Lapa · Santa Teresa
Street art · photography
The steps make more sense when connected with Lapa, Santa Teresa and the history of the surrounding area, rather than as an isolated photo stop.
Before you go: For photographs with fewer people around, prioritize an early visit and keep an eye on your belongings.
The Selarón Steps are an art installation made with tiles and mosaics connecting Lapa and Santa Teresa. Walk slowly, notice the details, and remember they are part of a living neighborhood.
Viewpoints, museums, and stadiums have different conditions. Check hours, access, tickets, and operations through official channels for your visit date.
When I arrive at Escadaria Selarón, I don’t see it as a decorative wall or a set built for photos. It is a public stairway connecting streets in Lapa and Santa Teresa, and an artwork that changed through its creator’s hands and over time. I invite you to explore it slowly while allowing residents and visitors to pass: neighbourhood life doesn’t stop for the camera here.
The stairway has 215 steps and stretches for around 125 metres, according to the city government. Jorge Selarón’s intervention began in the 1990s and turned sections of the steps into a mosaic composition. It was not completed all at once: the artist continued working on it, changing tiles and colours. That makes documenting each stage difficult, and exact counts of pieces or countries represented vary between publications. If a guide promises a definitive number of nationalities, I recommend asking where the figure comes from.
Jorge Selarón was born in Chile in 1947 and settled in Rio de Janeiro. He was a painter, ceramicist and visual artist. The stairway became his most visible work and a form of intervention in urban space. It incorporated tiles from different origins and with varied motifs; some were donated by visitors. The city government describes how Selarón experimented with the Brazilian flag and expanded his intervention. Exact starting dates should be attributed to the source consulted, since public accounts place the beginning at different points in the 1990s.
The relationship between artist and stairway is central. Selarón did more than decorate a route: he turned everyday infrastructure into art and kept it evolving. There are painted, printed, figurative, repeated, worn and repaired pieces. Some invite a closer look; others work better when you step back and view the whole sequence. I prefer alternating between those two distances.
Start by observing the stairway’s shape and sections. Then look for changes in colour, repeated patterns and pieces that break the composition. Notice how the mosaic covers steps, landings and walls, but remember that not every tile has a documented individual history. Without a reliable inventory, I won’t assign a country, date or person to each one.
You can also look for traces of time: wear, differences in gloss, repairs and changes in the composition. The stairway is outdoors and remains part of urban circulation. Restoration does not necessarily mean returning the work to an assumed original, unchanging version; conservation must respect its character and current heritage protection.
I suggest a small visual search: find a word, a figure and a piece that contrasts with its neighbours. You don’t need to interpret every drawing as the artist’s confession; first observe what is in front of you and respect the surface without touching or removing pieces.
The municipality established heritage protection for the stairway and its tiles through measures published in 2005 and 2015. The city government has documented study and photographic recording of the work, particularly after Selarón’s death in 2013. Protection means this is not a wall where anyone can attach objects or make changes. If you see someone trying to remove or add a piece, don’t copy them: respect the heritage and follow municipal guidance.
The stairway is both a place to visit and an everyday route. There is no lobby separating ‘the attraction’ from daily life. Homes, shops and streets around it continue to function. A good visit includes that awareness.
The steps connect Rua Joaquim Silva in Lapa with Rua Pinto Martins towards Santa Teresa. You can approach from Arcos da Lapa and continue on foot; the ground has changes in level and foot traffic can be heavy. You don’t need to buy a museum ticket to climb the steps, but works, partial closures or access restrictions may occur. Confirm local conditions before planning your day around the stairway.
I recommend arriving in daylight with time to look, not just take pictures. No time slot guarantees an empty stairway. If it is crowded, wait without blocking the passage, take a photo from a landing and continue. Avoid rushing up, sitting on fragile pieces or placing your phone somewhere it could fall.
You can combine the stairway with Lapa, the Arcos and other city-centre sights, but don’t include too many stops without considering the heat, slopes and travel time. If continuing to Santa Teresa, decide beforehand how you will proceed and check available transport. I don’t recommend walking with your phone exposed while checking the map at every corner; plan the route and stay aware of your surroundings when using your device.
The guide works for an independent visit. If you want to explore the city centre with context, I can offer an experience only when its itinerary confirms this stop and the time allocated to it. Cristo + City Tour lists Selarón among its outdoor stops, but that does not make it a dedicated guided tour of the steps. Before booking, check the full route, departure point and how long the group stops. I won’t invent a ticket or product that has not been published.
How many steps are there? The city government reports 215 steps and approximately 125 metres in length.
Who created the stairway? Jorge Selarón, a Chilean artist based in Rio, transformed it into a mosaic artwork that he continued changing over time.
Are there tiles from every country? The artwork incorporates tiles from many origins, but there is no verified complete inventory establishing that every country is represented.
Is there an admission charge? The stairway is public space rather than a museum with a regular ticket office. Works or temporary restrictions may affect access.
Can I attach a tile? No. It is protected heritage; don’t alter the composition or take pieces.
Sources for this page: City government — history and dimensions; municipal decree 25.273/2005; Municipal Law 5.927/2015; study hosted by FUNARTE.
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