in São Paulo today; even greater is the need of intolerance and protest.

A belief in a just and equal society; a climate which unites the space it embraces.

Dramatical MASP

III

REBELLIOUS MANIFESTATIONS OF THE STREET: RECLAIMING THE CITY Kajsa Blohm

Usually study trips are more like going in a fast speed from one building to another, gazing for some minutes and taking tons of pictures.

Sometimes I think that I don’t have time to interpret the situation, so I will look at the photos later. But in this trip we actually did something on site, which was a welcoming change. It was a brief glimpse of another way of living, just so much that you could see the difference but not really get in too deep. Brazil as a country is very different from the places I have visited before. It has not the western way of thinking, no one speaks English, the commerce is not in focus and things work in such strange ways sometimes.

But the people are very friendly and the music is fantastic.

My thoughts about São Paulo as a city are divided. I have never seen so PXFK JUDIÀWL DQG GLUW LQ P\ OLIH 1RW LQ WKDW H[WHQW DW OHDVW ,W PDGH PH D OLWWOH XQFHUWDLQ ,Q 6ZHGHQ ZH KDYH D VWULFW DWWLWXGH WR JUDIÀWL :H VHH LW DV damage no matter what it looks like if it’s not on a legal wall. I think that ZH DUH EURXJKW XS E\ WKH VRFLHW\ WR WKLQN WKDW JUDIÀWL LV D VLJQ WKDW VD\V �this area is unsafe�, because it´s a rebellious act made by rebellious people against order and laws. That’s why it’s common in the suburbs but in the city it is hastily washed away. Before going to Sao Paulo I read a lot of articles about how dangerous it is, and while there people and the police often stopped us telling us to take care, this area isn’t safe. And being in an DUHD VR GLUW\ DQG VR IXOO RI JUDIÀWL PDGH WKDW IHHOLQJ HYHQ VWURQJHU *UDIÀWL LV D PDQLIHVWDWLRQ RI WKH SHRSOH UHFODLPLQJ WKH FLW\ %XW ZKHQ LW is to such an extent as it is in Sao Paolo somehow it looses its rebellion and becomes more a type of façade, an abstract pattern covering the streets. I am use to being impressed over how someone can paint in such a strange and inaccessible place, but when every strange and inaccessible place already is painted it becomes something else than a rebellious act.

0D\EH D ZD\ RI OLYLQJ DQG DFFHVVLQJ WKH FLW\ :KHQ , ÀUVW VDZ RQH RI WKH RFFXSDWLRQV , ZDV FRQIXVHG RYHU DOO WKH JUDIÀWL , ZRXOG KDYH WKRXJKW LW WR be a secret act, living in a house without anyone knowing, blending in with the existing.

Streets of SĂŁo paulo

But the occupations of São Paulo are the opposite. Its not hanging some à \HUV RQ WKH ZDOO PDNLQJ LW SRVVLEOH WR HDVLO\ JR EDFN WR SUHYLRXV VWDWH It´s taking over the building from façade to core, and of course- the occupation is a political statement. It has to be seen. It makes me wonder KRZ ZDV WKH WUDQVIRUPDWLRQ WKDW HQGHG XS ZLWK WKLV ZDV WKH JUDIÀWL RI WKH VWUHHWV ÀUVW ZHUH WKH RFFXSDWLRQV" ,V WKH RFFXSDWLRQ D FRQFHQWUDWLRQ RI the pattern of the streets continuing up in buildings?

When we visited the school of architecture we had as a guide a teacher there. You could tell by the way he spoke that he really liked the school and how people used the space. He thought it to be a rebellious act. The VFKRRO ZDV IDQWDVWLF FRQFUHWH DLU à XLG RSHQ VSDFHV , GRQ�W NQRZ LI LW was the fact that we came out from the city and into a school environment again that made the change of us students so visible. Gone were the tired faces, there were smiles and frantically photo shooting. The air became more open and people were talking about how it would be going to such a fantastic school. And why is that? I think that we liked the openness, the classrooms with no real walls, the terraces without railing and the fantastic light. It was different and free. The entire building was like a collective space, a unity with diversity. The teacher who told us about the building called it a great public space, a place with no doors. If you don´t have any doors you can´t close the school. The school is a rebellious act in itself.

He also said that it´s built so thatyou can´t sit privately and have a nice cup of tea with your friends somewhere. I found this really interesting. It felt like all the open spaces were just there to be taken, to be what you need LW WR EH EXW QRW IRU RQH SHUVRQ DORQH 7KH JUDIÀWL WKDW FRYHUHG WKH ZDOOV ZDV D PDQLIHVWDWLRQ RI WKDW 7KH WHDFKHU ZH PHW VDLG JUDIÀWL LV ZHOFRPH here. Now I really want to ask him why. How are the arty peoples and the FRPPRQ %UD]LOLDQV DQG WKH JRYHUQPHQW¡V GLIIHUHQW YLHZV RQ JUDIÀWL"

School of architecture

We all probably compared it to our new building in Stockholm. I don’t think that it´s the way of working in Sweden in real life - outside school to be brave enough to leave huge spaces empty to just be taken. It´s more IROORZLQJ D VHW DQG YHU\ ZHOO WKRXJKW WKURXJK SURJUDPV JLYLQJ VSHFLÀF QHHGV VSHFLÀF ER[OLNH URRPV DQG WKLQNLQJ RI HPSW\ VSDFH DV VRPHWKLQJ that can be empty if you want it to be, but it can also be programmed to have this and that use. The São Paulo school felt more equal when ours are hierarchic and separating, and you can easily meet fellow students in a way that you can’t in ours. Actually I wouldn´t like to study in that school, I want to have more private spaces, a more ordered school is my cup of tea.

57

III

GREAT PUBLIC SPACE DIFFERENT TYPES OF ELEVATED SPACES Another thing that made my thoughts spin was the use of public spaces.

In a City that is being overtaken by people public spaces are important.

Public spaces are ordered in a way that is very welcoming after walking around in the reclaimed parts of São Paulo. Someone takes care of them, they are clean. They give you a break.

When Lina Bo Bardi got the project one of the rules was that under no circumstances could the building block the site’s panoramic vistas of the lower-lying parts of the city. That is why she designed the house which is partly under ground and partly in the air. She also wanted the museum and site to belong not to politicians but to the commons, the people and the

As the common city belongs to everyone, I felt that the space below MASP and the parks belonged to no-one, but were ours to borrow. For PH WKH FLW\ ZLWK JUDIÀWL HYHU\ZKHUH PDGH PH XQFHUWDLQ DQG D OLWWOH ELW alien-like, I didn´t belong there as a tourist. Writing tags on things are as artists write their signature on painting, a way to say you made this, this is yours. But the public spaces I am used to, is more european, clean and don’t belong to anyone. I think that it is the people that make a great public space. You can help people by building a great space, but if it´s not overtaken by people using it its not a very good public space. But I also think that this differs with time, places and the way they are utilized change. You can’t leave out the user.

Before going to Brazil I didn´t know much of its architecture and life. I thought it would probably look like many other bigger cities I visited and in many aspects it did. To be honest I didn’t read much about the buildings we visited before we visited them which actually was good. I could read them just as I saw them in that moment. And one thing that I haven’t experienced before was the elevated buildings we saw everywhere, I would call it a Brasilia trend. I´m not very well traveled in general, and in Sweden and Europe it is not so common to enter an building from below. I found it very interesting and a fun and effective way to use space. Especially in the cities where most of the environment comes from ground and above.

So I will start with a comparison between some of the buildings we visited.

MASP Weather: Sunny. Situation: We took cab to the museum and came there together with a horde of students. Some people were sitting on the wall or waiting in line. Homeless people by the walls.

Casa de Vidro

Museu de Arte Moderna

city. I think you can sense that notion in how you approach the museum. The site and the museum are dislocated from each other, you can be there for the site or for the museum. The idea that you take the elevator up and meet the exhibition at once is also very thoughtful, there is no middle room between the city and the art. You take the elevator up, and enter the art form immediately. The proportions of the space under the museum were fantastic. You didn’t feel trapped and you didn’t feel like you were standing under something. The vistas were not blocked at any GLUHFWLRQ DQG WKH DUW LV MXVW à RDWLQJ DERYH \RX You access the exhibitions by elevator or by stairs, and that’s the only part of the structure that is taking the public space. I also must add that the exhibition we saw was amazing.

MUSEU DE ARTE MODERNA Weather: Sunny, extremely hot. Situation: So hot that you couldn’t think . People were hanging around the building, playing trumpet, making tricks on skateboards, old couples sitting on foldingchaires holding hands.

When in Rio me and some other students visited Museu de arte moderna. It´s located near the water in a park. Because of its location off the city it is not a place you just pass. I thought it more as a recreation area; old couples were sitting holding hands under some trees.

The park is planed by the landscape artist Roberto Burle Marx and the museum a collaboration between him and the architect Affonso Eduardo Reidy. You can feel that it´s a well done collaboration, the site is well thought through and there are some really great waterworks outside of the building. The museum is also an elevated building with a very interesting load bearing system. It has external pillar elements, connected by longitudinal beams, providing a galley level free of internal columns or structural walls. It allows you to have a have a lot of interesting exhibitions there. It also gives a public space underneath the housing body. It is a more closed public space inside of a greater public space, the park. The pillars make a room with the proportions that you can feel the roof above you, but you are more private than outside in the

park. It was fun to se how the space was used when we were there, there are a piazza around the museum which that day were overtaken by skateboarders who did tricks in the shade of the building. It must also have been a nice acoustic because a man stood in one corner and played the trumpet, the loneliest tunes I have ever heard. It all set the atmosphere of a place being public but private at the same time. In such a place you are allowed to do other things than under MASP for example, where the space are more a part of a greater area.

III

The museum is not fully elevate, the entrance and an exhibition hall is located in the left area of the building, It´s a glass creation underneath but you still enter from below and not from the side. That makes the public area underneath belonging more to the museum.

CASA DE VIDRO Weather: Sunny with a few clouds. Nice temperature. Situation: We were the only visitors there and come to the house in good spirit.

Another semi-elevated building we visited was Lina Bo Bardi’s Casa de Vidro. As MASP, it is an elevated enormous glassroom standing RQ SLORWLV EXW LQ WKLV FDVH WKH QDWXUH LV à RDWLQJ XQGHUQHDWK LQVWHDG RI common people. Lina built it as a home for her and her husband Pietro Maria Bardi. The elevated glassroom is only one part of the house, the bedrooms and the supporting rooms are in another more solid area, which I found less interesting. But I will focus on the place below the glass.

7KHUH DUH QRW WKH VDPH à RZ RI IUHVK DLU DQG RSHQQHVV DV WKH RWKHU buildings I have described, it´s only semi-elevated, and I could imagine the place to be quite gloomy on rainy days. With the forest around the sunlight can’t reach. It´s hard to compare with the other buildings, the conditions are not the same at all, Casa de video is a private house. You enter through a stair right into the slab of the house. But when you come near the building you walk uphill with the solid slab towering above you.

As you enter you are facing the solid part of the house and have no sight lines as you have in the other houses.

59

CONCLUSION: RECLAIMING THE CITY AND LEAVING EMPTY SPACES TO BE TAKEN Having written down some of my experiences and thoughts from Brazil, there are plenty more where those came from. It is great to see things you are not used to seeing, it makes you think and look differently on your present life and surroundings.

In big cities it is obvious what is yours and what is not. Most buildings are in some way closed to you. Indoor public spaces are locked after hours, parks are not safe at night. The elevated public spaces are not accessible.

As Lina Bo Bardi wanted MASP to belong to the city, or the school without doors wanted not to be closed, it is a good way of addressing the commons and makes it no one’s. The air and the people can pass below and through it and it makes a welcoming hole in the urban fabric.

For me the goal of the trip was to experience another type of living and investigate the occupations as a phenomenon. It was really rewarding for me to see another way of addressing the public space. And how the reclamation of the city somehow seemed to be visibly growing. What I am starting to understand now is how it is a well rooted movement rather than something just extreme people do. I was surprised how normal the RFFXSDWLRQV ORRNHG DV LQ WKH RFFXSDWLRQ RI &DPEULGJH ZH ÀUVW YLVLWHG As I understood it is a very political occupation. And as I understand it, if you are very political your appearance is often an extension of your political visions, it is a way to connect to other people. It is probably very prejudiced of me but I am used to the fact that all extreme things have a visual giveaway, but at Cambridge there were just ordinary people. And in the other occupation we visited they actually looked a little like political activists, but they didn’t have a pronounced political notion. That’s how deep the movements are in the society. It’s origin is poverty, a housing problem and political. But I saw that for some occupants it was only normal. A way of living, nothing more than that. You take what you get, when you have to and make the best of it.

MASP

III

SESC Praca das Artes 61

THE MINHOCÃO: AN EXPERIENCE Karl Lindstrand

During the day thousands and thousands of cars are carried by the Minhocão, São Paulo’s famous elevated highway. At night and on Sundays it carries the feet of the public. It turns in to a lived public space not found in any map but still very much alive.

One Sunday I was walking there. Arthur Schopenhauer once said something like, thoughts die in the moment they get dressed in words.

I believe this to be somewhat true but through the help of Juhani Pallasmaa book, Eyes of the skin, I will try to recollect and concretize the bewildering feelings and thoughts I experienced while being there.

THE HIGHWAY IN SHORT RETROSPECTIVE The highway was proposed in 1969 by the city’s mayor, Paulo Maluf, who stood directly under the military dictatorship. During the time it was the biggest project of reinforced concrete in all of Latin America.

7KH KLJKZD\ RSHQHG LQ DQG ZDV RIÀFLDOO\ QDPHG WKH 9LD (OHYDGD Presidente Costa e Silva. By Sao Paulo’s inhabitants it is only known as 0LQKRFmR D QDPH ZKLFK GHULYHV IURP D TXDVL ÀFWLWLRXV HDUWKZRUP OLNH FUHDWXUH :KHQ KXQJU\ LW GHYRXUV ZKDWHYHU LW ÀQGV /LNH WKH OHJHQG RI WKH mythological creature the coiling highway destroyed beautiful structures in the city center during its construction.

7KH WUDIÀF QRLVH IURP WKH URDG GLVWXUEHG WKH SHRSOH OLYLQJ LQ WKH DUHD ,Q many places along the highway the road passed within only a couple of meters from the apartment buildings. In 1976, after years of complaints amongst the residents, the municipal administration decided to close the KLJKZD\ WR DXWRPRELOH WUDIÀF RQ 6XQGD\V DQG KROLGD\V /DWHU LQ WKH V a decision was made that the highway would also was to be closed on regular weekdays between 21:30 and 06:30.

THE EXPERIENCING OF BEING THERE A heightened sense Pallasmaa describes that there is an inherent suggestion of action in images of architecture and that a bodily reaction is an inseparable aspect of the experience of architecture.

This may explain why stepping up on the highway infuses me with a thrill, which puts me in a heightened sense. I feel exposed. All SUHYLRXV PHPRULHV RI KLJKZD\V WHOO PH WR NHHS DZDUH , ÀQG P\VHOI seeking an unconscious need of safety by walking along the side of the road tapping its divider. My early childhood memories of parents berating me for running out in the road to more recent memories of car drivers screaming at me because of the way I ride my bicycle has apparently left a more retinal reaction than I thought. My memories of roads imply an action where I am not included and leave me dazed by the fact that I have the right to use the space.

Sound, silence and solitude When walking on the elevated highway you can hear the sound from thousands of cars passing on the surrounding roads below. Traveling up between the blind walls of the high rises that continues up far DERYH \RXU KHDG WKH VRXQG UHDFKHV \RXU HDUV $W Ă€UVW WKH VRXQG somewhat enhances the bodily reaction of being on alert. Quickly though you realize that the sound you hear is soothing, not like the deafening noise you experience when standing on the side of a road in full use. It does not blind your ears but rather makes you listen, it expands the space, like the sound of waves at night hitting the beach makes you think of the vast reaching ocean outside the perimeter of your sight. “Anyone who has half woken up to the sound of a train or an ambulance in a nocturnal city, and through his/her sleep experienced the space of the city with its countless inhabitants scattered within its structures, knows the power of sound over the imagination. The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city.â€? (Pallasmaa) The quote makes me think of what the people living along the MinhocĂŁo actually gained when the municipal administration decided to close off the highway during nights and Sundays. Pallasmaa describes that the sight is the sense of the solitary observer, whereas hearing creates a sense of connection and solidarity. It was not only a good night’s sleep but rather a collective sense of the city the inhabitants got back when the road quiet down. Before their ears 63

III

ZKHUH EOLQGHG EXW WRGD\ WKH\ FDQ SRVVLEO\ KHDU D VSDFH VSHFLĂ€F VRXQG OLNH for example church bells that makes them aware of their citizenship. $IWHU D ZKLOH WKH VRXQG RI WKH WUDIĂ€F MDP EHORZ IDGHV DZD\ ,QVWHDG , KHDU local inhabitants enjoying the possibility of a Sunday stroll. But it is not only the sound of feet against the asphalt surface that reaches me, also the sound of spinning wheels from bicycles, skateboards and rollerblades.

I realize how my body has changed modes. I too want to feel the speed and the open landscape in the way you experiencing from a muscle driven vehicle. “A powerful architectural experience silences all external noise; it focuses our attention on our very existence, and as with all art, it makes us aware of our fundamental solitudeâ€?. (Pallasmaa) Tranquility has set in. Standing in the middle of the road all external QRLVH KDV VXGGHQO\ GLVDSSHDUHG , Ă€QG P\VHOI WUDYHOLQJ WKURXJK PRYLHV and childhood memories when I rode my bike on small countryside roads during summer vacations.

THE INHERENT VALUE OF THE BLIND GABLES When progressing along the MinhocĂŁo you cannot but be affected by the high rises and their massive blind gables, stretching towards the sky. My tiny body feels out of place when using its proportions as measure against the huge vertical walls. I cannott grasp the scale of things.

With changes in urban planning, the old buildings that did not follow the city’s transformation and the expectant lands ended up not conforming to this urban area, permitting the appearance of the so-called “blind gables�. The blind walls can be found throughout the city and wereonce used as huge advertising platforms. That was until a municipal law in 2007 was enacted which forbid such use of the walls because of the problem concerning light pollution.

7RGD\ H[FHSW IRU VRPH UDQGRP VFDWWHU RI WKH FLW\¡V VSHFLÀF VW\OH RI JUDIÀWL FDOOHG SLFKDomR WKH\ VWDQG EDUH OLNH VKDGRZV LQ UHODWLRQ WR WKHLU RSSRVLQJ RUQDWH IDFDGHV $W ÀUVW LPSUHVVLRQ , WKLQN RI WKHVH EDUH walls in terms of improper, monstrous, inexplicable, forgotten and as discontinuities. But these primal impressions say more about my relation to history and progress than the actual walls. I have been taught to believe LQ FHUWDLQ YDOXHV ZKLFK DUH VHW LQ D ELJJHU GLVFRXUVH ZKHUH D ÀHOG RI SRZHU JLYH SULRULW\ WR DQG MXVWLI\ VXFK YDOXHV ERXQG WR P\ ÀUVW LPSUHVVLRQV 7KH social impact of discarded architecture has been erased from this discourse DQG OHDYHV XV EHOLHYLQJ WKDW WKH ÀQDO ÀQLVKHG SURGXFW LV LQ WKH OLQH RI JRRG progress. At second glance I view the blind gables differently.

“How much more mysterious and inviting is the street of an old time with its alternating realms of darkness and light than are the brightly lit streets of today.

The imagination and daydreaming are stimulated by the dim light and shadow�.

(Pallasmaa) The author’s description of how the old town plays with light I believe can be translated to the way the blind gables work along the Minhocão and throughout the city. They help prevent the homogenization, which weakens the experience of being and wipes away the sense of place.

They create, in my opinion, a calm breathing space to rest your eyes upon in the dense urban landscape.

Finally I believe that the blind gables of SĂŁo Paulo encapsulates what the architect Lina Bo Bardi found important to incorporate in her works such as the spontaneity of the city and its everyday occurrences. Somehow they remind me of the irregular hilly landscape surrounding the city. “Brazilian architecture can only be achieved when it draws inspiration from the intimate poetry of the Brazilian landâ€?. (Bo Bardi) THE VALUE OF KEEPING THE MINHOCĂƒO AS IT IS The MinhocĂŁo has off course a great importance as a public space where interaction across class and cultural lines can happen and it stands in stark contrast to the landscaped Parque Ibirapuera, located in a rich area with no subway access. Especially in SĂŁo Paulo these possible interactions are important because of the city’s long history of extreme disparity between the rich and the poor.

On a personal level I believe it is the Minhocão’s precise context, with all its contradictions, that makes it such a bewildering space.

Demolishing it to give space for a grand street or turning it to a New York High line like park, which some city planners have proposed, would take away all above mentioned qualities. “The incredible acceleration of speed during the last century has collapsed time LQWR WKH Ă DW VFUHHQ RI WKH SUHVHQW XSRQ ZKLFK WKH VLPXOWDQHLW\ RI WKH ZRUOG LV projected. As time loses its duration, and its echo in the primordial past, man loses his sense of self as a historical being and is threatened by the “terror of timeâ€?.

(Pallasmaa) When walking on the highway that Sunday I felt the direct opposite of the above mentioned quote. I felt more connected and in tune with time than in any other planned space for recreation I have been to.

65

III

ILLEGAL AND INFORMAL IN CONTEXT: HOUSING DILEMMA IN BRASIL Katarzyna Stachura

SĂŁo Paulo is home to approximately 11,5 million people. This number is constantly growing and the housing market is struggling to meet the demand for new houses. As rent prices are increasing, especially in urban areas, lowincome families are excluded from the regular housing market and being pushed towards informal (illegal?) forms of occupying the city.

At the moment, SĂŁo Paulo faces a housing shortage of approximately 800.000 XQLWV RI WKH QDWLRQDO GHĂ€FLW $W WKH VDPH WLPH KXQGUHGV RI DEDQGRQHG buildings stand empty in the city center. According to Guilherme Boulos IURP 0767 7KH 5RRĂ HVV :RUNHUV¡ 0RYHPHQW VHYHQ PLOOLRQ %UD]LOLDQV lack housing while there are six million empty spaces available. In this context occupations happen, not only as a way to avoid living on the streets but very often also as a socio-political act. “Squatting is the action of occupying an abandoned or unoccupied area of land or a building, usually residential that the squatter does not own, rent or otherwise have lawful permission to use. (‌) Squatting can be related to political movements, such as anarchist, autonomist, or socialist. It can be a means to conserve buildings or to provide housing.â€?

(Wikipedia) It is in total somewhat 1.2 million paulistanos that live in either favelas - the concrete-and-corrugated-iron Brazilian shantytowns - or in downtown squats called “cortiçosâ€? or “ocupaçþesâ€?, illicitly occupied abandoned buildings.

Although, according to many, squats and occupations differ a lot: “Occupation serves two purposes: one is to give those who have no home a home; the other is to press the government to act on behalf of the poorest. We don’t want anything free. We just want to pay a fair price.â€? (Vera LĂşcia dos Santos, Hotel Cambridge) Taking into consideration this extreme situation on the housing market in Brazil, we may ask a question whether settlement in an empty/abandoned buildings/areas is still a strictly illegal act?

Favela, Vila Campestre, SĂŁo Paulo

Under which conditions is informal settlement illegal? When does the LOOHJDO EHFRPH RQO\ LQIRUPDO" :KLFK FLUFXPVWDQFHV PXVW EH IXOĂ€OOHG VR that the settlement is considered legal? ,QIRUPDO DQ DFWLYLW\ RU VLWXDWLRQ ZLWKRXW IRUPDO DVVLJQPHQW QRW RIĂ€FLDO ,OOHJDO DQ activity or situation that is violating existing legal norms. (not every activity that is „informal“ has necessarily to be „illegal“) The right to occupy unused land is guaranteed in Brazil’s constitution. /HJDOO\ DIWHU Ă€YH \HDUV RI XVH XQGHU WKH ODZ RI XVXFDSLmR D UHVLGHQW FDQ claim ownership. Until then, squatting is considered as a criminal act. But why does the lack of access to proper and legal accommodation make people criminals? They do not make a living by breaking the law therefore why don’t we rather describe the acts as “informalâ€? rather than “illegalâ€??

They would be glad to live legally but legal rules are never within their reach. “I would never have the means to buy a house at market prices and renting is so H[SHQVLYH 6R WKH EHVW WKLQJ IRU PH LV WR VWD\ KHUH DQG Ă€JKW IRU P\ JRDO And many people dream of having a home. So we get together and we work for our dream.â€? (Edileuza Santos, Nova Palestina) As Hernando de Soto, the Peruvian economist, has written about the lack of formal property rights in developing countries - the poor do not hold legal title to their homes, despite having lived in them for years, because of the barriers thrown by government. They squat in their homes instead, being constantly insecure about the properties. *XDUDQWHH RI OHJDO SRVVHVVLRQ RI ODQG DIWHU Ă€YH \HDUV RI FRQWLQXRXV uncontested, occupation, as Brazilian law says, is often just a myth. ,Q UHDOLW\ WKRVH Ă€YH \HDUV DUH RIWHQ WXUQHG LQWR PDQ\ PRUH DQG discrimination against shantytowns and their residents is a common thing.

In fact, issuing land titles can give people a secure hold on what is often a family’s most valuable asset. A property with a title also gets a higher price in the real estate market. Besides that, it is often connected with a number RI RWKHU EHQHÀWV IRU WKH DUHD DV EULQJLQJ XWLOLWLHV VHZDJH V\VWHP DQG police patrols controlling violence and drug trade. Due to these transitions, 67

III

communities that began as informal settlements are starting to feel that they belong to the city that surrounds them. “Brazil has always made it hard for the poor and blacks to own property (‌) This (easier access to issuing land titles) is an important symbol. To have a right to the city, you start with a title to your land.â€? (Ricardo Gouvea, executive coordinator of Bento RubiĂŁo Foundation) On the other hand there is also a downside of bringing favelas into the fabric of the formal city. As the land value goes up, it often brings a problem of JHQWULĂ€FDWLRQ ZKDW PDNHV SHRSOH LQLWLDOO\ OLYLQJ WKHUH QRW EHLQJ DEOH WR DIIRUG it anymore.

Taking as an example Vidigal, a favela located right next to the posh south zone of Rio de Janeiro, that used to be a no-go place until 2011, when Pacifying Police Units (UPP) took over the area, kicked out the drug lords that used to rule the favela and established a strong presence in order to assure SHDFH DQG VHFXULW\ $V WKH SDFLĂ€FDWLRQ RI 9LGLJDO ZDV TXLWH VXFFHVVIXO WKH site has seen an increase in outsiders moving there and became home to new boutique hotels, taking advantage of its privileged seafront position and much lower rental prices comparing to surrounding neighborhoods. Rumors about David Beckham and Madonna buying properties in Vidigal, increased prices immediately and brought media and tourists to the area.

This situation is favorable only for people already having money, being DEOH WR PDNH EXVLQHVV RXW RI WRXULVP )RU WKH SRRU PDMRULW\ JHQWULĂ€FDWLRQ brings only problems, rent prices are rising and people that often grew up the neighborhood are forced to move out. “We already get left behind, and now we’re even more behind than before.â€? (resident of Vidigal) ´7KH WHUP IDYHODÂŤ LV GLIĂ€FXOW WR GHĂ€QH LQ SDUW EHFDXVH IDYHODV KDYH FKDQJHG so dramatically over the past 35 years. About the only things that today’s Vidigal has in common with the same neighborhood in 1978 is the absence of property title and the continuing discrimination against its residents, yet everyone still recognizes it as a favela.â€? (Bryan McCann, Hard Times in the Marvelous City)

On the other hand, looking at usually centrally located ocupações, it is HDV\ WR QRWLFH WKH VWURQJ SURWHVW WKH\ DUH GHPRQVWUDWLQJ 5HG ÁDJV KDQJLQJ from windows are meant to pressure the government to provide adequate housing and give working families a place to live. In opposition to favelas - in occupations strict rules apply and they are home to, to my surprise, many activists, who say that it is “a form of social protest”.

When police catch groups breaking into abandoned buildings, they make arrests. But squatters, once inside, can remain until expelled by legal proceedings, and in the meantime can use their position to pressure the government to expropriate the properties from the owners who abandoned them. They also often get on the government’s list to receive subsidized housing. The subject is quite sensitive as it is considered that a form of protest that infringes on the rights of others cannot be accepted, even though most of the buildings stayed empty for years and their owners often owe back years worth of taxes.

III

On a personal level I believe that people simply try to get by the best they can though informal means they create themselves since the legal means are out of reach for them. To me, is seems pretty unfair to call it unlawful, as there is in fact no other possibility.

Living “illegally” is so frequent and common that, in my opinion, it became just “informal” a long time ago.

Just like favelas that began as illegal settlements and - after having occupying land in their communities for decades - getting legal right to the land widely DFNQRZOHGJHG GHVSLWH UHFHLYLQJ YHU\ IHZ WLWOHV ² RFXSDo}HV DUH DOVR EHLQJ gradually recognized and, what follows that, their residents empowered to ÀJKW IRU OHJDO ULJKWV WR GHFHQW DFFRPPRGDWLRQ And, bringing up Hernando de Soto again, I feel like enabling the poor becoming part of the legal system by giving them legal titles to their homes and lands could be a way of bringing both economic development and stronger connection to the surroundings what in a longer run could possibly reduce the massive barrier between the poor and the rest of the society.

Ocupação, Republica, São Paulo 69

CONTRAST: CONTRADICTIONS OR CONSEQUENCES LucĂ­a Olavarri Casado

6LQFH , WUDYHOOHG WR %UD]LO RQH \HDU DJR WKH ÀUVW WLPH , VHH OLIH IURP DQRWKHU SRLQW RI view. I love traveling because you can learn many more things than in your computer.

Why? I appreciate the books and the sources that we have nowadays but, without a doubt, you actually need to know people. I like to visit architecture and monuments, but HVSHFLDOO\ SHRSOH 3HRSOH DUH ZKDW GHĂ€QH D FRXQWU\ 3HRSOH DUH ZKDW GHĂ€QH D VRFLHW\ Brazilian people are very nice. They live calmly in a chaotic environment.

7KH\ OLYH LQ PRVW FDVHV LQ GLIĂ€FXOW VLWXDWLRQV EXW WKH\ VPLOH ,Q (XURSH people get angry more and get stress in banal situations. It seems to be always the same; people who have more enjoy less.

Brazil is a country with a population of 205,338,000. The largest city is SĂŁo Paulo, where more than 40% of people live in precarious conditions, and the capital is Brasilia. After I have visited both and also Rio de Janeiro, the thoughts that came to me are about the existence of a lot of GLIĂ€FXOWLHV WKDW QHHG LQWHUYHQWLRQ LQ RUGHU WR EHWWHU WKH VRFLDO VLWXDWLRQ LQ these cities. The size, the density, the inequalities are factors that prevent or interfere with most architectural interventions. Can architecture solve anything?

busy place, the environment is stressful and the cars invade the whole city.

On the other hand, people use the public space in the way they can. They sell things in the street and walk around the city but you never feel that you can stop safely anywhere. If you stop to draw, read, write or just talk, in the Republica area (city centre), people can come to you and disturb you quickly.

Rio de Janeiro, probably the most beautiful big city in Brazil, has also these characteristics with the difference that it has a tourist city. In Copacabana or Ipanema you can feel safe any hour. Thanks to the beach and the landscape around it, the city is made more for people, and even if cars continue having much importance, you can see people walking and enjoying the walk, not only moving from one place to another.

Lucio Costa’s Brasilia is the icon of a modern city, everything is planned and built according to Le Corbusier’s ideals of a city. However, for me, it is not a nice place to live. Everything is planned for cars, and we decided to challenge the advices we received from friends and rented bicycles.

It was a curious experience. We biked around the monumental axis and

After attending Vigliecca´s lecture my feelings were confused. In Spain I used to say: “Oh no, this is not working because this is Spain�. In our work as architects, in my country we have the same problems that they have in Brazil but at another level, because in Brazil this occurs more often and the inequalities are greater. For example, the situation in the favelas or in some public spaces where everything has a high chance of not working after it is built. What can we do? How can we solve this? These are questions that disturb my mind all the time.

I think I will not be able to answer them in this report, and maybe even in my life, but I would like to compare and explain the situations when I thought about this topic. When I think in the three cities I have visited I FRXOG GHĂ€QH %UDVLOLD DV D PRGHO RI D QHZ FLW\ 5LR GH -DQHLUR DV D WRXULVWLF city and SĂŁo Paulo as a metropolitan city. Each has its own features but all of them work intricately with the brazilian culture and people.

To start with the contradiction, SĂŁo Paulo, the metropolitan city, is a very

SĂŁo Paulo

III

Rio de Janeiro we managed to survive in that car universe. Even if the buildings are very high the perspective of the city is horizontal. You loose scale due to the huge distances between buildings and in the monumental axis nobody walks; people move from one building to another and so on.

The environment was desolated. On the other hand, when we visited a residential area we could see people enjoying the city. The city was alive, and the superblocks worked creating a nice environment. Again, a city of contrasts.

One thing in common between these cities is the importance of cars.

Is this fact a consequence of the time they were built and developed?

Or is it a security measure? Of course, the automobile revolution was a very important fact in the urban planning development, but sometimes I can not understand how that fact could have changed or tried to change brazilian culture. Is this a Westernization process? Why are some people committed to change the culture of a country?

The lifestyle in São Paulo is completely contradictory to brazilian culture and lifestyle. Due to the climate, the culture and the geographical situation, people are used to be outside. In general, they make much use

Brasilia of the public spaces in their everyday lives, in the social, economical and cultural aspect. We have the example of the street vendors.

Nevertheless the cities are not thought for people and their activities.

Public spaces are not safe to stay or to cross either. Public spaces are usually colonized by cars and when there is a park or a breath in the FLW\ LW LV IXOO RI SHRSOH VOHHSLQJ RU DVNLQJ IRU PRQH\ ,W LV D YHU\ GLIÀFXOW situation with public spaces.

Moreover, the relation between the public space and the private one is non existing. The buildings are completely closed to the city, with fences and barriers. Are they also security measures? Are those security measures breaking all of the social relations in the cities? One of the big contradictions in this aspect is in the economic contrast of the population. There is a big difference between social classes. There are buildings of luxury apartments and precarious constructions in the same area, or occupied buildings as it happens in Republica. Those “good buildings” in safe areas are closed to the street with obstacles like fences and barriers and they do not have any interaction with the public space, they are objects that could be anywhere. However, in poor areas like 71

favelas, everything is open to the street. The city is part of the houses and they are more adapted to the land or the area than the ‘formal’ buildings. :KHQ ZH YLVLWHG 9LGLJDO LQ 5LR GH -DQHLUR ZKLFK LV D SDFLĂ€HG IDYHOD ZH walked around its small streets and we could experience another way to live in Brazil, far from the fences and the barriers. I remember that we descended from the highest part by stairs which were almost part of the houses. Sometimes in the way you did not know if you were in someone’s house or in the public space. However precarious those structures, in my opinion, they work more as a city than the formal or established buildings.

The scale of this area is for humans not for cars. Obviously, you can not forget the unsafe and dangerous situations that can occur there, but in the case of a community and the city I think it has more values than the model of a metropolitan city like SĂŁo Paulo or a modern city like Brasilia, referring to the social aspects and the relationship between the people and the city.

MinhocĂŁo SĂŁo Paulo

Street vendors SĂŁo Paulo

Again and again I had the feeling that the informal things sometimes work in a more social way than the formal ones. The example of the favela and the housing building is one, but if you compare those formal housing

Contrast from SESC

projects with the occupied ones I also think that they work better in social aspects. Without wanting to sound frivolous, and not saying that living in a favela or in an occupied building is the best thing or that they live in very good conditions because it is not, but what is for me very contradictory is that the informal ways of living seem to have more in common with the brazilian society and culture. The communal areas in the occupied buildings are an example of this, or the fact that everybody takes care of everyone in those buildings.

Those situations are what social housing projects try to manage. The two projects that we visited followed the principles of community but I think Jardim Edith Social Housing did not manage it because it tried to propose something completely different, a new way of living IRU WKH LQKDELWDQWV ,W LV D YHU\ GLIÀFXOW FKDOOHQJH EXW &RUUXLUDV 6RFLDO Housing succeeded largely. In my opinion, one of the most important aspects in those projects was the social worker’s support to the residents.

The process to adapt to a new house and a new way of life needs an emotional support to manage it successfully, because the architecture can not reach or solve everything. When they explained about this support group I thought about the global goals which we were working with and I asked myself‌ Are the global goals part of the architect’s roll? &DQ DUFKLWHFWV ZRUN DORQH" ,Q WKHVH FDVHV GHÀQLWHO\ QR

III

Cambridge Hotel

I conclude talking about the consequences of a positive and negative contrast which all of these facts cause. When I talk about positive and negative things I mean social and economical aspects, because in the report I have been referring all the time to the social aspect, even it is always related to economical aspects. I cannot measure these positive DQG QHJDWLYH WKLQJV EXW , KDYH WKH IHHOLQJ WKDW LV YHU\ GLIĂ€FXOW WR GHĂ€QH the experience in a way due to this contrast. One can think about poverty and have negative feelings, but this also includes social actions or situations that makes you feel better than a city for cars and not for humans. What creates a city? What creates a society?

There are lot of political and economical problems that we cannot solve, but, can we as architects try to make people’s lives easier? I like to think so.

For this reason I started to study architecture.

Corruiras:Social Housing 73

5HĂ HFWLRQV IURP 6mR 3DXOR Magnus Persson

To arrive in SĂŁo Paulo was a very peculiar feeling. Right away I started to take snap shots of everything. It was the scale of high risers in the VXEXUEV WKH VFDOH RI WUDIĂ€F Ă RZ DQG WKH ZDWHU FKDQQHOV WKDW ZH SDVVHG E\ Also the culture and signs of how bad the conditions are for many people, camping under viaducts and cleaning themselves with water seeping out of the concrete walls along the highway. I had seen this before in pictures - this was real.

The district of Republica and surrounding area was astounding. All the LPSUHVVLRQV WKH ÀUVW GD\V ZHUH VR VWURQJ 7KH H[SHULHQFH ZDV QRW WR EH compared with anything else. I had to keep my eyes open. Poor people on the street, completely excluded with very little to loose and me, a gringo.

The clash of cultures I was confronted with was very present all the time but seemed to fade as time passed by in this city. I strongly believe that it was me that changed, adapted and blended in after a few days.

Even though the time is to be considered a very brief glimpse of another culture, it reminds me of what in cultural anthropology is called emic and HWLF DQG UHIHUV WR WZR NLQGV RI ÀHOG UHVHDUFK IURP ZLWKLQ WKH VRFLDO JURXS (from the perspective of the subject) and from the outside (from the perspective of the observer).

When teaming up with the residents of Cambridge Hotel I got the feeling of that we were doing it together. Overlapping the boundaries that separate us from us to them, if just for a very short while - it felt good being a part of something together with the locals. To me, building that

rooftop garden wasn’t about the product, but it was about sociality.

To the residents, it must also have meant something, not least about motivation, getting help to carry huge amounts of material to the rooftop. Let’s hope that they got the feeling of that they are not alone and the voice for people in need, is the voice against corruption that are being heard across the Atlantic. $V D à RRU VSHFWDFXODU EXLOGLQJ WKH &DPEULGJH +RWHO ZDV LQ LWV surroundings not a particularly big or even high building. One can see that the area, especially around the Anhangabau valley, has a slightly larger scale. Standing there at the rooftop, most of the surrounding buildings were 10 to 20 meters higher. But still, with no functioning HOHYDWRU WKH à RRUV PXVW EH D QLJKWPDUH ZDONLQJ HYHU\GD\ RU DW OHDVW it’s a good exercise. I noticed that elderly people were just circulating LQ WKH ERWWRP à RRUV 7KH EXLOGLQJ LV RUJDQL]HG VR WKDW \RXQJHU SHRSOH OLYH LQ WKH XSSHU à RRUV $OVR WKH WRS à RRU LV IRU JD\ SHRSOH 7KHVH groups of people need some extra privacy, according to my source.

Generally it seems like everybody in the house takes care of each other: There are activities organized for the residents by residents such as capoeira classes, sewing, baking and movie nights. The 78 families in this community had a strength that is quite unique and it’s interesting to compare it to other communities.

At Cambridge Hotel

Demolishing the favela and offer compensation or housing in the new project of Residencial Jardim Edite was the chosen strategy when planning for this residential complex. Three high risers with functions such as day care and health care in the lower buildings connected the ground level to the apartments. Theses functions are great and I have no objections to them. The question remains though, how much of the spontaneous social life takes place in common areas. The favela was presumably much more alive in terms of people hanging out, neighbors looking after each other and sharing spaces. It is said that before when people lived there, on the ground, people cared about each other. According to the zelador and resident of one of the blocks, ´QRZ SHRSOH GRQ¡W HYHQ VD\ ² +HOOR LQ WKH HOHYDWRU¾ 7KH QDUURZ corridors outside the apartments do not work as �gardens�. No one uses it and just a few plants could be seen in a couple of pots. It is just a passage where people move from A to B. They leave home to go out in the streets or in town. I wonder if social aspects not are counted in 75

III

as values of standard when measuring standards such as energy, security, sanitation etc. It seems not very prioritized even though the building could have obtained this with quite small means. One example is where the entrance is completely sealed off to the inner courtyard, which didn’t feel much used at all.

It’s remarkable how a culture gets torn into pieces by moving it out from its original habitat (the fa- vela) to the new building, organized by VRPHRQH HOVH WKH DUFKLWHFWV 7KH ÀUVW WKLQJ , WKLQN DERXW LV WKH VHOI organized space (by the residents). The other is the allowance for this to happen, which gets more or less framed in new stiff structures. The step from the favela with low buildings, streets and alleys to the social housing project is to far for the culture to adopt its new custom. Street life does not equal unsafe places and poverty. I would argue that one could look at how rural villages are built, with the back of the house fronting the wilderness and the front towards the common spaces. Entrances facing entrances and not lined up in the same directions. I think that the house as a module, similar to that of an apartment should be more open to the community. One idea is that the private sphere should contain only the necessary basics. This sphere is what is protected by the door you lock. But without your neighbour’s eyes there are a bigger need to protect all of your living space. The apartment then becomes both your home and your cage. People pinfolded in their boxes.

In Alfred Hitchcock’s movie ’Rear Window’ a woman sets the perfect example of how neighbours drift apart when she discovers her dog is dead - its neck is broken. She yells out in the courtyard: ”Which one of you did it?

Which one of you killed my dog?

You don’t know the meaning of the word ’neighbours’! Neighbours like each other, speak to each other, care if anybody lives or dies! But none of you do!”

Everybody’s separate lives divided and framed by walls and slabs. The apartment creates the boundaries for the space where activities takes place and you don’t know what your neighbours are up to. It shapes the lives of the people living in those spaces, and in some extent how

„Dwelling“ by Anda Cristina Popescu

the (non-existing community) and society works. People become more preserved and the neighbour is transformed into any random stranger in the elevator or in the street. Everybody takes care of their own business. It seems that it is a product of a society orientated by individuality. Every individual plays a role, goes to work, gets the wages -just as much so that the life goes round- and then desperately need to work hard for another month. It’s about the hamster wheel. It seems to be the society’s perfect inhabitant. A great example of that is Sweden, or urbanism in industrialized countries. But correct me if I am wrong. I admit that I’m not able to study the culture I am bread in out of an etic perspective.

Are urban planners in SĂŁo Paulo looking at the social context, the culture? Or do they look at how social housing is done in other places?

Ralph Erskine’s Byker Wall? The local culture has to be taken to account. One can ask what the project is for. Is the goal to transform SHRSOH¡V OLYHV DQG EHKDYLRU RU MXVW FOHDQLQJ XS WR WKH SURÀW RI D JUHDWHU area? Who do we build for if not the people?

It seems that when people decide for themselves, such as in Hotel Cambridge, things tend to turn out pretty well in social aspects. But of FRXUVH LW LV YHU\ GLIĂ€FXOW (YHU\ FDVH KDV WR EH ORRNHG DW DV D QHZ VWXG\ One cannot standardize a form of culture.

Regarding the occupation buildings the culture also seems to be shaped within each movement. For example, the FLM sets the more general ideas of how the different communities will work. To be added is the important fact that every place has it’s own physical parameters, creating spaces, in which the cultures are then formed.

Residencial Jardim Edite, H+F Arquitectos

Playing with the idea that residential housing projects are built with PRUH à H[LELOLW\ OLNH /LQD %R %DUGL¡V ¡7HDWUR 2ÀFLQD¡ ZLWK VFDIIROGLQJ What would they be like? One space could work as anything or even have different functions from day to day. The program is set by the users, just like in the streets, alleys and common backyards. Not least the natural elements of trees, bushes, grass and soil work very well with peoples’ ability to create their own temporary places. I want to believe WKDW WKH LGHD RI à H[LELOLW\ KDV D YHU\ JUHDW SRWHQWLDO LQ FUHDWLQJ VRFLDO values.

77

III

SĂƒO PAULO THROUGH THE LIVES OF ITS PEOPLE: THE PEOPLE MEAN THE CITY, I THINK Marie AdĂĄmkovĂĄ

WHAT A BEAUTIFUL DAY I have just woken up. I stretch my legs and enjoy the softness of our silk beddings. I do not want to open my eyes. I just cannot stand the idea of another long day before me. My body feels heavy, my soul even more.

Some strong rays of the sun got through the heavy curtains, they warm my face. Although it is 8 am only, it is very hot. In São Paulo there are only two seasons, they say; summer and hell. I cannot see any difference; I simply hate hot weather in general. I wish I lived in a northern country - Canada, Norway, Sweden or northern USA, but my destiny is to be EDNHG LQ WKLV RYHQ ÀOOHG ZLWK FRQFUHWH GXVW QRLVH DQG GLUW 7KH WUXWK LV I hardly ever experience the physical discomfort of hot weather since I spent most of my time indoors, cooled by a strong air conditioner. I lower the temperature to 18 °C. I can smell the breakfast is ready. Adelina has cooked cheese bread and fried eggs. Carlos loves it. He can always enjoy the food and he always enjoys his life as well. I envy him, his attitude to the world. That is the reason why he is so successful, I guess. We came here to São Paulo because of his career. He bought a bright new apartment in one of the skyscrapers in the district called Alto de Pinheiros. Our whole family moved in, me, Carlos and Natålia.

I give all my mental power to get up and move from the bedroom to our kitchen. Adelina has cleaned all the mirrors in the hall already, she is very HIĂ€FLHQW , PDQDJH WR HDW WZR SLHFHV RI ZDWHUPHORQ DOVR ERXJKW E\ RXU maid. I am not hungry; I had lost my appetite years ago. When did I lose my appetite for living? I cannot remember.

São Paulo is waiting, patient, the car already started. �Good morning, madam�, he greets me. It is Tuesday, which means my workout day. My reliable driver takes me to the gym in the further part of the city where I meet my personal trainer. I do not like the way because we have to cross the centre of the city; Luz and Republica districts. I hate the view of people lying on the road, unconscious or high. The massive buildings are empty there, the streets are full. It is tiring and exhausting to look at the misery. Last week we nearly run over a young men sleeping on the road.

How I hate the poverty. It is hard to be rich and live in SĂŁo Paulo. You

never know when you will be robbed or kidnapped. Camila, a daughter of my husband´s colleague was kidnapped last summer. The kidnappers demanded 1000 000 Reais.

Every day I die of unbearable fear that my only child NatĂĄlia will disappear. Although she attends the best international school with high security, I cannot get rid of the fear.

We stopped in front of the gym. When Paulo opened the door of the car, the hot air hit my lungs. It is enough to spend only few minutes outside to become sticky, dirty and sweaty in a moment. To be honest with you, I hate any kind of exercise. It does not bring me either happy endorphins or fresh mind. It just hurts and bores me. My husband insists I must take these lesson three times a week though. He married a beautiful women and KH ZLOO GLH ZLWK D EHDXWLIXO ZRPHQ KH VD\V 0\ ÀJXUH XVHG WR EH IDQWDVWLF I know. Nowadays even after few surgeries my body is tired. I cannot erase all the years.

While walking on the running belt I am thinking about tonight. It is going to be a long evening. My husband´s colleagues are coming for a dinner. He will take them there by our private helicopter; he always wants to show off.

A NEEDLE IN A HAYSTACK , WXUQ OHIW DQG VORZ GRZQ DW WKH WUDIÀF OLJKW &DOPLQJ PXVLF LV SOD\LQJ cold air is blowing from the air condition and the taximeter is running‌ 35 Reais‌36 Reais‌The businessman I am driving now is reading a newspaper. Someone is shouting outside, my customer does not pay DWWHQWLRQ IXOO\ DEVRUEHG LQ UHDGLQJ 7KHUH DUH DOZD\V VRPH ÀJKWLQJ , look at the group of young people. They are homeless, drugged probably, arguing about something. I search their faces, look for any familiar feature, piece of clothes, body language, anything. I am desperate and becoming crazy. Some days I am sure I can see him everywhere; staggering at the street, begging, sleeping on a bench in parks, robbing tourists. I am obsessed, unable to concentrate on anything but him. It has been three months since I saw him last time. Everything happened so quickly. He came home from school and at night the suspicious guy knocked on our door wanting to speak with Alvaro. Later, when I asked him about that he refused to tell me anything. Nothing important, he said. He looked worried and threatened though. Then it did not take long till I found out he started to use something.

III -

-

7KH WUDIÀF à RZV VPRRWKO\ , DP WXUQLQJ OHIW WR PDNH WKH ZD\ ORQJHU and earn more money. This guy can afford it. I cannot be too obvious, otherwise he would report me. Two more streets and there we are. , SRLQWHG DW WKH ÀQDO SULFH , FDQQRW VD\ WKH ZRUG LQ (QJOLVK DQG KH cannot speak Portuguese either. Obrigado. He pays and heads for some international meeting. I am slowly circulating at this area full of rich and busy people. One can make good money here, although no one needs a taxi right now.

My phone is ringing- It is Matheus. “Lucas, I think I have just seen him in Luz.� My heart is beating loudly. I gasp. “Where exactly?� - “Just in front of Luz station. He was standing with few other guys there, probably selling some stuff, you know. I am not hundred percent sure though, mate. Do not blame me if I am wrong.� I am not listening to him anymore; I accelerate and drive as fast as the damn car can make to Luz. Someone is waving to stop me but I do not care, just continuing.

3OHDVH OHW LW EH KLP , PXVW ÀQG KLP DQG WDNH KLP EDFN KRPH Rescue him from this awful place. Please let this terrible uncertainty be over, I cannot stay it longer. He is my only child, my kiddie. I do not know how I got to Luz, the only thing I am sure is that it was not legal. I will get a fee later, for sure. I do not care at all.

79

ALIENS AND FLOWER POTS Today I can feel the energy of upcoming night. Ho ho! I cannot wait to go out. It is 5 pm only; I still have few more hours left. I will take a shower; I am signed on the list at 5:30. There are some girls from the 4th Ă RRU EHIRUH PH WKHLU K\JLHQH XVXDOO\ WDNHV DJHV , KRSH WKH\ ZLOO QRW EH later than half an hour. I check the facebook and update my status. I am meeting two chicks and I tell you it is promising. We went out two days ago too and they were quite cuddly. “Felipe, could you look after Joaquim and Frede for a second, I must go to get some riceâ€?, my mother asks. “But Mum, I am sighed for a shower in 30 minutes, I cannot miss it.â€? “No worries, I will be back till thenâ€? she replies and disappears. I know she will not, though. I sigh and get up just at the right time to safe our TV from a disaster; Frede decided to pull the cloth under it. My two little brothers are like some demolition unit. I turn on some dull cartoons and place my brothers in front of the TV. It can give me some precious minutes to check news. Angelina likes my QHZ SURĂ€OH SLFWXUH \HV 6KH LV WKUHH \HDUV ROGHU EXW , FRXOG PDQ DJH I guess. In half an hour my mother is not back, of course. I am becoming angry. I am not either a nanny or a day care, I have my life and interests.

Boys are jumping on the couch now, screaming joyfully.

0

I am ready to go out! I put my new shirt on and use perfume. I check my LPDJH LQ WKH PLUURU QRW EDG )URP WKH WK Ă RRU ZKHUH RXU DSDUWPHQW LV it takes exactly 3 minutes to get down. The entrance hall is crowded today.

What are all these people doing here? Probably some politics again, there is always something happening. Vitoria stopped me: “Felipe, my dear, great to see you. We need you: Could you help these guys with carrying some VWXII XSVWDLUV" 7KDQNV Âľ ² ´%XW 9LWRULD , DP RQ P\ ZD\ RXW DQG , DP ODWH already, I cannot help you tonight, ask Hugo or JoĂŁoâ€Śâ€œ - “No excuses, I have told you already. You will either help them or lose some points.â€?

The last thing I want to do tonight is carrying heavy bags full of soil all the way up on the roof. I do not know, what they think. A roof garden?

Here? It would have been more useful to buy new elevator instead of wasting money on this material. Who wants to grow carrot here? One can buy very cheap vegetable nearby. We do not have either time or interest to resuscitate some tired lettuce. My mother will be excited though, she really misses our old garden.

I

to get nice and steady job. Cooking and cleaning is not hard work to me.

It sounds like a miracle. My sister was not as lucky as I am; her husband was severely injured during building works and now they cannot afford to live here anymore. They had to go back to the small poor town we come from. I try to help them. Sometimes I send them some money, but I am not able to support them all. I am very happy in our small house.

We built it on our own: me, my husband and our two sons. We bought cheap bricks and then used random material we found. Sometimes people throw away things that are either bright new or barely used.

Yesterday there was a problem with electricity in our neighbourhood.

People try to connect their houses to the main network, mostly illegally.

The old wires could not cope with the high voltage and burnt down. It FDQ WDNH GD\V WLOO VRPHRQH À[HV LW

They all look exhausted and pale. We create a human chain and after two hours manage to get the material up. Tomorrow they are coming DJDLQ WR ÀQLVK WKH JDUGHQ DQG YLVLW VRPH RI RXU à DWV $UH ZH VRPH animals in the zoo? I do not feel comfortable with having twenty curious Europeans with expensive cameras in my bedroom.

AVILA , WXUQ RQ WKH UDGLR ÀQG P\ IDYRXULWH FKDQQHO DQG ZKLOH OLVWHQLQJ WR D VDPED UK\WKP EHJLQ WR FOHDQ WKH à RRU , ZDVK LW GU\ LW DQG SROLVK LW Why one family does need so much space? Today I am not needed in the evening; they have invited a famous chef to prepare some specialties for the guests. I will just clean the consequences of the party tomorrow. His colleagues are always messy. Madam did not eat anything but some fruit, as usual. She looked pale and depressed. Why is she unhappy? She has a perfect life.

I go back home by bus. I like sitting by the window and watching the city through the dirty glass. São Paulo, my dream place. I am so grateful ZH ZHUH DEOH WR PRYH KHUH DQG ÀQG D SODFH WR OLYH , ZDV OXFN\ , PDQDJHG

To get home from the bus station it takes about 30 minutes of walking.

Our house is in the middle of the settlement on a hill. I cannot go directly home though, because there is an area, which everyone avoids.

It is dangerous place, and people living there are dangerous too. One evening a man from that district came and threatened us. We had to pay him some “protection money�. Police does not go to this area, one cannot rely on them. They cannot drive a car there since there are almost no streets. All the houses are connected and pushed together. I think they even cooperate with these gangsters. Anyway, since we paid the money, we are safe, at least for now. What will I cook for a dinner?

WEDNESDAY FUN I am breathing heavily; my legs are weak and shaking. I collapse on one of the leather sofas in the lobby of our hotel, trying to get out of the shock. I look at my bag and then check the stomach - there is nothing EXW D IHZ EUXLVHV WKDQNV *RG , FDQ VWLOO IHHO WKH URXJK ÀQJHUV JUDEELQJ my purse and the top under it. I was holding my bag at the front, pushing it to my stomach, exactly as everyone advised. That was why they saw it. They were two tanned men riding bikes. They blocked our ZD\ KLW -DQ ZKR ZDV ZDONLQJ ÀUVW DV XVXDO KH QHYHU ZDLWV IRU XV EHJXQ to shout something in Portuguese and then attacked me. I was the only one carrying a bag and they tried to pull it out. I cannot remember clearly what happened, I just know I refused to give it to them. We fought for a few seconds and then when they saw they could not get what they 81

III

wanted they left. They disappeared on bikes in the crowd. Luckily they did not have any guns. The others were shocked as well, it was so quick.

Someone saw the incident and hurried to us. “Do not stay here, go away now. This is not a safe place at all. â€? We followed the men back to the safer area, closer to Republica square. He was right, the streets were full of odd people. They were homeless, poor, drug addicted and violent to get some money for crack. Some of them looked like being woken up by the moonlight and coming from the underworld. It was 10 pm, worst time be out here. We were silly to go to that area, I know. But the receptionist at our hotel sent us there. He advised us to have a dinner in some nice sushi restaurant there. We thought he knew the city, its dynamic and dangers. :H ZHUH QRW DEOH WR Ă€QG WKH SODFH DQG LQVWHDG RI KDYLQJ D FDOP GLQQHU ZH were robbed.

_

?ut-,"1¡ r/.,u.!,t.

2. 6mR 3DXOR DGYHQWXUH KDV EHHQ IXOĂ€OOHG The evening was completed with being bitten by a mosquito. Great, ZIKA is coming.

Extreme, that is what I feel when I think of SĂŁo Paulo. Extreme poverty, extreme wealth, extreme dynamics. Extreme inequality present everywhere.

It is unbelievable how the city can be so polarised. On one hectare there \RX FDQ ÀQG VRPH SRVK JDWHG UHVLGHQFH ZLWK JROGHQ OLRQV JXDUGLQJ LWV HQWUDQFH DQG DUWLÀFLDO ZDWHUIDOOV LQ WKH JDUGHQ DQG ULJKW QH[W WR LW VRPH homeless family living under the bridge. I have not seen many examples of the middle class population. Probably it was because we stayed in the centre of the city, which suffers from decline.

All my senses experienced a stronger perception than in Europe. The weather is hotter and more humid, my skin used to Swedish two minutes of sunshine a day is burnt. The city stinks, the hygiene is not a priority for the municipality here, I guess. I can smell beautiful and exotic aroma as well as rotten garbage mixed with car fumes. The city is very loud WRR (YHU\ GD\ , ZRNH XS DW DP EHFDXVH RI WKH QRLV\ WUDIĂ€F 6mR 3DXOR is both faster and slower than Europe. Cars race and honk at wide streets, helicopters circulate above our heads, wild buses could beat the crazy Knight Bus from Harry Potter easily. On the other hand average inhabitants of SĂŁo Paulo seem to have more time than Europeans do. The speed of life is slower, more relaxed. The cashier at the supermarket chats with the customers and tells hello to some child and nobody is either angry RU VWUHVVHG $W WKH SRVW RIĂ€FH WKH VLPSOH WDVN RI EX\LQJ VWDPSV WXUQV LQWR

/"4

' #&4 1

--

e,

,4,

.fb. ¡.

, ri6'1.4. 1 I

--

I

1

a real mission more than one hour long. Sometimes it drives me crazy, sometimes I am amazed.

My feet hurt because of walking at the hard surface every day. They enjoy concrete and asphalt a lot here. I wonder how many millions of tons of concrete the city consists of. And how many millions of tons were just wasted. The city has grown extremely fast. It seems to me there was no control, only rapid development. Capitalism overpowered the space. The heights, shapes and design of the building are ridiculous. The current image of the city appears like a spurt of wild combination of modernism and postmodernism without a bit of taste or common sense.

I felt surrounded by some faded theatre sets. The architects and planners of these buildings must have followed the famous Rem Koolhaas quote “Fuck context”.

Another extreme of São Paulo is its uniqueness. The lack of organisation can mean a full portion of freedom. Many highly interesting projects were able to be born and created there. The city has many layers; if you manage WR JHW WKURXJK WKH ÀUVW YHU\ URXJK RQH WKHQ \RX FDQ ÀQG DQ DPD]LQJ colourful world full of beauty.

From the São Paulo perspective Europe looks boring, static, rigid and grey. We were taken from our safe bubble and threw to see the real life. I have understood how much we do not know about the World. l· 6.

- /a.i°J ..ht's

'r"1'- :

I.A_'

1 A'fAu.r's c;;'klk,lr;{u( I-, f 1 f1..c. r"i' .

,,,r,...

-t- ..,.,".,

-tAJ.,

Brazil tastes differently. The water is tricky, sometimes it is safe to drink, sometimes one can risk health issues. But the fruit is delicious always. I have never had such as rich and concentrated taste of bananas before.

Desserts are too sweet, lunch enormous, caipirinhas strong.

Often you can taste the dry dust in your mouth while walking on the road.

The dynamics of life has being changed every minute. The concentration of 20 million inhabitants creates a massive energy. Being put in motion it becomes uncontrollable. The power of people demonstrating against a corrupt government was impressive. The centre was paralysed. Things are much wilder and more intuitive here than in organised Europe. Even an innocent football fan parade scared us to death. We are simply not used to morning shootings in the streets. To survive in such a city you need to be alert all the time. I became extremely tired from being constantly tense, either consciously or unconsciously. One evening a police car stopped next to us and gave us advice: “Go to Rio, that is the city for you, tourists. São Paulo is not a safe place.”

Life pulses. Local people know how to enjoy the life. In my opinion it is partly thanks to the southern location of the country and hot climate.

People in the south tend to be more relaxed, open and cheerful in general.

All the Brazilians I met (if I do not count people under drugs or extremely poor homeless beggars) were radiating interesting calmness. They have a sense of humour and strong personality. They were everything but blunt RU ÁDW ,W ZDV DPXVLQJ WR VSHQG VRPH WLPH ZLWK WKHP 7KH\ ZHUH ERUQ LQ Brazil and became used to the local conditions. They understand the city and how to behave and live in there.

83

III

HOUSING THE PROJECT EVERYTHING CHANGES

:RUNLQJ ZLWK WKH WUDQVIRUPDWLRQ RI ÀYH FKRVHQ buildings in Republica, we considered how we might approach the notion of social housing following our experiences in the city and its culture as visceral physical experiences; housing in this context, as a precondition to social cohesion, is thought of always including the idea of the city and its multiple manifestations in the private realm.

As an attempt to extend the housing project and reach out to the city, different layers of use and modes of operation are considered, supporting the investigation of what housing could be in this context.

By studying the city from a detail perspective, of the inhabitant, we were able to approach design with precision as to what creates the conditions necessary for engaging and negotiating latent social situations that shape the use of common space and inform a spatial order.

With a systems understanding of the relationship between building, context and user at different scales, ZH KDYH FRQVLGHUHG WKDW œV\VWHPV OLYH LQ D VRFLDO ERG\ GHYHORS FKDQJH DQG EORRP WKURXJK XVH¡ Brought into the project are the perspectives and SUHYLRXV ÀQGLQJV IURP VWXG\LQJ WKH JOREDO JRDOV ZLWK focus on the human and their wellbeing. Integration of the new inhabitants means weaving their lives into an existing urban fabric.

IV

85

HOTEL AQUARIUS Av. São João, 587 In the middle of central República area lies the Hotel Aquarius / São Joao 587. With an impressive structure of 22 à RRUV WKH EXLOGLQJ ZDV GHVLJQHG DV D KRWHO FRPSOH[ LQ WKH ODWH V KRXVLQJ à DWV DV ZHOO DV UHVWDXUDQWV FRQYHQWLRQ halls, laundry, hairdressers, barbers, etc. The hotel as such was never realized and the building stopped. With everything constructed except surface coatings, the building has been occupied in various periods, currently hosting a car parking in WKH ORZHU à RRUV 2I WKH VWRULHV WKH ERWWRP à RRUV FRPSRVH a representative part, focused around the planned auditorium RU FLQHPD WKHDWUH )URP WKH WKLUG WR WK OHYHO HDFK à RRU FRQWDLQV HLJKW à DWV IURP WKH WK WR QG WKHUH DUH URRPV SHU à RRU 7KH DSDUWPHQWV DUH DOO JDWKHUHG LQ WKH SHULSKHU\ RI the plan, surrounding the internal communication as well as FHQWUDO YRLGV LQ WKH WK WK WK DQG WK à RRU :LWK LWV VWULFW structure and interesting tension between mass and void, the inner logic of Hotel Aquarius intrigues further exploration DQG LQFUHDVHG XVDJH ² PDNLQJ LW FXULRXV VSDFH IRU LQQRYDWLYH housing.

Site plan

room

room

room

wc

C

wc

room

C

room

wc

C

wc

room

C C

C circulation

wc

wc

(emergency exit)

(emergency exit) hall

hall

wc

wc

circulation C

C wc

C

room

room

wc

C

wc

C

room

room

wc

C

room

room

7\SLFDO ÁRRU SODQ

IV

depo.

Av. São João

wc management depo.

depo.

Av. São João

wc wc

wc

reception

ramp (down)

Section A-A‘

*URXQG ÁRRU SODQ

ramp (up)

Av. São João 87

A

HOTEL AQUARIUS #1 Karl Lindstrand | Alexandra Rosengren The existing building has striking qualities: its prominent bearing, a tension between mass and void and a theatre space.

8QĂ€QLVKHG DQG ZLWK D KLVWRU\ RI RFFXSDWLRQV DQG YLROHQW evictions in relation to this planned luxury hotel, we ask to whom the city is built for. Who has the right and space to act? The project takes on the idea of the theatre, as a political, social and cultural tool, to create a dialogue and redistribute the roles of spectator and actor in the city.

The site has interesting connections to the theatre and cultural spaces as well as city and context. $W JURXQG OHYHO D ÀUVW VWHS LV WKH FRQQHFWLRQ WKURXJK WKH block with an internal passage, starting from Rua 25 de Maio and going through the building. We want to achieve a loosely programed inner streetscape, where the visitor will meet several different informal stages, exploring the relation between the city, its actors and spectators. Above the plans directly connected to the street, the public functions meet the more communal, manifesting the spectacle of everyday life.

The internal relations, the interplay within the community, are further explored in the housing sections. The accommodations are centred around the elevated “street scenes� which constitute as a meeting point and a stage for human movement and emotion to occur. From the existing inner logic, we create a closer and more open circulation, joining both actors and spectators in a more intimate relationship.

As a mediating space between the public/common/shared and the private apartments, there is an interface zone. This space works in the same time as an extension of the street as well as an extension of the apartment. The interface zone is a performative layer, closely connecting to the community and shared social coherency. The railing and mesh create an extra layer in the interplay between actor and spectator, directing views and visual connections as well as giving an opportunity of personalisation.

As simple as an interspace, the interface as well as the shared space is to be inhabited continuously, laying ground for spatial action.

room

C

room

C

wc

room

wc

room

C C

wc

room

wc

room

functions

C

wc

wc

functions

wc

C

room

wc

circulation C

wc

room

wc

room

C C

wc

room

wc

room

C

storage + kitchen

wc

wc

interface

wc

storage + kitchen

wc

storage + kitchen

wc

storage + kitchen

INTERFACE

COMMUNICATION

wc

functions

C

circulation

wc

C

room

COMMUNICATION

COMMUNICATION

INTERFACE

interface functions

wc

wc

functions

wc

functions

storage + kitchen

wc

wc

storage + kitchen

CONCEPT / STRATEGY Development of inner geometry; qualities of existing building. From a strict, static layout to a plan that easily allows involvement of the inhabitants.

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

apartment

interface

apartment

interface

SHARED

interface

apartment

interface

apartment

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

apartment

interface

interface

apartment

SHARED

SHARED

SHARED

SHARED

SHARED

SHARED

SHARED shop / office / other

IV

SHARED / BACKSTAGE

SHARED / BACKSTAGE

balcony

SHARED shop / office / other e.g. bakery & workshop SHARED

SHARED laundry

balcony

SHARED continuation of street shop / cafĂŠ

balcony

av. sao joao

PASSAGE SHARED continuation of street / urban theatre community space

SHARED continuation of street foyer / informal stage

service, parking

service

89

+0.0

INFORMAL STAGE

B

+ 2.5

+ 2.5

ramp (down)

STAGE

A

AV. SAO JOAO

INFORMAL STAGE

+0.0

+2.5

tickets etc.

+4.0

+ 2.4

+0.0

SHARED continuation of street / urban theatre community space

storage

A

ramp (up)

bar / café

B

APARTMENT Follow the logic of the existing setting; from axis of services, we are proposing a compact function zone. Adding an extra layer that constitutes a core for the apartments to develop from. apartment

INTERFACE

IV FUNCTION ZONE The internal logic of the existing building compose the function zone.

Keeping current services, the zone also make the basis for divisions and extensions of the apartments. apartment

INTERFACE

INTEFACE As a mediating space between the public / common / shared and the private, the interface zone is where the spatial action take place.

apartment

INTERFACE

shared

91

HOTEL AQUARIUS #2 Magnus Persson

What happens when a favela community - where neighbours know each other well - moves into apartments in high risers, very distant from the culture that are springs from the streets, in the alleyways and backyards? It seems that social values are not counted for as a standard when talking about standards.

How can a building bring people together, both as dwellers in a high-rise and also the citizens of São Paulo? This project explores activity and common interests as a means to bring people together.

As social housing, the new Aquaríos will bring people in the FLW\ WRJHWKHU E\ RIIHULQJ D VSRUWV FHQWUH LQ WZR ÁRRUV 7KH lower part of the building that stretches 70 m into the city block is connected with an alley that becomes a part of the centre as the wall along side if the building is taken away. The transparency will connect São João through the building and the alley to the pedestrian street on the back.

Two vertical gardens are attached on the north-west and the south-east sides of the building. The construction is light and enclosed as a greenhouse. The apartments are directly connected to these vertical greenhouses from the kitchen and the dining area.

The alley stretches to the pedistrian street R. 24 de Maio on the other side of the block.

The long wall on the side of the building that stretches deep into the block is removed to create openess, a transparency and it adds lightness to the building.

From the alley the sports centre is reached with stairs both down to floor -1 and floor 0. The sports hall serves as a sheltered place for indoor sports but are totally open on this one side.

A neighborhood consists of 3 floors that are closer tied together with extra stairways to enhance the flow of people - a closeness that can be found in neighborhoods on the ground with alleys, backyards and gardens.

This extruded part shows where the detailed section is taken; a cut through a neighborhood.

Trnasparency. The big closed block is infiltrated with an alley from Sao Joao to R. 24 de Maio to provide the area with a calm sphere where people come together.

The idea is that this alley runs through the house in a two storey sports centre.

On top of the sports centre there is a 900 sqm roof garden.

Gardening is an activity that serves for common interests and I believe that it is the best way to approach sustainability in environmental, economic and social manner.

Two major structures on the side of the building provide vertical farming with direct access to the apartments. These are the lungs of the building. Here people meet and take care of the crops together. Important in the process was to not make any subtractions since it would cost a lot and take away living space. By letting three storeys create a neighborhood it will increase the closeness and social bonds among the people in the community.

With just the elevators as transport system people tend go just from A to B; from home to the city. People become distant to each other as there is no places for people to meet. The environment doesn’t allow you to get to know your neighbor.

By dividing the 22 story building into neighbourhoods connected with the common gardens it will offer more opporunities to get a closer relationship to you neighbors. Circulation in neighbourhoods enhances richer life within the building.

Green curtain

IV

93

added horisontal elements - slabs

added horisontal elements - staircases

floor 14

floor 15

added vertical elements with windows

added vertical elements without windows

added horisontal elements - beam structure

floor 16

demolished elements

neighborhood 7

22

Roof top garden

21

Four 40 sqm apartments with access to green house + common workshop space + wc

20

Four 40 sqm apartments with access to green house

19

Four 40 sqm apartments with access to green house + void connected to floor beneath

18

Four 40 sqm apartments with access to green house + inner core stairs to next floor

neighborhood 6

17

neighborhood 5

neighborhood 4

neighborhood 3

neighborhood 2

neighborhood 1

Four 40 sqm apartments with access to green house + common office space + wc

16

Four 40 sqm apartments with access to green house + void connected to floor beneath

15

Four 40 sqm apartments with access to green house + inner core stairs to next floor

14

Four 40 sqm apartments with acces to green house

13

Four 40 sqm apartments with acces to green house

12

Four 40 sqm apartments + common office space + wc

11

Four 60 sqm apartments

10

Six 40 sqm apartments + common office space + wc

9

Six 40 sqm apartments + void connected to floor beneath

8

Six 40 sqm apartments + inner core stair case to next floor

7

Six 40 sqm apartments + common office space + wc

6

Six 40 sqm apartments + void connected to floor beneath

5

Six 40 sqm apartments + inner core stair case to next floor

4

Six 40 sqm apartments + common office space + wc

3

Common roof top garden + five 40 sqm apartments

2

Storage for apartments + three 40 sqm apartments

1

Unspecified (restaurant + lounge in original drawings)

0

Ramp up, entrance to sportshall (multi sport) and stairs down to alley

A v e n i d a

-1

-2

-3

S ĂŁ o

IV

J o a o

Entrance to sportshall (boxing + dancing) and stairs up to alley.

Changing rooms.

Garage

Water storage

95

SANTA VICTORIA / DOM JOSÉ DE BARROS Dom JosÊ de Barros,329

The Santa Victoria building is located on the corner of the busy Avenida São João and the pedestrian street Rua Dom JosÊ de Barros, in the centre of São Paulo. It used to be an RIÀFH EXLOGLQJ ZLWK VKRSV RQ WKH JURXQG OHYHO EXW LW LV QRZ DOPRVW HPSW\ LQKDELWHG RQO\ E\ WKH RZQHU $OVR WKH ÀUVW à RRU LV XVHG DV D QLJKWFOXE 2Q WKH RSSRVLWH VLGH RI WKH crossroad there is a park that gives the building a very visible character with sightlines in several directions. During daytime the area is has a quite busy commercial character with a lot of shops, many gallerias and restaurants. However, this changes during nighttime and a lot of odd transactions take place.

Focusing on the building it consists of a double height ground Ă RRU WKDW KRVWHG VKRSV DQG D PH]]DQLQH ZLWK VWRUDJH DQG XSSHU Ă RRUV 7KH IDFDGH ZDOOV DUH ORDG EHDULQJ DORQJ ZLWK WKH inner light shaft. There were also plans to convert the building into a hotel, but they were never realised.

Site plan

$WHOLHU ÁRRU SODQ

7\SLFDO ÁRRU SODQ

Section

*URXQGÁRRU SODQ

IV

Rua Dom José de Barros

Avenida São Joao

Largo do Paiçandu 97

Dom JosĂŠ de Barros #1 Lucia Olavarri 7KH WUDQVIRUPDWLRQ RI DQ RIĂ€FH EXLOGLQJ LQWR KRXVLQJ QHHGV to deal with a new program, qualities and uses. In a city like SĂŁo Paulo with a high population density, new ways of living are needed and, overall, dwellings for different lives and families. The lack of public spaces in the city is a big problem.

Social housing is much more than affordable apartments; social housing has to be a place for transforming society. For that reason, this project introduces a cultural program on the JURXQG Ă RRU DQG FRQWLQXHV ZLWK WKLV DFWLYLW\ WKURXJKRXW WKH EXLOGLQJ ZLWK FRPPRQ VSDFHV LQ HDFK Ă RRU ZLWK GLIIHUHQW features. How can both spaces be connected and transform the building into a lively building? Circulation space was the answer.

The proposal is based on connecting through existing stairs WKH JURXQG Ă RRU DQG WKH PH]]DQLQH PDNLQJ SRVVLEOH WKDW they work as the same space, and moving the inner corridor which is the circulation space in the building to the light well, WUDQVIRUPLQJ WKLV ZDVWHG VSDFH LQ SURĂ€WDEOH DQG FRPPRQ spaces. The new circulation in the light well connects physically and visually the new common spaces and the dwellings. Due to this intervention, the apartments have two facades, cross ventilation and common spaces to share with the community.

By moving the circulation to the light well causes that this space becomes a common space and a meeting point between the neighbours. This activity is also visible from the courtyard LQ WKH JURXQG Ă RRU DQG SHUPLWV WKH YHQWLODWLRQ DFURVV WKH OLJKW well because of the passage of the gallery, which allows fresh air to enter in the light well and to refresh the whole building.

7KH DPELWLRQ ZDV WR FUHDWH Ă H[LEOH DQG DGDSWDEOH GZHOOLQJV apart of different typologies. In that case, the solution was to design similar sized rooms to make them interchangeable and FUHDWH VPDOO VWXGLRV ZKLFK FDQ EH UXQ E\ DQ RIĂ€FH RU DQRWKHU proprietary or can be part of the apartment making possible that this apartment grows.

Programme proposal Outdoor circulation 70m2 Services: old corridor Two facade apartments Common spaces 30m2

REFERENCES

Boldarini Arquitetos

Luis de Garrido

Existing housing programme Indoor circulation 98m2 Services: on the facade One facade apartments

MMBB

SANAA

Vigliecca & Associados

Kulturhuset Stockholm

VERTICAL ORGANIZATION Ventilation | Circulation | Common spaces

IV

99

Two bedrooms apartments can change the distribution of rooms according to the needs of each.

IV

Flexibility: That can be changed: adaptable.

Adaptability: To make suitable to new or different requirements or conditions; adjust or modify appropriately.

The apartments in the corners have the possibility to grow (apartment + studio).

101

Dom JosĂŠ de Barros #2

1.

Rasmus Roman STRATEGY FOR THE GROUND FLOOR AND THE BUILDING‘S CONNECTION TO THE CITY Downtown SĂŁo Paulo is an intense and quite rough area. During the day there is a lot going on in the streets, commercial and other activities, and during the nights the area becomes a bit shady. To deal with this the building uses a mediating layer consisting of a commercial facility for a bakery and a youth center. The youth center holds possibilities for physical activities such as indoor football and basketball practice as well as a small kitchen and would be furnished in different ways depending on need and occasion. Within the nearby area of the building there is a number of occupied buildings were people live and this building could become a meeting place for youth in the area.

Steel shutters are used to separate inside and outside. These are commonly used as protection for closed shops. These SDUWLFXODU VKXWWHUV KDYH EHHQ PRGLĂ€HG WR DOVR IXQFWLRQ DV URRI for pedestrians on the street when rolled up. This provides shade from the hot sun or protection from the rain. It allows WKH JURXQG Ă RRU WR FKDQJH WKH UHODWLRQ WR WKH VWUHHW WR HLWKHU invite and provide protection for the street or to block out and focus the building inwards when needed.

The shutters are also used as partitioning walls on the inside RI WKH JURXQG à RRU 7KLV LV WR PDNH LW GLYLGDEOH LQ GLIIHUHQW FRQÀJXUDWLRQV GHSHQGLQJ RQ ZKDW DFWLYLWLHV DUH UHTXHVWHG by the youth center together with the inhabitants of the DSDUWPHQWV ZLWKLQ WKH EXLOGLQJ ,W FRXOG EH FRQÀJXUHG IRU OHFWXUHV DQG ZRUNVKRSV VSRUW HYHQWV à HD PDUNHWV ERDUG JDPH FRPSHWLWLRQV DUW H[KLELWLRQV RU ÀOP VFUHHQLQJV HWF 7KH JURXQG à RRU LV WKXV PDGH IRU WKH UHVLGHQWV DQG WKH FLW\ youth and adults. It is striving to be a mediating layer between the residents and the city and a place of participatory activities that may enable people to do things together or provide the opportunity to just stumble upon something you did not know was going on in your neighbourhood.

2.

1.

2.

3.

4.

5.

Light studies Exterior perspective $[RQRPHWULHV JURXQG Ă RRU Steel shutter reinvention Exterior perspective

3.

4.

IV

Av. Sã

o Jo

ão

5.

103

6.

7.

8.

9.

10.

STRATEGY FOR THE UPPER FLOORS CONTAINING APARTMENTS AND SHARED SPACES FOR RESIDENTS Housing is desperately needed in the city of SĂŁo Paulo, and the aim was to provide as many apartments of around 50 m2 as possible. To be able to use the inner part of the building for DSDUWPHQWV WKH FRXUW\DUG ZDV PRGLĂ€HG WR OHW PRUH OLJKW LQ DQG to connect to the outside. The building needs porosity.

6.

A series of light studies in the courtyard were conducted and the results showed that the equation between opening up the facade towards the street and the amount of light let in was unfruitful and a waste of available resources. As a response to these results all the apartments in the building have windows to the outer facade with better light conditions than the inner one.

m!! vida s de aterrara rma s As fo terrestre a extr Th e for extr a ms hav terres e la tria nde l life d!

7KH FRPPXQLFDWLRQ LQ WKH XSSHU Ă RRUV LV UHPDGH JLYLQJ more opportunities for movement and get rid of the former GHDG HQG FRUULGRUV 7R EH DEOH WR FLUFXODWH WKH Ă RRUV LQ WKH horizontal plane gives possibilities to play games such as tag and hide and seek in the hallways. This idea is also used in the vertical plane to give further options for movement and to lessen the importance of the elevators as main communication. To give these new opportunities a stair is placed on the outside facade and connected to new openings in the facade. To be able to permeate the facade and visit the outside world is a vital ingredient in the proposal. The new stair functions as more than a stair by also containing spaces to stay at and use for get-togethers or such.

Interior perspective courtyard

2Q HDFK Ă RRU WKH UHVLGHQWV VKDUH GLIIHUHQW FRPPRQ DUHDV such as laundry, workshops and study-/multi purpose-rooms.

The different types of common facilities are spread out so that GLIIHUHQW Ă RRUV VKDUH ZLWK HDFK RWKHU FRQQHFWLQJ WKH Ă RRUV vertically.

7KH DGGHG RU PRGLĂ€HG ZDOOV IDFLQJ WKH FRPPXQLFDWLRQ areas are covered in wood panels so that the residents can modify and build onto them easily, if a shelf for storage or commercial activity is needed it can simply be nailed up to the wall. This gives the families opportunities to tailor their dwellings to some extent by their needs and wishes.

7.

8. Type A

Interior perspective Technical Section_1:80 Floor type A & B_1:400 Ground Floor_1:400 Cross section A:A_1:400

10.

B_B

IV 9.

A_A

/round Æoor_1:100

Plan type B_1:100

8. Type B 105

Dom JosÊ de Barros #3 Jakob Lundkvist 7KH SURMHFW DLPV WR ÀQG QHZ VSDWLDO TXDOLWLHV ZLWKLQ WKH existing building and program these spaces in relation to their spatial potential. One of the major operations in changing the existing building is related to create better light and air conditions and change the way the residents move through the building. Foremost, the slab separating the existing FRXUW\DUG DQG WKH JURXQG à RRU LV UHPRYHG WR EULQJ OLJKW down to the centre of the building on street level (1). Inspired by the nearby gallerias, the project also aims to create a different approach to the street with a small passage through the building, offering a different route for pedestrians and D à H[LEOH FRXUW\DUG VSDFH ZKLFK FDQ EH XVHG E\ ERWK WKH UHVLGHQWV DQG WKH UHVWDXUDQW ORFDWHG RQ WKH JURXQG à RRU

1.

7KH IRFXV LQ WKH UHVLGHQWLDO à RRUV LV WR ÀQG D EDODQFH EHWZHHQ DQ HIÀFLHQW XVH RI WKH VSDFH DQG LQ GLIIHUHQW ZD\ XVH QDWXUDO light and ventilation to enhance the spatial qualities. It was also LPSRUWDQW WR ÀQG D JRRG EDODQFH EHWZHHQ WKH FRPPRQ VSDFHV DQG WKH SULYDWH VSDFHV DQG WR PDNH WKHVH ERUGHUV à H[LEOH The balconies in the original layout of the building was very shallow and hard to use, therefore they are made deeper but narrower, an outdoor room that extends the apartments social space (3). To make these shaded and naturally ventilated VSDFH WKH VXQ LV VFUHHQHG RII DQG WKH OLJKW UHà HFWHG LQVLGH E\ 2. using traditional ceramic cobogo blocks. The blocks allow the cross ventilation trough the apartment and the social space stretches from the outdoor room to the core, connecting the sides of the apartment with light, air and visual contact.

In order to function as a light well, the facades facing the FRXUW\DUG DUH FODG LQ ZKLWH JOD]HG FHUDPLF WLOHV WR UHà HFW OLJKW through the building down to the courtyard. The openings are here partly covered with the same glazed cobogo blocks that ÀOWHUV WKH EULJKW OLJKW LQWR WKH VXUURXQGLQJ FRPPXQLFDWLRQ spaces. Around this light well is where the residents informally meet and the measurements in these communication spaces are generous enough to allow this to be the common space between public and private.

3.

IV Plan 3-10. Scale 1:400

3ODQ JURXQG Ă RRU 6FDOH

Interior perspective, apartment.

107

Section A. Scale 1:400

Section B. Scale 1:800

Light study of the courtyard on streetlevel.

Facade material close to current situation.

IV

Light study of the courtyard on streetlevel.

Facade material matte white.

Facade facing north. Scale 1:400 Light study of the courtyard on streetlevel.

Facade material glossy/ VHPL UHĂ HFWDQW 109

Dom JosĂŠ de Barros #4 Myria Panteli This project is located in highly dense area of SĂŁo Paolo in Brazil. The surrounding area has a number of gallerias, shops and theatres. Inspired from street performances that exist in Brazil, the goal of this project is to create a connection and interaction between the city and the community by integrating informal performances and small exhibitions through the building. Taking as an advantage its unique location and conditions, where the one side is a pedestrian street and opposite from the building there is a park, the park will be integrated along with the building intervention. The current condition of the park is underused and in order to activate it, there will be connection and interaction with the building. The JURXQG Ă RRU RI WKH EXLOGLQJ ZLOO EH FRQVLVWHG E\ D WKHDWUH cafes, restaurants and shops. The theatre space has open views towards the park that will provide visual connection and invite SHRSOH LQ ,W LV D Ă H[LEOH VSDFH WKDW KDV D QXPEHU RI VSDWLDO FRQĂ€JXUDWLRQV WKDW ZLOO DOORZ LWV WUDQVIRUPDWLRQ WR H[KLELWLRQV acting or music performances, events, parties or just to become a sitting area. The idea is to give actors, musicians and citizens a unique mean of spreading their message and to reach the public in a distinctive way different from the traditional theatre. This space serves an important role in uniting, educating, and inspiring audiences.

7KH XSSHU Ă RRUV RI WKH EXLOGLQJ ZLOO EH DIIRUGDEOH UHVLGHQWLDO DSDUWPHQWV WDUJHWLQJ GLIIHUHQW JURXSV (DFK Ă RRU LV VHSDUDWHG into 3 zones, couple zone, family zone and individual zone, where each one of these zones has a share kitchen. The idea for this space is to allow people to communicate and interact with each other. Reinforcing this idea, the same role will also have the atrium, that will allow vertical circulation through it DQG VLWWLQJ VSDFHV ZLWK VPDOO JDUGHQLQJ DW HDFK Ă RRU

Site plan

IV *URXQG ÁRRU SODQ

Mezzanine

Section A-A‘ 111

7\SLFDO ÁRRU SODQ

7\SLFDO ÁRRU SODQ ]RQLQJ

Section B-B‘

IV Critical detail Elevation

Critical detail Plan 113

Dom JosĂŠ de Barros #5 Katarzyna Stachura Santa Victoria with its thoroughly regular appearance subtly blends into the surroundings what was just one of many reasons for me to work with the inside of the building and trying to achieve a minimum of intervention on the outside.

Though rethinking the circulation, the building gained bigger spaces for housing with direct connection to both the outside facing the street and the inside - the light shaft, that now would gain new functions due to inverted to the inside HQWUDQFHV RQ WKH JURXQG Ă RRU DQG QHZ SDVVDJH DUHDV RQ XSSHU Ă RRUV

street view impressions

By extending two functions parallel throughout the whole height of the building, it becomes a bridge between its inhabitants and another, wider community hosted in the workshops and resident artists studios. *URXQG Ă RRU ZLWK LWV ODQFKRQHWH XELTXLWRXV OXQFK FRXQWHU - for some the most democratic place in Brazil - becomes a place where users of the building have an opportunity to meet, mix, exchange ideas and thoughts.

site plan, republica area north-east elevation

studio

living area

space

bedroom kitchen WIC storage

use

workshop

workshops/apartments, space/use

existing

fab lab, utrecht

In order to rethink the circulation of the building two reference projects (Residencial Corruiras in São Paulo and Better Cheaper Housing in Copenhagen) where balconies serve as both passages and common spaces/ extensions of apartments were analysed. A light metal construction is attached to the existing load bearing walls and providing new transit areas - at the same time getting rid of most of the existing corridors and dedicating these areas to more spacious apartments instead. %\ UHGLVWULEXWLQJ WKH SDVVDJHV WKH à RRU SODQ EHFRPHV clear and systemised and the building gains more à H[LELOLW\ DV LW FDQ EH UHDG LQ OD\HUV VWDUWLQJ IURP WKH outer facades facing Avenida São João and Rua Dom Jose ² WKH OD\HU RI EDOFRQLHV EHLQJ D GLUHFW H[WHQVLRQ RI bedrooms (2.), followed by service and storage core (3.), transiting then into living space (4.) that can be extended into the passage area (5.).

The space is dedicated to the idea of manufacturing vs. producing vs. creating with the very initial concept of creating simple workshops that could provide working places for inhabitants, developed then with a thought of opposition to low-tech workshops - fab-labs that are rapidly gaining ground in SĂŁo Paulo these days.

Inspired by the neighbouring ocupacĂŁo SĂŁo JoĂŁo, where in 2010 residents of the occupation and cultural activists formed a cultural centre - Centro Cultural SĂŁo JoĂŁo especially well known from partnership with organisation lanchonette.org that invites international artists to reside and develop a relationship with SĂŁo Paulo, its citizens, institutions - some areas would be reserved for studios for artists in residence, serving as a bridge between two

IV

totally different communities, supporting exchange of LGHDV DQG PDQ\ RWKHU PXWXDO EHQHĂ€WV

This corner building with poor indoor light and DLU FRQGLWLRQV LV D GLIĂ€FXOW EXLOGLQJ IRU SHUPDQHQW accommodation. Due to nearly total lack of daylight along its south facade the proposal divides the building vertically into two parts, giving the dark areas a different function as workshops that could possibly revive it and bring new qualities into inhabitants lives.

Since the workshop space takes over 60 m2 on each level, it was important to connect it strictly to social housing part that faces it directly enabling live & work concept. The space could be used differently on various levels, having the possibility to divide it into 3 separate rooms with independent entrances.

proposed

occupacão são joão, vertical garden built GXULQJ WKH UHVLGHQF\ RI WKH ÀUVW DUWLVW DUFKLWHFW MDNXE V]F]ęVQ\

residencial corruiras, boldarini arquitetos associados, sĂŁo paulo

%\ ZRUNLQJ ZLWK FXWV LQ WKH ÀUH ZDOO DORQJ WKH QRUWK ZHVW IDFDGH DQG FUHDWLQJ JDSV LQ EHWZHHQ QHZ ÀUH HVFDSH bedre billigere boliger, juul frost arkitekter, VWDLUV LW FUHDWHV D ÀQHU DWPRVSKHUH LQVLGH WKH OLJKW VKDIW copenhagen and also a potential connection to the neighbouring building.

The former light shaft in the north-west corner serves as a freight elevator to assist the new workshop areas and be accessed from Avenida SĂŁo JoĂŁo.

115

1. housing entrance 2. workshops/studios entrance 3. lanchonete 4. reading area 5. kitchen 6. rest rooms 7. common room 8. laundry 9. rentable

f11

9

8

2

4

f2 - f10

JURXQGĂ RRU SODQ

64 m²

60 m²

57 m²

24 m²

19 m² 21 m²

f1

34 m² 40 m²

54 m²

49 m²

24 m²

26 m²

25 m²

25 m²

typical plan (1)

57 m²

48 m²

53 m²

typical plan (2)

gf

apartments

24 m²

24 m²

IV

section 117

Dom JosÊ de Barros #6 Kajsa Blohm This project is based on an analysis of how to move in a dense city. When one is surrounded by high-rises, where is one allowed to be? One is excluded from the interior of the buildings if not a resident or a customer. Streets, parks, open spaces are public only when not occupied by commerce, RZQHUV RU WUDIÀF ,Q D KXJH FLW\ WKH SXEOLF VSDFHV DUH RIWHQ narrow strips and gaps in the city fabric. The public space ends where the façades begin.

With references as Lina Bo Bardi’s Masp, Sesc, Affonso Eduardo Reidy’s Museo de Arte Moderna, this corner building should contribute to expanding the public space. By removing WKH ÀUVW à RRU LW FUHDWHV DQ HOHYDWHG ERG\ ZLWK D FOHDU GLIIHUHQFH between private and public.

The building becomes a welcoming break in the city fabric, an un-programmed site there to be taken. The project consist of three parts, the private housing which are closed to the RXWVLGH EXW Ă H[LEOH LQVLGH WKH VHPLSULYDWH IDFDGHV WKDW RSHQ up as much as possible and the enclosed public space beneath the slab.

A major part of the project is to transform the dark light VKDIW LQWR D GHFRUDWLYH DQG IXQFWLRQDO ORJJLD ,¡P à LSSLQJ WKH corridors towards the light shaft to get as much light and cross ventilation as possible into the apartments. I also open up the little windows in the shaft to create a visual and circular connection.

The common elevator and stairs brings everyone up into the open â€?balcony“, where one is visible and from there progresses into the loggia towards the apartment. There is also a new staircase on the opposite side of the atrium so that exists several ways to get to and from the apartment. In each opening and on the balconies an iron railing with a hand UDLOLQJ RI ZRRG WKDW Ă RZV EHWZHHQ WKH SLOODUV

PRIVATE

PRIVATE

PRIVATE

PRIVATE

E IC SPAC

PUBL

PUBLIC SPACE E

PUBLIC SPACE

IV

Flexibility through neutral spaces

7\SLFDO Ă RRUSODQ 119

IV

A major part of the project is to transform the dark light shaft LQWR D GHFRUDWLYH DQG IXQFWLRQDO ORJJLD ,·P ÁLSSLQJ WKH FRUULGRUV towards the light shaft to get as much light and cross ventilation as possible into the apartments. I also open up the little windows in the shaft to create a visual and circular connection.

The common elevator and stairs brings everyone up into the open ”balcony“, where you are visible and from there you progresses into the loggia towards the apartment. I also add a new staircase on the opposite side of the atrium so that you have several ways to get to and from your apartment. In each opening and on the balconies I put an iron railing with a hand railing of wood that ÁRZV EHWZHHQ WKH SLOODUV 121

HOTEL CAMBRIDGE Av. Nove de Julho, 216 The Cambridge hotel, founded in 1950 and abandoned in 2004, is located in the district of Republica opposite a bus terminal on Avenida da Nove de Julho and near Anhangabaú YDOOH\ 7KH EXLOGLQJ KDV ÁRRUV DQG WZR HQWUDQFHV RQH RQ the side of the avenue and one on a higher level on the street Rua Alvaro de Carvalho. The street and the avenue create two different environments. On the one side the avenue, consisting of six car lanes and high rise buildings from both sides with fences in front of the entrances and facades with closed RSHQLQJV RQ WKH JURXQG ÁRRU FUHDWHV D OHVV OLYHO\ HQYLURQPHQW . On the other side the narrower street with lower buildings, open entrances and more people on the street forms a human scale environment and a neighbourhood feeling. Underneath the building there is a river spring and a river running (part of the underground river network of São Paulo). The rooftop has views over the central city. Lastly, the building is now occupied by 150 families who inhabit it. Their community has strong bonds and is well organised with shared responsibilities, a library and community space as well as a bakery. Some inhabitants have formed their apartments as working spaces.

Site plan

Section A-A‘

7\SLFDO Ă RRU SODQ WK WK

Avenida Nove de Julho

7\SLFDO Ă RRU SODQ VW WK

Avenida Nove de Julho

*URXQG Ă RRU SODQ

Rua Alvaro de Carvalho

IV

123

HOTEL CAMBRIDGE #1

before

Aikaterini Synapalou |

private

second skin facade + balconies

exterior

interior

after exterior

public

The functional layer is about the choice of public IXQFWLRQV LQ WKH OHYHOV RI WKH JURXQG Ă RRU WKDW ERWK serve residents and outsiders in order to help these two groups mingle and socialise, aiming for the easier integration of the new residents to the area.

The spatial layer is about how the interior interfaces with the exterior. On the upper levels of the apartments, the addition of balconies moves the interior towards the H[WHULRU +RZHYHU RQ WKH JURXQG à RRU WKH YROXPH RI WKH building sets back, forming transition spaces between the interior and the exterior, especially at the north side of the building. A problematic arises here about the character of this space, and mediates between private and public, interior and exterior. Who has the right on this space? It is a safe space for children of the neighbourhood to gather and play, for residents of the building to relax and drink a FRIIHH IRU D SDVVHUE\ WR ÀQG VKHOWHU RQ D UDLQ\ GD\ 6R ZKR does this space belongs to? To the building or to the city?

To the private realm or the commons?

wind

The environmental layer creates an interaction between the building and the natural elements (sun, wind and river) with the design of a wind tower combined with WKH Ă RRGHG EDVHPHQW WKDW ZLOO FRROV WKH LQWHULRU DQG WKH placement of a second skin facade that protects the north facade from sun exposure.

balconies

The aim of the project is to explore the establishment of a new dialogue between the building and the surroundings meaning the city and its climate. The dialogue takes place in 3 different layers; the environmental layer, the functional layer and the spatial layer.

underground spring+river

A new dialogue between building and surroundings -environmental layer windtower +water _cooling interior second skin facade_ shading from sun -functions layer serving residents + outsiders -space layer exterior_ transition_ interior

eyes on the street

opening + closing ?

Visual corridor Transition space

S

S

COMMON ROOM

COMMON KITCHEN

S

COMMON ROOM

D

IV

COMMON ROOM (PLAYROOM,CAFE, RESTAURANT AREA)

GROUNDFLOOR LEVEL 2 1:100

0

2,5

5

10 (m)

....Heterotopias always presuppose a system of opening and closing that both isolates them and makes them penetrable. In general, the heterotopic site is not freely accessible like a public place.... pg7 ....There are others, on the contrary, that seem to be pure and simple openings, but that generally hide curious exclusions. Everyone can enter into the heterotopic sites, but in fact that is only an illusion—we think we enter where we are, by the very fact that we enter, excluded. I am thinking for example, of the famous bedrooms that existed on the great farms of Brazil and elsewhere in South America. The entry door did not lead into the central room where the family lived, and every individual or traveler who came by had the right to open this door, to enter into the bedroom and to sleep there for a night. Now these bedrooms were such that the individual who went into them never had access to the family’s quarter the visitor was absolutely the guest in transit, was not really the invited guest...pg8 Of Other Spaces: Utopias and Heterotopias, MICHEL FOUCAULT ,1984.

Visual corridor : a person passing by the north side can see through the building but not walk through it, its permeability is an illusion for an outsider.

125

MULTI-PURPOSE ROOM

S

TERRACE

TERRACE

COMMON KITCHEN

TRAINING ROOM

S

D

CHANGING ROOM

DANCE CLASSROOM

2,5

5

10 (m)

1:100

2,5

0

5

FLOOR PLAN 10th 10 (m)

0

1:100

2,5

5

10 (m)

8SSHU Ă RRUV Ă RRUV B

IDPLO\ DSDUWPHQWV a P VWXGLR DSDUWPHQWV a P

VW WK Ă RRU B

)DPLO\ DSDUWPHQWV Common spaces (laundry,workshop)

WK Ă RRU B

&RPPRQ $FWLYLWLHV Ă RRU Outdoor + Indoor Sports and Recreation

WK WK Ă RRU B

6WXGLR DSDUWPHQWV )DPLO\ DSDUWPHQWV common spaces (laundry,workshops)

WK WK Ă RRU B

6WXGLR DSDUWPHQWV common spaces (laundry,workshops)

WK Ă RRU B

5RRI JDUGHQ

1st level _

multipurpose space (art exhibitions, seminars,etc) bicycle workshop and storage storages and mechanical facilities

2nd level _

playroom + cafe + kitchen space

UG OHYHO B

DGPLQLVWUDWLRQ RIĂ€FH VRFLDO ZRUNHUÂśV RIĂ€FH meeting/study room

Elevator door

Elevator door

*URXQGĂ RRU

1:200

AV. NOVE DE JULHO

D

YOGA/ PILATES ROOM

FLOOR PLAN 7th

FLOOR PLAN 2nd & 4th 0

S

CHANGING ROOM

CLIMBING ROOM

TRAINING ROOM

1:100

D

RUA ALVARO DE CARVALHO

0

5

10

20 (m)

IV

1:20

0

0.2

0.4

0.6

0.8

1m

Critical detail _ balcony + second skin facade _1:20 (steel frame + mashrabiya screens)

NORTH ELEVATION RUA ALVARO DE CARVALHO

1:200

0

5

10

20 (m)

Mashrabiya screen_material

127

HOTEL CAMBRIDGE #2 Marie Adámková | Mathilde Houdebert The project converts former Hotel Cambridge in Sao Paulo into a building combining housing for people in need, their common spaces and several public functions. It deals with ÀQGLQJ D EDODQFH EHWZHHQ SULYDF\ DQG RSHQQHVV

Ramp

The main idea is to create a new passage, leading through the whole building, which begins with a Samba club and school, continues with a corridor bar and ends with a bakery removed from the mezzanine into the spectacular entrance of the hotel.

The inhabitants are invited to participate, to take part or to REVHUYH WKH OLYH KDSSHQLQJ LQ WKH ÀUVW ÁRRUV Moving the corridors outside on the new balconies brings the possibility of enlarging the apartments and improving the outdoor common spaces. Placing the laundry on the rooftop next to the common terrace and garden transforms this daily routine into a special moment of beautiful view of the endless city.

Bakery

Mixing the programme Current situation

Proposal

Common

Private

Private Common

Common

Common

Public

Situation

View

Rooftop

IV

*URXQG ÁRRU

*URXQG ÁRRU

129

Corridor

IV Duplex

Balconies

48 m² 38 m² D 70 m²

27 m²

D 70 m²

42 m² 39 m² 38 m²

Disposition 131

LORD HOTEL Rua das Palmeiras, 58-98 The Lord Palace Hotel is located in Santa Cecilia area in the outer edge of downtown São Paulo, on the intersection of Rua das Palmeiras and Rua HelvÊtia. The area contains a mixture between low and high rise buildings, from 1 story to RU KLJKHU 2Q WKH VWUHHW OHYHO RQH ÀQGV VPDOO VKRSV FDIpV and restaurants. Most of the buildings are of residential use LQ WKH XSSHU à RRUV 7KH DUHD LV TXLWH QLFH GXULQJ WKH GD\ EXW can become rough throughout the night. The building is 13 VWRULHV KLJK ZLWK RQH EDVHPHQW à RRU 7KH WK DQG WK à RRUV contain only technical services. From the 8th story upwards WKH à RRUV GHFUHDVH LQ VL]H $ORQJ ZLWK WKH EXLOGLQJ JRHV D EDFN\DUG WKDW LV SDUW RI WKH SORW ,W LV IDFHG E\ WKH ÀUHZDOO RI the Lord Hotel and fenced off with walls to the street and surrounding buildings. The building condition is in a good quality. It had previously been a hotel and then converted into a restaurant. After the business failed, the City repossessed the property due to back taxes of the former owner. The building was left unused for nearly a decade. In 2012, the building was occupied by the FLM housing movement. Today, 326 families live in the occupation, and 11 people are employed by the occupation as doormen, elevator operators, and janitors. The local community has a structured self-organisation.

Site plan

IV

Rua das Palmeiras *URXQG ÁRRU SODQ

7\SLFDO ÁRRU SODQ

Section A-A‘

Rua Helvetia

Rua Helvetia_backyard 133

LORD HOTEL #1 Victoria Volina-Luchian Former Lord Hotel is about to be transformed into social housing for low-income families of Sao Paulo. It should provide them with a safe and comfortable environment for an affordable price. In order to achieve this goal the building and its surroundings should undergo a transformation.

In this project housing is combined with an open public space and some commercial functions. This synergy will contribute to the safety and improve the image of social housing projects of Sao Paulo. It should become a local center of attraction for people of different ages and levels of income. :KLOH WKH EDVHPHQW DQG WKH ÀUVW à RRU DUH XVHG IRU FRPPHUFLDO DFWLYLWLHV WKH JURXQG à RRU DQG WKH DGMDFHQW HPSW\ lot represent an open public space. It provides various kinds of activities: visitors and residents may play sports, read, train, make a picknick or simply relax in a shade.

7KH ÀUVW à RRU FRQWDLQV D FDIHWHULD DQG DQ DUW JDOOHU\ ZKLFK may host various exhibitions and workshops. This area is open to public, but may be closed separately if needed. Floors from 2nd to 9th contain apartments of different sizes. The entrance to the living area is secured from the public area to improve safety of the residents.

8SSHU Ă RRUV ZLOO SURYLGH VHUYLFHV IRU UHVLGHQWV RQO\ FODVVHV workshops, daycare. The rooftop garden may be used for community events and as a private recreational space for residents. Balconies for each apartment will be added to the existing structure of the building.

This project strives to achieve a balance between private and SXEOLF IXQFWLRQV 7KH SURMHFW VKRXOG DOVR LQĂ XHQFH QHDUE\ DUHD in a positive way, providing various urban activities. Financial means also were taken into account: the main structure has minimum interventions to reduce the cost of renovation.

Income from commercial areas will be used to support the affordable price of housing.

Site plan

IV VW ÁRRU SODQ

net cone

basketball

dry pool

library chess

table tennis

workout

*URXQG ÁRRU SODQ

135

Lightweight steel structure is added to the existing elements of the facade.

Section Critical detail

WK Ă RRU SODQ

IV

137

LORD HOTEL #2 Ana del Río | Janina Oehlers Chaos and contrast, informal sales, people hanging around, small commerce and bars, fences and aggressive DUFKLWHFWXUDO IHDWXUHV FRQà LFW 7KH ODFN RI SXEOLF spaces, the decadence of historical squares, great modern architectural interventions, the horizontal living GHYHORSPHQW RI IDYHODV VN\VFUDSHUV ÀUHZDOOV DQG JUDIÀWL The experience of São Paulo appears as a collage, a multiVLGHG EDFNJURXQG DQG D FRQVWDQW LQà XHQFH GXULQJ WKH project development. In the lack of public spaces of the area, the main idea was to open up the building socially and physically, through the section. Public, common and private spaces take their place, breaking repetition in height and aiming to get the natural horizontal gathering of favelas into a vertical building typology. The street creates a gap on WKH JURXQG à RRU JHW WKH QHLJKERXULQJ SORW DQG VSUHDG LQ the shape of a garden. Cultural facilities interact with the open public spaces and control them. )XUWKHU XS WKH ÀUHZDOO LV EURNHQ WKH EXLOGLQJ RSHQV WR a new side: the garden. A light layer of apartments and gardening platforms is added to the building while, in the existing interior, a maximum use of the structure is proposed. Living outside, gathering, a bedroom that is no PRUH D EHGURRP GXULQJ WKH GD\ à H[LELOLW\ DQG FRPPXQDO living, are explored in the design.

COMMUNAL COMMON

APARTMENTS COMMON PUBLIC

Social section

PUBLIC

Public connection

7KH DSDUWPHQWV¡ à RRUV DUH LQWHUUXSWHG ZLWK WZR FRPPRQ à RRUV ZLWK IDFLOLWLHV IRU WKH LQKDELWDQWV 6RPH À[HG ZDOOV LQ DQ H[WHULRU VSDFH JDYH VKDSH WR D NLQGHUJDUWHQ VW à RRU

NLWFKHQ DQG FRPPRQ DUHDV WK Ă RRU 7KH GHQVLW\ RI the apartments is here broken, you can see through the building; the street and the garden are again connected.

Existing structre

New development. Additions

IV 0LFUR DSDUWPHQWV _ ÁRRU

$SDUWPHQWV _ ÁRRU

Section 139

.LQGHUJDUWHQ _ ÁRRU

Elevation backside

&XOWXUDO &HQWUH _ *URXQG ÁRRU

IV

Critical Detail 141

LORD HOTEL #3 Jan Ĺ olar B

/RUG +RWHO LV D GHHS Ă RRU SODQ EXLOGLQJ ZLWK DQ orientation just on one side. The current functional scheme is not applicable for long-term housing.

7KH HPSW\ ORW QH[W WR WKH VLWH LV ÀOOHG ZLWK D QHZ YROXPH with the same main function, which is a social housing. The project changes the structural, spatial and light-conditions consequences of the old building by different interventions using the new structures to help the old one as much as possible.

The concept is to create two layers, which are connecting the old and the new building, both aesthetically and functionally. Outer layer (A) is private; it works as a terrace and in the same way as a light conductor allowing sunlight to go deeper in the structure. Inner layer (B), is working as a common space, connecting structure, allowing to use more space inside the building, since there is just one vertical core now and a long inside corridor. Making a new vertical communication in between the new and the old EXLOGLQJ & ZLOO FUHDWH EHWWHU FRQQHFWLRQV QHZ ÀUH HVFDSH and a meeting possibilities on daylight, visually connected to the courtyard. This will also connect the buildings in a human scale, allowing neighbours to meet on their way home.

A C

outer layer provides light and privacy (A) inner layer provides acces (B) vertical core in between two structures (C)

current condition original

Ă€OOLQJ WKH JDS cleared

typical level

ground level

structure effectivity

shallower plan

IV

JURXQGĂ RRU

site plan 1:2000

W\SLFDO Ă RRU QG WK

143

inner layer

B - B´

outer layer

library - outer layer

A - A´

opening variations

IV

A-A´ detail 1:60 145

LORD HOTEL #4 Julia Gustavsson ,Q /RUG +RWHO WHQ Ă RRUV ZHUH RFFXSLHG ZLWK QDUURZ KRWHO URRPV (DFK RQH RI WKHVH Ă RRUV FRXOG EH VHHQ DV D EORFN (quarter).

This project addresses what each one of these blocks would need in order to sustain a community with the necessities and preconditions to make a healthy living.

Due to the conditions of the chosen building, the decision on how to modify the original structure to suit long-term living instead of short-term (hotel) was critical.

With long-term living, common spaces needed to be of DSSURSULDWH TXDOLW\ DQG VHUYLFHV VXFK DV FRRNLQJ À[WXUHV ZDWHU supply, daylight and ventilation were crucial. These services are coherent with the ability of both humans and houses to stay healthy.

The proposal has a strategy to supply the primary needs for a community , and work towards supporting its cohesion as such. Observations in studying the occupations in SĂŁo Paulo show a tendency of buildings directing themselves inwards, closing off to the street. Abandoned buildings are subject to surveillance, un-proportioned to their importance to the city.

The likeliness of occupants wanting to exclude their building (and themselves) from society arises therefore. In response to the observed reluctance for society by the occupants, the project divides the space at street level into the following zones:

supply the “blocksâ€? with bathrooms and kitchens, air, water DQG HOHFWULFLW\ DQG WKH Ă RRUV RI WKH EXLOGLQJ ZRXOG WKHUHIRUH be transform into available “landâ€? which could be claimed and inhabited long-term.

Other parameters that would contribute to quality of health in these new blocks would be daylight, common space and access to green space. These parameters, which the pods did not supply, are to be extracted from the original structure of Lord Hotel. Additional openings in the north façade provided TXDOLW\ GD\OLJKW 'HGLFDWLQJ RQH à RRU DV D FRPPRQ URRI garden extended the common space and provided safe space IRU SOD\LQJ DQG JDUGHQLQJ ([WHULRU FRUULGRUV à RDWLQJ DPRQJVW the crowns of palm trees intend to serve as recreational pathways.

The project aims to question the modern urban way of living, which in many instances denies the inhabitant the possibility of engaging in their own environment and separates an existing community by isolating families in compartmentalised housing blocks.

1.Public 2.Residential 3.Commercial.

The next step in the strategy to supply with essential needs of a community was to address the complications of living in elevation. Conventionally, informal settlements are located on ground level and usually lack easy access to water, clean air, personal hygiene, food storage and waste collection. Moving to a high-rise could mean an important upgrade in these FRQGLWLRQV DQG WKH LQWHQWLRQ ZDV WR WUHDW WKH PRGLĂ€FDWLRQV of Lord Hotel as providing a form of health insurance, by designing compact and resistant service pods. The pods would

settlement

1394

3100

3925

390

3084

3344

2450

B-B

4195

IV 2413

800

2580

5`fS]Va`U 3-3 1.20

5`fS]Va`U 1.20

3029

A-A

pods

pods section

Original

aparment types

Aaart^ent $

>`UZ TReZ`_

2840

Two equall\ qualiÂżcated rooms on both sides of the pod, both with cross ventilation and daylight

@aV_Z_Xs

Aaart^ent #

Walls

383

Pods

Shafts

857

Walls

1500

Aaart^ent "

Sta_UacU aaact^V_ts

inhabitation diagram

Inhabitation by negotiation

Inhabitation by negotiation

2072

1851

settlement section 147

2740 160 4352

11957

daylight measures

model studies

apartment in detail

jalousie

16861

11173

IV

B-B 1.00

C-C 1.50

A-A 1.00

JURXQG ÁRRU 149

SETE DE ABRIL Rua Sete de Abril 351 The building at Rua Sete de Abril is located in the district Republica, central area of the city of São Paulo.. The building is mostly surrounded by high-rise buildings, with a variety of DFWLYLWLHV ORFDWHG LQ WKH JURXQG à RRUV VXFK DV EDQNV FORWK stores, cafes, restaurants and other. On the back side of the building there is an outdoor parking which belongs to the plot. This parking is reached from Rua Basilio da Gama. The building was originally residential, with commercial units on the ground level. There is a hairdresser salon, kiosk, cloth VWRUH DQG DFFHVVRU\ VWRUH 7KH à RRU DERYH ZRUNV WRJHWKHU ZLWK WKH JURXQG à RRU DQG LV SUREDEO\ XVHG DV D VWRUDJH 7KH JURXQG à RRU LV IRXU PHWHUV KLJK ZKHUHDV WKH UHVW RI WKH à RRUV are three meters high. Windows and entrances are formed only on the front and back side , as the sides of the building DUH WKH ÀUHZDOOV 7KH IURQW IDFDGH LQFOXGHV DOVR VPDOO )UHQFK balconies. Overall the building consists of twelve similar à RRUV H[FHSW WKH WK à RRU ZKLFK LV VPDOOHU VHWWLQJ EDFN DQG FUHDWLQJ D QDUURZ WHUUDFH RQ WKH IURQW IDFDGH 7KH URRI LV à DW ZLWK D VPDOO WHFKQLFDO à RRU

Site plan

WK ÁRRU SODQ

IV Rua Sete de Abril

7\SLFDO ÁRRU SODQ

Section

*URXQG ÁRRU SODQ 151

SETE DE ABRIL #1 Kristina Stonkute The project is about transformation of this former apartment building, which is currently empty, into social housing. The EXLOGLQJ KDV ÀYH HQWUDQFHV RXW RI ZKLFK IRXU RI H[LVWLQJ VWRUHV LQ WKH JURXQG à RRU DQG WKH ÀIWK RQH LQ WKH PLGGOH LV WKH one for the residents. Existing facilities are kept and adapted to the project. The main idea evolves around opening the main entrance to the public and turning the parking lot into a calm courtyard. A new volume is added in order to provide more apartments for families and make use of the parking space as well as draw boundaries of the new courtyard space in between old and new. New passage through the old building Perspective view creates a sense of a wider street, since the area is very densely built. While transforming the inside space of the building, Site plan the main idea was to provide as many apartments as possible and at the same time design them according to people’s needs and giving them extra qualities derived from the old structure.

As for the new volume, the apartments designed are more spacious and meant for families. Other activities are provided LQ WKH SURMHFW *URXQG Ă RRU RI WKH ROG EXLOGLQJ LQFOXGHV D new bakery, which connects directly to the baking space in the new building, having a delivery access from Rua Basilio da Gama. While letting the public and the residents meet in certain spaces, private and public were carefully separated in the project due to security issues. Terraces oriented to the courtyard were added to the back facade of the old building .

The new building includes an indoor gym and a possibility to walk on the roof.

Images of the building Perspective view

IV

*URXQG ÁRRU SODQ

VW ÁRRU SODQ

QG ÁRRU SODQ

UG ÁRRU SODQ

153

WK ÁRRU SODQ

Section A-A

WK ÁRRU SODQ

Section B-B

IV

155

THANK YOU /XLV 2FWDYLR GH )DULD H 6LOYD (VFROD GD &LGDGH Cristina Brasileira, USP Carla Caffe, Plataforma Habita-Cidade Cinzia Schiavon, Plataforma Habita-Cidade Residents, Ocupação Cambridge Residents, Ocupação 7 de Abril 5XEHQV $]HYHGR 2Ã&#x20AC;FLQD 6mR -RmR Anne Dieterich, Brasil Arquitetura *XVWDYR 0DUTXHV 6DQWRV )$8 863 5HQDWR &\PEDOLVWD )$8 863 %UXQR 3DGRYDQR )$8 863 (GXDUGR )HUURQL + ) $UTXLWHWRV Hector Viggliecca, Viggliecca & Associados Natalia Tanaka, Viggliecca & Associados Lucas Nobre, Boldarini Arquitetos Associados Marcos Boldarini, Boldarini Arquitetos Associados Heloisa Masuda, COHAB-SP Mats Ã&#x2026;hlander, Svenska Bostäder Staffan Gezelius, Södergruppen arkitekter Erik Steinberg, KTH -RVHÃ&#x20AC;Q :DQJHO .7+ -RKDQQD :LFNVWU|P DUNLWHNW (PPD -RQVWHG 8WRSLD $UNLWHNWHU Mikael Reid, Arkitekt .RQUDG 0LOWRQ -lJQHIlOW 0LOWRQ <OYD )ULG $4 $UNLWHNWHU

Studio 8 has explored the concept of a common urbanity. At varied speeds cities are in transformation, be it a process of becoming sustainable or the need to sustain itself. A new type of urbanity is forming in cities that may be a result of many tipping points, where social production responds directly to the various needs of their territories, from the urgency of providing for basic physical needs of housing to the creation of new kinds of cultural and social spaces. The individual has gained unprecedented importance because of its role amongst the many, with their connectedness their most important asset. At the same time, having shifted to the east, modes of production and manufacturing promote greater and greater independence from geographical location. In this context we have re-considered the city and re-invented it as the space of production for the future, of forms of manufacturing products and of the artistic production of culture that can inform and construct the collective.