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33-660: 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 a space of 6,000 square meters where, shortly after the inauguration, the Salão Paulista de Belas Artes was held with

66-429: A ceiling at least twice as high as a floor with minimum height. A mezzanine does not count as one of the floors in a building, and generally does not count in determining maximum floorspace. The International Building Code permits a mezzanine to have as much as one-third of the floor space of the floor below. Local building codes may vary somewhat from this standard. A space may have more than one mezzanine, as long as

99-579: A chamber created by partitioning that does not go up all the way to the arch vaulting or ceiling; these were historically common in Italy and France, for example in the palaces for the nobility at the Quirinal Palace . A mezzanine is an intermediate floor (or floors) in a building which is open to the floor below. It is placed halfway ( mezzo means 'half' in Italian) up the wall on a floor which has

132-498: A completely enclosed workstation providing protection for the worker during loading and off-loading operations. When the rear-side gate opens, the ledge gate automatically closes, ensuring there is always a gate between the operator and the ledge. Igreja de Santo Ant%C3%B4nio (S%C3%A3o Paulo) The Church of Saint Anthony ( Portuguese : Igreja de Santo Antônio ) is a Catholic temple located in Patriarca Square , in

165-476: A fall protection system. Removable sections of railing or gates that swing or slide open would be used to open up the area and allow the transfer of material, and then close once the material is removed. However, current ANSI standards require dual-gate safety systems for fall protection. Dual-gate safety systems were created to secure these areas, allowing a barrier to be in place at all times, even while pallets are being loaded or removed. Dual-gate systems create

198-640: 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 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

231-509: 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 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

264-771: A mezzanine (and how heavy the mezzanine may be), and to design the appropriate mezzanine. Custom Mezzanines are steel, raised industrial platform structures that are designed specifically to match the space and capacity needs of a given facility. It will, at a minimum, include a stairway for accessing the mezzanine. These structures typically are the strongest in terms of support capacity. Standard Mezzanines are steel, raised industrial platform structures that are completely self-supporting and are sold in predetermined sizes and shapes. These off-the-shelf structures are usually strong (in terms of support capacity) and less expensive than custom mezzanines. Employees in material handling and manufacturing are often at risk of falls when they are on

297-798: A new eclectic-style facade in 1919. Although the interventions made over the centuries have de-characterized the artistic and architectural integrity of the church, the Church of Saint Anthony was registered as a landmark site by the Council for the Defense of the Historical, Archaeological, Artistic and Tourist Heritage of the State of São Paulo ( Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico - Condephaat) in 1970 due to its historical importance. In 1991, another fire damaged

330-527: A wide array of purposes. Mezzanines are commonly used in modern architecture , which places a heavy emphasis on light and space. In industrial settings, mezzanines may be installed (rather than built as part of the structure) in high-ceilinged spaces such as warehouses. These semi-permanent structures are usually free-standing, can be dismantled and relocated, and are sold commercially. Industrial mezzanine structures can be supported by structural steel columns and elements, or by racks or shelves. Depending on

363-556: The School of Arts and Crafts . During the 2010 Virada Cultural , the gallery was used as a stage for "body suspension" sessions, in which people were hoisted up by hooks stuck straight into their backs. Mezzanine A mezzanine ( / ˌ m ɛ z ə ˈ n iː n / ; or in Italian , a mezzanino ) is an intermediate floor in a building which is partly open to the double-height ceilinged floor below, or which does not extend over

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396-413: The span and the run of the mezzanine, different materials may be used for the mezzanine's deck like fibre cement boards. Some industrial mezzanines may also include enclosed, paneled office space on their upper levels. There are three basic types of industrial mezzanines: custom, standard or modular. A structural engineer is sometimes hired to help determine whether the floor of the building can support

429-481: The Baroque of São Paulo, such as red, yellow and gold. After examining the ceiling of the high altar, a 17th-century painting that had survived the fires of 1891 and 1991 was discovered. The layers of paint covering it were removed and the picture was repaired.   In 2019, the first complete restoration of the church began. The project includes the renovation of the foundations, the electrical and plumbing systems,

462-489: The Church of Saint Anthony is uncertain. The oldest reference to the temple appears in Afonso Sardinha's will, dated November 1592, which bequeaths the sum of two cruzados for the " ermida de Santo Antonio " ( English : chapel of Saint Anthony). It consisted of a small chapel erected by unknown worshippers at the end of the street now known as Direita . In 1638, the chapel was renovated. The following year,

495-533: The art produced in São Paulo during the colonial period . During the restoration work in 2005, the ceiling of the high altar revealed sixteenth-century mural paintings of high technical and artistic quality. In 1970, the building was listed as a landmark site by Council for the Defense of Historical, Archaeological, Artistic and Tourist Heritage ( Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico - Condephaat). The founding date of

528-466: The back of the building. Restoration work began in January 2005. During the repairs on one of the side altars, interventions from different eras were identified, such as layers of paint and overlapping carvings, which covered up the altar's original paintings. The 20th century carvings were removed and the 17th century paintings depicting angels were renovated. Now, the altar displays the colors used in

561-403: 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

594-664: The center of the Brazilian city of São Paulo . Established in 1592, the current church was completed between 1899 and 1919. It housed the Franciscan Order in the 17th century and was subordinated to the Brotherhood of Our Lady of the Rosary of White Men in the 18th century. It is a historic monument of the state and the oldest remaining church in the city. The interior of the church preserves important testimonies of

627-648: The church. In 1899, the City Council ordered the brotherhood to demolish and rebuild the tower and facade due to the alignment works on Rua Direita . The work was financed by Francisco Xavier Pais de Barros , the Baron of Tatuí, and the Count of Prates , who both lived near the church before the Viaduto do Chá was built. The work lasted several years and included a general refurbishment of the church, which reopened with

660-644: 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

693-606: The first friars of the Franciscan Order arrived in São Paulo from Rio de Janeiro and settled in the chapel. Despite the construction of their convent in Largo São Francisco between 1642 and 1647, the Franciscans continued to maintain the chapel. In 1717, with the help of devotees and Bishop Dom Bernardo Rodrigues Nogueira , the chapel was renovated again to expand the premises. Due to the increase in

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726-499: 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

759-540: 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 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

792-884: The job. Recent figures show approximately 20,000 serious injuries and nearly 100 fatalities a year in industrial facilities. Falls of people and objects from mezzanines are of particular concern. In many industrial operations, openings are cut into the guardrail on mezzanines and elevated work platforms to allow picking of palletized material to be loaded and unloaded, often with a fork truck, to upper levels. The Occupational Safety and Health Administration (OSHA) and International Building Council (IBC) have published regulations for fall protection and The American National Standards Institute (ANSI) has published standards for securing pallet drop areas to protect workers that work on elevated platforms and are exposed to openings. In most cases, safety gates are used to secure these openings. OSHA requires openings 48 inches or taller to be secured with

825-575: 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 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

858-403: 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 the honor of declaring this gallery inaugurated." After falling into disrepair in the 1970s,

891-590: The revocation of the original decree, although the repossession only happened at 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

924-500: 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

957-564: 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 the Folha de S. Paulo newspaper. In 1995, these stations began to be deactivated, and renovations and adaptations were announced, including

990-475: The size of the building, the chapel became a church. In 1747, a third renovation began. In 1774, the Brotherhood of Our Lady of the Rosary of the White Men was founded, assumed administration of the church and transformed it into their headquarters. The confraternity carried out modifications that changed the features of the church's facade. In 1891, a fire in a neighboring building damaged and consumed part of

1023-418: The sum total of floor space of all the mezzanines is not greater than one-third the floor space of the complete floor below. Mezzanines help to make a high-ceilinged space feel more personal and less vast, and can create additional floor space. Mezzanines, however, may have lower-than-normal ceilings due to their location. The term "mezzanine" does not imply any particular function; mezzanines can be used for

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1056-467: The whole floorspace of the building, a loft with non-sloped walls. However, the term is often used loosely for the floor above the ground floor, especially where a very high-ceilinged original ground floor has been split horizontally into two floors. Mezzanines may serve a wide variety of functions. Industrial mezzanines, such as those used in warehouses, may be temporary or semi-permanent structures. In Royal Italian architecture , mezzanino also means

1089-477: 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

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