Plano Urbanístico do Parque

from Sesc Parque Dom Pedro II: transições culturais da cenografia à arquitetura

Dom Pedro II Park’s Urban Planning

tangencia o designado como perímetro no sentido norte–sul, é acompanhada por um enredado sistema viário cujo objetivo é garantir a presença do transporte público de massa. Portanto, refletem-se no Arco Norte questões do funcionamento urbano associadas à localização próxima do terminal Dom Pedro II.

Do ponto de vista funcional, outra característica importante do Arco Norte é a contiguidade com setores urbanos de comércio popular. Além do Mercado Municipal, no interior do perímetro, há um amplo conjunto de ruas comerciais, conhecido genericamente como “região da rua 25 Março”. Trata-se de um dos mais tradicionais e mais frequentados setores comerciais atacadista e varejista da metrópole. O fluxo de transporte público e veículos de carga mais a multidão de frequentadores atraídos pelas atividades ali concentradas geram um ambiente urbano ao mesmo tempo vivo e muito desordenado. O acesso cotidiano a essas ruas flui de diversos pontos, em especial do terminal de ônibus Dom Pedro II e da estação de metrô São Bento.

Completando tal caracterização, inclui-se o grande contingente de usuários com origem externa à metrópole que aflui em numerosos ônibus fretados. São consumidores que chegam e partem no mesmo dia. O desembarque, o estacionamento e o embarque nos fretados são improvisados nos espaços livres da antiga área de manobra junto à ferrovia no Pátio do Pari. É dali que a multidão de visitantes caminha para as ruas comerciais.

A dispersão dos acessos aos transportes públicos no setor norte do Parque cria intensa circulação de pedestres, expondo seu caráter disfuncional. O foco na demanda permanente de maior capacidade para o tráfego de veículos afastou qualquer tentativa de oferecer qualidade aos percursos de pedestres. As características espaciais e funcionais que ali vigoram cabem bem na definição de espaço urbano implodido. Portanto, considerar os problemas situados fora do perímetro do Arco Norte é indispensável para que as propostas feitas no seu interior ganhem coerência.

CONDICIONANTES DAS PROPOSTAS DO ARCO NORTE

A análise urbana do Arco Norte parte das condicionantes previamente estabelecidas pela PMSP: desapropriação das quadras 34, 35 e 36, entre a avenida Mercúrio, a avenida do Estado e a praça São Vito, onde estavam localizados os edifícios São Vito e Mercúrio; e a demolição do viaduto Diário Popular.

A programada demolição dos edifícios Mercúrio e São Vito, seguida pela integração de seus terrenos ao novo parque, possibilita uma nova articulação e a abertura de vias transversais para transpor o rio Tamanduateí, criando condições para uma relação entre o setor norte de outros logradouros, interiores ou adjacentes ao Parque. O partido assumido pelo Projeto é, neste caso, criar relações de continuidade entre espaços importantes que hoje estão desconectados entre si.

AS PROPOSTAS DE INTERVENÇÃO URBANA As intervenções urbanas no Arco Norte são pautadas por relações multifuncionais que têm no espaço público o seu agente de organização. A circulação de pedestres é o leitmotiv das propostas. Como usuário do transporte público e frequentador de todas as atividades oferecidas, são protagonistas das intervenções. Por se tratar de um movimento de rearticulação, que visa conter ou corrigir a implosão espacial e funcional, as propostas se concentram em enfrentar os problemas existentes, e potencialmente facilitar o acesso aos equipamentos que serão ali instalados. Antecipam estrategicamente um espaço público capaz de receber as novas atividades oferecidas pelos novos equipamentos: Senac e Sesc. A PRAÇA DO MERCADO COMO PONTO DE CONVERGÊNCIA DA CIRCULAÇÃO PEDESTRE Como histórico equipamento público que permanece pleno de vitalidade, o Mercado Municipal se tornou o centro da reorganização urbana proposta pelo Plano, como detalhado no projeto do Arco Norte. Sua complexidade funcional é enorme e não foi suficientemente enfrentada no belo restauro do edifício realizado pelo poder público no início dos anos 2000: as questões de carga e descarga de mercadoria, mais a presença diária de compradores e frequentadores, ampliadas depois do restauro, exigem ainda transformações estratégicas.

Inaugurado em 1933, o Mercadão é um foco do partido para as propostas das transformações urbanas que as análises indicaram. Desde sua inauguração mantém sua atividade de forma muito intensa. Embora o imponente e inovador projeto tenha ocupado toda uma quadra, hoje está bastante cerceado em relação ao seu entorno imediato, carente de um destaque urbano claro, que identifique seus acessos. Essa função é contornada por entradas laterais diretamente ligadas à rua, sem nenhuma transição entre o exterior e o interior. A atual implantação urbana não corresponde a sua importância histórica e merece ser explorada neste Plano e no Projeto para o Arco Norte.

A análise urbana conduziu à premissa: o Mercado merece conviver de forma mais destacada com o espaço público no qual está inserido. Deve desempenhar um papel articulador entre os edifícios e os espaços públicos do seu entorno. A realização dessa proposta está condicionada à desapropriação de uma das quadras laterais ao Mercado, a fim de criar um espaço público contíguo ao edifício, a Praça do Mercado. Com mais de 9 mil metros quadrados, essa praça, além de desafogar e demarcar uma passagem clara, permeável entre o espaço externo e interno, terá suas funções ampliadas ao receber outros acessos, a começar de um estacionamento subterrâneo, já hoje bastante demandado.

Outro elemento completará o novo espaço público com a inclusão da estação de metrô Mercado, prevista a partir da futura Linha 19. O impacto dessa nova praça no seu entorno deverá ser considerável. Com a estação, a Praça do Mercado ganhará características de nó de articulação de um sistema de espaços públicos mais qualificado para a circulação pedestre. As novas atividades propostas para o Arco Norte deverão ampliar a sua diversidade funcional em horários mais estendidos. A articulação dos novos equipamentos de cultura, lazer e atividades esportivas, com o transporte público e demais equipamentos e atividades, se tornou uma meta a ser explorada. A proposta privilegiou os acessos aos novos equipamentos, as continuidades do sistema de circulação de pedestres em função do transporte público de massa, incluindo a vizinhança imediata, entre outros edifícios históricos que já possuem programas de lazer e cultura, com destaque para o Museu Catavento e o futuro Museu do Estado, na Casa das Retortas.

LIGAÇÕES TRANSVERSAIS E UMA REDE DE PERCURSOS UNIFICADOS

As futuras vias transversais transpondo o Rio Tamanduateí, a interligação do Parque com o Arco Norte e o próprio Centro da cidade configurarão uma única quadra que englobará as duas ruas locais do Arco Norte. O rebaixamento da avenida do Estado irá aproximar o vértice do Arco Norte, que coincide com a ponta norte do próprio Parque e o Mercado Municipal. A partir das possibilidades abertas por essas intervenções propõe-se uma nova rua transversal, de caráter local, separando a nova quadra do Parque. Irá cruzar o rio e fazer a ligação entre as ruas da Figueira e da Cantareira. O rebaixamento da avenida do Estado permitirá também a construção

de uma ampla plataforma que cruzará a nova via e o rio Tamanduateí, criando uma ligação direta entre o Mercado e os edifícios do Senac, que posteriormente saiu do projeto, e do Sesc.

Estas intervenções são essenciais para a criação de uma rede de caminhos para os pedestres que circulam entre os transportes públicos e o novo equipamento de lazer e cultura, o Sesc, cuja proposta de funcionamento diurno e noturno exigirá conexões pedestres seguras. A instituição, que se afirma década após década pela qualidade dos programas de atividades, também ganhará bastante com a interlocução urbana oferecida pelo novo Parque Dom Pedro II. E este, ao mesmo tempo, ganhará uma forte caracterização no seu setor norte, onde deverão se agregar outros importantes equipamentos públicos: o Catavento, o Mercado Municipal mais o futuro Museu da História do Estado de São Paulo, localizado na Casa das Retortas.

Regina Maria Prosperi Meyer é arquiteta urbanista, professora titular da FAU – USP.

Dom Pedro II Park’s Urban Planning

Regina Maria Prosperi Meyer, Plan coordinator

In 2011, the Municipal Secretary for Urban Development (SMDU) at the time put forward a succinct demand to the School of Architecture and Urbanism of the University of Sao Paulo (FAU - USP): to develop an urban planning for Dom Pedro II Park. However, conditions were very specific, some of them bearing great possibilities and others demanding responsibilities. Delimiting two urban perimeters named Arco Norte and Arco Oeste, for which the SMDU requested the elaboration of specific projects, is what paved the way for the plan’s strategies. Other conditions have been decisive for the analysis and general party (that is, deciding on the main lines of the project). On the urban side, the most decisive condition, due to its metropolitan scope and local impact, was the lowering of Avenida do Estado in a tunnel, in the stretch between Mercúrio and Cruzeiro do Sul avenues, whose proposal the Municipal Department of Urban Infrastructure and Works (Siurb) submitted and whose size opened up possibilities for high-impact projects. Siurb established another condition, which also gave rise to proposals: the demolition of the Diário Popular overpass, built in 1969 to facilitate access to the Downtown for vehicles coming from the districts to the east of Brás. Today, the overpass is considered outdated in road and functional terms.

From the perspective of existing buildings and expropriation of blocks, the government provided for conditions that defined the premises for propositions of specific projects to be elaborated for the two arches, including the expropriation of three blocks between Mercúrio, Estado avenues and the São Vito square, as well as the demolition of the Mercúrio and São Vito buildings, both located in Arco Norte. Both demolitions were defined and started before the contracting of the urban plan and specific projects.

For Arco Oeste, the decision of the government to demolish the garage building located at 25 de Março street, built irregularly in the 1980s, gave rise to placed important interventions into perspective. Far above the region’s specifications, this building was an undesirable visual barrier from Pátio do Colégio viewpoint. Following the proposal for its demolition, the SMDU also demanded the reorganization of the adjacent Fernando Costa square. Because the informal commerce that is located today all over the public space was removed, a gallery-building for commerce was requested to be implemented on the perimeter of a block that would also be expropriated.

OVERVIEW

Large urban projects defined both by their territorial dimension and complexity and, consequently, high budgets, carried out from the 1980s onwards in developed and developing countries, are quite

controversial. However, when focused on serving urban functions of mobility, these provide valuable innovations in consolidated central urban territories. Because of their positive potential for comprehensive urban renewal, both from the point of view of new programs and the reorganization of public spaces, they are fundamental to contemporary urbanism. One of its attributes is the ability to mitigate, with new urban arrangements, the negative impacts caused by the random process that accompanied the gradual implementation of different modes of public transport in specific urban territories, especially in the central areas of metropolises.

ASSUMPTIONS

Some assumptions accompanied the first phase of the work without having to be explained. The first arises from an alert expressed by the Italian philosopher and politician Massimo Cacciari: “In order to transform, it is necessary to know the rules, not to have the indecent pretense to create the game”. That lead us to historical and geographical analyzes of the Dom Pedro Park site in order to understand the urban evolution of that place. The second assumption comes as an offshoot and has an operational bias: the need to read the context, a common practice in urban and architectural projects. And the readings, obviously, can vary greatly. Since the Park has a precise name from an administrative and registration point of view, but seemed insufficient for a broader urban analysis, we sought a figure that would more accurately represent its functional and spatial scope.

This posture was basic for the analysis and, consequently, for the propositions. A cartographic analysis of four historical maps covering a long period of seven decades, between 1890 and 2008, allowed a historical-geographic and urban reading. Questions that became dominant emerged from this examination. Attributes and impasses between the designs of urban history and the resistance of the geographic site were identified at each stage.

From this evolutionary procedure, we drew a clear vision of the processes that produced transformations and urban permanence inside and outside the Park. Even so, we do not see with the necessary clarity the image through which we would identify it in our analyzes and proposals. It was necessary to explore other scales, with which the Park articulates more locally, to reach our goal. By analyzing these closer relations, the immense body of the Park indicated, taking it as a radiating point, the demarcation of nine neighborhoods and a few urban sectors. In some cases, the motto of the analysis is the current activity of the sector, as in the case of the so-called Cerealist Zone. But stretches of neighborhoods bordering the Park were also identified, such as Brás, Glicério and Cambuci.

Old and new architectural and functional landmarks were also considered, since they are interesting for the urban planning for their dimensions and current disconnections. This is the case of the Municipal Market, the former Casa das Retortas, installations of the former Gasômetro, the deactivated railway yard in Pari and the immense Pentecostal Church. Investigating continuities, discontinuities or even the possibility of false continuities is an always demanding exercise, as it implies penetrating flows, which can either be structural as in the case of the road system, or functional, such as on the edges of neighborhoods. Permanencies and dissipations must be recognized, the reconstitution must be proposed for those that seem desirable for an urban planning that contemplates the present and the future.

A conceptual dimension was also present in the referral and represented a parameter for the plan and specific projects. It is a working method based on the concept of intervention in the existent city developed by the Portuguese architect Nuno Portas (in his text “Notes on intervention in the existent city”, published in Sociedade & Território magazine, n. 2, Porto, 1985 ). It seeks to articulate public projects that focus on consolidated urban fabrics, whether the oldest or relatively recent, with the new conditions of urban reorganization aimed at meeting new social, functional and contemporary urban demands. This is an analysis and, as a consequence, an urban project that seeks to recover urban attributes considered essential for the restoration of better urban conditions, threatened by abusive uses of urban space. Such an option corresponds to the perception of the analysis models limitations, preparation of schematic urban plans and projects dictated by rules and abstract ordinances established beforehand. The need to equate present uses, even when criticized, with the potential for recovering urban qualities is complex and requires analysis, justifications and complex propositions. In the case of Dom Pedro II Park, the enormous historical burden represented by the incorporation of a floodplain with characteristics derived from the presence of the Tamanduateí River in the city posed both a challenge and a happy opportunity. We must emphasize that the recovery of the Park’s urban attributes, as proposed in 1914 and delivered to the population in 1922, did not guide the plan requested in 2011; in other words, the dominant restitution of the essentially bucolic aspects did not lead the general party of the Dom Pedro II Park Urban Plan and the Specific Projects. The new figure outlining the analysis and proposition perimeter incorporated stretches of old adjacent neighborhoods. Thus, other themes were included, such as the presence of areas defined as Social Interest Special Zones (Zeis 3) which demanded new connections with the public transportation with fruition areas located in the Park itself and other public places Downtown. Potential articulations between the Casa das Retortas, the Gasômetro buildings, the Catavento Museum and the São Paulo State School were also highlighted.

DOM PEDRO II PARK AS A GATEWAY TO THE EAST ZONE DOWNTOWN

The general party adopted in the urban plan is based on an assertion about the large public spaces in the central area of São Paulo: the presence of interscale relations indicating the process of the city expansion from Downtown towards the consolidation of the metropolitan territory. Dom Pedro II Park is an obvious space with said attributes and, for a contemporary urban plan, such a reality is unavoidable. The initial analysis, which rested on the definition of a figure on which we should work, made explicit the presence of infrastructural urban systems that place the Park in relation to different scales, from the most local to the metropolitan.

The general premises that guided the Plan and the Specific Projects for the North and West Arcs encompass the issues that make up each of these interscalar systems. Two stood out: the hydrographic system represented by the presence of the Tamanduateí River and its floodplain, when it affects the interior of the Park; and the presence of a powerful mass public transport and road system that was randomly installed there. Both provided guidelines for the Plan’s structuring proposals and opened up possibilities for projects in both arcs. The burial of Estado Avenue, the expropriation of blocks and the demolition of an overpass and buildings were decisive factors in forwarding the Plan and Specific Projects.

THE RETENTION LAKE: A LIQUID SQUARE WITH DRAINAGE, TREATMENT AND REUSE OF WATER FROM THE TAMANDUATEÍ RIVER

The hydrographic system represented by the Tamanduateí River and its floodplain, whose historical occupation produced the

urban sectors located to the west of the park, imposed the need to face seasonal flooding. The history of this floodplain is told in pictorial and photographic images that record the recurrent floods. Considering that the problems related to the Tamanduateí basin could not be fully resolved, the Lake proposal addresses drainage from a local scale. It is, therefore, a strategic project, since it is located at the local scale, and which offers information for the broader scales thus opening up future possibilities. By incorporating the drainage issue, the Urban Plan indicates a solution that brings the natural landscape closer to the contemporary and quality public space resulting from it. The Urban Plan assumes, in relation to drainage, solutions aimed at integrating the primordial system represented by the river and its floodplain, and the secondary infrastructure so as to consider the technical requirements and reinforce the urban and landscape character of the hydraulic works necessary for such context. The set of proposed actions assumes infrastructural, urban and landscape functions. A specialized consulting company that developed the project with specific drainage systems, one for the east bank and one for the west bank of the Park.

Despite the strong presence of technical issues and solutions that led to the Lake’s proposal, it maintained the objective of creating a space for passing users’ leisure or users looking for a quiet place inside the Park. The solutions found for the coexistence of the river with the Park enable the creation of a public space where the relation with water recreates a “mental geography” that takes up the presence of the river at the pedestrian scale.

THE INTERMODAL STATION: CREATING A CONTEMPORARY MOBILITY ENVIRONMENT

Everyday urban life in contemporary societies has a crucial role in mobility. The relation between extensive urbanization and the mobility of people in the continuously expanded urbanized territory has become an unavoidable and complex issue. Since the 1980s, we have followed urban projects, both in developed and developing countries where the focus was on meeting urban functions governed by mobility. These are large-scale projects that provided innovations in already consolidated central urban territories. Due to their ability to mitigate the negative impacts caused by the random process with new urban arrangements, they are essential for contemporary urbanism. Today, Dom Pedro II Park is a manifest result of the relationship between the extensive urbanization process in the metropolis of São Paulo and that of mass public transport, which strongly impacted its territory from 1950 onwards. It has become one of the points of convergence of public transport users commuting daily from east neighborhoods and districts land the metropolis towards the Downtown and then to other quadrants of the metropolis. As the “Gateway of the East Zone” Downtown, for decades the Park was the target of constant and unsystematic adaptations of road supports that served the expansion and accommodation requirements of different transportation modes.

The dispersed set of spaces aimed at serving mass transport today brings together various pieces of equipment. The Dom Pedro II Park bus terminal, created in 1996, located at Exterior Avenue, next to Estado Avenue, is considered the busiest in Downtown with approximately 80 bus lines and 79,000 daily departures. It was built in 1966 and provisionally expanded with its demolition scheduled for ten years after the completion of the works in 1994, and its location is one of the most greatest problems of the current urban situation in the Park. The Line 3, Dom Pedro II subway station, opened in 1980 used to have 24 thousand users commuting a day before the pandemic. Finally, the exclusive bus lane Expresso Tiradentes, opened in 2007, serves around 75 thousand passengers a day.

One of the solutions is to create a mobility environment that articulates equipment and creates safe and comfortable pedestrian access systems. The challenges for locating such equipment inside the Park, already occupied in a dysfunctional and segregated way, imposed choices. The temporary location of the Dom Pedro II Terminal pointed to a possibility. The spatial and functional articulation with the Dom Pedro II subway station (Red Line) is a very important possibility. The proposed intermodal station should bring together the two bus terminals, SPTrans and Expresso Tiradentes, and also, in the future, house a new subway station, which should reach the Downtown through Celso Garcia Avenue.

The proposed structure aims to create a mobility environment in which public transport gains the important function of incorporating passenger flows in different modes – bus, subway, bicycle – comfortable and safely. It also has the advantage of reducing the circulation of buses within the Park’s perimeter and, thus, facilitate the creation of new accesses to meet the flow of public transport networks users.

Its location in the central sector to the east of the Park is strategic from the point of view of the other functions covered by the Plan, as it guarantees the articulation of the other equipment and creates suitable routes for users who make connections between the different means of transport. It should be a catalyzer of the transformations aimed for in the urban plan both for the service of important equipment located there and for those that will be elaborated by specific projects, as is the case of the future Sesc Parque Dom Pedro.

ELIMINATION OF OVERPASSES AND CREATION OF NEW CROSSINGS

The analysis of the road system, especially overpasses crossing the Park, leads to important outcomes translated into proposals and projects. From 1960 onwards, it became evident that expressways accompanied by overpasses had good results connecting distant territories; however, they had a heavy and very negative impact on local urban systems, which cross and disconnect. This was the calamitous result of the overpasses that cross the Park.

With a considered elimination of overpasses, the urban plan incorporated the proposals for structural projects, especially for the lake and the intermodal station. And, as already mentioned, the plan included the lowering of Estado Avenue between Mercúrio and Cruzeiro do Sul Avenues proposed by the municipal government. With this express Park north-south underground connection, the Plan should provide for new and decisive proposals and their consequences.

However, the important work proposed by the municipal government does not by itself remove the complexity reached by the elevated road system, carried out in an unsystematic way, always with the sole purpose of expressly transposing the east-west dimension of the Park, and, in the case of Expresso Tiradentes, the north-south direction. Such crossings created an iconic image of the Park’s urban ruin. After decades of road interventions aimed at facilitating the flow of vehicles and public transportation, the so-called intra-urban expressways gained enormous presence throughout the city and in an more so in Dom Pedro II Park. A set of overpasses crossing the Park ended up creating barriers towards the east-west.

The difference in elevations between the sectors located to the west of the floodplain was overcome with overpasses that reached the neighborhoods located in the other quadrants, establishing their own geometries that were inherent to the concepts of express road systems. They created aerial barriers aimed strictly at the flow of vehicles, designing their paths in a fragmented way in the Park. They produced an “archipelago of voids” that was duly represented in our analyses. Subsequently, the two public transport

systems introduced in the areas adjacent to the Park, the Blue Line of the subway and the Expresso Tiradentes, followed the same implementation pattern. The subway, for technical reasons, could only do an elevated cross of the floodplain, but the Expresso Tiradentes could have found other options for its implementation.

Based on a detailed analysis, the Urban Plan proposed a relocation of the aerial road system that reintegrates the Park to its immediate surroundings – considering that the demolition of the 25 de Março, Mercúrio, Antônio Nakashima and Diário Popular streets overpasses had already been proposed by Siurb. Its replacement for level crossings will guarantee two very important premises within the Park: the circulation of pedestrians in a comprehensive and continuous manner, plus the abolition of residual spaces left by the large structures of the elevated road system in the lower elevations.

PEDESTRIANS AND DOM PEDRO II PARK

The characterization of the Park as the “gateway of the East Zone” of the city and the metropolis of São Paulo Downtown comes from the recognition of the set of mobility functions concentrated and overlapped there. Although the concept of mobility includes the notion of accessibility, it is important to qualify this interdependence in this context. The analyzes carried out according to the Urban Plan showed that activities and functions focused on mobility became a priority in terms of their functional and spatial organization. Mainly at the local scale, accessibility is evaluated by the possibilities offered to public transport users to organize their commutes. And the quality of commutes is intrinsically related to distances, time and adequacy and quality of public space. As mass public transport requires an adequate road network, accessibility also requires a specific network intended for its user – the pedestrian – before the latter can reach it. Although the two networks are subject to different physical-spatial requirements, both converge to meet the same urban function: mobility accompanied by its complementary attribute - accessibility.

An analysis of the functioning of the Park pointed to the condition of the pedestrian as a central and unavoidable problem. When walking to reach the equipment, accessing public transport or crossing the park, there is always an obstacle to the pedestrian. The logic that presided over the distribution of monofunctional overpasses, exclusive to vehicles, impacted the pedestrian space. The comparative analysis of the transformations of level pedestrian crossings between 1945 and 2006 made the sharp decrease in their possibilities clear. Priority was notoriously given to large structures, especially overpasses for the circulation of vehicles both in form and scope. And the disappearance of the public space in Dom Pedro II Park, as a multipurpose space, of passage and permanence, is an issue faced by Specific Projects. The Park’s pedestrian space has been transformed into contingent itineraries, determined by access to public transport. The separation between vehicles and pedestrians ended up demanding an almost limitless resilience from the latter. The urban culture persistence in looking for solutions focused on separating functions and activities may, even today, induce proposals in which spaces for pedestrians are based on protection that imposes more difficult paths. Brasília’s pedestrian crossings under the axes testify to the failure of such a party. Pedestrians should not be led to give up the street level to the vehicle, as the continuity of the paths is their prerogative. The parties assumed in the Urban Plan structuring proposals have an intrinsic consideration for everyday urban life, promoted by pedestrian action in public space. The space for enjoyment and leisure next to the Lake and the mobility environment created at the Intermodal Station mark the so-called flow spaces, as routes to reach public transport and public places.

ARCO OESTE (WEST ARCH)

West Arch’s urban characteristics originate on the left side of the Tamanduateí floodplain and the Historic Hill, a primordial place for the foundation of the city. The location of the village in the “upper part” had, in the difference in elevations that separate the floodplain from the hill, its reason for being: seeing possible invaders from a distance explains the strategic option of the founders. A precious historical iconography reflects the importance and development of this relationship between the urban core and the floodplain. Images show an adapted functional and historical-geographic relationship between the two levels. In the first decade of the 20th century, Várzea do Carmo won the ambitious, French-style project that created the Dom Pedro II Park – and which remained incomplete. New interactions between the elevations were defined from it. As strong as the physical distance imposed by the elevations was the contrast between the urban development of the central streets, located “up high” with Pátio do Colégio as part of it, and the park’s bucolic party, which ended up generating a functional distance.

Building a cross section of Arco Oeste, cutting the Park in an east-west direction, was a methodological option that helped to confirm the need for new articulations between the two levels. Dialoguing with the permanence of the geographical site and the historically accumulated transformations became the core of the proposals. From a functional point of view, it is worth remembering that Dom Pedro II Park is assumed in this urban plan as a public transport platform in which a multitude of users who access the bus terminal are distributed and complete their journeys on foot towards the other quadrants of the city.

The proposals submitted followed two aspects: one based on strictly urban interventions which focused only on public space; and another programmatic and architectural aimed at intervening within the blocks in search of greater fluidity between them and the enhancement of existing activities. As for the urban fabric, no compositional links were sought, but only the creation of new and comfortable conditions for maximum pedestrian circulation due to access to other Downtown sectors.

A single and important relation that could be seen as a composition is the articulation between Praça da Sé and Dom Pedro II Park through Rangel Pestana Avenue. In fact, it is an existing axis, but very little used due to the absence of crossing points towards the edge of the Park. A proposal included standardizing and widening the sidewalks of the traditional 25 de Março streets with a new public lighting system. Thus, a section called Nova 25 de Março (New 25 de Março) is created where pedestrian may comfortably walk along the sidewalks of stores. Fernando Costa square should be reorganized by eliminating a stretch of perimeter road, accommodated in another way. At the request of SMDU, an underground car park will be built with 260 spaces per floor and accesses in the square.

Private occupations are simulated to meet different situations inside the blocks. There are concerns about the protection of historic buildings and the standardization of specifications. To house the street commerce that now occupies Fernando Costa square and will be eliminated, there is a proposal to build a gallery-building. Old buildings should be adapted to receive public social equipment for the homeless.

Anotherrecordproposestokeepthe Park’scomprehensivevisuallandscape from the Hill unobstructed, by means of corrections and standardization of the Arco Oestebuildings’specifications.Withinthis premise, and in compliance with a condition presentedbythethenSMDU,theirregular garagebuilding,locatedat25deMarço

streetinfrontofFernandoCostasquare, whichconstitutesaseriousvisualbarrierto theoverlooknexttothePátiodoColégio. With regard to programs for the use of buildings, both the remaining and the new ones, proposed by the Specific Projects, the objective is to promote a mixed use with housing density combined with reinforced commercial activity already traditionally present there. A new vertical connection is proposed with the installation of a set of outdoor escalators connecting the low level in Fernando Costa square with the Pátio do Colégio level.

ARCO NORTE (NORTH ARCH)

The north of Dom Pedro II Park, named Arco Norte by SDMU, is a clear example of the historically built urban complexity. This is true for the entire environment, but it is where the physical and functional attributes of the urban organization that conditioned both the intervention proposals and the specific projects are most strongly presented.

The urban functions consolidated in this territory reproduce, at local scale, a physical-spatial organization that expanded from Downtown, conditioned by the extensive urbanization pattern. Thus, the proposals for Arco Norte are necessarily (as in any urban plan) multi-scale. The natural presence of the Tamanduateí River, on the edge of the north-south perimeter, is accompanied by an intertwined road system whose objective is to guarantee mass public transport. Therefore, the Arco Norte encompass matters of the urban operation associated with the location near Dom Pedro II terminal.

From the function viewpoint, another important characteristic of Arco Norte is the proximity to popular commerce urban sectors. In addition to the Municipal Market inside the perimeter, many commercial streets surround the area and are known as “25 de Março street region”. This is one of the most traditional and visited wholesale and retail sectors in the metropolis. The flow of public transport and cargo vehicles, plus the multitude of visitors attracted by the activities concentrated there, generate an urban environment that is both lively and very disorderly. Daily access to these streets comes from different points but specially the Dom Pedro II bus terminal and the São Bento subway station.

Topping up this characterization is the high number of users coming from outside the metropolis in several charter buses. They are consumers arriving and leaving on the same day. Disembarkation, parking and boarding of chartered buses are improvised in the open spaces of the former maneuvering area next to the railway in Pátio do Pari. It is from there that the crowd of visitors walks to the commercial streets.

The dispersion of accesses to public transport in the north of the Park creates intense pedestrian circulation, exposing its dysfunctional character. A focus on the permanent demand for greater capacity for vehicular traffic has ruled out any attempt to provide quality footpaths. Both spatial and functional characteristics fit well into the definition of imploded urban space. Therefore, the problems outside the Arco Norte perimeter must be considered for the proposals focused on its interior gain coherence.

CONDITIONS FOR ARCO NORTE PROPOSALS

Arco Norte’s urban analysis is based on the conditions previously established by the PMSP: expropriation of blocks 34, 35 and 36, between Mercúrio street, Estado Avenue and São Vito Square, where the São Vito and Mercúrio buildings were located; and the demolition of the Diário Popular overpass.

The scheduled demolition of the Mercúrio and São Vito buildings followed by the integration of their land into the new park, allows for a new articulation and the opening of crossways to cross the Tamanduateí River, creating conditions for a relationship between the northern sector of other public spaces, interiors or adjacent to the Park. In this case, the party assumed by the Project is to create relations of continuity between important spaces that today are disconnected from each other.

URBAN INTERVENTION PROPOSALS

Urban interventions in Arco Norte are guided by multifunctional relations that have their organizational agent in the public space. Pedestrian circulation is the leitmotif of the proposals. As a public transport user, participating in all the activities offered, they are protagonists of the interventions. As this is a re-articulation movement, aimed at containing or correcting the spatial and functional implosion, the proposals are focused on facing the existing problems, and potentially facilitating access to the equipment that will be installed there. They strategically anticipate a public space capable of receiving the new activities offered by the new facilities: Senac and Sesc.

THE MARKET SQUARE AS A POINT OF CONVERGENCE FOR PEDESTRIAN CIRCULATION

As a historic public facility that remains full of vitality, the Municipal Market became the center of the urban reorganization proposed by the Plan, as detailed in the Arco Norte project. Its functional complexity is enormous and was not sufficiently addressed in the beautiful restoration of the building carried out by the public authorities in the early 2000s: the issues of loading and unloading goods, plus the daily presence of buyers and regulars, expanded after the restoration, still require strategic transformations.

Opened in 1933, Mercadão is a focus of the party for the urban transformations’ proposals indicated in the analyzes. Since its opening, it has been active in a very intense way. Although the imposing and innovative project occupied an entire block, today it is quite restricted in relation to its immediate surroundings, lacking a clear urban highlight that identifies its accesses. This function is bypassed by side entrances directly connected to the street, without any transition between the exterior and the interior. The current urban implantation does not correspond to its historical importance and deserves to be explored in this Plan and in the Project for Arco Norte.

The urban analysis led to the premise: the Market deserves to be more prominently with the public space in which it is inserted. It must play an articulating role between buildings and the public spaces around them. The realization of this proposal is conditioned to the expropriation of one of the blocks on the side of the Market, in order to create a public space adjacent to the building, the Praça do Mercado. With more than 9,000 square meters, this square, in addition to opening up and demarcating a clear, permeable passage between the external and internal spaces, will have its functions expanded by receiving other accesses, starting with an underground parking, which is already in great demand today.

Another element will complete the new public space with the inclusion of the Mercado subway station, planned for the future Line 19. The impact of this new square on its surroundings should be considerable. With the station, Praça do Mercado will gain the characteristics of an articulation node in a system of public spaces that is more qualified for pedestrian circulation. The new activities proposed for Arco Norte should expand its functional diversity in longer hours. The articulation of new equipment for culture, leisure and sports activities, with public transport and other equipment and activities, has become a goal to be explored. The proposal favored access to new equipment, continuities of the pedestrian circulation system due to mass public transport, including the immediate neighborhood, among other historic

buildings that already have leisure and cultural programs, with emphasis on the Catavento Museum and the future State Museum, in Casa das Retortas.

CROSS CONNECTIONS AND A NETWORK OF UNIFIED PATHWAYS

The future cross roads crossing the Tamanduateí River, the interconnection of the Park with Arco Norte and the Downtown itself will form a single block that will encompass the two local streets of Arco Norte. The lowering of Estado avenue will bring together the apex of Arco Norte, which coincides with the north end of the Park and the Municipal Market. Based on the possibilities opened up by these interventions, a new transversal street is proposed, with a local character, separating the new block from the Park. It will cross the river and connect Figueira and Cantareira streets. The lowering of Estado avenue will also allow the construction of a wide platform that will cross the new road and the Tamanduateí River, creating a direct connection between the Market and the Senac’s, which later left the project, and Sesc’s buildings.

Such interventions are essential to create a network of paths for pedestrians circulating between the public transport and the new leisure and cultural facility, Sesc, whose proposed day and night operation will require safe pedestrian connections. The institution, which is decade after decade consolidated for the quality of its activities, will also benefit a lot from the urban dialogue offered by the new Dom Pedro II Park. Which, at the same time, will gain a strong characterization in its northern sector where other important public facilities should be added: the Catavento, the Municipal Market plus the future Museum of History of the State of São Paulo, located in Casa das Retortas.

— Regina Maria Prosperi Meyer is an urban architect, professor at FAU – USP.

Cronologia Timeline

Assinatura de uma carta de intenção pela Prefeitura Municipal de São Paulo (PMSP), na gestão Gilberto Kassab, para cessão futura do terreno à Federação do Comércio.

Signature of a letter of intent by the Municipality of São Paulo (PMSP), under the Gilberto Kassab administration, for the future assignment of land to the Federation of Trade.

2011

Área em 2011, na assinatura da intenção de cessão. Foto: Secretaria de Habitação Area in 2011, at the signing of the concession intention. Poto: Housing Department

buildings that already have leisure and cultural programs, with emphasis on the Catavento Museum and the future State Museum, in Casa das Retortas.

CROSS CONNECTIONS AND A NETWORK OF UNIFIED PATHWAYS

— Regina Maria Prosperi Meyer is an urban architect, professor at FAU – USP.

Cronologia Timeline

Assinatura de uma carta de intenção pela Prefeitura Municipal de São Paulo (PMSP), na gestão Gilberto Kassab, para cessão futura do terreno à Federação do Comércio.

Signature of a letter of intent by the Municipality of São Paulo (PMSP), under the Gilberto Kassab administration, for the future assignment of land to the Federation of Trade.

2011

Área em 2011, na assinatura da intenção de cessão. Foto: Secretaria de Habitação Area in 2011, at the signing of the concession intention. Poto: Housing Department

Sesc e PMSP assinam a escritura de concessão ao Sesc, por 99 anos, do terreno triangular de 9 mil metros quadrados, localizado entre o Mercado Municipal e o Palácio das Indústrias, que abriga o Museu Catavento Cultural e Educacional.

MAY28,2015 SescandPMSPsign concession deed to Sesc, for theperiodof99years,ofthe 9,000squaremeterstriangular land located between the MunicipalMarketandthe PaláciodasIndústrias,which housestheCataventoCultural andEducationalMuseum.

28 MAI. 2015

Abertura da unidade provisória, chamada inicialmente Ocupação Sesc Parque Dom Pedro II, com a Virada Cultural, em parceria com Secretaria Municipal de Cultura. Um dos destaques do evento foi o show do rapper Rashid.

JUN.21,2015 Openingoftheprovisional unit initially called Parque Dom Pedro II Sesc Occupation, withtheViradaCultural eventinpartnershipwith theMunicipalDepartment ofCulture.TherapperRashid was the main attractions oftheevent. Realização da 39ª Mostra Internacional de Cinema SP, em parceria com Ministério da Cultura, Petrobrás e PMSP.

OCT. 30 and 31, 2015 Hosting of the 39th São Paulo International Film Festival, in partnership with the Department of Culture, Petrobrás and PMSP.

21 JUN. 2015 30 e 31 OUT. 2015

Ocupação com oficinas, jogos, espetáculos e shows mensais.

NOV. 2015 to AUG. 2016 Occupation with monthly workshops, games, shows and concerts.

NOV. 2015 a AGO. 2016

Assinatura da concessão do terreno, em 2015. Foto: CPA Signing of the land concession on 2015. Photo: CPA Show do rapper Rashid, em 21 de junho de 2015. Foto: Adauto Perin Concert by rapper Rashid, on june 21, 2015. Photo: Adauto Perin Plateia sentada, integrada ao Autocine da 39ª Mostra Internacional de Cinema SP, em outubro de 2015. Foto: Acervo Sesc Seated audience, integrated to the Autocine of the 39th Mostra International Film SP, in October 2015. Photo: Sesc Collection Oficina de pintura com Splashcletas, em 22 de maio de 2016. Foto: Alexandre Nunis Painting workshop with Splashbikes, on May 22 2016. Photo: Alexandre Nunis

Fechamento da unidade provisória para ambientação cenográfica, com adaptação da proposição inicial pelo Coletivo Leve.

SEP. 2016 to APR. 2017 Closing of the provisional unit for the scenographic setting, with adaptation of the initial proposal by Coletivo Leve. Reabertura do Sesc Parque Dom Pedro II com a exposição “Armazém do Brasil: Memórias do comércio da Zona cerealista”, em parceria com o Museu da Pessoa.

MAY 1ST, 2017 Reopening of Sesc Parque Dom Pedro II with the exhibition “Brazil Warehouse: Memories of the Cereal Zone Trade” in partnership with Museu da Pessoa.

SET. 2016 a ABR. 2017 1 MAI. 2017

Projeto cenográfico inicial do Coletivo Leve, com estruturas de andaimes, contêineres e pista. Foto: Coletivo Leve Initial scenographic project by Coletivo Leve, with modular structures, containers and track. Photo: Coletivo Leve Exposição Armazém do Brasil, em 24 de maio de 2017. Foto: Alexandre Nunis Exhibition “Brazil Warehouse: Memories of the Cereal Zone Trade”, on may 1st, 2017. Photo: Alexandre Nunis Programação mensal com exposições, oficinas, jogos, espetáculos e shows, com melhorias nas instalações.

2017 to 2020 Monthly schedule with exhibitions, workshops, games, shows and concerts, with improvements to facilities. Programação online durante a pandemia.

Online schedule during the pandemic.

2017 a 2020 MAR. 2020 a DEZ. 2021

Vivência em trampolim acrobático, em julho de 2017. Foto: Thaís Kruse Trampoline experience acrobatic, on July 2017. Photo: Thaís Kruse #EMCASACOMSESC Clã-destin@: uma viagem cênico-cibernética, com Clowns de Shakespeare, de 15 a 18 de setembro de 2021. Foto: Acervo Sesc #EMCASACOMSESC Clã-destin@: a scenic cyber trip, with Clowns de Shakespeare, on September 15-18, 2021. Photo: Sesc Collection

Início das obras da unidade definitiva, com projeto arquitetônico de UNA Arquitetos.

Start of permanent unit works with architecture project by UNA Arquitetos.

AGO. 2021

Projeto Arquitetônico de UNA Arquitetos com imagem do terraço e sua vista panorâmica. Foto: UNA Arquitetos Architecture project by UNA Arquitetos, with image of terrace and its panoramic view. Photo: UNA Arquitetos

Memórias e conexões afetivas da Ocupação Sesc Parque Dom Pedro II

Dóris Sathler de Souza Larizzatti, Gerente Adjunta do Sesc Carmo e Sesc Parque Dom Pedro II

Nossa deformação cultural nos faz pensar que cabe a um segmento da sociedade levar cultura a outro. Nós temos é que buscar a cultura no povo, dando condições para que ela brote. Fernanda Montenegro A cultura nos mantém, mas a arte nos faz avançar. Teixeira Coelho

O centro histórico de São Paulo resiste como emblema da metrópole. Com seu alto valor estratégico, a região é elemento vital para onde convergem vias, fluxos, funções, pessoas, culturas. Uma das áreas mais esquecidas pelo poder público, o Parque Dom Pedro II já foi um espaço de lazer para os paulistanos devido a sua beleza e capacidade de compartilhamento e continua a desempenhar esse papel fundamental no contexto citadino, além de ser a porta de entrada da Zona Leste e dos municípios do ABC ao âmago da capital do estado.

Dentre os inúmeros exemplos, na cidade paulistana, de mudanças espaciais, o Parque Dom Pedro II é um dos mais significativos, sendo alvo de degradação urbana e devastação sofrida em áreas verdes para construção e alargamento de vias. De grande brejo e depósito de resíduos, virou um território de convivência e por anos fez parte da infância e vida de pessoas. A partir de iniciativas com consequências diversas a curto, médio e longo prazos, observamos que propostas de requalificação desse Parque são de suma importância para o centro e para a cidade, no mínimo por estar inserido na área que originou a ocupação e a formação da capital paulista, mas também por sua localização singular como um nó de interligação entre várias regiões municipais e destinos interestaduais.

No sentido de requalificar esse Parque, em 2011 ocorreu a assinatura de uma carta de intenção pela Prefeitura do Munícipio de São Paulo (PMSP), na gestão Gilberto Kassab, para a cessão futura de um terreno com cerca de 9 mil metros quadrados à Federação do Comércio de Bens e Serviços do Estado de São Paulo. Tal propósito se concretizou em 28 de maio de 2015, quando o Sesc e a PMSP registraram a escritura desse terreno, localizado entre o Mercado Municipal e o Palácio das Indústrias, que também abriga o Museu Catavento. A área situada nesse entorno histórico e emblemático da cidade foi assim concedida por meio de projeto de lei aprovado pela Câmara Municipal. Desde então, tem sido ocupada com programação cultural e educativa, coordenada pelo Sesc Carmo, mediante consecutivas aprovações de alvarás para eventos temporários junto a órgãos técnicos da PMSP, entre apoios e parcerias com instituições próximas. Os objetivos são promover o novo polo

Virada Cultural, em 21 de junho de 2015. Foto: CPA Virada Cultural, event on June 21, 2015. Photo: CPA de lazer, além de conhecer e integrar-se aos diversos frequentadores sempre bem-vindos: famílias, trabalhadores, estrangeiros e pessoas em situação de vulnerabilidade.

O termo firmado entre as entidades previu a instituição de nova área verde, não inferior à da atual praça São Vito, no perímetro da unidade provisória, mais a prestação gratuita de contrapartidas pelo concessionário, a saber: a) oferecer exposições de cunho artístico e/ou educativo, espetáculos e intervenções artísticas em espaços de convivência, bem como palestras e debates abertos sobre temas ligados a saúde, cultura e ambiente; b) dar e manter acesso à leitura, com empréstimo de livros e periódicos, bem como área de conexão com Internet, com instrutores e equipamentos para navegação virtual, além de desenvolver atividades de arte-mídia e cultura digital; c) promover jogos recreativos para crianças (Espaço de Brincar), jovens e adultos (jogos de tabuleiro, atividades físicas e esportes); d) oferecer, no mínimo, 100 vagas para crianças de 7 a 12 anos no Projeto Curumim, com inscrições e atividades inteiramente gratuitas; e) disponibilizar instalações na unidade para a concretização de ações de órgãos públicos, mediante parcerias entre Secretarias Municipais de Cultura, Educação, Esportes, Saúde, Lazer e Recreação, Verde e Meio Ambiente.

Para tanto, um dos primeiros eventos realizados em parceria com a Secretaria Municipal de Cultura foi a Virada Cultural, em 21 de junho de 2015, com programação intensa, das 10 às 20h: oficinas, intervenções literárias, danças urbanas, orquestra-cortejo, circo, teatro e show do rapper Rashid.

O espaço foi nomeado inicialmente como Ocupação Sesc Parque Dom Pedro II, com o objetivo de atuar cultural e educativamente no local, com destaque à missão institucional, que é promover ações que contribuam para bem-estar e melhoria da qualidade de vida das pessoas, em especial trabalhadores do comércio de bens, serviços e turismo e seus familiares, mediante a requalificação daquele bairro e de seu entorno. Vale notar que o uso do termo “ocupação” demonstra a flexibilidade com que a entidade nomeia suas unidades provisórias, à semelhança do que fez com o então “Espaço Transitório” Sesc 24 de Maio, também coordenado pelo Sesc Carmo, de 2007 a 2008, ou mesmo “Polo Avançado” de alguma unidade operacional, no interior do estado de São Paulo.

Nos dias 30 e 31 de outubro de 2015, realizamos a 39ª Mostra Internacional de Cinema em SP, em parceria com Ministério da Cultura, Petrobrás e PMSP, compondo um ambiente de autocine, com exibições vistas de dentro de carros, e, além disso, equipado com assentos para pedestres e ciclistas. Foram projetados filmes clássicos e lançamentos, com legendas eletrônicas em português: “Juventude Transviada” (Rebel without a cause), “Longo Caminho Rumo ao Norte” (Tout en Haut Du Monde) e “Bone Tomahawk”. Nessa ocasião, também foi montada uma Loja Sesc Móvel, com venda de produtos da instituição e da mostra cinematográfica.

A partir de dezembro de 2015, a programação da Ocupação Sesc Parque Dom Pedro II se tornou constante nas áreas de música, cinema, circo e teatro. Nesse mês houve a publicação na Revista E de uma matéria intitulada “São Paulo Tropicana”, na qual foram divulgadas atrações da unidade, tais como os shows de Trio Virgulino e Alceu Valença, além de intervenções visuais nos edifícios do entorno, integradas ao 3º Festival de Direitos Humanos, com retirada de ingressos nas unidades do Sesc, e foco para a atividade “Cidadania nas Ruas”.

A fim de conhecer melhor o entorno, em janeiro de 2016 realizamos enquetes para avaliar a população circundante quanto a origem, interesses culturais, frequência e faixa etária, entre outras características. Colhemos informações

Show Planta & Raiz em 24 de junho de 2016. Foto: Matheus José Maria Planta & Raiz Concert on June 24, 2016. Photo: Matheus José Maria importantes para nortear as diretrizes programáticas, com resultados predominantes para shows, Basquete e lazer em família. Como se vê, na fase de “Ocupação”, tudo foi pesquisado, produzido e avaliado pela equipe do Sesc Carmo, que atuava tanto na unidade definitiva como na provisória, com seu funcionamento de quarta a domingo e feriados, das 10 às 18 horas.

Com veiculação mensal, a grade programática do Sesc Parque Dom Pedro II ainda aparecia contida na do Sesc Carmo, tanto na Revista E quanto no guia Em Cartaz. Neste, o destaque no primeiro mês de 2016 foi o artigo “SP 462: Festa no Parque Dom Pedro II”, indicando cinco razões para aproveitar o aniversário de São Paulo: o show da escola de samba Vai-Vai, que aqueceu os tambores para o desfile de Carnaval, tematizado na França; a apresentação dos sambistas Reinaldo e Dudu Nobre; o show do grupo de reggae Planta e Raiz; a vivência de beisebol com o atleta Paulo Orlando, jogador do Kansas City Royals e campeão da World Series 2015; por fim, a vista panorâmica da cidade de São Paulo, a partir da unidade, em que era possível observar o Mercado Municipal, o conjunto de arranha-céus da zona central com o Edifício Martinelli, os prédios do Banespa e do Banco do Brasil, o castelinho do Museu Catavento Cultural e Educacional e as casas coloridas da zona cerealista do Brás.

A partir de março de 2016, a Ocupação Sesc Parque Dom Pedro II passou a ter sua programação divulgada de forma independente da do Sesc Carmo, apesar de continuar sendo coordenada por este último. Foram promovidas atividades nas linguagens de teatro, circo, música, dança, tecnologia, literatura, artes visuais, esporte e meio ambiente, tendo como ponto alto a apresentação do grupo Sandália de Prata, realizada no Carnaval. Em julho, o show de Almir Sater foi o clímax, atraindo cerca de 7 mil pessoas, a fim de conhecer o novato centro cultural, que realizava uma grande atração a cada mês.

Por meio de um jogo de palavras, esclarecemos que, antes da unidade provisória, tivemos uma versão “improvisada”, com uma estrutura mínima instalada: gradil perimetral e guarita para maior segurança do espaço; duas meias quadras para o Basquete 3×3; uma tenda menor; um contêiner para área de alimentação; sanitários; infraestruturas de iluminação e hidráulica; grandes totens quadriculares de ferro, localizados em cada vértice do terreno triangular, com destaques programáticos em suas faces, além de banners acoplados aos gradis com comunicação bilíngue (português e inglês), devido à visitação de estrangeiros no triângulo cultural formado por Mercadão, Catavento e Sesc.

A fim de ofertar mais ambientes educativos para uma maior gama de manifestações culturais a serem desenvolvidas na unidade provisória, bem como acolher melhor os públicos interno e externo, foram convidados quatro escritórios de arquitetura para propor projetos cenográficos, a saber: Triptyque Architecture, Bloc Arquitetura, Camila Toledo Arquitetura e Coletivo Leve (composto por Zoom Urbanismo Arquitetura e Design, Superlimão Studio, H2C Arquitetura, designers Barão di Sarno e Vanessa Espínola). Concluiu-se que a proposta do Coletivo Leve era a que mais se aproximava de uma ocupação temporária, com estruturas modulares, andaimes, bases metálicas, cimbramentos, contêineres, pisos móveis: uma composição que, depois de cumprir sua função nesta unidade, pudesse ser reaproveitada nas futuras unidades provisórias da instituição.

Assim, de setembro de 2016 a abril de 2017 o espaço esteve fechado ao público – que, diga-se de passagem, sentiu muito a suspensão das atividades para a implantação cenográfica. A proposição inicial, idealizada pelo Coletivo Leve, teve sua grande estrutura de andaimes simplificada por questões técnicas, adaptada com nichos de aduelas, depois foi complementada por outros

Vista aérea em 3 de novembro de 2017. Foto: Sensoreng Aerial view, on November 3, 2017. Photo: Sensoreng profissionais e empresas, conforme breve descritivo dos principais:

• Marcelo Larrea e Drika Bourquim

Produções – Área expositiva delimitada por deck de madeira naval, travado para maior estabilidade às aduelas, suportes em concreto para fixação de obras artísticas, e manilhas como grandes vasos para plantas, recriados a partir de seus usos primários na canalização de rios, em alusão à história do rio Tamanduateí. Sombreamentos com tecidos estendidos por cabos de aço também foram instalados para propiciar conforto térmico aos visitantes da exposição “Armazém do Brasil – Memórias do Comércio da Zona cerealista”, realizada em parceria com o Museu da Pessoa. • Archidomus Arquitetura e Design – Bioconstrução e ambientação em permacultura, para as manilhas e os “canteiros” com plantas, dispostos no piso asfáltico, visando oferecer maior frescor ao espaço árido. • Assalto Cultural – Deck de madeira naval instalado entre os “canteiros”, para escoar a água acumulada das chuvas, além da área de convivência, com mesas, bancos e vasos, destinada ainda a apresentações artísticas. • Celophane Cultural – Ambientação de contêineres adquiridos pela empresa Esteto, para jogos de tabuleiro, tênis de mesa, leitura de periódicos, oficina de artes, educação ambiental, caixa d’água e reserva de materiais. • Acupuntura Urbana Ideias e

Serviços – Exposição “Mapeamento

Afetivo” para o contêiner voltado à educação ambiental. • Biorama-Lab Arte e Produção – Topografia afetiva com visitas e oficinas educativas a partir da análise do entorno, com foco na sustentabilidade. • Erelab – Espaço de brincar com brinquedos e instalações para crianças menores acompanhadas de responsáveis. Nesse processo de oferecer condições físicas mais adequadas ao acolhimento de visitantes e funcionários, também foram adicionados novos ambientes: três quadras poliesportivas da Flexquadras, moduláveis e pintadas após sua sobreposição ao piso, para jogos e torneios esportivos; uma grande tenda multiuso, estabilizada com estaqueamentos no solo, como sombreamento e prevenção às chuvas para oficinas e apresentações culturais; contêineres complementares de alimentação, área administrativa e banheiros, com locação da empresa Metal Módulos; e implantadas melhorias elétricas, hidráulicas, lógicas, audiovisuais e de segurança para todo o espaço, com câmeras perimetrais. E, em uma segunda etapa de montagem, que se estendeu até novembro de 2017, mediante registro videográfico (time lapse) pela Sensoreng, foram finalizadas as instalações seguintes:

• Alutent, Kurkdjian & Fruchtengarten e WPA Eventos – Palco tipo “concha”, espacial ou geodésico, com fundação consistente em 13 valas concretadas, com cerca de 3 metros quadrados cada, e cobertura atirantada em 8 pontos ao solo, para grandes shows; estruturas em box truss para equipamentos de luz e som; piso revestido; e escadas de acesso. • Eduardo Saretta – Pintura artística da área esportiva, pista de caminhada e corrida no perímetro interno da unidade, simulando o leito de um córrego. Em síntese, essas foram memórias e conexões afetivas da Ocupação Sesc Parque Dom Pedro II, unidade provisória construída com esforços conjuntos, com seu nome reduzido para Sesc Parque Dom Pedro II, em sua reabertura em 1º de maio de 2017, passando pela cenografia temporária, em transição no ambiente virtual, rumo à arquitetura da unidade definitiva. Com essa cultura criativa, o Sesc colabora para que a cidade se faça educativa – parafraseando Paulo

Freire (2001), em seus ensaios sobre Política e Educação. É pela necessidade de cultivar, educar, aprender, ensinar, conhecer, criar, imaginar e sonhar que impregnamos casas, ruas, praças, fontes, parques e edifícios, deixando a indelével marca de determinado tempo e estilo, a estética de certa época, ao tecer histórias vivenciadas coletivamente.

REFERÊNCIA

FREIRE, Paulo. 2001. Política e Educação: ensaios. São Paulo: Cortez. 5ª ed. (Coleção Questões de Nossa Época, v.23).

— Dóris Sathler de Souza Larizzatti é Gerente Adjunta do Sesc Carmo e do Sesc Parque Dom Pedro II; Doutora em Comunicação pela ECA USP; Mestra em Educação pela PUC SP; MBA em Gestão Estratégica de Pessoas pela FGV; Pós-graduada em: Gestão e Políticas Culturais pelo Itaú Cultural/Universidade de Girona, Gestão da Comunicação pela ECA USP, Lazer e Recreação pela UNICAMP, Organização e Administração da Recreação pela FAM; Graduada em Educação Física pela USP.

Memories and affective connections of the Parque Dom Pedro II Sesc Occupation

Dóris Sathler de Souza Larizzatti, Deputy Manager of Sesc Carmo and Sesc Parque Dom Pedro II

Our cultural deformation makes us think that one society segment is responsible for taking culture to the other. We have to search for culture in the people, giving them conditions to make it flourish. Fernanda Montenegro Culture keeps us going, but art drives us forward. Teixeira Coelho

São Paulo’s historic center stands as an emblem of the metropolis. With a high strategic value, the region is vital with convergence of roads, flows, functions, people, cultures. One of the areas most forgotten by the government, Dom Pedro II Park was once a leisure space for São Paulo residents due to its beauty and sharing capacity and continues to play this fundamental role in the city context. It is also a gateway to the East Zone and the ABC municipalities to the heart of the state capital.

From the various examples of spatial changes in São Paulo, Dom Pedro II Park is one of the most significant ones, being the target of urban degradation and devastation in green areas for the construction and widening of roads. From large wetlands and waste deposit to a territory for coexistence that was part of people’s childhood and lives for years. Based on initiatives with different consequences in the short, medium and long term, we observe that proposals for the requalification of this Park are of paramount importance for the Downtown and the city; at least because it is located in the area that gave rise to the occupation and formation of the São Paulo capital, and also because of its unique location as an interconnection node between various municipal regions and interstate destinations. TorequalifythisPark,in2011aletterof intentwassignedbytheMunicipalityof SãoPaulo(PMSP),undertheGilbertoKassab administration, for the future assignment ofanapproximately9,000squaremeters land to the Federation of Trade in Goods andServicesintheStateofSãoPaulo. ThispurposewasachievedonMay28,2015, whenSescandPMSPregisteredthedeed ofthisland,locatedbetweentheMunicipal MarketandthePaláciodasIndústrias,which alsohousestheCataventoMuseum.The area located in this historic and emblematic area of the city was thus assigned through abillapprovedbytheCityCouncil.Since then, it has been occupied with cultural and educational programming, coordinated bySescCarmo,throughconsecutive approvalsofpermitsfortemporaryevents withPMSPtechnicalbodies,amongsupport andpartnershipswithnearbyinstitutions. The goals are to promote the new leisure center,inadditiontogettingtoknowand integratingwiththevariousregularswhoare alwayswelcome:families,workers,foreigners andpeopleinvulnerablesituations.

The term signed between the entities provided for the establishment of a new green area, no less than that of the current São Vito square, within the perimeter of the provisional unit, plus the free provision of compensation by the concession holder, namely: a) offer artistic and/or educational exhibitions, shows and artistic interventions in living spaces, as well as lectures and open debates on topics related to health, culture and the environment; b) provide and maintain access to reading, with the loan of books and journals, as well as an Internet connection area, with instructors and equipment for virtual navigation, in addition to developing media art and digital culture activities; c) promote recreational games for children (Play Room), young adults and adults (board games, physical activities and sports); d) offer at least 100 places for children from 7 to 12 years old in the Curumim Project, with free enrollment and activities; e) make facilities available at the unit to carry out actions by public bodies, through partnerships between Municipal Departments of Culture, Education, Sports, Health, Leisure and Recreation, Green and Environment. To this end, one of the first events held in partnership with the Municipal Department of Culture was Virada Cultural, on June 21, 2015, with an intense schedul from 10 am to 8 pm: workshops, literary interventions, urban dances, orchestra-parade, circus, theater and concert by rapper Rashid.

The space was initially named Ocupação Sesc Parque Dom Pedro II (Occuppation Sesc Parque Dom Pedro II), with the objective of acting culturally and educationally, with emphasis on the institutional mission, which is to promote actions that contribute to the well-being and improvement of people’s quality of life, especially workers in the trade of goods, services and tourism and their families, through the requalification of that neighborhood and its surroundings. Please note that the term “occuppation” shows the entity’s flexibility with its provisional units, similarly to what it did with the then “Transitory Space” Sesc 24 de Maio, also coordinated by Sesc Carmo from 2007 to 2008, or even “Advanced Center” of an operational unit in the countryside of the state of São Paulo.

On October 30 and 31, 2015, we held the 39th São Paulo International Film Festival, in partnership with the Department of Culture, Petrobrás and PMSP, creating an drive-in with exhibitions seen from inside cars, and also equipped with seats for pedestrians and cyclists. Classic movies and new movie releases were projected with Portuguese subtitles: “Juventude Transviada” (Rebel without a cause), “Longo Caminho Rumo ao Norte” (Long Way North) and “Bone Tomahawk”. At the time, a Sesc Itinerary Shop was also assembled to sell the institution’s and the cinematographic exhibition’s products.

As of December 2015, the programming of Occuppation Sesc Parque Dom Pedro II became constant in music, movie, circus and theater. This month, the Revista E published an article entitled “São Paulo Tropicana” that promoted the unit’s attractions, including concerts by Trio Virgulino and Alceu Valença, in addition to visual interventions in the surrounding buildings, integrated to the 3rd Human Rights Festival, with ticket withdrawals at Sesc units, and focus on the “Citizenship on the Streets” activity.

To better understand the surroundings, inJanuary2016wecarriedoutsurveys to assess the surrounding population regarding origin, cultural interests, frequency andagegroup,amongothercharacteristics. Wegatheredimportantinformationto guide programmatic guidelines with predominantresultsforconcerts,basketball andfamilyleisure.Ascanbeseen,during the“Occupation”phase,everythingwas researched,producedandevaluated bytheSescCarmoteamwhoworkedin boththedefinitiveandprovisionalunits WednesdaysthroughSundaysandholidays, from10amto6pm.

Published monthly, the schedule of Sesc Parque Dom Pedro II was also contained in that of Sesc Carmo, both in Revista E and the guide Em Cartaz. In this one, the highlight in the first month of 2016 was the article “SP 462: Festa no Parque Dom Pedro II” (SP 462: Party in Dom Pedro II Park), indicating five reasons to enjoy the anniversary of São Paulo: the show by the Vai-Vai samba school, which warmed up the drums for the Carnival parade, themed in France; the presentation of samba musicians Reinaldo and Dudu Nobre; the concert by the reggae group Planta e Raiz; the baseball experience with athlete Paulo Orlando, Kansas City Royals player and 2015 World Series champion; finally, the panoramic view of the city of São Paulo, from the unit, where it was possible to observe the Municipal Market, the set of skyscrapers in the central area with the Martinelli Building, the Banespa and Banco do Brasil buildings, the small castle of the Catavento Cultural and Educational Museum and the colorful houses in the cerealist area of Brás.

Since March 2016, the Sesc Parque Dom Pedro II Occupation began to have its schedule published independently from that of Sesc Carmo, although it continues to be coordinated by the latter. Activities were promoted in the form of theater, circus, music, dance, technology, literature, visual arts, sports and the environment, with the presentation of the Sandália de Prata group, held at Carnival, being the highlight. In July, Almir Sater’s show was the climax, attracting around 7,000 people in order to get to know the new cultural center, which held a major attraction every month.

Using a word play, we clarify that, before the provisional unit, we had an “improvised” version with a minimum structure installed: fence and guardhouse for greater space security; two half-courts for 3×3 basketball; a smaller tent; a container for the food area; restrooms; lighting and hydraulic infrastructures; large square iron totem poles, located at each vertex of the triangular terrain, with programmatic highlights on their faces, as well as banners attached to railings with bilingual communication (Portuguese and English), due to foreign visitors in the cultural triangle formed by Mercadão, Catavento and Sesc.

To offer more educational environments for a greater range of cultural manifestations to be developed in the provisional unit, as well as to better accommodate internal and external audiences, four architecture offices were invited to propose scenographic projects, namely: Triptyque Architecture, Bloc Arquitetura, Camila Toledo Arquitetura and Coletivo Leve (composed by Zoom Urbanismo Arquitetura e Design, Superlimão Studio, H2C Arquitetura, designers Barão di Sarno and Vanessa Espínola). Coletivo Leve’s proposal was considered the closest to a temporary occupation with modular structures, scaffolding, metal bases, falsework, containers, mobile floors: a composition that, after fulfilling its function in this unit, could be reused in the institution’s future provisional units. Thus, from September 2016 to April 2017, the space was closed to the public – which, by the way, missed the activities during the scenographic implementation. The initial proposal, conceived by Coletivo Leve, had its large scaffolding structure simplified by technical issues adapted with stave niches, then complemented by other professionals and companies, as per a brief description of the main ones:

• Marcelo Larrea e Drika Bourquim Produções – Exhibition area delimited by a naval wood deck, locked for greater stability to the staves, concrete supports for fixing artistic works, and shackles as large vases for plants, recreated from their primary uses in the canalization of rivers, alluding to the history of the Tamanduateí river. Shadings with fabrics extended by steel cables were also installed to provide thermal comfort for visitors to the exhibition “Armazém do Brasil – Memórias do Comércio da Zona cerealista” (Brasil Warehouse – Memories of Trade in the Cerealist Zone), held in partnership with the Museu da Pessoa.

• Archidomus Arquitetura e Design –

Bioconstruction and setting in permaculture, for the shackles and “beds” with plants, arranged on the asphalt floor, in order to offer greater freshness to the arid space. • Assalto Cultural – Naval wooden deck installed between the “beds” to drain the accumulated rain water, in addition to the living area with tables, benches and vases, also intended for artistic presentations. • Celophane Cultural – Setting of containers acquired by the company Esteto, for board games, table tennis, reading journals, art workshops, environmental education, water tank and material reserve. • Acupuntura Urbana Ideias e Serviços – “Affective Mapping” exhibition for the container aimed at environmental education. • Biorama-Lab Arte e Produção –Affective topography with visits and educational workshops based on the analysis of the surroundings, with a focus on sustainability. • Erelab – Play area with toys and facilities for younger children accompanied by guardians. In this process of offering more adequate physical conditions to welcome visitors and employees, new environments were also added: three multi-sport courts, modular courts painted after their overlapping to the floor, for games and sports tournaments; a large multipurpose tent stabilized with stakes into the ground, such as shading and rain prevention for workshops and cultural presentations; complementary food containers, administrative area and restrooms, leased from the company Metal Módulos; and electrical, hydraulic, logical, audiovisual and security improvements were implemented for the entire space, with perimeter cameras. And, in a second stage of assembly, which lasted until November 2017, through time lapse video recording by Sensoreng, the following installations were completed: • Alutent, Kurkdjian & Fruchtengarten and WPA Eventos – “Shell-type”, spatial or geodesic stage with a foundation consisting of 13 concreted ditches measuring about 3 square meters each, and a roof trussed at 8 points to the ground, for large concerts; box truss structures for light and sound equipment; coated floor; and access stairs. • Eduardo Saretta – Artistic painting of the sports area, walking and running track on the unit’s internal perimeter, simulating a stream bed.

In short, these were memories and affective connections of the Occupation Sesc Parque Dom Pedro II, a temporary unit built with joint efforts, with its name reduced to Sesc Parque Dom Pedro II, in its reopening on May 1, 2017, passing through the temporary scenography in transition in the virtual environment, towards the architecture of the definitive unit. With this creative culture, Sesc collaborates for the city to become educational –paraphrasing Paulo Freire (2001), in his essays on Politics and Education, it is for the need to cultivate, educate, learn, teach, know, create, imagine and dream that we impregnate houses, streets, squares, fountains, parks and buildings, leaving the indelible mark of a certain time and style, the aesthetics of a certain period, by weaving collectively lived stories.

REFERENCE

FREIRE, Paulo. 2001. Política e Educação: ensaios. São Paulo: Cortez. 5ª ed. (Coleção Questões de Nossa Época, v.23).

— Dóris Sathler de Souza Larizzatti is Deputy Manager of Sesc Carmo and Sesc Parque Dom Pedro II; PhD in Communication from ECA USP; Master in Education from PUC SP; MBA in Strategic People Management from FGV; Graduate in: Cultural Management and Policies from Itaú Cultural/University of Girona, Communication Management from ECA USP, Leisure and Recreation from UNICAMP, Organization and Administration of Recreation from FAM; Graduated in Physical Education from USP.

Montagens e espaços Assemblies and spaces

Ocupação inicial Initial occupation

Recreação com roller, na Virada Cultural, em 21 de junho de 2015. Foto: Alexandre Nunis Recreation with roller at ViradaCultural, on June 21, 2015. Photo: Alexandre Nunis

Portaria 1 Entrance

Comunicação visual de Folia no Parquinho, em fevereiro de 2020. Foto: Simone Avancini Visual communication of Carnival on Playground, on February 2020. Photo: Simone Avancini

Gradil Fence

Intervenção Bordado no Gradil com Meio-Fio, em setembro de 2018. Foto: Andréa Oliveira Intervention Embroidery on the Fence with Curb, on september of 2018. Photo: Andréa Oliveira

Tenda Tent

Apresentação musical, na tenda maior, em 1 de maio de 2017. Foto: Dóris Larizzatti Musical performance in the tent major, on May 1, 2017. Photo: Dóris Larizzatti

Espaço expositivo Exhibition space

Montagem do espaço expositivo, com aduelas e deck de madeira, em 29 de abril de 2017. Foto: Dóris Larizzatti Assembly of the exhibition space, with staves and wooden deck, on April 29, 2017. Photo: Dóris Larizzatti

Praça Lúdica Playful square

Virada Cultural: performance com balões, na Praça Lúdica, em maio de 2018. Foto: Thais Kruse. Virada Cultural event: performance with balloons, in Playful square, on May 2018. Photo: Thais Kruse.

Canteiros Plant beds

Construção de canteiros, em 6 de maio de 2017. Foto: Dóris Larizzatti Construction of plant beds, on May 6, 2017. Photo: Dóris Larizzatti

Espaço de brincar Play space

Espaço de Brincar (área interna do contêiner), em 21 de maio de 2017. Foto: Dóris Larizzatti Play space (internal area of the container), on May 21, 2017. Photo: Dóris Larizzatti

Palco Stage

Circo no Parque, com distanciamento social, em 7 de novembro de 2020. Foto: Ricardo Ferreira Circus in the Park, with social distancing, on November 7, 2020. Photo: Ricardo Ferreira

Espaço de leitura Reading space

Espaço de Leitura (área extena), em 2017. Foto: Thais Kruse Reading Space (external area), in 2017. Photo: Thais Kruse

Bicicletário Bike parking rack

Bicicletário, no Sesc Verão, em 7 de fevereiro de 2018. Foto: Dóris Larizzatti Bike parking rack, at Sesc Summer, on February 7, 2018. Photo: Dóris Larizzatti

Next Article

Dom Pedro II Park’s Urban Planning

Dom Pedro II Park’s Urban Planning

Regina Maria Prosperi Meyer, Plan coordinator

Cronologia Timeline

2011

Cronologia Timeline

2011

28 MAI. 2015

21 JUN. 2015 30 e 31 OUT. 2015

NOV. 2015 a AGO. 2016

SET. 2016 a ABR. 2017 1 MAI. 2017

2017 a 2020 MAR. 2020 a DEZ. 2021

AGO. 2021

Dóris Sathler de Souza Larizzatti, Gerente Adjunta do Sesc Carmo e Sesc Parque Dom Pedro II

Memories and affective connections of the Parque Dom Pedro II Sesc Occupation

Montagens e espaços Assemblies and spaces

Ocupação inicial Initial occupation

Portaria 1 Entrance

Gradil Fence

Tenda Tent

Espaço expositivo Exhibition space

Praça Lúdica Playful square

Canteiros Plant beds

Espaço de brincar Play space

Palco Stage

Espaço de leitura Reading space

Bicicletário Bike parking rack

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Dom Pedro II Park’s Urban Planning

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This article is from:

Sesc Parque Dom Pedro II: transições culturais da cenografia à arquitetura