e n tr e `
e n tr e requalification of a central area of sĂŁo paulo, brazil
veronica vacaro tutor: carlos lahoz palacio
[MUID]3 master in urban interior design
1 SÃO PAULO AND THE PROJECT AREA SITUATION
SÃO PAULO, A BRIEF STORY
THE EXISTING ELEMENTS
2 ANALYSIS IN THE METROPOLITAN SCALE
METRO AND TRAIN SYSTEM
3 ANALYSIS IN THE PROJECT SCALE
4 THE PROJECT
sĂŁo paulo and the project area 7
center of sao paulo
a brief story
To project in this area it’s required an understanding of the formation of São Paulo, The city emerges as a small village occupied by Jesuits in a mission to convert the native Indians into the Catholicism, in 1554. Padre Manuel de Paiva led the first mass on the 15th of January, marking the birth of the city, in a simple house made of Taipa, the main construction form used at the time. Two years later, in that area, the construction of the Pateo do Colégio, consolidated the ‘Marco 0’ of the city. In the 17th century the expeditions to the interior of the State, called Bandeiras, in order to find indian labor and precious metals, marked the expansion of the city, creating the first connections from the city center to rest of the State. The strategical geographic location, between coast and interior, made São Paulo the commercial center. Being an essential point for the outflow of sugar and coffee production to the Port of Santos. In 1808, with the opening of the ports made by Dom João VI, the economy increased quickly. After becoming an economical leader, with the Proclamation of the Republic by Dom Pedro II in 1822, São Paulo also becomes a national reference and consolidates itself as a political strength. The 19th century is marked by the strong Coffee Culture. Because of the “Terra Roxa” in the area, which is the red earth appeared because of the volcano lava in the separation of the continents which makes the soil very rich and good to plant, this becomes the main product of the economy with São Paulo as protagonist as the center of distribution. It’s the birth of the bourgeoisie, bringing reason and money for the development of the city. This period is characterized by the construction of the big farmers’ houses, and the creation of the two main train companies: the SP Railway in 1867, with the construction of Luz Station, and the Estrada de Ferro Sorocabana in 1870, with the Julio Prestes Station. The growth of the economy and therefore of the bourgeoisie creates the need of investment in education. The Liceo de Artes e Oficios, currently knowned as Pinacoteca do Estado is created. With the end of slavery, the main labor becomes immigrant, made mainly by Italians, and the center, with the two main train stations, becomes the gateway of the city. The street in between them is named Rua dos Imigrantes and in 1882 is created the Hospedaria dos Imigrantes. The center, therefore, becomes an area made by all these nations, being them mostly Italians, but also Japanese,
Arabians, Portuguese and Spanish. This is a time of great development of Sao Paulo, specially in the area of Luz. The decadence, as will be explained ahead, would happen because the end of the Coffee production, the relocation of most industries and the end of the Train Era, with the transformation of the main transportation system into cars, causing the deactivation of the train stations in the 1960â€™s and making people move to other areas of the city.
It is possible to see the fast development of the city in a short period of 14 years and the construction of the trail rail. The area grows following the river course due to the easy access.
In these maps it is possible to see the development of the train system in the city and the disapearance of some rivers along the time
luz, santa ifigênia and bom retiro
The area “Campo de Guaré” – indian language for “forests in wetlands” - due to the constant floods caused by the rivers Guaré (current Tietê) and Tamanduateí, was occupied by farmers in the 17th century. Little by little, these floor areas were grounded and bridges were built, connecting this central area to the other side of the river. With the construction of the Railway Station, in request of the Baron of Mauá for the outflow of the coffee production, the area started to go through a series of transformations, including the creation of the Public Garden of Luz, cultural instances and infrastructure. Many immigrants arrived there, so it soon became a prestige area with commercial facilities, restaurants and hotels in its surroundings. A boulevard was made in Avenida Tiradentes and big houses – the palacetes – were built in the area, for the elite of the coffee production. Popular neighborhoods were created in its surroundings to house the railway and commerce workers. In 1961 the biggest bus terminal at the time was built at Praça Julio Prestes, bringing even more life to the area with the opening of more restaurants, dinings, bars and hotels. The degradation process started after and, in part, because of this fast development. Since the existence of floods made it impossible for the neighborhood to expand more, the population started to move to the east part of the city. It got worst with the end of the railway era, when the area started to lose its importance. The bus terminal was deactivated after the construction of a bigger one in Marginal Tietê, a more accessible expressaway to reach the city. In 1982 the construction was used as shelter for homeless people and in 1986 the mayor decided to demolish it. That was the beginning of a new era of Luz. In this process the area was dominated by the drug traffic and prostitution. Besides that, the transformation of the existing boulevard in Avenida Tiradentes and the riversides into expressways brought chaos and more degradation into the zone. Despite the many attempts to solve the issue, such as the closure of hotels that attracted drug users or prostitution, or failed urban projects, Luz became a lost space in the city, with this glorious story hidden under bumpy sidewalks, poverty, drugs and empty lots.
The map shows the first design of the Parque da Luz, first public park of the city. The tower was until the beginning of the century, the highest point of São Paulo, allowing people to have, for the first time, a different point of view. Also it is visible the construcions made in a colonial way, owned by the “Senhores do Café”.
the existing elements
1 JARDIM DA LUZ 2 ESTAÇÃO DA LUZ 3 PINACOTECA DO ESTADO 4 ESTAÇÃO JULIO PRESTES 5 ESTAÇÃO PINACOTECA 6 BOCA DO LIXO 7 CRACOLÂNDIA 19
jardim da luz the oasis
Created in 1798 as a botanical garden by a royal order of the Portuguese Crown, the garden was opened to the public in 1825 - Imperial age - becoming, therefore, the first leisure space of the city. In 1838 the area known as “Botanical Garden” becomes “Public Garden”. In 1860 a great piece of land is given to the English Company to build The Sao Paulo Railway, that would later become the Estação da Luz (Station Luz). This project changed the former symmetry of the park and as consequence a lot of the existing fauna was lost. In the same decade, a part of the reminiscence park was given to build the Colégio Prudente de Morais and the Liceu de Artes e Ofícios, current Pinacoteca do Estado. In 1874 a 20-meter meteorology observatory is built, but right after the Station was ready it was destroyed. During the years of massive coffee production and exportation the garden goes through a remodeling process based on the English patterns of landscape design, and lives its glorious times. But, as the coffee production goes through its crisis, the garden starts its process of degradation. In 1981 the park became a national patrimony. In the park there is: Casa do Administrador The “House of the Administrator” was built for Antonio Etzel, nominated by the mayor Antonio Prado in 1899. The administration is taked over by his son, Arthut Etzel, in 1930, who also worked for the Parque Ibirapuera, biggest park of the city. Coreto The first bandstand was built in 1880, for music presentations of immigrants groups and for balls. The current one is from 1911, projected by Maximilian Emilio Hehl. Grotto and Waterfall Built in 1880, it was used as water tank with a capacity of 25.000 liters. Ponto do Bonde In 1872 the animal traction tram system is inaugurated connecting the most important central areas of the city. Subterranean Aquarium In the 1999 reconstruction process, an underground water passage was found. Today is used as a secret subterra-
estação da luz the modernity
The Railway Station of Luz was built in 1867. At first the station was a simple platform parallel to the rails, with a small volume in which was housed installations of dispatch, arrivals, departures and the house of the master of the station. It was a crucial node of the coffee culture, since it connected the producing farms in the interior of the state, with the most important port of the region – Porto de Santos – that was responsible for the exportation of the product. In 1901 it was reconstructed by Charles Henry Drive, based on the English Victorian style, reproducing the Big Ben and Westminster Abbey in two distinct blocks made in brickwork, and a glass ceiling covering the gare area.
pinacoteca do estado the rise of the culture
Former Liceu de Artes e OfĂcios, the current Pinacoteca was projected by the architect Ramos de Azevedo, and founded in 1905 by the government of Sao Paulo, being, therefore, the oldest museum of the city. The collection is focused on the Brazilian art production of the 19th century until present time. In 1990 it was remodeled by the great architect Paulo Mendes da Rocha. The construction, make by bricks and metal structure is imposing and unique. Itâ€™s connected with Jardim da Luz through its restaurant in the groundfloor.
estação julio prestes the development
The former Estação Sao Paulo was inaugurated in 1872 by the company Estrada de Ferro Sorocabana. It was a new connection for the coffee transportation with the south and west of the state, and with the north of Paraná. The product that arrived there was transferred to Estação da Luz, to finally be outflowed in the port of Santos. With the money provided by the coffee exportation, in 1925, it was decided to build a new, bigger station, the was in charge of the architects Cristiano Stockler das Neves and Samuel das Neves. Because of the 1929 big depression crisis, that affected the whole world, the construction was only concluded in 1938, already in a crisis environment. The project is inspired in the NYC Grand Station. In the middle of the building there was a big French inspired garden, that, after the 90’s reconstruction made by the governor of Sao Paulo, Mario Covas, at the request of the Symphonic Orchestra Maestro, John Neschling, was transformed in the astonishing concert hall, Sala Sao Paulo, project led by the architect Nelson Dupré. Nowadays, there’s an idea of creating an underground connection between this station and Luz, to decrease the heavy flow of people concentrated there.
estação pinacoteca the resistance
The building, located at the Largo General Osório, housed the offices of the company Estrada de Ferro Sorocabana, former responsible for the Station Julio Prestes. The ground floor, where was located the State Department of Political and Social Order from 1940 until 1983, was incorporated by the Pinacoteca do Estado in 2004, and transformed in a Resistance Memorial of Sao Paulo, focused on preserving the memories of the political resistance and repression lived in Brazil in the 20 years of dictatorship occurred from 1964 to 1984. The first floor houses the Centre of Documentation of Memory e the Walter Wey Library.
boca do lixo the escape
The area located in the surroundings of Rua Vitoria and Rua do Triunfo became a cinematographic polo in the 20’s and 30’s due to the arrival of big producers such as MGM, Paramount and Fox. This attracted distributers, equipment factories, maintenance services offices and other companies within this field. Between 1960 and 1980 it became the center of independent production, which created this urban scenery of men guiding carts filled with movie rolls. During the years of dictatorship, since there was a lot of censure, the gender “pornochanchada”, which is a mixture of pornographic cinema with comedy, mostly of really low conceptual quality, became a symbol in the brazilian film industry. In the 90’s a big part of Boca do Lixo became Cracolândia, and therefore, one of the most depredated areas of the city.
cracolĂ˘ndia the refuge
With the process of decadence and desertion, the area became empty. When the bus terminal was deactivated in 1982 a lot of homeless people started occupying the limits of the building, and the closure of restaurants and hotels due to the decrease of movement there was essential to the strengthen of the definition of this area as CracolĂ˘ndia. In 1990, the crack traffic took over and drug addicts started to occupy these streets as their homes. Violence increased tremendously and even the inhabitants of the neighborhood were afraid to walk by. The government started uncountable actions there, including hospitalization of the user, or his re-inclusion in the society, but none of them has worked. This is the dominating landscape of the neighborhood today. The occupation made by these addicts three decades ago had such a powerful change that remains until today.
rua josé paulino the welcome
The first sign of what would become one of the most important commercial axis of the city was in 1860 with the opening of the firsts brick yards due to the remaining clay left by the riversides after the constant floods. The most important and the pioneer one was called Olaria Manfred. The arrival of the railways and the consequent development of the region allowed the construction of factories and deposits. Many immigrants started to settle there, specially in the Hospedaria dos Imigrantes. In the beginning of the 20th century the neighborhood was dominated by Italians, and the landscape was made by little houses, tenements and traders. The street, that finishes in Jardim da Luz, was a mandatory path for those who arrived in Sao Paulo, which gave strength to the commercial activities also exercised by Portuguese, Syrian, Lebaneses, and sometimes Turkishes immigrants. In 1910, five workers gathered in the corner of Rua José Paulino and Rua Cônego Martins and founded what would become a great football team and passion of the city: Sport Clube Corinthians Paulista. From the 20’s on, the arrival of Jews from Poland, Russia and Lithuania increased and settled in the area, that was being left by the Italians, that were moving to other regions. They stayed there until the arrival of South Koreans, in the 60’s. Today the street consists of 350 stores, most of them of clothes and fabrics, with a constant and intense movement of shopkeepers for retail purchases, consumers and restaurants of all nationalities.
analysis in the
metropolitan scale 31
metro and train systems
analysis in the
project scale 43
density of 186.10 hab/ha
density of 102.69 hab/ha
density of 71.48 hab/ha
average income R$ 1497.41 (aprox. 404 EU)
average income R$ 978.31 (aprox. 264 EU)
average income R$ 1358.69 (aprox. 367 EU)
The region encompasses three districts, which respond to the Sub-Prefecture of SĂŠ in political, economic and urbanistic issues, among others. The neighborhood division, above, refers to a more local notion, which may vary from person to person. The neighborhood involves customs, landscape, traditions... All the neighborhoods involved are among the oldest in SĂŁo Paulo, and therefore have a lot of immigrant influence, mainly Italian.
value of the urban land
MARKET VALUE (R$/sqm) until 55,00 from 55,01 to 215,00 from 215,01 to 485,00 from 485,01 to 800,00 from 800,01 to 1.200,00
distribution of formal jobs others 36.6%
wholesail retail 8.3% accommodation and food 8.3%
automotive retail 22.9%
jobs / sqm
real estate 12.7% business services 12.1%
JOBS/sqm from 5.000 to 10.000 from 10.001 to 15.000 from 15.001 to 20.000 more than 20.000
THE LOCAL TRADE PROFILE
font: Secretaria do Desenvolvimento, Trabalho e Empreendodorismo da cidade de SÃ£o Paulo
the The public that frequents the region is extremely diverse and punctual, being them daily: The
“nóias”, that occupy the area behind the Julio Prestes Station. They group in corners to use the drug on the
sidewalk and during the rest of the time lodge in the square in front of the station to sleep, eat etc.
shoppers occupy the commercial axis - Rua José Paulino and Santa Ifigênia. In both of them there is the presence of final customers and shopkeepers.
In the first, a street focused on women’s clothing trade, we can find a mostly female
audience, of varied ages. In Santa Ifigênia, in turn, we can find a diverse audience, of all ages, and shop owners who rotate during
the day picking up materials at other stores. The two main cultural institutions have quite different, but circumstantial, use which by the punctual frequency do not constitute a dynamic in the urban space. In Sala São Paulo the highest flow occurs from 9:00 pm to midnight, when the concerts happen, and on weekends, during all day. The audience, in addition to the musicians, is mostly elderly, and both men and women. Almost 100% of visitors access the site by private car and park inside the building. The Pinacoteca do Estado, in turn, has a diverse audience, being them
tourists, ‘paulistanos’ and school
excursions. The access is made mostly by metro, through Estação da Luz, generating a fast flow between station and museum. The area is also occupied by police
officers and security guards, mainly by the frequency of “nóias”.
During the night the sidewalks are occupied by
prostitutes, who use the many hotels in the area to take their
residents, people using the services of the street, especially repair of cars and motorcycles, frequenters of the bars and workers of
At Avenida Duque de Caxias we can observe an audience that varies among the region at lunch time.
A common statement that you can hear there is “besides the “nóias”, the neighborhood is good”.
dirt, danger, threat, drugs, shame and trouble. What stands out to the inhabitants are the train stations, The presence of drug users is clearly the strongest image in the region, which people always associate with
MAIN CHARACTERS buses and subway, bakeries, the great hospital Santa Casa, the opportunities to work in the informal commerce and picking recyclable materials. According to them, interventions by the State will not solve the problems and only promote
A strong point mentioned by the merchants was the underground union between subway and train, which abruptly reduced pedestrian traffic. Many shopkeepers hire private security guards to take away drug users, who push customers away and slow the flow. The region has many empty lands with potential projects never completed, which ends up creating large deserted spaces, diminishing any
sense of security and promoting more violence.
These are the dominant characters of the
The police is settled in a few different
They arrived in the area in the beginning
area. For the rest of the population the
points of the area. They stay in their
of the process of degradation.
synonym of disgrace. Their life is based
place and have a known relation with the
According to them, the area is good be-
on finding a way to use the drug. Some
drug users. But, despite their presence,
cause of the park, the fixed clientele
of them get money taking recycable ma-
the neighborhood still doesn’t have a
and the hotels near by.
terials from the streets.
sense of security.
The avarage public are 40 years old men.
THE GARBAGE COLLECTORS
This is a famous activity in the area for the
Divided mainly between Rua José Pau-
The clients vary in age and gender in
drug users, since it pays around R$15/day,
lino (clothes) and Santa Ifigênia (elec-
both commercial areas, although in José
giving them enough to buy the crack.
tronics) the shopkeepers and employees
Paulino the public is mainy females.
Even with their presence the neighbor-
usually walk a lot between stores, talking
Their circulation though is very precise
hood is still very dirty and with a low
and making jokes. Both of the areas have
amount of recycling.
a really strong sense of community.
who are they? THE TOURISTS
THE STREET TRADERS
The Pinacoteca do Estado is one of the
Besides hotels and car workshops, in
Along all the area you can find informal
most important museums of the city
commerce in the streets, but specially
and attracts a lot of tourists. Most of them
Avenida Duque de Caxias there is a lot of local commerce, such as baker-
in Rua José Paulino.
though arrive in cars or through the met-
ies, bars, markets, farmacies, etc.
Since the sidewalks are narrow, they usu-
ro station, without circulating through
The focus public of these places are the
ally use a piece of fabric to keep all their
habitants of the area.
products and make the transport easier.
THE TRAIN USERS
THE SERVICE PROVIDERS
This is a very peculiar public of the area
These is the ‘heavy flow’ of the area. Only
The area has all kinds of services, being
since their frequency happens on week
in Estação da Luz, there are more than
them mainly car repair at Duque de
days, from 21h to midnight and on week-
700.000 passangers/day. After the
ends. They usually go by car and park in-
connection between train and metro the
side the institution, having no relation
number of passersby in the public space
Caxias, the Poupa Tempo Luz, and social services focused on harm reduction programs with the crack users
or leaving no trace in the public space.
decrease a lot.
THE CONCERT LOVERS
THE CRACOLÃ‚NDIA PROFILE
spaces occupied by homeless people
groups of people
PUBLIC consumers habitants tourists/visitors drug users service users shop workers visitors sala sĂŁo paulo social service
area/groups of people
MAIN PUBLIC/AREA consumers tourists/visitors habitants service providers/users
It is visible how this part of the city became a den of violence, drugs and prostitution. Citizen participation here is mostly an attempt to help and welcome the poor, the black and the drug user. Even so, the region is feared by most of society and then the public space becomes empty. At the same time as the ‘paulistano’ claims for public space, he hides in safety, in the known. These four types of participation: promotion of cultural events in the public space; the union of people in order to look after minorities that live in the street; the transformation of an urban area, intended for cars, in an urban park; and the caring for others, are essential for the creation of a democratic public space. This practice leads to the coexistence of all parts of society and the free use of space.
RUA DO SAMBA
The “Street of the Samba Paulista” was born in 2002 when Kaçu-
The collective was created in 2016 to fight the police violence
la, the main organizer, started to sing samba in front of the in-
used against the drug users of Cracolandia.
strument store “Contemporânea” in Rua General Osório. People
After talks with militants and users, a vigil began, along with the
started to gather to watch and it suddently became a weekly
promotion of cultural and leisure activities in the area, such as
meeting, with the goal of preserve the samba from São Paulo.
movie exhibitions, ‘rodas de samba’, capoeira and music con-
In the first years of history, Kaçula had to park his Fusca in order
to block the car flow and bring safety to the people. Every week
The main idea was not only to bring activities to the people of
the police came and fined him, until they got the mayor authori-
Cracolandia, but bring citizens from the outside, creating a big
zation to make the event.
support network and current watch with those in a vulnerable
Rua do Samba happens once a month and attracts more than
situation that are in constant war with the State.
The project began autonomously through the internet with the
Kaçula defends it is not a concert, but a real “Roda de Samba”,
people that were perplex with the military violence used in the
a true tradition of the brazilian culture, where the musicians
area, and today consists of collaborators that promote these ac-
change instrument and people can sit and play when they want.
tivities daily, and follow the phylosophy of harm reduction measures in order to increase the quality of life of the crack users.
citizen participation É DE LEI
The center of social living É de Lei acts as a non profitable or-
“Minhocão” is the nickname the São Paulo population gave to the
ganization in the field of social and health harm reduction pro-
2.8km elevated highway that connects the west to the center of
grams for drug users. The actions of the center are focused in
five nucleus: the Field Core, the Education and Research Core,
It was inaugurated in 1969 with the name of Elevado Costa e
the Culture Core, the Communication Core and the Management
Silva. It works from 06:30 - 21h30 as a highway, has a flow of
80.000 cars/day and after that it is closed to bring at least a
The nurse Agostinha says that she can define the type of user by
little comfort to the people who live in its surroundings.
looking at his feet. She tells some wounds are so deep she can’t
Some city council members filled a law enforcement order in
tell if it’s asphalt. Through the care of their feet she’s able to talk
2014 to end the car traffic and turn the highway into a park.
to them, give some comfort. She calls Cracolândia “the floor or
But, even without this formal approvement, the population start-
the floorless”, and explain that these people are taken away from
ed to use the area as a leisure space in the hours it was closed
a place where they belong, and brought to a place they’ll never
for cars, and in the past years the use of the space increased
be accepted. Like Agostinha, the other characters that work for
tremendously. There were even parties organized there and a
É de Lei walk around the place and try to create relations and
understand this outsider society.
Today it is also used in the nigh by bikers and runners.
urban space 69
urban space barriers
RUA JOSÉ PAULINO
ESTAÇÃO E JARDIM DA LUZ
AVENIDA D. DE CAXIAS
ESTAÇÃO JULIO PRESTES
urban morphology and activities
SACRED ART MUSEUM
OCCUPATION OF THE LAND THAT BECAME A FAVELA
INTENSE COMMERCIAL ACTIVITY (MAINLY CLOTHING)
SCHOOL OF TECHNOLOGY OF THE STATE OF SAO PAULO
OF SAO PAULO
SESC BOM RETIRO INSTITUTION THAT PROMOTES CULTURAL EVENTS, COOKING SCHOOL, SPORTS, LEISURE AND MORE
CASA DO POVO
INSTITUTION THAT PROMOTES CULTURAL EVENTS
TECHNICAL COURSES, FOCUSED IN NURSING
ETEC SANTA IFIGÊNIA
CASA DA LUZ
FAMOUS R$1 MEAL, FREQUENTED BY ALL KINDS OF PEOPLE
STATE TECHNICAL SCHOOL OF GASTRONOMY, THAT PROVIDES EVENTS AND WORKSHOPS
SPACE THAT WORKS AS A NIGHTCLUB, PROMOTES WORKSHOPS, PARTIES, EXHIBITIONS, AMONG OTHERS
POUPA TEMPO LUZ
ELEVATED HIGHWAY TO BE DEACTIVATED. TODAY IS ALREADY USED BY PEOPLE AS A LINEAR PARK
SERVICE FACILITY THAT PROVIDES ALL DOCUMENTS. IT ATTENDS MORE THAN 1.000 PEOPLE/DAY
OF THE STATE OF SAO PAULO
MONUMENT TO DUQUE DE CAXIAS
ESTAÇÃO JULIO PRESTES
ESTAÇÃO DA LUZ
MONUMENT TO GIUSEPPE GARIBALDI
PINACOTECA DO ESTADO
urban space live spaces at night
urban space roads structure
points of heavy traffic
urban space bike lanes
PUBLIC TRANSPORTATION main roads bike lanes bus stops M T
parking lots metro station train station
the urban realm The city must be treated as a living organism. Through its spaces of transition and permanence, its permeability, its uses and activities and the collective sense of security promotes to its passersby the freedom and the sense of belonging. The individuality and the collectivity. The urban space has the function of promote meetings, welcome and fulfill the needs of anyone who transits there. It organizes the city and gives access to architecture - it is the stage of social activities. This project treats the Urban Realm as a space that drives social life and promotes democracy. Through the design of the urban ground floor it aims through five main elements - information, accessibility, identity, technology and resilience - to create a sense of belonging, of freedom, security and comfort to those who live or transit there. What moves a city are the exchanges that individuals make with it. The experience of space is made on different scales. The public space must make this relationship tangible. “So if I have a sense of the space, if I feel that the space is tangible, if I feel there is time, if there is a dimension I could call time, I also feel that I can change the space. And suddenly it makes a difference in terms of making space accessible. One could say this is about community, collectivity (...) It is about being together. How do we create public space? What does the word “public” mean today anyway? (...) I think it raises great things about parliamentary ideas, democracy, public space, being together, being individual (...) How do we create an idea, which is both, tolerant to individuality, and also to collectivity, without polarizing the two into two different opposites? (...) I would claim that art and culture, and this is why art and culture are so incredibly interesting in the times we’re living in now, have proven that one can create a kind of a space which is both sensitive to individuality and to collectivity (...). It is very much about the way we link thinking and doing (...) And right in-between thinking and doing, I would say, there is experience. And experience is not just a kind of entertainment in a non-casual way. Experience is about responsibility. Having an experience is taking part in the world. Taking part in the world is really about sharing responsibility.” (Olafur Eliasson, TED - Playing With Space and Light, Jul 2009) Kevin Lynch, in The Image of the City, divides the environmental image - generated through different perceptions - into three components: identity, structure and meaning. Identity would be the aspect of the individuality of the object; the structure, the spatial relation of the object to the observer, and the meaning, finally, would be what manifests, both practically and emotionally, in the observer. The method used here should be seen as a strategy to be applied in different parts of the city, always with a reading of the area in question, creating a living network of axis and public spaces, in which, with small structural changes, promote conjunctural changes in larger scale, creating identity and tangibility - an urban acupuncture.
the project São Paulo underwent a process of transformation in mobility in the 1950s that seems to be irreversible. The city, until then of the trams and trains, begun to have the scale of the car. It created a huge junction of far-reaching transport systems, and so the human scale was lost. Most public spaces are conditioned by large infrastructures such as viaducts, bridges, expressways and thus, the human being - supposed protagonist of the urban life - has lost its place. The scale changed, and time changed. In the course of its development, São Paulo began to suffer from several problems that end up together, resulting in the greatest of all: social exclusion and segregation. It has become a city of forgetfulness, always cherishing the new and the rich. With the speed at which everything happens, in a metropolis of scale like this in question, changes in movement, traffic and scale make people no longer recognize that space - disfigurement. But to recreate a connected and resilient public space we can not leave out the two most important things: what this place was to São Paulo, and what it is. Who it was, and who it is; How it was and how it is. What was once the synonym of connection, reference, arrival, zero mark, today is summarized in fragments of a city, buried history and dwelling of the discriminated. Daily enemy of the municipal and state government. An area in which most of the city’s monuments are concentrated, with one of the most important green areas - in the middle of the jungle of stones - and vibrant cultural and commercial activities. However, disconnected, without identity, dirty, violent and without a human scale. The following project aims, first of all, to achieve social inclusion, and at the same time to rescue the memory of what this region means for São Paulo.
campo de guarĂŠ â€œforests in wetlandsâ€? The history of this place has been buried under a fast and brutal development and the area was left with no identity. This project aims to unbury it through a process of citizen participation, making the society itself tell this story and be a part of it. Through Urban Design, the old tales will appear in the city again and create memory in a city that forgets. The coffee routes, the immigrants paths, the river flow and the cultural escape strategy will guide the visitors and the inhabitants through a Cultural and a Commercial Districts, that meet in a big square with activities that last both day and night through all year long, embracing all ages, social classes and races. A place for Paulistanos and for tourists, that connects the existing richness of the city telling its history and making a new one.
historic flows coffee route
the cultural escape
masterplan The area is divided into two main axis - a cultural and a commercial one - that cross eachother in a big square with 24 hour use, bringing life and safety through the use of the space. The building in the middle is a continuation of a mirror wall that connects the whole area and is almost invisible in the landscape. Inside, restaurants and bars with the typical São Paulo food: a mix of the whole world - italian, chinese, arabic etc. The activities proposed are connected to the existing life of the area and dedicated to the public that already experiences the space, and also to attract others. The pavement design is based on the former flows of that area, therefore in the commercial street José Paulino the buried river appears, while in General Couto Magalhães the colours and forms of the “Pornochanchada” produced in the dictatorship days occupy the space. In front of the Estação da Luz, where all the immigrants arrived, their first steps in this city are transformed in a dance of lines, and from Estação Julio Prestes until the square the coffee route is exposed through scattered grains . Finally, the big square has its activities rising in the ground like the water and forest that once were there when it all began. The vertical connection is made through a mirror wall, and lighting and sound poles, with different heights that bring the forest atmosphere back.
20 40 60 80 100
AN URBAN REALM WITH IDENTITY INFORMATION ACCESSIBILITY TECHNOLOGY SUSTAINABILITY RESILIENCE GREEN that creates:
SENSE OF CONNECTEDNESS SENSE OF SECURITY FAMILY, CHILD AND ELDERY FRIENDLY
VITALITY GREEN SPACES
SENSE OF PLACE EATING PLACES MIXED USE EASE OF ACCESS DIVERSE USE
CENTRAL MEETING PLACE
HERITAGE AND HISTORIC CONTEXT SPACE FOR EVENTS ACTIVITIES FOR EVERYONE
new traffic routes
cultural district The Cultural District connects four instituions which are: The Concert Hall of the Syphonic Orchestra, the Estação Pinacoteca, that holds the Museu of Resistence, the Estação da Luz, that holds the Museum of the Portuguese Language and the Pinacoteca do Estado. Real time information about the events will be spread along the place in virtual totems and in the city digital platforms. Besides that, the activities proposed in the public space allow cultural performances such as concerts, art workshops, musical instruments in the playground, open air cinema, art lessons, among others. Poles with soundboxes are spread along the axis recreating the soundscape that once existed, such as the steam train, the rich fauna of the wetlands, the river, and the many languages spoken by the immigrants in their arrival.
soundscape tra i n
25 02 13
the most prestigious brazilian and foreing artists hidden in Jardim da Luz.
art’s circuit secret garden the brazilian modern and contemorary art
27 28 20 21 15
12 24 98 17
19 1 7 31 14 26 32 22 29
2 23 3 16 6 30
rua ribeiro de lima
10 estação da luz
Artworks: 1. KÁROLY PICHLER Oração, 1970 2. MARIA MARTINS Searching for light, 1940 3. VICTOR BRECHERET Carregadora de perfume 4. NUNO RAMOS Craca, 1995 5. NOBUO MITSUNASHI The Twinkling Forest, 1991 6. LASAR SEGALL Três jovens, 1939 7. YUTAKA TOYOTA Espaço-Vibração, 2000 8. IVENS MACHADO Sem título, 2000 9. ARTUR LESCHER Sem título, 2000 10. ODETTE HAIDAR EID Botão de rosa
11. JOSÉ RESENDE Sem título, 2000 12. CAÍTO Sem título 13. LYGIA REINACH Colar, 2000 14. ASCÂNIO MMM Piramidal 34, 1999 15. VLAVIANOS Homem pássaro, 1985 16. SÔNIA EBLING Luiza, 2000 17. MARCELO SILVEIRA Sem título, 1999 18. NAIR KREMER Pietá, 1984 19. ARCANGELO IANELLI Encontro e desencontro 20. AMILCAR DE CASTRO Sem título, 2000 21. AMILCAR DE CASTRO Sem título (Usi-sac 41)
22. SONIA VON BRÜSKY Fóssil, 2000 23. AUTOR NÃO IDENTIFICADO Garça, sem data 24. MACAPARANA Sem título, 2001 25. ELISA BRACHER Sem título, 1999 26. FRANZ WEISSMANN Fita, 1985 27. CACIPORÉ TORRES, Sem título, 1998 28. CARLITO CARVALHOSA Sem título (Malacara), 2000 29. MARCELLO NITSCHE Pincelada tridimensional 2000 30. ANGELO VENOSA Sem título, 2000 31. LIUBA WOLF Figura heráldica, 1976 32. LIUBA WOLF Voo de pássaro, 1971Art pieces:
The Commercial District brings together the Rua JosĂŠ Paulino, focused on clothing retail, and Rua General de Couto MagalhĂŁes, that crosses the whole Santa IfigĂŞnia - the electronics area. Resting areas are distributed along the whole axis and each pavement connects that area to one store, which will be responsible for its the maintainance.
SP CARNAVAL anniversary
VIRADA +gallery night CULTURAL
G AY P R I D E
PA R A DE
SAO PAULO I N T E R N AT I O N A L F I L M F E S T I VA L
an active space jan
music festivals art shows open exhibitions design exhibitions fashion parades openair cinema local theater art workshops scavenger hunt music workshops yoga skating group gym chess ccompetition art lessons book fairs market antique market volunteering carnaval parades gastronomy fairs
furniture and materials
concrete painted steel
wood painted steel
waste management The waste management of this area can be dealt as a social issue if it is connected to an activity done by the homeless people and drug users. To embrace these people into the new design a few measures can be taken:
1 Creation of a Cooperative along with a Social Assistance program in order to later become a public assistance, where these people are employees, with a place to live and a salary.
2 Partnership between Waste Collectors and shop owners. Therefore, the provision of waste collectorsâ€™ services already provides the future recycling of this waste, while stores do not have to pay for the shipping.
3 Adoption of underground trash containers in the borders of the area, making the removal of the waste easier and more efficient.
4 Promotion of waste solutions, recycling and composting workshops in the area to educate the population regarding this issue. 114
Tese de conclusão de curso do Master in Urban Interior Design - Public Spaces in the Contemporary Cities do Escuela Politecnica Superior CEU...
Published on Mar 14, 2019
Tese de conclusão de curso do Master in Urban Interior Design - Public Spaces in the Contemporary Cities do Escuela Politecnica Superior CEU...