Cultural heritage in the country of the world cup

8/12/2019 Cultural heritage in the country of the world cup

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CULTURALHERIT

AGEINTHE

COUNTRY

OFTHEWO

RLD

CUP


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CREDITS

President of BrasilDilma Roussef

Minister of CultureMarta Suplicy

President of IPHANJurema Machado

IPHAN Direction

Marcos Jos Silva Rgo

Andrey Rosenthal SchleeClia Maria Corsino

Luiz Philippe Peres Torelly

Robson Antonio de Almeida

Chief of staffRony Carlos Braga Oliveira

PUBLICATION CREDITS

Press Office

WritingLuiz Philippe Peres Torelly, Adlia Soares, Mcia Menescal, Arlete Bonelli, Celma Souza, Fatima Martins

RevisionCaroline Soudant, Anglica Torres

Graphic designCristiane Dias

Layout developmentVitor Corra

Photos

IPHAN

English versionPaula Zimbres

Spanish versionElga Prez-Laborde

ColaboratorsIsadora Fonseca, Michele Mendes


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CITIES

1. BELO HORIZONTE FROM MODERNISM TO COLONIAL 05

2. BRASLIA MONUMENTAL BY NATURE 11

3. CUIAB LISTED HISTORICAL CENTRE 19

4. FORTALEZA VISIT THE ATTRACTIONS PROTECTED BY IPHAN 27

5. CURITIBA DIVERSITY OF STYLES 35

6. MANAUS BRAZILS ENVIRONMENTAL CAPITAL 43

7. SO PAULO NATIONAL AND INTERNATIONAL INFLUENCE 51

8. RIO DE JANEIRO 231 LISTED PROPERTIES 59

9. RECIFE THE INFLUENCE OF DUTCH INVASION 71

10. SALVADOR THE FIRST CAPITAL 77

11. NATAL THIRTY LISTED PROPERTIES IN RIO GRANDE DO NORTE 87

12. PORTO ALEGRE MULTICULTURAL BY NATURE 97


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CULTURAL HERITAGE IN THE COUNTRY OF THE WORLD CUP

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Belo Horizonte From Modernism to ColonialBelo Horizonte is located in a mineral-rich region, to which the entire state owes its name Minas

Gerais, or General Mines. A village called Arraial Del Rey existed in its site since the 18th century.

Its history, beginning with the arrival of the bandeirantepioneers, would have been the same of any

other village in Minas Gerais, had it not been for the Proclamation of the Republic, in 1889, whenRepublican ideals advocating the creation of a new capital were widespread. Belo Horizonte was

chosen to replace Ouro Preto as state capital. The place was more viable economically, and had no

topographic limitations to hinder its urban development.

A dynamic metropolis, Belo Horizonte is home to one of the most emblematic Modernist architec-

tural ensembles in Brazil: the Pampulha. At the banks of its namesake pond, the ensemble consists

of the Church of So Francisco de Assis, the Casa de Baile, the Yatch Club and the Casino, now a

Museum of Modern Art, all of them designed by Oscar Niemeyer with landscaping by Burle Marx and

the magnificent panels by Cndido Portinari. The whole ensemble is listed as heritage by IPHAN the

National Historical and Artistic Heritage Institute.

Because it is located in the foremost mining region of the Colonial period, Belo Horizonte is neigh-

bour to some of the most important historical towns of Minas Gerais, allowing access to great works

of Colonial art and architecture, as well as a great diversity of crafts, cuisine and folklore. Standing

out among these towns is Ouro Preto, the first historical town listed by IPHAN, in 1938, and inscribed

by UNESCO in the List of the Cultural Heritage of Humanity. Some other relevant towns are Sabar,

Mariana, Tiradentes, So Joo del-Rey, Congonhas, Diamantina, Santa Brbara, Caets, also listed by

IPHAN or by state or municipal institutions of cultural heritage preservation.

Belo Horizonte may be reached through the Confins International Airport, through a number of in-terstate bus lines, by train or by car through the roads connecting the city to other Brazilian states,

such as BR-040, BR-381 and BR-262.

SELECTEDMONUMENTS

PAMPULHA BELO HORIZONTE

The Pampulha ensemble is an iconic Modernist work created by Oscar Niemeyer. Built in the 1940s

and listed by IPHAN in 1997, the ensemble consists of a casino, a church, a ballet hall and a club, aswell as a pond created especially for this project, through the construction of a dam enclosing a wide,

sinuous valley, forming a reflecting pool measuring several kilometres. The whole ensemble is inter-

spersed with the landscaping of Burle Marx, whose gardens follow the sinuous lines of the buildings.

(Pampulha Ensemble access through Otaclio Negro de Lima Avenue).

LIBERDADE SQUARE BELO HORIZONTE

Built at the time of the foundation of the new capital of Minas Gerais (1895-1897), the Square lies at

the highest point of the citys original area, and was conceived to house the seat of state power. The

landscape design of Liberdade Square was created in accordance with the functions and the social and

political values of the structures surrounding it. From Joo Pinheiro Avenue, ones view follows in a

straight line all the way to the Governors Palace. In a more detailed look, one can see a number of inter-


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mediate settings, such as the fountains and the bandstand, as well as pleasant open spaces for leisure

or artistic events. When the seat of government was transferred elsewhere, in 2010, the surroundings

of Liberdade Square received institutions related to culture, such as museums and a planetarium. (Liber-

dade Square lies between Gonalves Dias and Bias Fortes Streets and Brasil Avenue).

CENTRAL MARKET

The Central Market, formerly known as Belo Horizonte Municipal

Market, was created in 1929 to centralise the citys supply. In 1964,

faced with the possibility of the places shutdown, the merchants cre-

ated a cooperative and built the shed that now accommodates the

market. The construction occupies an entire block in downtown Belo

Horizonte, offering a variety of products including vegetables, fruit,

herbs, domestic utensils, crafts, religious articles, among others, mak-

ing it a popular and democratic place. A number of restaurants also

serve the typical cuisine of Minas Gerais. (Augusto de Lima Ave, n.744, Downtown).

SANCTUARY OF BOM JESUS DE MATOSINHOS CONGONHAS DO CAMPO

The Congonhas Sanctuary is the countrys greatest and most notable architectural and artistic en-

semble. Considered the masterpiece of Antnio Francisco Lisboa, a.k.a. Aleijadinho, it was built

in several stages, beginning in 1757. The ensemble is formed by the Sanctuary of Bom Jesus, the

parvis of the prophets and six chapels placed in two wings along the ramp leading to the Sanctuary,

on top of a hill. Depicted in the chapels, in life-size figures, are scenes from the Passion of Christ.The images were sculpted in wood by Aleijadinho and painted by Manuel da Costa Athayde. Other

masters also worked on this sanctuary, such as Antnio Roiz Falcato, Francisco de Lima, Toms de

Maya Brito and Manuel Rodrigues Coelho. The ensemble is included in the UNESCO World Heri-

tage List. (Baslica Square).


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Between 1820 and 1844, the house was expanded, incorporating the Casa dos Contos to the Gold

Casting House and Mint, bringing the Finance Secretariat to the same place of the National Treasure.

MOTHER CHURCH OF PILAR OURO PRETO

The construction of the present-day Mother Church of Pilar began between 1728 and 1730, to re-

place the oldest temple of the town then called Vila Rica, dedicated to the Virgin of the Pillar. Its con-

struction began with the nave, in 1731, when the Blessed Sacrament and the images were moved to

another chapel. Built of adobe and rammed earth, by 1733 it was practically finished, and a solemn

procession marked the return of the Blessed Sacrament and the images to the new Mother Church.

The Church of Nossa Senhora do Pilar is one of the most relevant Baroque exemplars in Minas Gerais.

In addition to its images, of excellent quality, it houses the Museum of Silver. A corridor annex to the

Consistory accommodates the Mother Church Archives, the most complete documental collection in

Ouro Preto.

CHURCH OF NOSSA SENHORA DO ROSRIO DOS

PRETOS OURO PRETO

The Church of Nossa Senhora do Rosrio dos

Pretos (1785) is dedicated to the patron saint

of blacks and mulattos, and possesses the most

original design of all Baroque churches in Minas

Gerais. Its elliptical-shaped ceiling resembles a

ships keel. Its interior is impressive for its acous-

tics and clarity. The lateral altars are dedicated toSaint Helena, Saint Iphigenia, Saint Anthony of

Nubia, Our Lady Mother of Men, Saint Elesbaan

and Saint Benedict. Some researchers claim that

the images of Saint Anthony and Saint Benedict

were made by Father Felix, Aleijadinhos older

brother.

MOTHER CHURCH OF NOSSA SENHORA DA CONCEIO, DE ANTNIO DIAS OURO PRETO

Located at Antnio Dias Square, between Baro de Queluz Square and Tiradentes Square, the con-

struction of this Mother Church began in 1727 and continued through the second half of the 18th

century. Builder Manuel Francisco Lisboa, Aleijadinhos father, worked in the construction of this

church, where they are both buried. One of the oldest parishes of Minas Gerais (1707), the Mother

Church of Nossa Senhora da Conceio de Antnio Dias is also one of the largest and most sump-

tuous. The former sacristy houses the Aleijadinho Museum, displaying several works by this master,

including the Ea lions and the images of Saint Francis of Paola and of Christ Crucified.


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INTANGIBLEHERITAGE

Minas cheese (photo) is one of Brazils most characteristic food products. The process for making

Serro cheese was listed as a cultural heritage asset from the north of the state of Minas Gerais, whererural communities preserve this tradition. In Belo Horizonte, the Central Market of Supply and Ser-

vices has a number of small stores that specialize in cheese and other dairy products, where visitors

may sample and buy Minas cheese. More than a product, cheese making in Minas Gerais is the fruit

of a knowledge that is is strongly associated to the ways of living of each producing region. (Augusto

de Lima Ave., n. 744, Downtown. Phone number: 55 31 3274.9434, www.mercadocentral.com.br)


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Braslia Monumental by natureBraslia is the fulfilment of a historical aspiration of the Brazilian nation. Soon after being elected

President, Juscelino Kubitschek launched, in 1957, a public call for projects for the Pilot Plan of

Braslia. The winner was the architect and urban planner Lucio Costa, who conceived, alongside Os-

car Niemeyer, also an architect and urban planner, one of the greatest cultural achievements of the20th century. Inaugurated on April 21, 1960, Braslia fulfilled its historical mission of promoting the

integration of the Brazilian territory and bringing development to the inland. In 1987, the city was the

first 20th-century urban ensemble to be recognized as World Heritage by UNESCO. Monumentality

is its greatest feature, determined by the monumental, residential, bucolic and gregarious scales and

by its innovative architecture.

Now home to about 2.6 million inhabitants, Braslia is one of the greatest metropolis in Brazil. It is not

only the seat of the Federal Government, but also a great centre for service providers, with a beauti-

ful and singular architectural, urban and landscape heritage. It is a park-city, with a dense canopy of

trees, framed by the Parano Lake. Its innovative architecture features palaces and public buildings,bridges and gardens, panels and sculptures, gathering the best in Brazilian architecture and art pro-

duced in the 1950-60-70s, including: the Plaza of Three Powers and the Esplanade of Ministries; the

Itamaraty Palace and the Palace of Justice; the Metropolitan Cathedral and the National Theatre; the

Cultural Ensemble of the Republic (Museum and Library) and the TV Tower; the JK Memorial and the

Catetinho; and the Alvorada Palace.

In the Plaza of Three Powers, sculptures of the highest artistic expression and symbolism compose the

landscape The Warriors, by Bruno Giorgi, also known as The Two Candangos, andJustice, by Alfre-

do Ceschiatti. Also note the panels by Athos Bulco, that can be seen in buildings such as the Claudio

Santoro National Theatre, the National Congress and the Itamaraty Palace, among many others. Thelandscaping by Burle Marx is a top attraction in the Itamaraty Palace gardens (photo) as well as those

in the Urban Military Sector and in the 308 South Superquadra. In addition to the National Museum,

with its relevant collection of Modern art, several institutions also have notable collections that are

open to public visitation, such as the National Congress, the Itamaraty Palace, the Central Bank, the

Bank of Brazil Cultural Centre and the Caixa Econmica Federal.

Known as the capital of rock, Braslia is also nationally recognized for its chorinho music, represent-

ed by the Clube do Choro school and venue. The Braslia Film Festival is one of the great yearly events

for Brazilian cinema. As a centre that congregates Brazilians from all regions, it shows a diversity of

influences in its crafts, dance and cuisine: Seu Teodoros Bumba meu Boi, in the town of Sobradinho,is one example. The TV Tower Fair is a place of great cultural diversity in which handcrafted articles

are sold, music is performed and a rich gastronomy can be experienced, in typical dishes from differ-

ent Brazilian states, North to South.

The town of Pirenpolis and the Chapada dos Veadeiros National Park are two excellent options for

tourism, at an average distance of 150 km from Braslia. The Juscelino Kubitschek International Air-

port receives flights from all capitals in the country and from the following international destinations:

Atlanta, Miami, Oporto, Lisbon, Lima, Montevideo and Panama City, as well as international flights

connecting from the cities of So Paulo and Rio de Janeiro. The Airport is located at 10 km from the

Pilot Plan, and can be easily reached by bus or taxi. The city can also be reached by ground, since

Braslia is a hub for the roads that lead to most cities and regions in the country.


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MONUMENTSINBRASLIA

PLAZA OF THREE POWERS

Located at the eastern extremity of the Monumental Axis, the Plaza

of Three Powers is a wide civic space in the shape of an equilateraltriangle, in whose vertices are the buildings that represent and house

the Legislative, Executive and Judiciary branches of the Republic: the

National Congress, the Planalto Palace and the Supreme Federal Court.

The other architectural elements in the Plaza are: the Pantheon, the

Tea House, the City Museum, the Lucio Costa Space and the Flagpole,

arranged in a composition that leaves the horizon always in view. The

sculptures on display at the Plaza were created by Oscar Niemeyer,

Bruno Giorgi, Alfredo Ceschiatti and Jos Pedrosa.

NATIONAL CONGRESS

The focal point connecting the Esplanade of Ministries and the Plaza

of Three Powers, the National Congress represents, with the TV Tower,

the vertical landmarks of the Monumental Axis. Planned by architect

Oscar Niemeyer, it was conceived as a plastic counterpoint to the citys

horizontality. Its vertical axis is marked by the two administrative build-

ings, each with 28 floors: one for the Chamber of Deputies, and the

other for the Federal Senate, in contrast with the horizontal base that

contains the two domes where the assembly halls are located. Thisasymmetrical composition is, in the words of the architect, more than

a simple matter of engineering, a manifestation of spirit, imagination

and poetry.

SUPREME FEDERAL COURT

The Supreme Federal Court, designed by architect Oscar Niemeyer, is located at the Plaza of Three

Powers, opposite the Planalto Palace. Its volume was implanted with the smaller side facing the Plaza.

It consists of a three-storied rectangular glass box. The Supreme Federal Court is the highest instanceof the Judiciary Power in Brazil, accumulating the competences of a Supreme Court and a Constitu-

tional Court. It is basically entrusted with safeguarding the Federal Constitution.

MONUMENTAL AXIS

One of the elements that defines the shape of the Pilot Plan, the Monumental Axis is the place where

the monumental scale envisioned by Lucio Costa in the Braslia Pilot Plan Report is exacerbated. The

areas urban proportions, evident in the space between the buildings and in the dimensions of public

areas, highlight the architectural ensembles, particularly those of a governmental and institutional

character. It is 16 km long and consists of six traffic lanes on each direction, separated by a wide

central reservation. On its eastern extremity lies the Plaza of Three Powers, followed by the Esplanade


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of Ministries. On its west side is the TV Tower park, followed by the Convention Centre and the Buriti

Square, the seat of the Federal District Government. The former Rodoferroviria Station lies at its

western extremity.

ITAMARATY PALACE

The Ministry of Foreign Relations, created by architect Oscar

Niemeyer with the structural project of engineer Joaquim

Cardozo, is also known as Palace of Arches and, mostly, as

Itamaraty Palace, a name inherited from its correspondent

in Rio de Janeiro, the countrys former capital. The transi-

tional element that separates it from the public space is a

great reflecting pool, whose landscape design by Roberto

Burle Marx incorporates exotic species of tropical flora and

sculptures by Brazilian masters. The works of art integrated

to the architecture were created by Athos Bulco, MariaMartins, Mary Vieira, Franz Weissmann, Alfredo Volpi, Al-

fredo Ceschiatti, Victor Brecheret, Srgio Camargo, Rubem Valentim, Emanuel Arajo and Pedro

Correia de Arajo. (Esplanade of Ministries, Block H. Phone number: 55 61 3411.8051).

MINISTRY OF JUSTICE

The Ministry of Justice, designed by architect Oscar Niemeyer, follows the same architectural layout

and the same structural solution of the Itamaraty Palace. From its faade in a sequence of interrupted

arches, in reinforced concrete, shell-shaped spouts throw water onto the aquatic garden of exoticspecies designed by Roberto Burle Marx. The glass-covered volume that defines the administrative

area is at a recessed position in relation to the main faade. (Esplanade of Ministries, Block T, main

building. Phone number: 55 61 2025.3587).

NOSSA SENHORA APARECIDA CATHEDRAL

Its architectural layout enhances the sculptural shape

of this work by architect Oscar Niemeyer, making itstand out amidst the homogeneous Ministry buildings.

The contrast may also be noted in the simplicity of the

construction compared to the complexity of the build-

ings structural and volumetric solution a circular floor

plan with 70 m in diameter, from which 16 pillars rise,

sealed by a network of casements that form a stained-

glass window in its interior. As in other monumental

buildings in the city, access to the Cathedral is de-

tached from the public thoroughfare by a ramp leading

to an underground floor where religious activities are

performed. The ensemble also includes a belfry and a


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baptistery. The integrated works of art are the creation of Marianne Peretti, Athos Bulco, Alfredo

Ceschiatti and Di Cavalcanti. (Esplanade of Ministries, Lote 12).

CLAUDIO SANTORO NATIONAL THEATRE

The Claudio Santoro National Theatre, designed by ar-

chitect Oscar Niemeyer, stands out from the Esplanade

of Ministries ensemble by its pyramidal shape con-

trasting with the rectangular Ministries. Along with

the Touring Club building, it connects the administra-

tive axis and the Entertainment Sector. Its project was

structured in three levels: one facing the Rodoviria

Platform, with a connecting footbridge that leads to

a great foyer/exhibit hall; a second level, correspond-

ing to the auditoriums; and a third for administrative

work. The works of art integrated to the architecturewere created by Athos Bulco, Alfredo Ceschiatti and

Marianne Peretti. (Setor Cultural Norte, Via N2).

TV TOWER

Designed by Lucio Costa, the TV Tower is the highest and most promi-

nent element in the urban landscape. It is a visual landmark in the city

as a whole. At the time of its construction, it was one of the highest

buildings in the world. It consists of a metallic structure with a belve-dere halfway up, on a base of apparent concrete, shaped as a triangu-

lar-based prism, from where the whole city can be seen. It is located

within a park, originally designed by Burle Marx, near the Rodoviria

bus station, at the highest point of the Monumental Axis. It is one of the

most visited leisure spaces in the city. (Monumental Axis).

JK MEMORIALLocated at the spot where the first Mass was celebrated in Braslia, the JK

Memorial was designed and built as a tribute to the citys founder, Presi-

dent Juscelino Kubitschek. It is shaped as a broken pyramid on a rectangu-

lar base, coated in white marble, topped by a dome of apparent concrete.

Completing the ensemble is a 28 m high pedestal with a statue of Jusceli-

no. Inside, there is a library, a number of the former presidents personal

objects and his mortuary chamber (Cruzeiro Square Monumental Axis,

Western side).


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privacy and protection due to the distance, necessary for an official residence. The area also contains

a small, sculptural lateral chapel and the sculptureAs Iaras, by Alfredo Ceschiatti. (Presidential Way,

Civic-Administrative Zone).

CATETINHO, THE FIRST PRESIDENTIAL RESIDENCE

Designed by Oscar Niemeyer, the Wooden Palace was

Braslias first presidential residence, built in ten days and

inaugurated in November 1956, when President Juscelino

Kubitschek issued the first acts for the construction of the

future capital. The name Catetinho is a reference to the

Catete Palace, seat of the Brazilian Executive Power in Rio

de Janeiro from 1897 to 1960. This is an absolutely sim-

ple building, with pure Modernist lines, raised pillars at the

ground floor and a rectangular upper floor including four suites, two bedrooms, one hall for pres-

idential acts and a small bar, all reached through an open circulation area. At the back, a ground-floor annex holds the kitchen and the servants quarters, also made of wood. It is located next to a

fountain that is supplied by four springs of crystal clear mineral water, amidst a dense environment

of native vegetation. (Road Km 0 - BR 040, Gama Interchange).

JK BRIDGE

The JK Bridge covers a total 1.2 thousand me-

ters in length, 24 meters in width, and has two

roadways, each with three lanes, as well as lat-

eral walkways for cyclists and pedestrians. One

of the citys landmarks, the bridge was inau-

gurated on December 15, 2002. Designed by

architect Alexandre Chan, it received in 2003

the Gustav Lindenthal Medal, from the Engi-

neers Society of Western Pennsylvania, United

States, and was voted the worlds most beauti-

ful bridge. The JK Bridge crosses Lake Paranoand connects Lago Sul, Parano and So Se-

bastio to the central Pilot Plan, through the

Monumental Axis.

DIGITAL TV TOWER

Inaugurated on April 21, 2012, commemorating the citys anniversary, the Digital TV Tower is Braslias

newest tourist attraction. The monument designed by Oscar Niemeyer measures 180 meters in height

and can be seen from almost all points in the city. The result is an innovative metaphor: the cerradoflower. Its cylindrical base represents the flowers stem, holding two petals with glass domes. In one

of the petals, an exhibit hall contains a scale model of Braslia, similar to the one on display at the


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Lucio Costa Space, in the Plaza of Three Powers. The other petal holds a bar/caf. At the 13th floor,

on top of the flower, there is a belvedere, offering a panoramic 360 oview of the city. (Lago Norte).

INTANGIBLEHERITAGE

With its bold monumental architecture, Braslia isalso home to traditional street markets and fairs

that occupy many of its public spaces and its admin-

istrative regions (formerly known as satellite cities).

Crafts, Brazilian stones and typical dishes (acaraj,

abar, cuscuz de tapioca, vatap, bob and mani-

oc cake), among other products, are sold at the TV

Tower Crafts Fair (Pilot Plan, Monumental Axis, next

to the TV Tower). At the Ceilndia Central Market

(QNM 02, Ceilndia Centro, Phone number: 55 613372.5512), known as the meeting point of people

from Northeast Brazil, the greatest attraction are the

regional dishes (sarapatel, buchada, mocot and

baio de dois)prepared by families from the North-

east that settled in the capital.


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Cuiab Listed historical centre

Actions to recover this heritage began in the 1980s. In 1987, its downtown area was tentativelylisted as national historical heritage by IPHAN and, in 1992, this listing was ratified by the Ministry of

Culture. Since then, many buildings were restored, including the Churches of Rosrio e So Benedito,

Bom Despacho and Nosso Senhor dos Passos; as well as the Palace of Instruction (now a historical

museum and library), Cuiab, the capital of Mato Grosso, was founded during the days of gold min-

ing, in the early 18th century. This intensive but brief activity lasted only from 1722 to 1730. After

the Paraguay War, when the river was opened to navigation, the city achieved a new dynamism,

receiving urban improvements such as gardens with water fountains and bandstands. Interrupted for

two decades, its expansion was resumed during the New State (1930-1945).

The architecture of Cuiabs original urban area, as in other Brazilian historical towns, is typically

Colonial, but through time it was modified and adapted to other styles, such as Neoclassical and

Eclectic. Well preserved until the mid-20th century, the Historical Centre lost part of its originality with

demographic expansion and economic development. Several buildings were demolished, including

the old Mother Church, in 1968, when it was replaced by the present church.

the former War Arsenal (now a cultural centre run by SESC), the Fish Market (now the Cuiab River

Museum) and a two-story house that is now the Cuiab Image and Sound Museum (MISC). The area

listed by IPHAN is the one that retains the most original traits. In the former Ruas de Baixo, do Meio

e de Cima now, respectively, Galdino Pimentel, Ricardo Franco and Pedro Celestino Streets and itscross streets, the rows of houses still maintain their original architectural features.

Cuiab also offers other options to visitors, such as its zoo, the Rondon Museum and the Museum of

Popular Art and Culture, as well as the mark of the Geodesic Centre of South America. In riverside

communities, visitors may experience their ways of living and their local crafts, as well as enjoy the

rivers and bays used for bathing and fishing.

The municipality is surrounded by three great ecosystems, the Amazon, the Cerrado and the Pan-

tanal. It is close to the Chapada dos Guimares, and is considered the entrance to the Amazon For-

est. Cerrado vegetation is predominant, from its shrubland variety to the dense gallery forests at theriverbanks.

Cuiab is famous for its intense heat, although in the fall and winter temperatures may occasionally

reach 10oC, because of the cold fronts from the south that may last one day or up to a week, soon

returning to its habitual heat. Average temperature is about 32oC. The climate is tropical and humid.

By air, Cuiab can be reached through the Marechal Rondon International Airport. The city is also

served by buses, taxis and motorcycle-taxis.


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images such as the Good Lord Jesus of Cuiab. The church is comprised of three altars. To the right

lies the chapel of Good Jesus the Patron. At the centre, the high altar, where all community Masses

are celebrated, as well as the Cathedra, reserved for the Bishop. The crypt where authorities of the

Catholic Church of Mato Grosso are buried, including the founder of Cuiab, Pascoal Moreira Cabral

Leme, is on the underground floor.

CHURCH OF SENHOR DOS PASSOS

Installed 214 years ago in a seclud-

ed nook of the Historical Centre, the

Church carries many stories and leg-

ends that reveal aspects of the folklore,

the superstitions and the religious spir-

it of old Cuiab. Its floor plan is typical

of churches from the Colonial period,

divided into nave and high chapel.Unlike most other churches, howev-

er, it has only one lateral corridor, to

the left, with rooms at the back. On its

main faade, to the left, is the tall and

slender belfry. The Church of Senhor

dos Passos is one of the most beautiful

and admired heritage sites in Cuiab.

CUIAB ARCHITECTURAL, URBAN

AND LANDSCAPE ENSEMBLE

The listed site has existed since the late

Colonial period, and is now a part of the central area of Cuiab (about 10% of its urban centre).

In addition to its landscape ensemble, IPHAN also listed, in 1975, the Church of Nossa Senhora do

Rosrio e de So Benedito. This ensemble includes the oldest streets and the equipment that illus-

trate remarkable moments in the citys history, from the Colonial period to the first decades of the

20th century, in terms of materials and constructive techniques as well as styles. It includes buildings

belonging to the elites as well as the small houses typical of the lower classes.

CUIAB RIVER MUSEUM

Built in 1899 to house the Fish Market, the building was recovered in 1999, regaining its original fea-

tures, and became the Cuiab River Museum Hid Alfredo Scaff, as a tribute to the Arab descendant

who lived in the region and was the most important trader in the old market, exploiting for a long time

the inland navigation of Cuiab river. The Fish Market was built in 1899, as part of a complex of houses

that spread through streets and alleys with interesting names, such as Beco Quente (Hot Alley), Beco da

Confuso (Confusion Alley) and Rua da Lama (Mud Street). Nowadays, in addition to the Museum that

tells the history of the traditional neighbourhood of Porto, this cultural space counts with nine halls,

a restaurant, scale models of the region of old Cuiab and pieces of sacred art. The River Museum is

located at the banks of Cuiab River, at Beira Rio Avenue, in the neighbourhood of Porto.


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INSTRUCTION PALACE (HISTORICAL MUSEUM AND LIBRARY)

This palace, inaugurated on August 15, 1914, was built according to the architectural style in vogue

at the time, with foundations in canga stone and 80cm-thick adobe walls. The Instruction Palace

was a school building for 57 years, accommodating the schools Liceu Cuiabano, Normal, Modelo

Baro de Melgao as well as the Museum of Natural History and Anthropology. It also housed the

Public Archives and the former secretariats of the Interior and of Justice. In 1975, with the creation ofthe Mato Grosso Cultural Foundation, the building was chosen as the most adequate to display the

states cultural production, and the Public Library was permanently installed there.

WATER MEMORIAL

Inaugurated in May 2008, after the revitalization of the Water Treatment Plants. These are works

from the 1940s and 1970s that are still in activity, and are also open to visitation. The Memorial

emphasizes the importance of water in urban life, describing the whole process of treatment, from

collection to distribution, as well as the need for environmental preservation.

OLD WAR ARSENAL

Created under the name of Royal Train of War by a Royal Edict issued by D. Joo VI, in 1818, it was

intended for the manufacture and repair of military weapons. Its construction began in 1819 and was

completed in 1832, when it was inaugurated. Regional constructive techniques and materials were

used to raise a Neoclassical building in French-Portuguese style, characterising most official buildings

in Rio de Janeiro. In 1831, by legal determination, the War Arsenal of the Province of Mato Grosso

was created. The building was expanded and adapted in 1848, with the creation of lateral verandas.

The insignias of the Military House are displayed on the friezes with symmetrical reliefs. The coloursochre for the flat areas and white for the reliefs enhance the composition and make their Classic

linearity even more expressive.

CUIAB IMAGE AND SOUND MUSEUM (MISC)

Inaugurated in 2006, the Museum houses photographic and sound documents that paint a portrait

of the citys daily life since 1910. The images were captured by photographers Eurpedes Andreato

(about eight thousand pictures) and Lzaro Papazian more than 25 thousand. There is also a great

number of vinyl records, VHF video tapes and cassette tapes. Located in the Historical Centre, theMuseum occupies one of the citys most significant buildings the house of Alferes Joaquim Moura

(at Voluntrios da Ptria Street, n. 75), and is open to visitation from 2 to 6 pm. It also offers photog-

raphy courses, various workshops, shows and exhibits.

CASA DOM AQUINO PRE-HISTORY MUSEUM

This U-shaped building was raised in 1842, in Colonial style. It contains 12 rooms and its faade

faces Cuiab river, a few metres away. This residence is known by some historians as the Predestined

House, since two illustrious personalities in the state were born in it: Dom Aquino (bishop, archbish-op, province governor, writer and poet) and Joaquim Murtinho (politician, engineer and doctor, the

precursor of Homeopathic Medicine in Brazil). The Pre-History Museum was inaugurated on Decem-


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INTANGIBLEHERITAGE

VIOLA DE COCHO

A musical instrument found in the states of Mato Grosso and Mato Grosso do Sul, its name is a ref-

erence to the process of its making: a one-piece wooden log is sculpted in the shape of a guitar and

hollowed in the part corresponding to the sounding chamber. It is made in the same way as a cocho,

an object carved out of a tree log, used as a container to lay out food for farm animals. A sounding

board is attached to this cocho, as well as the parts characterizing the instrument, such as the bridge,

the fretboard, the saddle and the tuning pegs. The Viola de Cocho was acknowledged as national

heritage by IPHAN, in December 2004.


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YAOKWA RITUAL OF THE INDIGENOUS PEOPLE ENAWENE NAWE

The Yaokwa Ritual is considered the main ceremony in the complex ritual calendar of the Enawene

Nawe, an Indigenous people of the Aruak language, in northwest Mato Grosso. The ritual lasts seven

months, and marks the beginning of the Enawene calendar, when the men leave the tribe to go fish

collectively at a dam. The ritual goes on throughout the dry season, a period marked by interactionswith the fearful natural beings of the underground, the Yakairiti, doomed to live in insatiable hunger,

who need the Enawene Nawe to satisfy their voracious appetite for vegetable salt, fish and food de-

rived from corn and manioc. Thus, the Enawene Nawe must establish an exchange relationship with

these spirits so they can maintain their social and cosmic order.

SIRIRI AND CURURU

Siriri and Cururu, centuries-old traditions of Indigenous origins, are two folkloric dances typical of

the Pantanal region, more popular in rural and riverside areas. To this day, very few studies have been

published on the topic, and those that exist are usually based upon the narratives and the memory of

a few characters that, at 50, 60, 70, 80 or almost 90 years old, still contribute to keep this tradition

alive. The viola de cocho is one of its basic instruments, as a fundamental element for its rhythm, in

spite of its few notes. These manifestations have been considered intangible heritage by IPHAN.


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Fortaleza Visit the attractions

protected by IPHAN

The original settlement of Fortaleza dates from the 17th century. Portugal intended to establish there

a fortress to defend the region against foreigners and to facilitate contact with the North of Brazil.

During the Colonial period, Portuguese domination in Cear was interrupted in two moments by the

Dutch, who wished to gain control of the province: In 1637, when they conquered the Fort of So

Sebastio, and in 1649, with the construction of Schoonenborch Fort. With the reestablishment of

Portuguese dominion, the Village of Fortaleza was created in 1699, remaining an inexpressive set-

tlement, in political and economic terms, for more than a century. By the late 18th century, cotton

production and trade had become the pillar of the economy of Cear, fostering its commercial and

political development and creating the necessary conditions for its separation from Pernambuco, in

1799. Fortaleza was raised to the status of a city in 1823, in recognition of its growth and political

relevance.

The citys expansion and the growth of its population were intensified in the second half of the 20th

century. Today, more than a great urban centre, Fortaleza is one of Brazils most important metropolis,

with a population of more than 2.4 million inhabitants. Tourism is one of the citys main activities,

and among its greatest cultural and natural attractions are properties under the protection of IPH-

AN such as the Jos de Alencar Theatre (1908), the Jos de Alencar Birthplace, the Passeio Pblico(1880), the Provincial Assembly Building, the Cear Museum (1857), the building of the National

Department of Works Against the Draught and the Fortress of Nossa Senhora da Conceio.

Four other towns in the state of Cear possess urban ensembles protected by IPHAN: Ic, Viosa,

Sobral and Aracati. The first of these towns to be included in heritage lists was Ic, in 1998. One of

the greatest expressions of this town is its historical centre, dating back to the Colonial period, with

the predominance of Baroque style and references to French Neoclassicism. During the cycles of gold

and charque, in the 18th and 19th centuries, Ic was a major trading post in the inlands of the Prov-

ince of Cear. Various constructions remain from this period, veritable documents of the occupation

of the Northeast hinterland by cattle farming. Viosa and Aracati are also cities with a rich heritage,added to the natural beauties of the Quixad Monoliths.

Fortaleza maintains many of the states cultural traditions, such as cordelliterature, one of the most

important creations of Cear, represented by an expressive collection in the Cear Museum, with

popular poet Patativa do Assar as its greatest exponent. Fortaleza can be reached through the Pinto

Martins International Airport; by car, through the roads BR-101, BR-406, BR-304 e BR-116; BR-135,

BR-316, BR-343 and BR-222; and by buses leaving from the main capitals in the country.


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SELECTEDMONUMENTS

JOS DE ALENCAR BIRTHPLACE

The house where novelist Jos de Alencar was

born is located at the old Alagadio Novo farm,

in the outskirts of Messejana. The lands that used

to be the property of senator Alencar, the writers

father, now belong to the Federal University of

Cear. The property contains the house as well

as the ruins of an old sugar mill, the first steam-powered mill in Cear. The house is simple, with brick

floorings, brick and lime walls, carnauba palm timberwork and a ceilingless roof. Its architectural sig-

nificance, however, is due to the fact that it documents the evolution of the use of carnauba palm as

a roofing material in the early 19th century, the most likely period of its construction.

JOS DE ALENCAR THEATREThis 776-seat theatre is located at Jos de Alencar Square, at Downtown Fortaleza. Its construction

began in 1908 and it was inaugurated on June 17, 1910, representing the early 20th-century ideals

of Civilization and Progress in the capital of Cear. In 1918 the building went through its first reform,

when it received electrical installations and the pitch flooring in the garden was replaced by hydraulic

tiles. In 1957, the Austrian chairs with cane seats were replaced by plastic upholstered armchairs.

In the 1970s, the theatre was completely restored. In the same period the theatre gained a lateral

garden designed by landscape artist Roberto Burle Marx.

PASSEIO PBLICO

In the early 19th century, the area that is now the Passeio Pblico and the Holy House of Mercy

was called Campo da Plvora or Largo da Misericrdia. After the revolutionary movement known

as Equator Confederacy, the area came to be known as Praa dos Mrtires, or Martyrs Square,

since some of the movements leaders, including Father Moror and Pessoa Anta, were shot by a

firing squad there in 1824. In the middle of the century, when the city began a timid beautifying

process, the Province president, Fausto Augusto de Aguiar, wrote in a report on July 1, 1850, that

the Praa dos Mrtires should be landscaped, becoming a beautiful public promenade. To this

day, a centuries-old baobab tree planted by senator Pompeu exists at the place that witnessed the

firing squad.

PROVINCIAL ASSEMBLY CEAR MUSEUM

In 1835, the Province president, Joaquim Vilela de Castro Tavares, in a report

presented to the Provincial Assembly of Cear, called attention to the neces-

sity of a house that is fitting to the role performed by the Province legislators,

since the existing one resembles more a building housing the sessions of some

hamlets municipality. It was inaugurated in 1871. In addition to the Provincial

Assembly, the building had other uses in different moments of the history of

Cear: it accommodated the Law School, the Public Library, the Regional Elec-

toral Court, the Cear Institute and the Cear Academy of Letters.


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SOLAR CARVALHO MOTA DRAUGHT MUSEUM

The property that was once the residence of the states

vice-president, Colonel Antnio Frederico de Carvalho Mota,

was built in 1907. Two years later, the Inspectorate of Works

Against the Draught was established in the building. The

house is now the Draught Museum, telling the history ofdraughts in the Northeast with photographs, blueprints of

weirs and equipment. The Museum is at Pedro Pereira Street,

n. 683, and is open to visitation from Tuesday to Friday, 8 to

11:30 am.

MOTHER CHURCH OF NOSSA SENHORA DO ROSRIO ARACATI

A straw-covered chapel originated this Church, whose construction began in the first years of the

18th century and ended in the second half of the 19th. The temple fell apart in 1745, however, and

was rebuilt in 1761. The church houses images and a beautiful communion table in jacaranda wood,

including a carved transom above the door of the baptistery, and a doorway in sandstone from Bahia,

with panelled doors in relief finished with phytomorphic motifs. A great high cross at the front of the

church bears the symbols of the Passion, from 1859.

CHAMBER AND JAILHOUSE ARACATI

The Chamber and Jailhouse of Aracati was built in the second half of the 18th century, to house

the chamber, the court and a prison for men and women. One of the most important documents to

retrace the history of this building is a watercolour by Jos dos Reis Carvalho, now in the NationalHistory Museum. A pupil of Debret in the Imperial Academy and a painter in the Scientific Exploration

Commission, Jos dos Reis travelled through Cear under the direction of botanist Freire Alemo,

between 1859 and 1861.


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ARACATI HISTORICAL SITE

Aracati arose from a fortlet built in 1603 by a pacifying expedition. The settlement grew with the

occupation of the inland and with the growth of the economy supporting great latifundiums, based

on the sale of cattle products. Its position as a port at a navigable river soon attracted the farmersin the neighbouring areas. Raised to the status of a village in 1747, it had a major role, in the 18th

and 19th centuries, as centre of the cattle-farming region of Cear. The streets of Aracati, its houses,

churches, its chamber and jailhouse and many other buildings are witness to the ways of life of past

generations.

CHAMBER AND JAILHOUSE QUIXERAMOBIM

Raised by an Azorean builder between 1818 and 1832, the

building still houses the Municipal Chamber. In this construc-

tion, popular elements appear alongside clear signs of a late

Eastern influence, a solution often observed in ancient Portu-

guese-Brazilian architecture.

CHAMBER AND JAILHOUSE CAUCAIA

Built in the first half of the 18th century, the Chamber and Jailhouse of Caucaia was restored in 1962

and 1987, when it was adapted as a library. In the last intervention, a supporting annex was added

to the building: a hydraulic block and storage space. The building was retrieved to the community,

after restoration, on February 27, 1988.


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MOTHER CHURCH OF SANTANA IGATU

According to popular tradition, the Mother Church of SantAna, in the town of Iguatu, was built by

Indians of the Quixel ethnicity, under the guidance of Jesuit priests, the first colonizers of this region.

Its construction was complete in 1853, but the steeple would not be raised until the late 19th or early

20th century.

CHAMBER AND JAILHOUSE IC

Little is known about the construction of the Chamber and Jailhouse of Ic. Initiated in the late 18th

century, its construction was at first entrusted to Jos Bernardes Nogueira. Owing to problems with

its builder, works were interrupted between 1780 and 1800, when ordinary judge Captain Roberto

Correia took over its construction. It is one of the greatest and most important of these houses in

Cear, with an original system of iron bars isolating the cells. The building now houses the public jail

and the forum.

IC HISTORICAL SITE

In the 18th century, at the banks of Salgado river, an affluent of Jaguaribe, a palisade was built to

defend and protect the inhabitants from the skirmishes between the Indians and the colonizers,

allottees, colonists and associates. With the end of these fights, the Arraial da Ribeira dos Ics flour-

ished and developed around the Chapel of Nossa Senhora da Expectao. Ic reached a high level

of development in the 18th century, becoming the states most active centre of cattle trading. By the

19th century it was one of the foremost commercial and cultural centres of Cear, and in 1842 the

village was raised to the status of a town.


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CHURCH OF NOSSA SENHORA DA CONCEIO DE ALMOFALA ITAREMA

According to tradition, this church was founded in the place of the small chapel that originated the

Tremembs Mission, in 1702. Its construction, completed in 1758, was in the hands of the Brother-

hood of Our Lady of Conception. In 1897, a huge dune began to advance towards the church and

the neighbouring houses, threatening to bury them. As the situation worsened, in 1898, the images

and the cult objects were removed. The episode represented a dramatic chapter in the history of localpopulation. The building remained buried for almost half a century, reemerging only between 1940

and 1943.

MEAT MARKET AQUIRAZ

Historically, meat markets are associated to the ap-

pearance of charqueadas, or salted meat factories,

in Cear. Cattle was then sold near the slaughter

zones, allowing for a concentration of wealth in the

region and the development of urban centres in the

provinces. The Meat Market of Aquiraz is one of the

most important works of popular architecture in the

country. It features a square floor plan, consisting of

a central nucleus surrounded by porches. Its timberwork is entirely made of carnauba palm, and the

design of its structural pieces is developed as an exploration of the squares inner lines.

CEDRO WEIR QUIXAD

The first major public construction in the country, the Cedro Weir represents an attempt to respondto national clamour regarding the tragic consequences of the draught of 1877/79, when the con-

struction of weirs was established as a political option. Of all the suggested works, only the Cedro

Weir was in fact built. Preliminary studies, dated 1882, were made by English engineer Jules Revy.

Works were suspended until 1889 and would not be completed until 1906.


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QUIXAD MONOLITH ENSEMBLE

It is considered National Heritage because of the extraordinary beauty of this landscape in the coun-

trys natural scenery. The hills forming this ensemble are known as monoliths or inselbergs, a German

word meaning rock mountains. These granite rocks were formed 600 million years ago, during the

period known as Pre-Cambrian, when life appeared on earth. A bubble of magma, an incandescent

material existing in the planets nucleus, rose to the terrestrial crust. Its ascension was interrupted and

it cooled slowly, solidifying and crystalizing completely. Thus were formed the hills of Quixad, with

an average height ranging between 200 and 500 metres.

INTANGIBLEHERITAGE

XYLOGRAPHY, CORDEL LITERATURE

Written in rhymes and illustrated with xylographs, cordel

literature was brought from Europe by the Portuguese and

spread through much of Brazil, especially in Northeastern

states. Authors create and recite their poems and sell printed

leaflets. The cordelistas, cantadores, emboladoresand repen-tistasbring life to tourist attractions and open markets with

their challenges and improvisations, to the sound of violas

andpandeiros. In Fortaleza, they perform at Ferreira Square

(Downtown) and in the Association of Northeast Cantadores

(Coelho da Fonseca Street, n. 195, lvaro Weyne. Phone

number: 55 85 3236.2878), as well as in the Cultural Centre

of Cordelistas of Cear/Cecordel (Gal. Sampaio Street, Down-

town, n. 1128. Phone number: 55 85 3252.3561, www.

cecordel.com.br/historico). Their leaflets are also sold at

the Cordel National Stand (Largo dos Correios, Downtown.

Phone number: 55 85 3454.1835).


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Curitiba Diversity of styles

The capital of the State of Paran, in the south of the country, founded in March 1693, Curitibacontains a diversity of ancient and modern architectural styles that enrich its urban landscape and

represent an expressive cultural landscape. The historical and demographic formation of the city is

characterised by the presence of people descending from immigrants of various origins, in addition

to the ethnic foundation of Brazil, consisting of Indians, Africans and Portuguese.

The ways of being and doing, the civic and religious festivities of different ethnicities, the dance, mu-

sic, cuisine, expressions and the memory of their ancestors are incorporated to the city, represented

in the different immigration memorials, in public spaces such as municipal parks and woods. Build-

ings displaying Eclectic, Neoclassical, Colonial, Byzantine and Eastern architecture, as well as styles

inspired in the homeland of immigrants, confirm Curitibas cultural diversity and wealth.

In the citys Historical Centre, some important buildings can be found, such as the Church of Ordem

and the Paranaense Museum, the Church of Rosrio and the Metropolitan Cathedral, the Romrio

Martins House and the Presbyterian Church, the Ruins of So Francisco and the Garibaldi Society,

the City of Curitiba Memorial and the Museum of Sacred Art, as well as the Flowers Clock and the

Fountain of Memory. The place is a traditional meeting point for the population, because of the street

market that has been in activity since 1973 as well as a number of bars, pubs and restaurants, some

serving typical food of the immigrant communities that helped colonize the city.

By airplane, Curitiba can be reached basically through the Afonso Pena International Airport, in the

neighbouring town of So Jos dos Pinhais, the main international airport in the South of Brazil. The

airport is approximately 17 km from downtown Curitiba.


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SELECTEDMONUMENTS

PAO MUNICIPAL

The building was raised between 1914 and 1916, and listed as a heritage site in 1984. It was the seat

of the Curitiba City Hall until 1969. Its architecture is Eclectic with Neoclassical details and art nou-

veauelements, such as the iron marquise facing Tiradentes Square, the wooden mouldings and the

gate at the main entrance. Its strongly ornamented tower contains semi-circular balconies and three

clocks. The monument is considered heritage in the state and federal levels. It was recently revitalised

to accommodate a cultural centre managed by SESC/PR.

ETHNOLOGIC, ARCHAEOLOGICAL, HISTORICAL AND ARTISTIC COLLECTION IN THE PARANAENSE MU-

SEUM

Inaugurated in 1876 at Largo da Fonte (now Zacarias Square), the Museum, originally a private

institution, went into public administration six years later. Since then, it became a research centre,

promoting a number of scientific expeditions throughout the state. It currently develops studies inthe areas of Archaeology, Anthropology and History. Its collection consists of about 400 thousand

items, including documents and photographs, films and records, paintings in different techniques

and sculptures, as well as a great archaeological and ethnographic collection. Between 1979 and

2005, it received the estate of Czech naturalist Vladimir Kozk, as well as that of the former Paran

State Bank and the collection of the now extinguished Coronel David Carneiro Museum. The Muse-

ums ethnological, archaeological, historical and artistic collection was listed as heritage by IPHAN in

1941.

CORONEL DAVID CARNEIRO MUSEUM: ETHNOLOGIC, ARCHAEOLOGICAL, HISTORICAL AND ARTISTIC

COLLECTION

Its collection consists of coins and medals (Brazilian and foreign), ethnographic articles (ornaments,

clothing and musical instruments) and mineralogy (drawings, watercolours and oil portraits), and was

listed as heritage by IPHAN in 1941. The weaponry and the military uniforms worn by the Brazilian

Army in different periods, including those worn in the Lapa Siege by Federalist troops, are some of

its greatest attractions. There is also a rich collection of everyday objects and furniture used by Pa-

ranaense society in the 19th century.

ARAUCRIA HOUSE

The famous and gigantic araucriaor Paran pines,

typical of the South of Brazil, inspired immigrants

from Europe and Asia, who arrived in the country

after the 19th century, to build their own houses,

particularly in Paran. So many houses were built

using its timber that they earned a specific name:

Araucria House. This timber architecture is still very

common in Brazilian urban and rural landscapes. Itsmost significant production came from the region

of Curitiba, because of the first steam-powered


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sawmills that used araucriapine forests, with its abundant and high-quality prime matter. These

houses present a singular style that reflects the culture of the masses of immigrants that arrived in

Brazil in the late 19th century. The Superintendency of IPHAN in Curitiba is installed in one of these

houses, built around 1920, in a ranch at the Porto neighbourhood. The house was disassembled

and transported to its current address, in the neighbourhood of Juvev, enabling its preservation.

PERA DE ARAME (WIRE OPERA)

One of Curitibas landmarks, the Wire Opera

was inaugurated in 1992, in Pedreiras Park.

The theatre was built from a tubular structure

with a clear polycarbonate ceiling, a project

by architect Domingos Bongestabs, a profes-

sor in UFPRs School of Architecture and Ur-

ban Planning. An artificial lake surrounds the

building, and a footbridge crosses the watersand leads to the auditorium, that can hold 2.4

thousand spectators and whose stage mea-

sures 400 square metres. In the park that was

once a quarry, visitors may now appreciate the

native forest and several species of birds.

BOTANICAL GARDENS

Covering an area of 245 square metres, thegeometrical gardens and the three-domed

greenhouse are the trademark of the Botan-

ical Gardens and one of Curitibas main land-

marks. The greenhouse contains plants typical

of Brazils Atlantic Rainforest, and is built over

a metallic art nouveau structure inspired by a crystal palace that existed in London in the 19th centu-

ry. Surrounding the greenhouse, the Frans Krajcberg cultural space displays permanently 114 sculp-

tures by the Brazilian-naturalised Polish artist and environmentalist. The Botanical Gardens include

also the Municipal Botanic Museum, hiking trails through thickets of araucria pine trees, a lake,sports courts and a velodrome.

TIRADENTES SQUARE

The Square is Curitibas historical Ground Zero, as it was formally founded in this place. Legend has

it that the area was chosen by the Tindiquera chief, from the Tingui tribe, to house the regions first

inhabitants, who lived in a camp at the banks of the Atuba river, now the Bairro Alto neighbourhood.

In 1889, when the emperor of Brazil passed through the city, it was renamed Dom Pedro II Plaza. The

name Tiradentes Square came with the Republic, in 1889. The Square holds the historical monolith

with the Cross of Christ, symbolizing the power legally constituted by the king of Portugal, estab-

lished on March 29, 1693. The citys Birthplace is also located there.


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METROPOLITAN CATHEDRAL

The Minor Basilica Cathedral of Nossa Senhora da Luz, in Tiradentes Square, is one of the citys most

relevant cultural heritage sites. This Neogothic temple was built between 1876 and 1893, following

the project of French architect Alphonse de Plas. It was erected at the place of the old 17th-century

mother church, and is still dedicated to Our Lady of Light of the Pines, patron of Curitiba. Site: www.cultura-arte.com/curitiba/catedral.htm.

CHURCH OF ROSRIO DOS PRETOS

Located at the Historical Centre, the current Church of Nossa Senhora do Rosrio dos Pretos de So

Benedito was built in 1946, in Baroque style, at the same place as the old one, demolished in 1931.

The first Church of Rosrio, inaugurated in 1737, was built by slaves and for slaves, in Colonial style.

It was Curitibas third church, originally called Church of Nossa Senhora dos Pretos de So Benedito.

It was the citys mother church from 1875 to 1893, during the construction of the Cathedral, in Tira-dentes Square. The current faade still sports the tiles from the original church, and in its interior are

Portuguese tiles depicting the Stations of the Passion of Christ.

CHURCH OF ORDEM

The Church of Ordem Terceira de So Francisco das Chagas was built by the Portuguese in 1737,

under the name of Church of Nossa Senhora do Tero. It is the oldest church in Curitiba. Its present

name was established with the arrival of the Order of Saint Francis to Curitiba, in 1746. It was used as

a Franciscan convent until the 19th century, when it became the parish of Polish immigrants. Around

1834, part of the church fell over, not to be restored until 1880, with the visit of emperor D. Pedro

II. A heritage site since 1965, the temple was again restored from 1978 to 1980. The Museum of

Sacred Art was established there in 1981. In 1993, during a reform, an opuscule was found between

the walls containing precious information on the history of the church.

LARGO DA ORDEM

This plaza, in front of the Church of Ordem, is the heart of the citys Historical Downtown. It was a

busy commercial area from the 18th century and through much of the 20th. In 1917, it was officially

named Largo Coronel Enas. Other heritage sites are also located in the plaza: the Romrio Martins

House (considered the oldest in Curitiba), the Casa Vermelha (a cultural space), the Museum of Sa-

cred Art (annex to the Church of Ordem) and the Drinking Fountain, where muleteers and farmers

brought their horses and mules for a drink of water, in the mid-18th century.

OSCAR NIEMEYER MUSEUM

Inaugurated in November 2002, under the name of New Museum and following the project of ar-

chitect Oscar Niemeyer, it is known as the Museu do Olho, or Eye Museum, because of its shape. It is

one of the largest exhibit complexes in Brazil, covering almost 16 thousand square metres devoted toworks of art. Its various spaces include a 400-seat auditorium, a caf and leisure areas.


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UKRANIAN MEMORIAL

Located at Tingui Park, the Ukranian Memorial pays tribute to Curitibas Ukranian immigrants, and

was inaugurated in 1995, when their arrival completed one hundred years. The ensemble consists of

a replica of the Church of So Miguel Arcanjo, a typical house, an open-air stage and a gate. All of

these buildings are made of encased wood, in Ukranian style.

PASSEIO PBLICO

It is the citys first and most central park. It was inaugurated in 1886, covering 70 thousand metres of

natural forest, at the banks of the Belm river. It was also the citys first zoo, and still possesses a few

animals and an aquarium. The Passeio Pblico is considered an ecological sanctuary at the heart of

Curitiba, with a lake and islands, a grout, a suspension bridge and a floating stage.

RUINS OF SO FRANCISCO

Located at Joo Cndido Square, in the neighbourhood of So Francisco, these ruins are the remains

of a construction that would become the Church of So Francisco de Paula. Initiated by the Portu-

guese in 1811, the high chapel and the sacristy were eventually completed, but, in 1860, the stones

that would be used to complete the church were used to raise the tower of the old Mother Church.

Stories say although they have never been proved that tunnels connect the ruins to other places

in the city.

MATE HISTORICAL PARK MUSEUM

A heritage site listed by IPHAN in 1985, the Park of the Town of Campo Largo (PR) covers 31.7 hect-

ares of an extensive green area, including native forest areas, a lake and leisure spaces. The main

building, made of wattle-and-daub over brick masonry, houses the Museum resulting from the

restoration of an old Mate Farm from the second half of the 19th century. It is the sole remainder

from the countless water-powered mate mills in Paran. The Museum displays objects that describe

the process of mate production and transport, as well as the importance of the Mate Cycle for the

states formation. The Mate Historical Park is associated to the Paranaense Museum and to the State

Secretariat of Culture.

LAPA HISTORICAL CENTRE

Listed as a heritage site in 1992, the town of Lapa (PR)

arose from muleteer camps. It was the set of significant

battles, such as the Contestado War and the episode

known as Lapa Siege, referring to the 26 days of strug-

gle and resistance by the Florianist army commanded

by General Gomes Carneiro against the Rio Grande do

Sul Federalist forces, in 1894. The protected urban en-semble includes buildings of various architectural styles,

such as Portuguese-Brazilian, immigrant and Eclectic.


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INTANGIBLEHERITAGE

FANDANGO CAIARA (SP AND PR)

The fandango caiara is a cultural expression that involves music and dance, wisdom and skills, work

and amusement. In Paran, this expression is deeply rooted in the caiaracommunities of the mu-

nicipalities of Guaraqueaba, Paranagu and Morretes. The fandango is practiced by caiara com-

munities that make their own musical instruments and prepare food and drink for the dances. The

community gathers around the abundant feasts in celebrations that reinforce their relations of kin-

ship and conviviality, to the sound of the viola (five-string guitar) or the accordion, with round dances

and tap dancing, alternating with music and poetry. This cultural manifestation can be experienced

in Guaraqueaba 173 km from Curitiba, at the banks of the beautiful Paranagu Bay.

THE CAPITAL OF MULETEERS

Voted as the Capital of Brazilian Culture, the town of Lapa

(PR) is home to a relevant cultural heritage. The troops

of muleteers that crossed the region of Campos Gerais

from the Serra do Mar mountain range towards So Paulo

played a major role in its history. The towns population

inherited the habits, values and customs of these people,

who tilled these lands with love and courage, making the

city part of the route of a history that will not be forgot-

ten. The congadas, an expression symbolizing devotion

and praise to Saint Benedict, and muleteer cuisine are

also strong manifestations of the towns spirit. Its typical

cuisine shows the influence of Portuguese, Indians and

Africans. One of its favourite dishes is thepaoca lapeana,made with dried meat and cracklings, manioc flour and

quirera(broken corn and pork loins).


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Manaus Brazils environmental capital

The name of the city comes from the Indigenous language mana, meaning Mother of the Gods. Itshistory began in 1669, as an Indian settlement surrounding the Fortress of So Jos da Barra, built

to avoid the access of Dutch invaders and ensure the Portuguese crowns domination in the region.

This historical port city, located at the heart of the worlds greatest tropical rainforest, is known pri-

marily by its potential for ecotourism. With its extraordinary natural resources, the city is considered

Brazils Environmental Capital and counts with some major parks and ecological reserves, such as the

Mindu Park, the Sumama State Park, the Ponte dos Bilhares Park and the Adolpho Ducke Botanical

Gardens the largest in the world.

The Ja National Park, for instance, is Brazils greatest national park and the largest in the world con-sisting of intact humid tropical rainforest. The word Ja, from the Tupi (ya), is the name of one of

the largest fish in Brazil and also of the river that crosses the Park. Located at 220 km from Manaus,

it was listed by Unesco in 2000 as a World Natural Heritage Site.

The city is known not only for its natural beauties, however, but also by its architectural and cultural

heritage, including numerous temples, palaces, museums, theatres, libraries and universities. One

of its main tourist attractions is the Amazonas Theatre, inaugurated on December 31, 1896. The

Historical Centre, the Amazonas Theatre, the Downtown Port Complex, the Adolpho Lisboa Market,

the Moc Reservoir and the Meeting of the Waters (photo above) were all recognized by IPHAN asnational heritage.

The climate in Manaus is considered humid tropical, with a yearly average temperature of 26.5oC,

increased rainfall during the summer and a high relative humidity throughout the year, with monthly

averages ranging from 76 to 89%.

River transportation is very common in the city, through its great and very busy port the largest

floating port in the world -, reaching practically all of the countrys North region. The Eduardo Gomes

International Airport, located at 14 km from Downtown Manaus, is fit to receive all kinds of aircraft.


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SELECTEDMONUMENTS

ADOLPHO LISBOA MARKET

The Adolpho Lisboa Municipal Market, one of the most important centres for the trade of regional

products in Manaus, was built in the golden days of rubber extraction. Because it is an unparalleled

exemplar of iron architecture in the world, it was listed as heritage on July 1, 1987, by IPHAN. Above

the flag of the main gate, there is a cartouche engraved with the name of Adolpho Lisboa, mayor of

the city of Manaus at the time of its construction. The Market itself was eventually named after him.

MANAUS HISTORICAL CENTRE

The historical centre of Manaus is a stretch of urban area in which buildings from the golden days

of rubber extraction coexist with modern buildings. It is one of the greatest testimonials to a unique

economic era in Brazil. Cities such as Manaus, Belm (PA) and Rio Branco (AC) are examples of the

occupation and development of the North region, when the exploitation of latex enabled industrial

development throughout the world. For its cultural value, the historical centre was listed as heritageby IPHAN in 2012.

MEETING OF THE WATERS

The meeting of the waters of rivers Negro and Solimes is an

exceptional and singular phenomenon. The volume and speed

of the waters of the river at the moment of their meeting are

two of its most notable features. Its expressive strength and

grandeur certainly make it the largest meeting of waters in theworld: from the point where the waters meet, it takes ten kilo-

metres for them to merge completely. The first three kilometres

are marked by an almost rigid line, dividing the clear and mud-

dy waters of the Solimes river, to the right, and the dark and

transparent waters of Negro river to the left. The site is consid-

ered national heritage by IPHAN for its landscape value.

AMAZONAS THEATRE

Inaugurated in 1896, it is the most significant expression of the

regions wealth during the Rubber Cycle. The city was then one

of the most prosperous in the world, fuelled by the wealth of

latex extraction, a product in high demand by European and

North American industries. The society of the time felt, then,

the need for a space where foreign companies could perform,

requiring the construction of the theatre. The selected archi-

tectural project was developed by the Portuguese Cabinet of

Engineering and Architecture of Lisbon. It is now the greatest

architectural heritage of the Amazon, listed as historical heri-

tage by IPHAN on November 28, 1966.


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CAIXA DGUA MOC RESERVOIR

A magnificent work in Neo-renaissance style, it was inaugurated in 1899 during the golden days of

rubber extraction. The reservoir, covering an area of about a thousand square metres, was planned

and built with the aim of solving the water supply issues that afflicted the city in the late 19th century.

It stands out for its imposing inner structure completely made of iron imported from England sup-

porting two enormous metallic tanks, installed at the top of the building. Listed as heritage by IPHANon March 13, 1995, the Moc Reservoir still supplies part of the city of Manaus.

JA NATIONAL PARK

It is the greatest National Park in Brazil and the largest in the world consisting of a continuous stretch

of intact humid tropical rainforest. The Ja National Park is located in the municipalities of Novo Airo

and Barcelos, at 200 km from Manaus in a straight line. It was named after one of the largest fish in

Brazil, the Ja (from the Tupiya), that also lends its name to the main river in the Park. In 2000, the

Park was inscribed in UNESCOs World Heritage List.

DOM PEDRO II SQUARE

Inaugurated in 1897, the Dom Pedro II Square

was originally surrounded with railings. Re-moved in 1907, they were installed at the South

entrance of the Adolpho Lisboa Market, where

they remain to this day. The square contains an

iron bandstand, completed in 1888, manufac-

tured by the English company Francis Morton &

Cia. Limited Engineer, from Liverpool, as well as

a water fountain also made of iron. The square

was built above an Indian cemetery, discovered

in the late 19th century, and listed as an archae-ological site in the 1960s. It is part of the pro-

tected area of Manaus historical centre.


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MUNICIPAL CLOCK

Built in 1929, the clock was designed by the Amazonian Coriolano Durand in Neoclassical style, with

a Swiss engine. It has two faces. One of them bears the Latin inscription Vulnerant omnes, ultima

necat, meaning They all wound, the last one kills. It is located within the protected area of the

historical centre of Manaus.

AMAZONENSE ACADEMY OF LETTERS

Founded in 1918, the Academy originally met in Manaus University Institute. The current Eclectic

building was donated in 1935. The property is listed by the State of Amazonas and is located within

the protected area of Manaus historical centre, as defined by IPHAN.

BENJAMIN CONSTANT INSTITUTE

An Eclectic construction from the late 19th

century, it had a number of uses: the Baron

of So Leonardos palace, a botanic muse-

um, the Benjamin Constant Institute or-

phanage. It is now a unit in the Amazonas

Centre of Technological Education. It is lo-

cated within the protected area of Manaus

historical centre, as defined by IPHAN.

STATE PUBLIC LIBRARY

Built between 1905 and 1910, at the plot where the Public Stables used to be, it was hit by a fire

in 1945, when it lost almost all of its collection and the buildings south wing, that was rebuilt and

reopened two years later. It was designed by architect Jos Castro de Figueiredo, from the state of

Par. A notable feature of its Eclectic architecture, with a predominance of Classical elements, is the

internal stairway in openwork wrought iron from Liverpool, England. It is located within the protect-

ed area of Manaus historical centre, as defined by IPHAN.

SO JOO BATISTA CEMETERY

Its first plots were purchased in 1890, and

the cemetery was inaugurated in 1891. In

1905, the walls facing lvaro Botelho Maia

Avenue and Major Gabriel Street were built,

including their iron gates from Scotland. The

other walls date from the early 1920s. Its

chapel in Neogothic style was inaugurated

in 1906 and reformed in 1915. It is located

in the surroundings of the Moc Reservoir.


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CHAMIN ART CENTRE

The building was once a sewage treatment plant, run by the English Manaos Improvements Limited

Company. Its construction was completed in 1910. In 1993, it was converted to house the Chamin

Art Centre.

CORREIOS E TELGRAFOS AGENCY

Built in the early 20th century to accommodate the Marius & Levy company, this Eclectic building

displays a ceramic coating of apparent brick in all its faades. The Correios e Telgrafos (Post and

Telegraph) Company has been in activity in the building since 1921. It is located within the protected

area of Manaus historical centre, as defined by IPHAN.

EUCLIDES DA CUNHA SCHOOL GROUP

Its construction dates from 1896, and it had a

number of uses through time. Between 1905

and 1906, it was the Complementary School

for Boys, followed by the State Public Health

Department, until, in 1927 it became the Guer-

reiro Antony School Group called Euclides da

Cunha School Group after 1931.

BARO DO RIO BRANCO SCHOOL GROUP

The building had a number of uses: Milagres de Santo Antnio Village, residence of merchant Tancre-do Porto, Portuguese Consulate. In 1943, it became a school building. This Eclectic building is located

within the protected area of Manaus historical centre, as defined by IPHAN.

JOS PARANAGU SCHOOL GROUP

Built by the enterprise Alberto Grossi & Cia, it was inaugurated in 1895, with no official name. Its

original aspect was altered because of expansion works, resulting in an Eclectic typology. It is now the

State Education Council headquarters.

LAW COLLEGE

This building once housed the Silvrio Nery School

Group and the Nilo Peanha School Group. After

1934 it became the College of Law and Social Sci-

ences of Manaus, renamed in 1936 Law College

of Amazonas and transferred to the University

Campus in 2004. The second floor of this Eclectic

building was built during a reform, between 1936and 1938. It is located within the protected area of

Manaus historical centre, as defined by IPHAN.


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INTANGIBLEHERITAGE

IAUARET WATERFALL A SACRED PLACE FOR THE INDIGENOUS POPULATIONS OF THE UAUPS AND

PAPURI RIVERS

The Iauaret Waterfall is a place of vital importance for the Indigenous peoples that live in the region

bathed by the Uaups and Papuri rivers distributed in ten communities, most of them multicultural,consisting of ethnicities of the Eastern Tukano, Aruaque and Maku linguistic branches. Many of the

stones, flagstones, islands and channels in the Iauaret waterfall symbolise episodes of wars, perse-

cutions, deaths and alliances as described in these peoples origin myths and historical narratives. It

is considered their Sacred Place, bearing the marks of the history of their origins and their settlement

in the land, as well as the history of the establishment of relationships of affinity that still allow the

coexistence and the shared cultural standards of a number of groups that have been living in that

territory for millennia.


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NEGRO RIVER TRADITIONAL AGRICULTURAL SYSTEM (AM)

The Negro River Traditional Agricultural System is based upon manioc growing, and involves a set

of knowledge and skills that has deep roots in the daily lives of the Indigenous populations of the

Northwest Amazon, along the channel of Negro River and its tributary river basins. It takes place in

a multi-ethnic and multi-linguistic context with shared means for the transmission and circulation of

knowledge, practices and products. This cultural asset involves knowledge that is strategic to deal-ing with the limitations and potential of the regions ecosystem, while avoiding its degradation. It is

based on the coivara or slash-and-burn method, consisting of felling an area of primary forest that is

left to dry and then burned. These clearings are then planted for a period of two to three years, when

they are gradually abandoned to their natural recovery and visited only for collecting fruit.


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So Paulo National and international

influence

Founded by Jesuit priests in 1554, So Paulo is the largest city in the country. This world-renownedmetropolis exerts significant cultural, economic and political influence in Brazil and abroad.

The massive immigration of the late 19th and early 20th centuries brought to the state people from

all over the world. A great portion of the more than five million immigrants who landed in Brazilian

territory eventually settled in the state of So Paulo. The population descends mostly from Europeans

(especially Portuguese, Italians, Spaniards and Germans). There are also large communities of people

from the Middle East (Lebanese, Syrians and Armenians) and from Eastern Asia (Japanese, Koreans

and Chinese), as well as people of African and Indigenous descent. The diversity of peoples and cul-

tures that helped build the city also makes the regions gastronomy a major tourist attraction in itsown right.

Its cultural life is considered one of the best in the country. Countless theatres, movie theatres, muse-

ums and art galleries cater to all tastes. Some of its most important monuments are the Latin America

Memorial, the Portuguese Language Museum, the Ipiranga Museum (photo), the So Paulo Museum

of Art, the Ibirapuera Park, the So Paulo Botanical Gardens and Paulista Avenue. The city also hosts

major events such as the International Art Biennial, the Brazilian Grand Prix of Formula One, the So

Paulo Fashion Weekand the So Paulo Indy 300.

Historical and cultural heritage is spread throughout So Paulo. In the capital, for instance, are thethree houses designed by Gregori Warchavchik considered the first works of Modern architecture

in Brazil, as well as churches, paintings and images, estates and museum collections. The Monument

to the Independence of Brazil, a sculptural ensemble in granite and bronze, can be seen at the his-

torical site where Dom Pedro I, Emperor of Brazil, proclaimed the independence of the country from

the United Kingdom of Portugal.

So Paulo shares with Paran the stretch of Atlantic Rainforest declared Biosphere Reserve by UNES-

CO in 1991 and Natural World Heritage in 1999. The biodiversity of Atlantic Rainforest is comparable

to that of the Amazon, and its biome may be subdivided into a number of ecosystems because of

variations in latitude and altitude. The UNESCO listing intends to preserve the primary forests andensure the existence of its ethnic and cultural heritage, represented by the indigenous communities

that live in the outskirts of the protected area. These communities have been coexisting with the

environment in perf

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