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47-544: The place connects to important points in the city center, such as: Anhangabaú Valley , Viaduto do Chá , and Líbero Badaró , Direita , São Bento , Quitanda and 15 de Novembro Streets. The area is home to the Othon Palace Hotel and the Barão de Iguape and Sampaio Moreira buildings. The Church of Saint Anthony , which is considered to be the oldest church in the center, is in the square. The Patriarca Square

94-602: A gigantic avenue full of trees, from Brás to Ipiranga, in the clean and drained floodplain of the Tamanduateí River, which, in turn, would connect to other avenues and even the Anhangabaú Stream — which was being rectified at the time. Even with so many suggestions for urban improvement, despite their proposals, the complexity of elaborating the works was greater than what monarchic governments could act at that moment, so they were not carried out. In 1910,

141-623: A great afforestation of the Anhangabaú Valley was carried out, resulting in the formation of the Anhangabaú Park. This project took shape from a combination of three projects, including "Grandes Avenidas", by the architect Alexandre Albuquerque , which resulted in the urbanization of the valley with the insertion of buildings. Between 1920 and 1930, Vale do Anhangabaú served as an important center for socialization and encounters between homosexuals . The Anhangabaú Park served as

188-528: A meeting point for men and women who wanted to find partners and manifest themselves sexually. It was a place that had many spots that were already characterized by prostitutes and homosexuals in search of sexual partners. In the late 1930s, the park was disbanded and gave way to an expressway. In the following decade, an underground connection was created between the Ramos de Azevedo and the Patriarca squares:

235-402: A public square. The local government's delay in giving the new open space the appearance of a square generated criticism from the press, which lamented the slowness in urbanizing the site. However, the administration's first measure was not to remodel the area and finish the work, but to name the place; on April 24, 1922, it was officially designated Patriarca José Bonifácio Square, inspired by

282-702: A region that houses all the places mentioned above, the Vale do Anhangabaú is also located near the Dramatic and Musical Conservatory of São Paulo, which is called the School of Dance of São Paulo, also known as the School of Dance of the Municipal Theater of São Paulo (EDTMSP). Basically, it is a university campus that concentrates classes on public dance in the city. The Anhangabaú River , which gave origin to

329-748: A result, the "old center" was the first area to be studied, as it concentrates a large number of historical assets. Around Patriarca Square are important buildings from the city's history, such as the São Paulo City Hall, housed in the Matarazzo Building, the Othon Palace Hotel, one of the most famous hotels and the Church of Saint Anthony, the oldest remaining temple in São Paulo. The initiative to revitalize and preserve

376-419: A single cultural space. However, the deal with Masp only really began on November 28, 2000, with the exhibition "São Paulo, from Villa to Metropolis", although a few months earlier Masp still considered that the agreement "did not materialize". The so-called Masp-Centro was opened "on a shoestring", with a "small renovation" of three hundred thousand reais , because, according to Neves, then mayor Celso Pitta

423-494: A space of 6,000 square meters where, shortly after the inauguration, the Salão Paulista de Belas Artes was held with the presence of artists such as Anita Malfatti . During the opening, then president Getúlio Vargas was preparing to make a long speech, but the announcer introduced him with the phrase "Attention, Brazilians, to the brief words of His Excellency, President Getúlio Vargas", and Vargas simply said: "I have

470-534: A stage for Virada Cultural , a traditional event in São Paulo that promotes shows and cultural activities throughout the city. Due to its wide dimension, the Valley is considered an adequate space for large public meetings and was even the stage for the largest Brazilian public rally, in the Diretas Já demonstrations, organized on April 16, 1984, when it was received about 1.5 million people. In addition to being in

517-579: Is considered the point that separates the Old City Center from the New City Center. Currently, the 43 thousand square meters of the Anhangabaú Valley are used as a crossing point for people wishing to transit between the east and west regions of the center, and can be defined as an extensive boardwalk under a road junction. The space also interconnects with other squares in the central area, such as Ramos de Azevedo Square , juxtaposed with

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564-401: Is worth mentioning, as more than a million people gathered in Vale do Anhangabaú to continue the "Diretas Já!" demonstrations. Prestes Maia Gallery The Prestes Maia Gallery ( Portuguese : Galeria Prestes Maia ) is an artistic and cultural space located in the city of São Paulo that has an underground connection between Patriarca Square and Anhangabaú Valley , with an exit under

611-534: The Folha de S. Paulo newspaper. In 1995, these stations began to be deactivated, and renovations and adaptations were announced, including a food court and a small auditorium for lectures, which never came to fruition, as well as the removal of heavy traffic in Patriarca Square, near the entrance to the gallery, with a total budget of five million dollars. In the following year, this project resulted in

658-474: The Prestes Maia Gallery , where the city's first escalators were installed. The intersection between Anhangabaú Avenue and Avenida São João gained a different height in 1951, with the construction of Buraco do Ademar , which remained there for 37 years, being subsequently replaced by two homonymous tunnels (Papa João Paulo II). The east side of the valley was gradually remodeled in the middle of

705-584: The Viaduto do Chá . In 1955, the first public escalators in the city were inaugurated in the gallery's passageway. The Prestes Maia Gallery is composed of three floors: the basement, which gives access to the Anhangabaú Valley under the Viaduto do Chá, the first floor and the mezzanine , where the Almeida Júnior Room is located. Inaugurated in 1940 by then mayor Francisco Prestes Maia , it has

752-486: The 20th century, with the demolition of the three Palacetes Prates , between 1935 and 1970, giving way to taller buildings. In the early 1980s, the Municipality held a public tender for the remodeling of the region. The urban planners Jorge Wilheim and Rosa Grena Kliass were the winners, proposing a revitalization project that created a slab over the existing avenues on the site, at a height sufficient to connect

799-482: The 430th anniversary of São Paulo, on January 25, 1984. People organized themselves in a demonstration that had more than two hundred thousand people and occupied the region of Praça da Sé. Thus, in a matter of days, rallies began to be formed by large crowds and began to take place in squares and public places in cities such as Brasília, Rio de Janeiro and Belo Horizonte, expressing the desire to conquer their own citizenship. The demonstration of April 16, 1984, however,

846-601: The European cities. New buildings and new road works appeared, such as the Santa Ifigênia Viaduct and the Municipal Theater . Consequently, the Viaduto do Chá, built in 1892 to connect the "old" and "new" centers, was remodeled to increase the width of the alleyway and facilitate the circulation of streetcars and vehicles. The project included the creation of a square on the "old center" side of

893-539: The Lampadário designed by Ramos de Azevedo was demolished to make way for the gallery's entrance. In the 1950s, two new buildings completely changed the appearance of the square: the old Mappin headquarters and the small building on the corner of Líbero Badaró, next to the Church of Saint Anthony, were demolished to make way respectively for the Barão de Iguape Building (1959) and the Othon Palace Hotel (1954). In 1972,

940-547: The Lebanese community donated a statue of José Bonifácio to São Paulo City Hall, after six decades without any reference to him in the space. At the beginning of the 2000s, there was a debate about restoring the square, which was dirty and neglected. In 2002, a controversial redesign completely transformed the site. As part of a series of initiatives promoted by the Viva o Centro Association to revitalize São Paulo's historic center,

987-845: The Preservation Division of the Historical Heritage Department has been conducting the General Inventory of the Environmental, Cultural and Urban Heritage of the City of São Paulo (IGEPAC-SP), with the aim of selecting areas containing assets worthy of preservation for CONPRESP 's consideration. According to the methodology adopted, the city is divided into zones that present a certain homogeneity, both in terms of their physical characteristics and historical formation, and regarding their use. As

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1034-679: The Valley, Largo São Bento , through the steps of the Metro and Praça da Bandeira , which currently houses a bus station . With gardens, works of art and three fountains, Vale do Anhangabaú is today a postcard of the City Center of São Paulo, from where it is possible to glimpse buildings such as the Martinelli , Altino Arantes , Teatro Municipal , and the Matarazzo Building , headquarters of city hall. The space also acts as

1081-565: The Valley, is born as Saracura Stream, which runs through Avenida 9 de Julho and goes through the Anhangabaú Valley, reaching its mouth at Tamanduateí River , at the47 edge of Municipal Market . Thus, the Tamanduateí constitutes a kind of delta with its main tributary, Anhangabaú. The name Anhangabaú possibly derives from the fact that its waters are very ferreous and acidic - in Tupi, it means "poisonous water". The indigenous people considered

1128-486: The Viaduto do Chá by demolishing some of the buildings around the bridge exit and expanding the area, which would relieve the traffic on Líbero Badaró, Direita, Quitanda and São Bento streets, the busiest thoroughfares in the city at the time. In 1912, the new square would emerge, still without a name. The buildings in the area, precisely on São Bento, Direita and Líbero Badaró streets, were expropriated and an open area emerged, still without any improvements to make it look like

1175-516: The architectural changes of the city. In 1877, the urbanization of the area began, through the idealization of the Viaduto do Chá — which would only be inaugurated in 1892. For the construction of the viaduct, only the lane used for the work was expropriated. In 1884, Decree 233 (the first sanitary code in the State of São Paulo) was made to contribute to the newly created Sanitary Service body. The code contained some rules that provided improvements to

1222-571: The beginning of November the following year. At the time, the space was unoccupied because, according to Masp's management, infiltrations prevented "any activity". Folha de S. Paulo reported in June 2009 that construction had stopped in 2004, but that the infiltrations were only reported to the City Council three years later. Masp had invested "more than three million reais " in elevators, air conditioning, bathroom renovations and improvements to

1269-405: The canopy for having replaced the art-deco shelter by architect Elisário Bahiana , part of the Viaduto do Chá project, a listed monument since 1992. "What revitalization has the beautiful and inopportune project brought to the site?" he asked in the article, and then replied: "None, except to provoke complaints." During the construction of the marquee, Masp-Centro was closed. In 2019, a project

1316-411: The centenary of Brazil's independence. On January 13, 1926, with the inauguration of the monument designed by Ramos de Azevedo in the center of the new square, named Lampadário, the square was officially opened. Once completed, the space quickly became a popular spot in the center of São Paulo as new buildings were installed, such as the headquarters of Indústrias Reunidas Fábricas Matarazzo (IRFM) in

1363-401: The city's architectural history, the Anhangabaú Valley played a very influential role in the social history of São Paulo residents. A milestone in the history of the Valley was the event that became known as " Diretas Já ". The movement happened spontaneously and had repercussions at the national level, as the people exercised their political power through the desire for direct elections to choose

1410-647: The decree had been revoked "by surprise". In 2002, the upper entrance to the gallery, where there used to be a bus station, was covered by a marquee designed by architect Paulo Mendes da Rocha , causing controversy for supposedly affecting the visibility of the Church of Saint Anthony , in Patriarca Square. Carlos Lemos, a professor of Architecture and Urbanism at the University of São Paulo , wrote an article in Folha de S. Paulo three years later in which he criticized

1457-499: The floor and the plumbing and electrical systems, but complained about the lack of a counterpart from the city government, which was refuted by the Municipal Department of Culture, claiming that, once the concession was granted, maintenance would be Masp's responsibility. The City Hall also claimed that the space was used improperly as a warehouse and that the gallery had been closed in previous years; Masp complained that

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1504-496: The former Rotisserie Sportsman building. In the 1930s, the then mayor of São Paulo, Francisco Prestes Maia , together with engineer João Florence de Ulhôa Cintra, began to formulate the famous São Paulo Avenue Plan , which promised to completely change the appearance of the city. In 1940, under the Viaduto do Chá, the Prestes Maia Gallery emerged, whose main access would be through the Patriarca Square. To this end,

1551-466: The honor of declaring this gallery inaugurated." After falling into disrepair in the 1970s, the site became home to administrative offices for public agencies, such as Cohab, until October 2000, and the Guidance and Counseling Center (COA), aimed at AIDS patients, which operated there between 1989 and 1995 and was "a point of reference for doctors and AIDS patients throughout the country" according to

1598-506: The new roof divides opinion as to its practicality and beauty. The bus stop was also removed, leaving a large space for pedestrians, who can access the square via six different routes. The existing Portuguese mosaic arabesque was reconstructed with the help of photo montages, and a bay for vehicles was created on one side. Inside the gallery, Rocha has installed pieces from various museums in the city of São Paulo in showcases, allowing visitors to come into contact with works of art. Since 1983,

1645-483: The portico designed by Paulo Mendes da Rocha also serves as a roof for the homeless in the neighborhood. Vale do Anhangaba%C3%BA Vale do Anhangabaú ( Anhangabaú Valley ) is a region in the city center of São Paulo , located between the viaducts do Chá and Santa Ifigênia . It is a public space commonly characterized as park , where events have traditionally been organized, such as public demonstrations, political rallies, presentations and popular shows. It

1692-467: The president of Brazil. Several rallies were held, the first being in the city of Abreu e Lima, Pernambuco, on March 31, 1983. In November of the same year, ten thousand people from São Paulo gathered for the first rally held in the Capital. After these first two rallies, the movement took on major proportions across the country. After the two rallies, another one that gained repercussion took place on

1739-462: The project, which also included the Viaduto do Chá, led to the restoration of the square's original floor, the relocation of José Bonifácio's sculpture and the addition of a new roof for access to the Prestes Maia Gallery . The structure, designed by Paulo Mendes da Rocha , works as a portal to the square, framing the visual perspectives and open spaces. Since then, the square has maintained its new configuration, without any alterations, but to this day

1786-423: The river cursed and, currently, it is channeled and hidden, except for its springs, which are outdoors, between the regions of Vila Mariana and Paraíso. Because of its size, the Valley was the scene of historical facts of great national importance, such as the inauguration of the Viaduto do Chá in 1892, the channeling of Anhangabaú River in 1906, and the replacement of the park's gardens by avenues, in 1940, following

1833-503: The sidewalk of the Viaduto do Chá, next to the newsstand and near Líbero Badaró Street . A Neapolitan nativity scene from 1720, donated by Ciccillo Matarazzo , now part of the collection of the Museum of Sacred Art of São Paulo , was set up for the first time in São Paulo at the gallery. The venue also houses Graça I and Graça II (sculptures by Victor Brecheret ) and a bronze replica of Michelangelo 's Moses sculpture, made by

1880-519: The so-called "Heart of the City", promoted by the Viva o Centro Association , considered the space as a cultural heritage site, relying heavily on the historical and cultural characteristics of the urban layout, public spaces and buildings in the zone. Located near the Sé, Anhagabaú and São Bento metro stations, the square is the scene of artistic occupations and a meeting point for demonstrators. The metal roof of

1927-420: The soil issue in the cities, such as more trees, paving the streets and draining wet land, which indicated that the drainage of the floodplains of São Paulo became a norm. During the administration of João Alfredo Correia, from Pernambuco who presided over São Paulo between 1885 and 1886, several works were also started. He proposed to create a circular boulevard around the central area, so that it would comprise

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1974-433: The two sides of the Valley, with the car traffic falling below and recreating the green area between Viaduto do Chá and Viaduto Santa Ifigênia . The main focus was to transform the Valley into a large boulevard, to resume the original function of its construction at the beginning of the 20th century. Since 2019, Vale do Anhangabaú has undergone a renovation, which was completed in 2022. In addition to its importance for

2021-528: The venue being transferred to Masp by decree of then mayor Paulo Maluf . "The gallery was created to be an art space, but it took other directions. We're going to restore the original project," said Sanderley Fiusa in March 1995, president of the commission created by the City Hall to revitalize the center. The possibility of transforming the space into a 24-hour shopping center was also discussed. The intention

2068-477: Was announced to transform the site into the Museum of Citizenship and Human Rights, a space that will be divided into video panels, three halls for events and temporary exhibitions, a 100-seat auditorium and an entrance hall with an area for artistic interventions. Once approved, an executive project can be contracted for the restoration and renovation of the entire gallery, as well as the installation of an elevator on

2115-617: Was created as part of the expansion of São Paulo's city center, with the crossing of the Anhangabaú Valley from the Historic Triangle (whose vertices are the Monastery of Saint Benedict , the Church of Saint Francis and the Church of the Third Order of Carmel ). At the beginning of the 20th century, the city began to develop plans to remodel and modernize the city in line with the interests of an elite who wanted to mirror

2162-470: Was determined to inaugurate it - his term would end less than two months later. The branch never had a permanent collection, although it did host several exhibitions and events for companies such as Casa de Criadores and São Paulo Fashion Week . The concession ended in December 2008 when then mayor Gilberto Kassab signed the revocation of the original decree, although the repossession only happened at

2209-460: Was not to exhibit any of the 300 works in Masp's permanent collection, but parts of the other 4,700 works that the museum had and, especially, temporary exhibitions that the headquarters couldn't accommodate. Still in 1995, a more extensive project was discussed, which would transform the Anhangabaú Valley into a cultural center and the stretch from the Prestes Maia Gallery to the Municipal Theater into

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