Abstract
Recently, the restoration work of Vila Itororó—an architectural complex in central São Paulo, built around the 1920s, has been carried out, enabling applied field research for restoration as well as for historical perspective of the social and cultural development that took place at Vila Itororó. Alongside the restoration work, a cultural centre has been installed on the site, embracing the opportunities of creating a new agenda for Vila Itororó with the community while the restoration takes place. Through this, Vila Itororó has been able to bring the discussion and practise of restoration closer to the civil society, reaching a public beyond the academic circles. The rich environment produced by these efforts has allowed for an outlet of publications and discussions regarding issues that range from architectural prospection to the role that heritage can play with our society in the city of the 21st century. This paper intends to present some of these discussions, their origins, insights and other findings that this experience has fostered.
Highlights
IntroductionSão Paulo is a city approximately 500 years old. By the end of the 19th century it was a small town, and grew dramatically, creating intense transformations within the urban space
TerritorySão Paulo is a city approximately 500 years old
Recent Findings The construction techniques displayed on site are of wide variety and alongside the typologies and morphology of the complex become central elements that justify the preservation efforts placed at Vila Itororó
Summary
São Paulo is a city approximately 500 years old. By the end of the 19th century it was a small town, and grew dramatically, creating intense transformations within the urban space. The main typologies were systematised by our studies in descriptive schemes (Figure 5a–5d) This catalog reveals some peculiarities: if, on the one hand, some typologies are disseminated patterns at the time (Figure 5a–5b), others are less common in ‘ordinary’ civil construction (Figure 5c–5d); curiously some of them (Figure 5d) appear in the first modernist houses built by Gregori Warchavchik in the 1920s—a Russianborn architect trained in Rome, precursor of the Modern Movement in São Paulo. The state authority of São Paulo transferred the usage rights of the land to the city government under the conditions that the buildings would be conserved and that a cultural centre was to be installed on the site. It is on these activities that this essay will focus
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