747 Linear and Spheric Time: Past, Present and Future at Centro Carioca de Design, Rio de Janeiro Paula Camargo Universidade do Estado do Rio de Janeiro Zoy Anastassakis Universidade do Estado do Rio de Janeiro Centro Carioca de Design / Rio de Janeiro / Heritage / Historical center / Time In this paper, we intend to explore the relations between past, present and future at Centro Carioca de Design, in Tiradentes Square, in Rio de Janeiro’s historical center. The correspondences between the opening of Centro Carioca de Design and the temporal dimensions under which it has been implemented, as well as the heritage structures to which it has been linked over the years, will be observed through a concept of time developed in the light of authors such as Haraway, Ingold, Han, Cardoso, Favret-Saada, Goldstein and Abreu. Aiming to trace the path which links Heritage and Design to life in the city, we seek to elaborate relations between linear time, cyclical time and the proposition of a “spheric” and “tentacular” time. This research aims to bring out the affections—in the sense that we affect and let our- selves be affected by our environment—of people in the city and of the city on people, and of Design as a key element to this debate. Linear and spheric time: past, present and future at Centro Carioca de Design, Rio de Janeiro Since the creation of Centro Carioca de Design (ccd) in Rio de Janeiro, 2009, many questions have been posed regarding the possible links between Design and Cultural Heritage. ccd has been, from the start, under the Heritage sector in the Munic- ipality of Rio de Janeiro. It has, thus, been expected to promote possible dialogues between the not so obvious disciplines put together. ccd’s location in Tiradentes Square, one of the most tradi- tional sites of Rio’s city center, was expected by its creators to be, per se, a statement for the intentions of bridging Design and Cultural Heritage as parts of a whole. However, the creation of a new sector for debating and showcasing design in an already heavy bureaucratic structure was not as well received as expect- ed. Design professionals, academy members and heritage spe- cialists had concerns about consistency and efficiency. In this paper, we intend to shed light through the history of ccd’s implementation, as well as to try and understand the con- ditions under which it has been created. Besides, such discus- sions have aroused a desire to investigate possible relations between design, time and the concept of heritage. It has become clear, through the passing of the years, that these connections have not yet been thoroughly addressed, still leaving much field for research. The unsettling feeling that time could not be established over a line, that it should be ap- proached in a more complex key, has led us to further develop this subject. Moreover, as the correspondences between De- sign and Heritage may not always be obvious, we understand that the fields are deeply linked and intricate, bringing out complexities that need to be analyzed. This is the starting point from which we will develop the historical aspects of Centro Carioca de Design, Praça Tira- dentes and their surroundings; and establish the link between these and the concept of a spheric-tentacular time, which seems to us to be more suited for reaching a broader understanding of the urban, social and political dynamics of the case presented. Rio de Janeiro, Cultural Heritage, Praça Tiradentes Rio de Janeiro has in its built cultural heritage a great portion of its history and identity. The city, founded in 1565, went through a transformation process that became more intense with the arrival of the Portuguese Royal Family in 1808. Being the chosen city in South America to become the capital of the Portuguese Empire, to where the Royal Family and Court fled from war with the French troops, Rio de Janeiro endured se- vere structural transformations from this moment on. It is af- ter the nineteenth century that Rio begins to radically trans- form its urban form and to present a socially stratified spatial structure. The city, surrounded by hills and marshes, assem- bled a mix of people composed largely by slaves and a small elite in charge of administration and commerce. From 1808 on, the city acquired great ideological, economic and political representativity, engaging itself in meeting the needs imposed by these new values (Lodi et al., 2005). The nineteenth century architectural ensemble is a strong characteristic of Rio’s central area, and Praça Tiradentes region displays several examples of this typology. The Square’s history is marked by relevant political and economic events, which were increased with the arrival of the Royal Family. This region has gone through a long and intense process of decay, especially after the 1930s, when a great part of its archi- tectural assets gave way to broad avenues and urban plans, starting a process of degradation of many of its historical build- ings. 1 In the 1980s, the creation of the Cultural Corridor Act (Lei do Corredor Cultural)—which provided for the exemption of the Urban Territorial Property Tax (iptu) for landowners who kept their properties in good condition—established a milestone in the efforts to recover the urban environment of central Rio. In the late 1990s–early 2000s the Monumenta Program, developed to boost the process of preservation of historical heritage in urban centers, selected Praça Tiradentes as one of the sites to be covered. The works at Bidu Sayão’s House 2 were completed in December 2008. In 2011, the works on the [1] Historical references to Praça Tiradentes in this paper shall be found in Lodi et al., 2005. [2] Balduína de Oliveira Sayão, known as Bidu Sayão (1902-1999) lived in the house at num- ber 48, Praça Tiradentes, until she was five years old (Lodi et al., 2005: 71).