The four escalators that provided access to Christ the Redeemer were deactivated last Monday (the 3rd) to begin a renovation process. This construction period is expected to last for ten months.
The four escalators that provided access to Christ the Redeemer were deactivated last Monday (the 3rd) to begin a renovation process. This construction period is expected to last for ten months.
During this period, ascent to the monument will be exclusively via the stone staircase, which consists of 80 steps connecting the second level of Alto Corcovado to the statue itself. Despite the isolation of the escalator area, visits to Christ the Redeemer continue, although with the maximum public capacity reduced by 50%.
Access to the site is still guaranteed through trains, official vans, and existing park trails. Teams responsible for the Corcovado Train have received specific training to assist tourists and manage visitor flow while the renovations take place.
External events requiring permission from ICMBio, which manages the Tijuca National Park, have been suspended until the completion of the works.
The completion of the works is scheduled for May 2027. To replace the current equipment, new escalators will be installed, designed to be more robust, consume less energy, and have the capacity to transport up to 6 thousand people per hour. Furthermore, the project includes the inclusion of two inclined elevators, aiming to facilitate access for individuals with reduced mobility.
According to ICMBio, the replacement of the equipment is necessary due to the natural wear of the escalators, which have been in use for over two decades. In 2025, the monument registered a total of 1.5 million visitors and hosted 2,300 celebrations, including baptisms, weddings, masses, and pilgrimages.
To accommodate people with reduced mobility, the site administration will provide specific equipment to assist with the ascent. Five climbing carts, capable of supporting up to 150 kg, considering the weight of the visitor and the wheelchair, will be made available. Additionally, there will be five stair chairs, with a limit of 130 kg.
These devices are compatible with standard model wheelchairs; those using different models can transfer to one of the chairs available on site before starting the journey. Both the carts and the stair chairs will be operated by properly trained personnel. For safety reasons, the use of this equipment is prohibited on rainy days or when the pavement is wet.
The works should not prevent those who wish to see Christ the Redeemer. To ensure greater comfort during the visit, ICMBio advises visitors to choose times of lower circulation, wear appropriate footwear for climbing the stone staircase, and check the weather forecast before leaving.
Hashem Al-Gayli, a science communicator and filmmaker, was able to bring his film ideas to life that would previously have required Hollywood-level budgets, major studios, and large production teams. This situation has changed thanks to the development of artificial intelligence (AI).
Al-Gayli believes that individual creators are no longer limited by a lack of access to expensive equipment or large crews; instead, only their imagination limits them. He noted that AI-based tools have made the production process more accessible and faster, allowing independent creators to realize projects that previously demanded enormous resources.
His works reach over 45 million subscribers across various platforms and have garnered over 100 billion views, including more than 30 billion video views. He is currently sharing his experience as a judge in the AI category at the second edition of KT+150, where he is part of a panel of 15 judges helping to determine the next generation of innovators and change-makers in the UAE.
The KT+150 list aims to recognize the 150 most active residents of the UAE aged 35 and under, with 10 laureates selected from each of the 15 categories. The public can nominate candidates themselves or on behalf of others via the specified link. Candidates will be evaluated by the KT Editorial Policy Committee and a professional judge from the relevant field.
When evaluating nominees in the AI category, Al-Gayli looks not only at technical skill. Originality, quality of execution, project impact, and the underlying idea play an important role, but the strongest ideas, in his opinion, must retain a distinctly human element. He emphasized that the project must evoke an emotional response in people, rather than appearing robotic or entirely generated.
Technical skills are important, but they are not the sole deciding factor. Al-Gayli stated that skills develop over time, and having a compelling idea and vision for its realization is far more important. Furthermore, he will consider whether the project provides tangible benefit, inspires people, solves a problem, educates, or elicits genuine emotional engagement. If the work has already been published, audience reaction can provide additional insight into the depth of viewer engagement.
Al-Gayli added that the thought behind the idea is as important as the final result. He expressed enthusiasm for what he will see among the KT+150 nominees and how they use AI for storytelling and innovation.
Al-Gayli's journey began long before social media and artificial intelligence became central elements of his work. His interest in science arose in childhood when he published interesting scientific facts in children's magazines and spent hours reading about topics that fascinated him most. He recalled that science was always his favorite subject in school due to an interest in fundamental questions: the principles of how things function, the origin of humanity, and the composition of the universe.
In 2008, while pursuing a bachelor's degree in biotechnology at Peshawar University in Pakistan, he discovered the potential of Facebook as a platform for disseminating scientific knowledge to a wide audience. He began publishing educational science content on his personal profile, driven by the same curiosity that prompted him to share facts in magazines as a child.
Over time, his aspirations changed: he wanted to do more than just explain complex concepts; he wanted the audience to feel connected to them. Since he has always loved stories, films, and cinema, combining storytelling with science seemed like a natural progression. He believed that storytelling possesses an incredible ability to make complex ideas understandable, emotional, and memorable.
For several years, Al-Gayli continued to publish educational science content. In 2015, he converted his Facebook profile into a public page, which allowed him to better analyze audience engagement and understand what people liked. Around the same time, he decided to transition to video content, which, according to him, 'completely changed everything.'
After this, he expanded his activities to YouTube, LinkedIn, TikTok, Snapchat, and other social media platforms. Looking back, he notes that it all started with a simple passion for sharing scientific knowledge with others. Today, his ideas can arise from almost any source: it could be a recently published scientific study, an interesting story he heard, or an old film that inspires a completely new direction.
When he finds an idea, Al-Gayli spends significant time refining it. He creates a plan, thoroughly researches the topic, and revisits it multiple times until he is satisfied with the structure and message. This iterative process, he says, is extremely important.
Although AI has become an integral part of this workflow, Al-Gayli clearly asserts that the ideas always originate from the creator. He sees AI not as a replacement for creativity, but as a creative partner that assists in brainstorming, refining and critiquing concepts, generating visual and video sequences, and realizing ambitious stories in ways that were previously unavailable.
For Al-Gayli, it is important to distinguish between using AI as a tool and perceiving it as a creative force. He concludes that ultimately, AI remains merely a tool, and the human remains the creative force that sets the direction, writes the prompts, shapes the narrative, and makes creative decisions.
Any new adaptation or series based on the Ramayana is invariably compared to classic works such as Ramanagan Saagar's 'Ramayana' or the Japanese anime 'Ramayana: The Legend of Prince Rama'. In this context, Oma Raut's film 'Adipurush' is often cited as an example of how the Ramayana should not be portrayed.
Currently, Nitesh Tiwari's film 'Ramayana' is being discussed regarding its casting choices and visual effects. However, there was another, more controversial project created in America that proved more contentious than 'Adipurush'.
In 2008, American artist Nina Paley released an animated musical titled 'Sita Sings the Blues'. This film was inspired by her personal experiences and time spent in India. Nina promoted it as 'the biggest breakup story to date.'
The film presented a light and feminist interpretation of the Ramayana, focusing particularly on Sita's pain and perspective. A 2D style, inspired by vector graphics, Indian shadow puppetry, and miniature paintings of the Rajputs and Pahari, was used for the animation. Furthermore, Nina incorporated elements of her personal life to demonstrate parallels between the goddess's experiences and those of a modern woman going through a relationship breakup. The entire film was accompanied by 1920s jazz songs.
Nina positioned this work as a call for women's justice, truth, and equality. In 2009, some copies of the film were released on DVD, and later it became available for free download on the official website.
Despite social media not being as developed as it is today, 'Sita Sings the Blues' quickly went viral online. Critics highly praised the film, noting a 100% rating on Rotten Tomatoes and 85% on Popcorn Meter. Audiences lauded both the plot and the unique animation style.
However, praise was accompanied by opposition. In 2009, the organization 'Hindu Jan Jagriti Samite' filed a petition demanding a complete ban on the film, asserting that the depiction of Lord Rama was offensive. Despite the protests, the film's popularity grew in India and other countries.
In a 2010 interview, Nina Paley responded to the dissatisfaction of Indians. She noted that for many people, Ramanagan Saagar's 'Ramayana' from the 1980s is the true story, and any other interpretation is perceived by them as incorrect. In Nina's view, people do not feel the need to watch or accept other versions.
The main feature and simultaneously the stumbling block of the film was precisely this. Part of the audience welcomed the open portrayal of suffering, struggle, and Sita's point of view, giving her a voice. Another part opposed it because Lord Rama was depicted differently from the traditional idealized image. This is what made the film a constant subject of debate.
In 2011, during a screening of the film at the San Jose Museum of Art in the USA, a protest was held by 'Hindu Jan Jagriti Samite'. Following this, screenings of the film were canceled at the StarLight Pavilion in New York and at the Art Chamber in Goa. In subsequent years, in 2017, Nina Paley also came under scrutiny due to views related to her transgender community, but her film 'Sita Sings the Blues' remains a subject of discussion. Some view it as a modern and alternative interpretation of the Ramayana, while others believe it offended religious sentiments. Currently, 'Sita Sings the Blues' is available to watch on YouTube.
The description provided by the project team details a small property dating from 1936, which was built by the author's grandparents at the Santagões site, a predominantly rural area in Vila do Conde, the author's hometown.
The architecture office operated for a period of ten years within the original residence, remaining in conditions very similar to those left by the grandmother after her passing.
This project was cited as "Architecture Studio in Vila do Conde / Raulino Silva Architect" and can be accessed via ArchDaily in Portuguese.
