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28-773: It is currently located in Bairro da Luz and was driven between the years of 1895 and 1901 , designed by the British architect Charles Henry Driver for the São Paulo Railway , a company based in London and which was responsible for building the first railway line in the state of São Paulo , ligand or port of Santos à cidade de Jundiaí . The station houses the Museum of the Portuguese Language , established in 2006. The Luz Metro station

56-500: A logo representing only its nickname, "Pina". According to the director of institutional relations at the museum, Paulo Vicelli, the changing oficializes the name that the visitors were already using. The Pinacoteca Station started being named as "Pina Station", and the Jardim da Luz museum as "Pina Luz". The new visual identity was created by the publicity agency F/Nazca Saatchi & Saatchi  [ pt ] . The memorable elements from

84-478: A renovation conducted by Paulo Mendes da Rocha in the 1990s, the museum became one of the most dynamic cultural institutions of the country, lining up with the international circuit of exhibitions, hosting cultural events and keeping an active bibliographic production. "Pina", as the museum is also known, administrates the art space called Estação Pinacoteca  [ pt ] (Portuguese for "Pinacoteca Station), or Pina Estação, installed in an old building which

112-467: Is a region known for its rural tourism and fruit production. Stations are located in the region's largest cities, namely Atibaia , Indaiatuba , Itatiba , Jarinu , Jundiaí , Louveira , Morungaba , Valinhos , Vinhedo , and the district of Paranapiacaba. 1895 1895 ( MDCCCXCV ) was a common year starting on Tuesday of the Gregorian calendar  and a common year starting on Sunday of

140-417: Is also located within the complex. The station was built in the late 19th century with the purpose of being the headquarters of the newly founded São Paulo Railway . In the first decades of the 20th century, it was the main entrance to the city, a fact that gave it a major economic relevance, because the majority of the coffee from Santos was delivered in the station, along with the imported supplies. At

168-498: Is under railway heritage protection, meaning that it cannot be expanded in the future. Since 2009, Luz has been the terminus of the Touristic Express line, a touristic line that makes trips from Luz to Paranapiacaba and Jundiai . It uses diesel locomotives which carry a maximum of 170 people and travel at maximum speeds of 40 kilometres per hour (25 mph). The Express connects tourists to São Paulo's "Fruit Circuit", which

196-607: The Bom Retiro and Campos Elíseos districts. Until the 1970s, a monument to Ramos de Azevedo , the architect responsible for designing many buildings in the area, including the Picture Gallery, stood near the station. The monument was later removed during the construction of the São Paulo Metro . Until 2010, Luz station served as * terminus for CPTM's Line 10-Turquoise . However, after the completion of track improvement works,

224-720: The Julian calendar , the 1895th year of the Common Era (CE) and Anno Domini (AD) designations, the 895th year of the 2nd millennium , the 95th year of the 19th century , and the 6th year of the 1890s decade. As of the start of 1895, the Gregorian calendar was 12 days ahead of the Julian calendar, which remained in localized use until 1923. Pinacoteca do Estado de S%C3%A3o Paulo The Pinacoteca do Estado de São Paulo (Portuguese for " pinacotheca (picture gallery) of

252-471: The São Paulo Museum of Art on December 20, 2007 in which works by Picasso and Candido Portinari had been taken. On August 6, 2008, two paintings were discovered in the house of one of the thieves and recovered by police in the same city. The Pinacoteca has a wide-ranging collection of Brazilian art , mainly noted for its vast assemblage of 19th-century paintings and sculptures, one of the largest in

280-741: The history of Brazilian painting in the 19th and 20th centuries. It is also noteworthy the Brasiliana Collection, a collection composed by foreign artists actives in Brazil or inspired by the country iconography , the Nemirovsky Collection, with an ample and expressive collection of masterpieces of Brazilian modernism and, recently, the Roger Wright Collection, received by the institute in January 2015. Since January 2006, Pinacoteca uses

308-588: The state of São Paulo ") is one of the most important art museums in Brazil. It is housed in a 1900 building in Jardim da Luz , Downtown São Paulo , designed by Ramos de Azevedo and Domiziano Rossi  [ pt ] to be the headquarters of the Lyceum of Arts and Crafts . It is the oldest art museum in São Paulo, founded on December 24, 1905, and established as a public state museum since 1911. After passing through

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336-411: The 1870s, was transmuting, boosted by the coffee cycle expansion and the rail transport settlement. The country was receiving extensive flow of immigrants (intensified after the slavery abolitionism ), that allowed meaningful transformations, embracing from the material culture and eating habits to the recently developed forms of socialization. The urban centers were becoming more modern and denser. In

364-508: The city of São Paulo, the net worth accumulated by the coffee producers were reinvested in the newly industry . Brand new buildings were built and the rammed earth technique was taking the brickwork place. Noble neighborhoods were built to house the manor houses and palaces of the coffee barons, following the European architectural standards , marked by eclecticism . More numerous were the working-class neighborhoods that emerged, rapidly expanding

392-460: The country, as well as for a number of iconic Brazilian Modernist artworks. The collection also includes a department of works on paper, European paintings and sculptures from 19th-century artists, decorative arts , etc. In 2017, IBM partnered with Pinacoteca de São Paulo for the 'Voice of Art' project, using Watson to allow visitors to interact with artworks like 'Mestiço' by Cândido Portinari , Saudade , by Almeida Junior (1899), Lindonéia,

420-419: The first floor, and two salient side bodies with four windows each, with one on the second floor and the other on the first floor. In the central body, the lobby and the ticket office are located on the first floor, and the traffic distribution is located on the 2nd floor. Beside the lobby, there is the post office, a ladies' room and, in front of it, a bar. In the back of the building is an extensive platform with

448-477: The line was extended to Brás station. As a result, a platform was left vacant in Luz, allowing Line 7 to now use two platforms - one for boarding and another for disembarking. Luz station has the second-highest traffic level of all stations on São Paulo's metro-rail network, serving 147,000 passengers per day. Only Brás station, with 150,000 passengers, is more frequented. Several improvement works were undertaken during

476-442: The museum architecture, such as the columns, the wall bricks and the grand staircase, makes appearances in the visual identity. The Pinacoteca origins takes you back to the criation of the Lyceum of Arts and Crafts of São Paulo . This one is a result of a context of intense social, political and economic changes that took place in São Paulo at the second half of the 19th century. The then province, which remained quite discreet until

504-458: The other side of the Botanical Garden, and two gates would need to be installed to serve Rua Alegre and Rua Constituição. If the station were to be constructed beside the current subway station, however, the installation of one gate would be sufficient to serve both streets. The initial station building was a small, one-story block. Dispatch facilities, facilities for boarding and arrival, and

532-412: The residence of the station chief were located inside the station, while buildings for line administration, company engineering, building repairs, and supplies storage were built outside. On 17 March 1888, station expansion was proposed, leading to the construction of the "second" Luz station. Passenger platforms were expanded and the edifice renovated. After construction, another story was added, bringing

560-420: The station chief's office, the telegraph, and many cargo bays. This building was maintained until the beginning of the twentieth century, when it was demolished for the construction of the third Luz station. The current building was finished in 1901. The materials for its construction were brought from UK. The station was designed and produced by Walter Macfarlane & Co. Saracen Foundry , Glasgow. The station

588-407: The station's height to two stories. The edifice was rebuilt in the neoclassical style and an iron cover was installed over the entrance of the building and the platforms. In 1900, Alfredo Moreira Pinto described the second Luz station as follows: [The station] currently occupies a building with a recessed central body, three windows and two doors on the second floor, three windows and a front porch on

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616-533: The station's recent history, including the construction of an underground transfer gallery below the CPTM tracks. Even so, however, there are concerns that the current Luz station will soon become inadequate as passenger loads grow. This would be exacerbated by planned increases in train frequency at Luz thanks to the future deactivation of Julio Prestes station on Line 8–Diamond and the installation of communications-based train control on Line 11. The current Luz station

644-631: The time of the station's construction in the mid-nineteenth century, the Luz neighborhood was characterized by a large embankment that connected the city's downtown area to the Grande Bridge. It also had a botanical garden, which was enlarged by the Governor João Teodoro Xavier de Matos, and would serve as the future home of Luz station. Land for the station was earmarked from the Botanical Garden Square, though its exact location

672-529: The urban core. On June 12, 2008, three armed men broke into the museum with a crowbar and a carjack around 5:09 am and stole The Painter and the Model (1963) and Minotaur, Drinker and Women (1933) by Pablo Picasso , Women at the Window (1926) by Emiliano Di Cavalcanti , and Couple (1919) by Lasar Segall . It was the second theft of art in São Paulo in six months, with a similar robbery having occurred at

700-457: Was assembled in Glasgow , then disassembled and sent to São Paulo where it was reassembled. The building was designed by the British architect Henry Driver . The station is a remnant from the period when the coffee was a major source of income to the city. For many years, the station's clock tower dominated the city landscape, and for a time, served as the basis for clock adjustment in the city. It

728-399: Was destroyed in a fire in 1946 but was replaced five years later. At its height, in the early 20th century, when the Luz neighbourhood was an important part of the city, the station was part of an architectonic block that was a major reference inside the city. The station helped to build the city's image. The station, along with the nearby São Paulo Picture Gallery , marks the boundaries of

756-414: Was not confirmed until 1865. With the support of construction engineer Daniel Fox, superintendent J.J. Aubertin requested to the governor that the station be constructed on the corner of Rua Brigadeiro Tobias, where the current metro station now stands. He also requested that construction follow the previous plans created by the inspector engineer Vasco de Medeiros; otherwise, the station would be displaced to

784-518: Was once owned by the DOPS , in Bom Retiro district, where it holds temporary contemporary art exhibitions, the Walter Wey Library and the institution's documentation center, called Documentation and Memory Center. The Pinacoteca houses one of the largest and most representatives Brazilian art collections, mainly noted for its vast assemblage with more than ten thousand pieces of art covering mostly

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