r
i
n
ee t
ph p
i
c
o
s i
t
r
o
p g e r e r n e
r
v
f t
i i
t
o
n
t
o u b o o k
c
e e s n
t
t
s
a
c
h
f
p
i
y
i c
r
i
o
n
ee t r
ao
r
i
t
r
v
ph s i o i p
c t
t
a
c i
r
n
ee t
t
r
ao
e
s n
o u b
c
e e
t
p g e r e r n e
f t
s
i
r
r
v
n
f t
o p i i l u c a s d u a r t e m a r t i n s i i f i o o hi o t t architec ture p or tfolio
n
k
y
c
o
n
i
3
s ce n a r i o
n
5
u r b a n
d
9
re t ro f i t
1 2
p i c t u re
x
1 5
s i te
1 7
p h o to gra p hy
e
i nte r ve nt i o n
b o o k
s p e c i f i c
s
i o
c
a r n e
The scenario tries to reproduce the imprecise and sometimes erratic logic of brain activity when trying to access a memory, every so often bringing to mind the same episode but with different features or in a different order, generating some uncertainty about the accuracy of the facts.
Using the songs composed by Brazilian songwriter and musician Chico Buarque during the dictatorship regime as the foundation of the project, a screenplay was created and then became the basis of the design. The story is about a character who lived through that blurred period and now when trying to remember of his difficult life during that time doesn’t have a clear vision of what really happened to him or his relatives.
Together with Hugo L. Cruz Nogueira, the stage was developed into several pieces shaped like Tangram blocks which could be arranged differently for every show and downsized if there was a demand for a smaller audience. The freedom offered by this design enables the actor to move around what is both the stage and sitting area, allowing for a better connection between the space and performance’s concept of irregularity.
There are structures holding steel mashes on which a few videos would be projected during the play, which contains some unsettling images exposing the tyranny of the regime and a few animations created by Richard Balzer which are associated with the main character’s psychological condition.
i n t e r v e n t i o n
u r b a
n
While studying the concept of “non-place” proposed by Marc Augé, defined by a crossing area incapable of possessing its own identity and that is merely a space of transition with which we do not establish any significant relation, it became clear that many spaces making up the building used by the Architecture and Urbanism course at UFSJ fit into that description.
Because of its strategic location, the grass area in front of the building was chosen to host an intervention aiming to provide a new experience of place. The entrance/exit path of the building was then modified inducing people to transit on the grass on a specific path or between the many strips of soft black fabric that reshaped this – now – place.
The black fabric strips were cut into pieces of 10cm wide each, tied to the handrail of the first floor and then fixed on the grass tied to bent iron bars.
t
i
f
o r
t
e r
r
e
t
r
o
f
i
t
In this room which is part of a house built in the early 1800s, the handicraft job of fixing pans insists to remain alive as does the one who makes it. Designed to attend the needs of its main user, this retrofit leaves the outside of the building untouched, as required by official regulation, and on the inside it tries to provide a more comfortable environment for the long hours spend on this trade.
For this project, an intervention should be made focusing on improving a historical building’s functionality for current demands, but the surprise was that for this particular one the changes should fit in to an old practice.
Taking deeply into consideration the worker’s conditions, the project wants to lighten up the layout without modifying the work logistics that are being executed for over 60 years by the same person. It intends create a suitable transition from one spatial condition to the other for its user by maintaining the working studio’s original organization.
The furniture was designed to fit the user’s needs and should be partially made of the wood that can no longer support the roofing tiles but can still be used for shelves.
Great attention was given to the use to sunlight illumination and air circulation in the area, utilizing zenital openings at the back of the building and incorporating the user’s habit of always leaving the window right next her half opened during the day.
It was also added a private area with a cooking place and a small bathroom so the user doesn’t need to go back to the house all the time, paying attention to her advanced age.
p
i
c
t
u
r
e
b
o
o
k
Creation and adaptation appear to be intrinsic activities to human survival but the cycle of transformation is not only material. By modifying the purpose of any household item the authors of these changes reveal not only a reinterpretation but an innate potential these things have, establishing a new form of ownership that can be linked closely to the identity of these authors.
By exploring the significance of the word object, a series of captured images were assembled into a printed picture book composing an encyclopedia of several terms, one made by each student. Through this work, it is possible to see how everyday necessities might demand alternatives that arise from a redefinition of the original use or purpose intended for such object. It should also illustrate how these pieces fill, balance and portray domestic spaces.
s
s pecific
i
t
e
When visiting the town’s junkyard, it was certain that the choice of materials would be decisive in the outcome of the design. After many speculations, the group that also included Rhaysa Jacob, Bårbara Santos, Jefferson Oliveira, Paula Ferreira and Carolina Marangon found that the sewing
machines carried with them a strong connotation and that chains could provide some movement to the work. After borrowing 36 sewing machines, 300 kilos of bronze coloured and 149 kilos of silver coloured rusty chains, experimentation with the layout of the materials in space began. It was clear from the beginning that the diagonal
formed from the ladder to the wall was going to be what characterised this intervention as site-specific. The size of the objects ended up fitting very well into the proportion of the piece in relation to the building and from any angle that the work was observed one could perceive the presence of the diagonal.
p
h
o
t
o
g
r
a
p
h
y
As you move across the city of S達o Jo達o del Rei and its surrounding areas, it can be seen and felt that religion has always had a strong influence in cultural and social activies shaping both urban and rural landscapes.
p
h
o
t
o
g
r
a
p
h
y
Also of great importance to this place is the economic and urban growth that came along with the railroad lines, that make themselves be seen, heard and smelled everyday with an arrival or departure in the train station or carrying products of mining activities that boosts the local industry.