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Using the songs composed by Brazilian songwrit-er and musician Chico Buarque during the dicta-torship regime as the foundation of the project, a screenplay was created and then became the basis of the design. The story is about a charac-ter 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.

The scenario tries to reproduce the impre-cise 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 uncer-

tainty about the accuracy of the facts.

Together with Hugo L. Cruz Nogueira, the stage was developed into several pieces shaped like Tangram blocks which could be arranged differ-ently 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 mash-es on which a few videos would be projected during the play, which con-tains some unsettling images expos-ing the tyranny of the regime and a few animations created by Richard Bal-zer which are associated with the main character’s psychological condition.

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While studying the concept of “non-place” proposed by Marc Augé, defined by a cross-ing area incapable of possess-ing its own identity and that is merely a space of transition with which we do not estab-lish any significant relation, it became clear that many spaces making up the build-ing used by the Architec-ture and Urbanism course at UFSJ fit into that description.

Because of its strategic loca-tion, the grass area in front of the building was chosen to host an intervention aiming to pro-vide a new experience of place. The entrance/exit path of the building was then modi-fied inducing people to tran-sit 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.

r e t r o f i tretrofit

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 condi-tion to the other for its user by maintaining the working studio’s original organization.

For this project, an intervention should be made focusing on improving a historical building’s functionality for current demands, but the sur-prise was that for this particular one the changes should fit in to an old practice.

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.

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 illu-mination and air circula-tion 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 intrin-sic 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 reinterpreta-tion 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 assem-bled into a printed picture book composing an ency-clopedia of several terms, one made by each student. Through this work, it is pos-sible to see how everyday necessities might demand al-ternatives that arise from a re-definition of the original use or purpose intended for such object. It should also illustrate how these pieces fill, balance and portray domestic spaces.

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in the outcome of the design. After many specula-tions, the group that also included Rhaysa Jacob, Bárbara Santos, Jefferson Oliveira, Paula Ferreira and Carolina Marangon found that the s e w i n g

When visiting the

town’s junkyard, it was certain that the choice of materials would be decisive ma-

c h i n e s carried with them a strong con-notation 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 begin-ning that the di-

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formed from the

ladder to the wall was going to be what charac-

terised this intervention as site-specific. The size of the objects ended up fitting very well into the proportion of the piece in re-lation to the building and from any angle that the work was observed one could per-ceive the pres-ence of the diagonal.

As you move across the city of São João del Rei and its surrounding areas, it can be seen and felt that religion has always had a strong influence in cultural and so-cial activies shaping both urban and rural landscapes.

p h o t o g r a p h y

p h o t o g r a p h y

Also of great importance to this place is the eco-nomic and urban growth that came along with the railroad lines, that make themselves be seen, heard and smelled everyday with an arrival or de-parture in the train station or carrying products of mining activities that boosts the local industry.