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| CCBB/Estação Carioca | |
|---|---|
| Name | Estação Carioca (CCBB) |
| Native name | Estação Carioca |
| Location | Rio de Janeiro, Brazil |
| Type | Cultural center, former train station |
| Opened | 1895 (original), reopened as CCBB = 2020s |
| Architects | Affonso Reidy (renovation), Francisco Joaquim Béthencourt da Silva (original) |
| Owner | Instituto Banco do Brasil |
CCBB/Estação Carioca CCBB/Estação Carioca is a cultural complex located in Rio de Janeiro, combining a historic railway terminus with a contemporary art center affiliated with the Centro Cultural Banco do Brasil network. The site connects to urban narratives involving Pedro II of Brazil, Getúlio Vargas, Juscelino Kubitschek, Afonso Pena, and major infrastructural developments like the Rio de Janeiro Metro and the Central do Brasil station. It serves as a locus for exhibitions, theater, cinema, and public programs that intersect with Brazilian and international figures such as Oscar Niemeyer, Lina Bo Bardi, Helio Oiticica, Tarsila do Amaral, and Cândido Portinari.
The original station was inaugurated during the reign of Pedro II of Brazil and later adapted through periods shaped by Vargas Era policies and the modernization drives of Juscelino Kubitschek and Getúlio Vargas. Its evolution paralleled projects like the Port of Rio de Janeiro expansion and the construction of the Central do Brasil rail complex influenced by engineers connected to the Companhia Docks de Santos and the Estrada de Ferro Central do Brasil. The site witnessed visits and events tied to figures such as Prince Gaston, Count of Eu, Viscount of Mauá, Baron of Mauá, and industrialists from Banco do Brasil and Companhia Siderúrgica Nacional. During the 20th century the station intersected with cultural currents led by personalities including Carlos Drummond de Andrade, Machado de Assis, Joaquim Nabuco, Euclides da Cunha, and later performers like Chico Buarque and Caetano Veloso who defined Brazil’s Tropicália movement. Redevelopment initiatives referenced international precedents in adaptive reuse like Tate Modern, Centre Pompidou, Museo Reina Sofía, and institutions such as Smithsonian Institution and Museum of Modern Art.
Architectural phases involved original designs reflecting 19th-century railway typologies influenced by European engineers associated with projects similar to Gustave Eiffel works and later modernist interventions resonant with Oscar Niemeyer and Lucio Costa. Renovations were undertaken by teams linked to architects such as Affonso Reidy and design practices conversant with conservation charters like the Venice Charter and methodologies used at ICOMOS. Interior interventions drew on scenography practices akin to Lina Bo Bardi and multimedia installations reminiscent of Olafur Eliasson, Yayoi Kusama, Anish Kapoor, and Christo and Jeanne-Claude. Materials and structural systems referenced cast iron technologies from the era of Isambard Kingdom Brunel and steelwork comparable to Gustave Eiffel projects, while contemporary additions evoked the clean lines of Le Corbusier and the spatial dynamics of Mies van der Rohe.
Programming at the complex has showcased retrospectives and thematic exhibitions featuring artists such as Helio Oiticica, Tarsila do Amaral, Cândido Portinari, Anita Malfatti, Lygia Clark, Lygia Pape, Beatriz Milhazes, Vik Muniz, Adriana Varejão, and international names like Pablo Picasso, Henri Matisse, Frida Kahlo, Diego Rivera, Georgia O'Keeffe, Andy Warhol, Marina Abramović, Jeff Koons, and Ai Weiwei. The venue houses performing arts programs featuring companies and individuals connected to Theatro Municipal (Rio de Janeiro), Ballet Teatro Municipal de São Paulo, Grupo Corpo, Guto Lacaz, and musicians in the lineages of Heitor Villa-Lobos, Tom Jobim, João Gilberto, Gilberto Gil, and Milton Nascimento. Film series and retrospectives have referenced archives like Cinemateca Brasileira, festivals similar to Festival de Gramado, and partnerships with institutions such as Museu de Arte Moderna do Rio de Janeiro, Pinacoteca do Estado de São Paulo, Museu de Arte de São Paulo, British Museum, and Centre Georges Pompidou.
Located near transit arteries connected to Central do Brasil (station), the complex interfaces with systems like the SuperVia commuter rail, the Rio de Janeiro Metro, and bus corridors comparable to Transcarioca. Accessibility initiatives referenced standards from organizations such as World Health Organization guidelines and partnerships with municipal agencies including the Prefeitura do Rio de Janeiro and transport planners influenced by projects like Curitiba BRT and global nodes such as Grand Central Terminal and Penn Station (New York City). Wayfinding and multimodal integration draw on practices from Transport for London and urbanists like Jan Gehl and Jane Jacobs, emphasizing pedestrian flows similar to revitalizations in Barcelona and Berlin Mitte.
Critical reception connected the project to debates in conservation championed by IPHAN and urban policy discussions featuring analysts influenced by Sérgio Buarque de Holanda, Roberto Campos, Celso Furtado, and Florestan Fernandes. Reviews in cultural press compared it to international adaptive reuse successes like Tate Modern and civic cultural investments in cities such as Lisbon and Madrid. The site contributed to tourism circuits alongside Copacabana, Ipanema, Santa Teresa, Rio de Janeiro, and Lapa, Rio de Janeiro, while civic stakeholders from Instituto Moreira Salles and Fundação Roberto Marinho engaged in collaborative programming. Academic assessment has involved scholars associated with Universidade Federal do Rio de Janeiro, Universidade de São Paulo, Goldsmiths, University of London, and Columbia University, examining impacts on urban regeneration, cultural economy, and heritage conservation.
Category:Culture in Rio de Janeiro Category:Museums in Rio de Janeiro