Maiara Luchi Camilotti - Novo Candelaria

Novo

Maiara Camilotti

Repurposing the Art Deco cinema ruins creates an inclusive and multifunctional cultural center.

university programme

project date student

Amsterdam University for the arts

Academie van BouwkunstAmsterdam NL

Master of Architecture

Novo Candelaria

08.05.2023

Maiara Luchi Camilotti

maiaralcamilotti@gmail.com

+31 0618541092

comission

Machiel Spaan (mentor)

Jarrik Ouburg

Aura Luz Melis

external comission

Raul Correa-Smith

Tatjana Djordjevic

“ Every existing situation is competent. Every constraint can be made productive. Do the minimum in order to turn constraints into something positive, create the extraordinary, and breathe new life into the existing situation. Or even do nothing at times when everything is already in place, and all you need to do is notice it”

Anne Lacaton

1.1. Context

1.3. Coincidences

1.4.

2.1.

2.2.

2.3.

3.1.

3.2. Design principles

3.3. Final design 121 4. ACT 03

4.1.1. Story : the exhibition - (Screen room)

4.1.2.

4.1.3.

Cinema history (Belo Horizonte)

Candelaria building

Traces and clues

The dream

Story : the unexpected encounter - (Room of light)

Story: the street carnival block - (Candelaria Alleway)

Novo Candelaria

The project is located in the city centre of Belo Horizonte, the capital of Minas Gerais in Brazil. In the year 1897, Edison presented the frst movie projector at the World’s Fair in Chicago, and in the same year, the frst stone of the city of Belo Horizonte was laid, and designed on the drawing board by engineer Aarao Reis. Belo Horizonte has a long and close relationship with the world of cinema. From the 1930s to the 1980s, the city had dozens of notorious cinemas where the residents of the city sought their entertainment. The cinemas served as a place for meetings and social exchange. Since the advent of television and later the computer, many cinemas closed their doors. giving place to other functions or becoming abandoned.

The Novo Candelaria is a new chapter to be written while keeping the memory, unraveling and embracing this ruin. The found historical layers of the building serve as a foundation for the design. I decided to follow the traces and clues of the past and the design settles over them like a new layer. The visible and invisible past plays an important role in the project. The transformation of the ruin into a new cultural centre, creates an inclusive and multifunctional space that hosts several cultural expressions such as flm, theatre, music, dance,

and exhibition spaces. With the new interventions, the building becomes part of the urban fabric. The inner space is divided by a street, the Candelaria alleyway that serves as a link between the city and the 2 main spaces; Sala da Tela (Screen Room) and Sala da Luz (Room of Light). These spaces are created from the remains of the flm projection room and the screen of the old cinema.

This project is based on the exploration and experimentation of design methods and tools inspired by the flm industry; script, scenography, and sets. In these new spaces, the historical parts of the building together with the new inflls lead to exciting routes through the building. The Novo Candelaria is a building full of encounters and surprises.

The project is divided in 3 acts. Enjoy this journey.

1.ACT 01

ACT 01 is a refection of my enduring fascination with the architectural remnants of the past. This curiosity has driven me for many years, and during my research, I encountered two remarkable coincidences that added depth and resonance to my exploration of cinema history.

The frst serendipity unfolded as I carefully selected a dozen buildings to feature in this project. To my astonishment, two of them happened to be abandoned art deco cinemas. These cinematic relics, once vibrant hubs of entertainment, had weathered the passage of time.

It emerged that the birth of cinema itself was intertwined with the founding of the city I selected as the canvas for my project—Belo Horizonte. This confuence of cinematic emergence and urban birth forged a profound connection, highlighting the city’s unique relationship with the world of flm.

1.1. Context

1.2. Research

1.3. Coincidences

1.4. Cinema history (Belo Horizonte)

1.1. Context

Belo Horizonte, the capital of Minas Gerais in southeastern Brazil, has become my second home during my eight years of studying architecture there. The city’s historical signifcance and unique urban planning have deeply infuenced my architectural education.

Belo Horizonte holds the distinction of being Brazil’s frst planned city, representing a break from its colonial past. It was conceived as a symbol of modernity, embodying the republican ideals of rationality, technique, order, and progress. This forward-thinking approach to urban development set the stage for a city that epitomizes Brazil’s aspirations for the future.

In the 1930s, Belo Horizonte underwent rapid expansion, marked by the construction of its frst high-rise buildings in the city center. This era symbolized the city’s commitment to modernization and growth.

However, as industrialization took hold in subsequent decades, Belo Horizonte expanded beyond its initial boundaries. In the pursuit of modernization, the city saw the gradual demolition of its historic and cultural landmarks, replaced by newer structures and wider roads to accommodate increased traffc.

This process resulted in a decline in the city center’s population and an increase in abandoned buildings. These structures defne the city’s landscape and their deterioration refects the degradation of the overall urban environment. Therefore, the restoration and rejuvenation of these abandoned buildings are vital to the city’s urban renewal.

My experiences as an architecture student in Belo Horizonte have underscored the importance of preserving the city’s architectural heritage. I have witnessed the juxtaposition of old and new, and I frmly believe that renovating these abandoned buildings is crucial for revitalizing the city’s urban fabric.

This thesis aims to explore the signifcance of architectural restoration and adaptive reuse in Belo Horizonte’s urban renewal. It underscores the importance of preserving the city’s architectural legacy while embracing modernity, striking a balance between past and present. Through this research, I hope to contribute to the ongoing narrative of Belo Horizonte’s evolution as a symbol of progress, innovation, and cultural richness.

image: Belo Horizonte in 1963

image: Belo Horizonte in 2018

Map that shows the abandoned buildings in city of Belo Horizonte

The research started with the mapping of the abandoned structures in the planned area of Belo Horizonte. It was divided between the private, public, historical and listed.

Buildings fragments divided by public, privates, historical and listed.

Some news from differents sources in Brazil that shows how is the situation about the abandoned properties and what does it cause for the city and society. 1

The research started with my curiosity and discomfort regarding the amount of empty or sub-utilized properties in the center of Belo Horizonte, which stands in contrast with the immense demand for housing, leisure, culture and support spaces for society and the city. As a designer, I believe in the potential of reusing buildings more than in the promise of new constructions.

In the case of Belo Horizonte’s city center, such reuse practice could also serve to break the habit of demolishing and building anew. This way we can further increase the value of the city’s shared history and add a new layer to it, helping these buildings remain relevant in the future.

Be it due to the unequal logic of the market, the accelerated and often unplanned growth of brazillian cities, the low public budget and its frequent mis allocation, or the disinterest of the agents involved, these empty spaces in the city could be put to better use. Current new developments do not address social and economical inequalities. I believe that the reuse of under-utilized buildings can offer an alternative path.

I propose reusing them in a way that addresses Belo Horizonte’s demand for

public spaces by bringing the city closer to its heritage. In a way, by bringing people together inside these buildings we can also hope to bring the city together. When scattered fragments of history are bound together in a series of public rooms a new house for the city can emerge.

I carefully selected a dozen buildings to feature in this project. To my astonishment, two of them happened to be abandoned art deco cinemas. These cinematic relics, once vibrant hubs of entertainment, had weathered the passage of time.

According with my research regarding to abandoned or empty heritage buildings in Belo Horizonte. I narrow down the options. But my main focus is in the ability of this spaces to become public again. So, some of the buildings has no public character and not an interesting story.

The 2 cinemas attracts the most my attention, because of the history, what it represents for the city and why does it happen? And then a lot of questions pop up in my mind. Why are they empty? Why there is only 2 street cinemas in Belo Horizonte? Does it have potential to be part of the city again?

And the second coincidence is that in the year 1897 Edison presents the frst movie projector at the world’s fair in Chicago and in the same year the frst stones of the city of Belo Horizonte are laid. I can say that the cinema and Belo Horizonte were born together and also developed at the same time. Maybe this explain the great affnity between both.

1.4.Cinema history

Going to the cinema in the frst half of the 20th century was a manner. The cinema rooms were truly encounter spaces and spaces of sociability, experience of/ in the city. The cinema was the main leisure activity and appropriation of free time in the “mineira” capital. Centrality, encounter, reunion, that was important aspects in the brazillian cities, are now scarce elements in the urban life.

The cinema memory was also present in different art expression, such as this poem by Carlos Drummond de Andrade, one of the greatest brazillian poet and writer.

O fm das coisas

Fechado o Cinema Odeon, na Rua da Bahia. Fechado para sempre.

Não é possível, minha mocidade fecha com ele um pouco.

Não amadureci ainda bastante para aceitar a morte das coisas que minhas coisas são, sendo de outrem, e até aplaudi-la, quando for o caso.

(Amadurecerei um dia?)

Não aceito, por enquanto, o Cinema Glória, maior, mais americano, mais isso-e-aquilo. Quero é o derrotado Cinema Odeon, o miúdo, fora-de-moda Cinema Odeon.

A espera na sala de espera. A matinê com Buck Jones, tombos, tiros, tramas. A primeira sessão e a segunda sessão da noite. A divina orquestra, mesmo não divina, costumeira. O jornal da Fox. William S. Hart. As meninas-de-família na platéia. A impossível (sonhada) bolinação, pobre sátiro em potencial.

Exijo em nome da lei ou fora da lei que se reabram as portas e volte o passado musical, waldemarpissilândico, sublime agora que para sempre submerge em funeral de sombras neste primeiro lutulento de janeiro de 1928.

Carlos Drummond de Andrade

translated by the author:

The end of things

Cinema Odeon, on Rua da Bahia, closed. Forever closed. It is not possible, my youth closes with him a little bit. I haven’t matured enough yet to accept the death of things that my things are, being someone else’s, and even applaud her, when appropriate. (Will I mature one day?)

I do not accept, for the time being, Cinema Gloria, bigger, more American, more this-and-that. What I want is the defeated Cinema Odeon, the kid, out-of-fashion Cinema Odeon. Waiting in the waiting room. the matinee with Buck Jones, tumbles, shots, plots. The frst session and the second session of the evening. The divine orchestra, even not divine, customary. The Fox Journal. William S. Hart. The family girls in the audience. The impossible (dreamed of) bolination, poor potential satyr.

I demand in the name of the law or outside the law reopen the doors and go back to the past musical, waldemarpissilândico, sublime now that forever submerges in shadow funeral in this frst mournful of january of 1928.

Carlos Drummond de Andrade

CINE METROPOLE

It is important to mention the history about the Cine Metropole. It was an important event that went down in history. After the demolition of Cine Metropole, the heritage commission became more effective, preventing this tragedy from being replicated at other times.

The Metrópole functioned as a cinema from 1942 to 1983. Previously, the Municipal Theater was located there, built in 1906. The eclectic style was replaced, at the end of the 1930s, by art deco at the request of then-mayor Juscelino Kubitschek.

The municipality sold the plot to a big bank and they managed to demolish it. At that time, the Cine Metropole was already in the process of being listed. Interesting to see the public manifestation called “Funeral at Night”, in which some people spent their night in front of the cinema watching it being demolished and calling this moment a funeral.

Cine Metropole was important to give strength to the heritage committee.

After this episode, they decided to list many more buildings to avoid the erase of the memory of the city.

cine metropole

the demolition - 80’s 1.4. Cinema history

MAP OF CINEMAS

This map highlights the cinemas that our research has unveiled. Initially, these cinemas were concentrated in the city center, but as time passed, they began to proliferate into the surrounding neighborhoods. The choice of location was intricately linked to the city’s development and growth.

During that era, each cinema held a distinct identity. If you wanted to enjoy adventure flms, Cine Jaques was your destination, while Cine Brasil was the place to go for musicals, and so on. The specifc movie genre was closely associated with the venue’s space, location, and atmosphere, creating a unique cinematic experience.

Above, in chronological order, we have Cine Candelaria, which has sadly remained abandoned for decades. Next is Cine Odeon, which went through transformations from a cinema to a Universal Church, and more recently, to a gay sauna. Lastly, we have Cine Pathe, which has now become a parking garage, marking the varied fates that these oncethriving cinemas have experienced over time.

1.4. Cinema history

1st cinema

frst street cinema CINE COMERCIO Cinemas located in the center area

cine metropole | city expanded cinemas spread out in the neighborhoods

1.4. Cinema history

expanded horiz. and vert. neighborhoods

4 cinemas located in the street

segregation, disjointed expansion and unequal accessibility of urban goods and services.

pornographic movies - decadence | crisis shopping centers

after 2010

The decline in cinema attendance can be attributed to the rising popularity of television and the introduction of VHS technology. Television offered a wider range of entertainment options, including movies, from the comfort of one’s home, while VHS allowed people to watch flms on their own schedule, reducing the need to visit cinemas.

translation: “watching a movie has become one of those intermediary activities between trying on shoes and buying clothes”

This image not only illustrates the democratization of cultural access but also the communal experience of attending the cinema, which has a unique ability to bring people together.

Nuovo cinema Paradiso 1988 1.4. Cinema history

2.ACT 02

The act 2 is about the Candelaria building and all the discoveries from the visible past and the invisible past.

2.1. Candelaria building

2.2. Traces and clues

2.3. The dream

2.1. Candelaria building

Most of the old cinemas found their new purpose in the city, some of them became just stores or parking garage. And there is also a few cultural survivors that became these new cultural spaces.

But this was not the case of Candelaria. It is just a ruin and has been unnoticed It is just a ruin and has been unnoticed for more than 10 years and not functioning as a cultural equipment for more than 20 years.

address: Praça Raul Soares, 315 original use: Cine Candelaria

current use: parking lot - closed listed level: municipal listed date: 15.04.2009 style: art déco construction date: 1952

number of seats: 2000 m2: 1158 m2

2.1. Candelaria building

2.1. Candelaria building

The remains consist primarily of an empty shell with just two facades left standing. Despite the limited physical structure that remains, there are abundant visible traces, which I like to refer to as “clues.” Beyond these tangible clues, there’s also an invisible past that encompasses the memories and the imaginative reconstruction of how this place once thrived.

LISTED PARKING GARAGE

2009

A RUIN ON SALE

2014

2.1. Candelaria building

2.2.Traces and clues

My design approach was to overlap the different layers and the second part was to follow the clues. I tried to take as much as possible what was there. I translated, reinterpreted and re-signifed these clues into my design.

2.2. Traces and clues

/overlays

One thing that really caught my eye was the idea of overlaying layers. In the remaining facades, we could see different pieces of history stacked on top of each other, creating a fascinating visual effect. This became a useful tool in the design,

2.2. Traces and clues

/textures

Even though there isn’t much left, there are still some textures that have served as inspiration for the design. The herringbone pattern of the wooden foor, for instance, has left its mark in the asphalt, and the vertical lines created with plaster can still be spotted in some remaining sections.

2.2. Traces and clues

/transitions

The transitions also served as a key inspiration for our design. Currently, you can observe certain openings that once served as projection rooms or windows that used to provide a visual link between the administration room and the cinema. Throughout the project’s development, these transitions and visual connections have played a signifcant role.

2.2. Traces and clues

“Where is the cinema that was here?” This poignant public expression highlights the signifcance of these cultural establishments for the city and society. It’s likely that this paper was affxed to the wall a long time ago, and regrettably, the situation remains unchanged to this day.

2.2. Traces and clues

translation: “where is the cinema that was here?

Cine Candelaria * 1952 1995”

2.2. Traces and clues

Traces and clues

The collages reveal the evolution of circumstances over time and offer a glimpse of one potential future – a place where inclusive and openness reign, welcoming everyone with open arms.

2.2. Traces and clues

Before I delved into the design process, I sketched out what I fondly call “the dream.” This drawing represented my abstract vision for the space’s potential transformation. In my mind, it was a delicate balancing act between honoring the cherished memory of the cinema and introducing new, innovative layers of purpose and functionality.

My vision for this space went beyond its historical role as a cinema. I imagined it as a dynamic and inclusive environment, one that would be a catalyst for diverse encounters and experiences. It was a place where people from all walks of life could come together, fostering a sense of community and connectivity.

One of the key elements of this vision was fexibility. I wanted the space to be adaptable, capable of serving multiple purposes and accommodating a wide range of activities. Whether it be hosting cultural events, art exhibitions, workshops, or simply providing a welcoming space for people to gather, it was meant to be a canvas for endless possibilities.

In essence, my “dream” drawing served as a foundational concept for the design, encapsulating the idea of preserving the past while embracing a forward-looking, multi-functional future. It was a testament to the power of imagination and design in revitalizing and reinvigorating spaces for the beneft of the community.

3. ON LOCATION

The “On Location” section serves as a comprehensive exploration of the urban context, interventions, design principles, and the eventual fnal design.

This section offers a complete picture of how the project interacts with its environment and the thought process behind its creation.

3.1. Urban context

3.2. Design principles

3.3. Final design

Candelaria is located in the lively downtown of Belo Horizonte, surrounded by many commercial buildings shown in blue on the map. Just across the street is Raul Soares, although it’s called a square, it’s more like a roundabout. It’s bordered by six lanes for cars and is primarily used as a passageway rather than a destination for people to visit.

These pictures capture the immediate surroundings of the project. To the left, you see the “Mercado Novo,” a former parking garage transformed into a lively gallery adorned with bars and restaurants.

On the right, there’s the traditional Mercado Central, a bustling marketplace selling a wide array of typical food and

accessories. In both cases, vibrant colors and rich textures are prominent features. These two establishments have served as a notable source of inspiration for the design of the Novo Candelaria project.

URBAN STRATEGIE

PROPOSAL

PROPOSAL EXISTING SITUATION

EXISTING SITUATION

URBAN STRATEGIE EXISTING SITUATION

PROPOSAL

The concept here is to transform the square into a park, essentially turning the grey roads into a lush green circle. I like to think of it as setting nature free and expanding its presence. In contrast to the city’s rigid grid layout, this park acts as a buffer in the city center, creating a car-free oasis.

Batista church

church square

new market

new market square

Belo Horizonte central market

central market square

JK square

Juscelino KubitschekResidential building

I frmly believe that actions lead to reactions. With the introduction of this park, the surrounding buildings are now encouraged to open up and extend onto the new pavement. It’s about integrating the new Candelaria seamlessly into the urban fabric.

To achieve this, there are two primary movements at play: one where the park enters through an alleyway, and simultaneously, the buildings extend outward with signifcant openings and program expansions in the front area.

The recently established Raul Soares park serves as a clear path, guiding visitors along its pleasant routes and leading them to the inviting core of Novo Candelaria’s cultural center.

3.2.Design principles

This project primarily rests on two fundamental design principles: the interplay of the visible past through the remains and the intangible past through memory and historical presence. These principles are intertwined with the

OVERLAYS

The project was structured with a two-fold approach: the remains, representing the visible past, served as the foundational frst layer for the design. Simultaneously, the invisible past, composed of memories and historical atmospheres, was carefully unearthed and incorporated as the second layer. The addition of new interventions was guided by the clues discovered along the way.

persistent discovery of clues, which have been integral throughout the entire design journey.

As a result, the project has evolved into a captivating collage of these distinct moments in history and time, creating a rich tapestry that weaves together the tangible remnants, the intangible essence of memories, and the innovative interventions into a harmonious whole.

The project was meticulously shaped and guided by the subtle hints and traces left behind by both the visible and invisible past. These clues informed decisions about the project’s form, divisions, textures, essence, and even its intended use. It’s as if the whispers of history, both seen and unseen, provided the creative compass guiding every aspect of the design.

FILM AND THEATER TOOLS

Using a script as the foundation was an incredibly potent approach to initiate the design process. Crafting a narrative provided an immense sense of creative freedom, unburdened by any practical constraints typically imposed by tools.

The defnition of spaces, in this context, began with a journey through the building and a boundless exercise of envisioning what each space could and should be. This approach allowed for a fuid and imaginative exploration of the space’s potential, paving the way for a more visionary and unconstrained design process.

Design

CHARACTERS SETS

The creation of characters played a pivotal role in shaping the uses of each space and understanding their interconnections. These characters personify the diverse ways in which individuals engage with and experience the building. It’s through these characters that the building truly comes to life, pulsating with vibrancy and a sense of purpose. They breathe life into the spaces, making them dynamic and adaptable, just as a building should be in a vibrant, ever-changing community.

The construction of the sets is the magic that brings the story to life, making it tangible and immersive for the audience. Each set encapsulates the essence and essential elements of the corresponding scene, providing a visual and atmospheric anchor for the storytelling.

The AS-BUILT drawings include foor plans for three levels:

Use: CINEMA

The -1 foor plan.

The +0 foor plan.

The +1 foor plan.

These drawings provide a comprehensive representation of the building’s layout across these different levels.

The AS-FOUND drawings include also the foor plans for three levels.

Use: PARKING GARAGE

The sections were meticulously crafted, serving as a visual record that maps out the intricate details of the materials, scars, and textures discovered within the space.

These sections provide a comprehensive documentation of the building’s physical attributes, capturing its unique character and history.

3.2. Design principle

The DEMOLITION drawings include foor plans for three levels:

The -1 foor plan.

The +0 foor plan.

The +1 foor plan.

public and welcoming access

Your approach to the project began with a simple yet versatile program, featuring two main rooms, a common confguration in cultural spaces such as the “big room” and “small room.” This choice refected your aspiration to accommodate a diverse range of cultural expressions and create an inclusive environment.

FORMS AND SHAPES

CURVES

To shape these two spaces, I drew inspiration from the clues and context. The curve concept emerged from the existing curved facade, and I extended it by introducing three new curves to defne distinct areas: one for the small room, another for the large room, and a third for the lower level space.

OVERLAYS

Another key aspect of the design was the use of overlays. My attention was drawn to the layering of walls behind each other, which I found intriguing. I incorporated this concept into the design, notably in the facade of the park area.

SPATIAL ORGANIZATION

Your vision of attracting people from all walks of life and ensuring a seamless transition between the street and the building led to the innovative decision of adding a connecting street, linking the park to the lower street.

This concept transforms the entry experience, offering a more welcoming and fuid transition from an outdoor space into a semi-indoor environment, which is often more inviting and userfriendly than entering a formal building directly. This thoughtful design approach enhances accessibility and encourages exploration, aligning with your goal of making the space appealing to a broad audience.

3.3.Final design

There are two distinct entrances to the building. One provides direct access from the park into the Candelaria Alleyway, while the other entrance is located on the lower street known as Rua dos Goitacazes. Ascending a wide staircase from this lower street, visitors arrive in a welcoming open space nestled between the two gracefully curved facades.

RE-SIGNIFICATION - SCREEN ROOM

“Sala da Tela” takes its name from the screen’s former position, where it used to be the central focus of the room. In the redesigned space, the screen has been replaced by a transparent divider that separates the room from the circulation areas.

This new screen serves a dual purpose: it bathes the room in natural light from above while also maintaining an air of mystery. Observers on the stairs above may be mistaken for either visitors or artists, blurring the lines between audience and performer. Additionally, the new screen can be used for performances, thanks to its large windows that can open up to the surrounding environment.

The model encapsulates the scene set in “Sala da Tela.” By focusing solely on the essential fragment relevant to the scene, the model effectively becomes a miniature theatrical set, designed to create a vivid and immersive stage for the intended performance or visual experience.

RE-SIGNIFICATION - PROJECTION ROOM

“Sala da Luz” draws its name from the projection room’s historical signifcance as the essential space for cinema, despite being mostly unseen by the audience. In the redesigned space, a remarkable shift occurs: the former projection room, once a hidden entity, takes center stage as the most prominent feature. This reversal of focus transforms the facade with projection holes into the new focal point. The ruins of the projection room now serve as a captivating centerpiece, an inversion of attention that highlights the historical signifcance of this previously overlooked space.

3.3. Final design

Utilizing the set supports, the model doesn’t aim to replicate the exact appearance of the building but rather encourages imagination. Taking inspiration from the movie “Dogville,” where only the essentials for the performance were constructed, this model focuses on highlighting the crucial elements necessary for the scene, allowing viewers to engage their imagination and fll in the details, fostering a more immersive and creative experience.

The presence of the crack serves as a powerful symbol of the interface between the old and the new. It embodies the transition and transformation occurring within the space, where the historical past and contemporary elements intersect and coexist, creating a dynamic and thought-provoking narrative.

As you ascend, a captivating view unfolds, revealing the two main spaces. The two gracefully curved facades act like a curtain, not only dividing but also defning these distinct areas. The candelaria alleyway represents the continuation of the street. It is a inner street full of activities going on.

The project encompasses various inner spaces, each offering a unique experience. One such space is the corner bench, strategically placed to provide a vantage point where visitors can sit and observe the ongoing transformations of the building.

The doors were intricately designed, taking cues from the graceful folds of curtains, adding a touch of elegance and functionality to the space.

3.3. Final design

As mentioned earlier, transitions played a pivotal role in inspiring this project. In the case of “Sala da Luz,” it explores various ways of being seen and unseen, creating a dynamic and interactive experience for visitors.

In the Sala da Tela you can also see different ways to be seen and unseen.

Minas Gerais, the state of Belo Horizonte, is renowned for its iron mining industry, which generates signifcant amounts of waste every year, often disposed of in nature. Additionally, the region’s distinctive red soil color is a direct result of its high iron content.

In this project, a compelling idea emerges: utilizing these mining leftovers as a foundation to construct rammed earth walls. This approach not only re-purposes a waste product but also harmoniously integrates the region’s unique natural elements, resulting in a sustainable and regionally signifcant design concept.

4.ACT 03

In my design process, I drew inspiration from cinema and theatre techniques. I began by scripting the building as the central character, helping me envision and describe the spaces, evoking emotions and visuals.

I then introduced characters to further refne the project and understand its functionality. This approach allowed me to design with a narrative in mind, visualizing scenes and journeys within the building.

Act 03 of the project is akin to a movie, featuring various stories. I scripted these stories, complete with characters and sets. Additionally, I provided a map to trace the characters’ journeys within the building.

4. The journey (script)

4.1. Story : The exhibition - Sala da Tela (Screen room)

4.2. Story : The unexpected encounter - Sala da Luz (Room of light)

4.3. Story: The street Carnival block - Beco da Candelaria (Candelaria AllewayS

THE EXHIBITION

Maria is a passionate artist from Belo Horizonte who loved nothing more than creating beautiful paintings inspired by the mountains around the city. The exhibition would be held in a room named Sala da Tela, located where there used to be the screen of the former Cine Candelaria.

As she walked towards the entrance, she noticed that the cafe da rua was open, and she decided to stop in for a cup of coffee. The smell of freshly brewed coffee flled the air, and the warm and inviting ambiance of the cafe made Maria feel at ease. She sat down at a small table near the window. As she sipped her coffee, she looked out at the beautiful morning view.

Maria gathered her things and made her way towards the exhibition space. She walked out of the cafe and up the stairs, reaching the open space that divided the two buildings. As she walked through the doors of Sala da Tela, her eyes widened with excitement and pride as she saw her artwork displayed beautifully against the room's backdrop. The ruins of the old cinema in combination with the new transparent element were the a great backdrop for her nostalgic landscape paintings.

Maria spent the rest of the day admiring her work and chatting with visitors. At sunset her friends came to visit and congratulate her. They made their way up to the Terraço da Luz, where they enjoyed drinks and the view of the city.

[THE END]

The exhibition SALA DA TELA SCREEN ROOM

4.1. Story: The exhibition

THE EXHIBITION

cafe da rua (street cafe)

beco candelaria (alleyway)

sala da tela (screen room)

terraço da tela (screen terrace)

The 8 frames serve as a visual guide, allowing readers to virtually tour the building at that specifc moment in time.

4.1. Story: The exhibition

THE UNEXPECTED ENCOUNTER

As the sun began to set over the city, Ana decided to go for a walk in the park. She loved walking under the shade of the trees, feeling the fresh air on her face, and listening to the birds chirping in the distance. This was truly rare given that she lived in the city centre of Belo Horizonte. Surprisingly, the park next to her apartment used to be a big roundabout, but now it became an oasis of peace and quiet right in the middle of the city. While she was walking in the park, she ran into one her friends from high-school she hadn’t seen in decades.

They walked through the park as they chatted about their lives. Ana mention to Clara that they just opened a cultural space in one of the corners of the park and they could spend some time there. Ana told Clara all about Novo Candelaria, and how it used to be a cinema many years ago, before it was abandoned and became a ruin. They noticed that Grupo Dança, a local dance company would be presenting there tonight. Luckily there were selling their last tickets and they managed to get their hands on two.

As they walked in through the ticketing offce, the smell of popcorn caught their attention. Clara followed her nose to a cozy little corner where a popcorn trolley was parked. As the sun set and the frst stars became visible in the dark blue sky, they made their way to the Sala da Luz, the main theater space.

The theater was impressive, with the stage set in front of the ruins of the old cinema, where they could see where the old projection room used to be. As they settled into their seats, the lights began to dim, and the audience grew quiet with anticipation. The show was breathtaking, a dazzling display of acrobatics, dance, and music that left the audience in disbelief.

As they left the theater, Ana couldn’t help but feel grateful for stumbling upon Clara, going to Novo Candelaria and the magical evening it had led to.

[THE END]

THE UNEXPECTED ENCOUNTER

beco candelaria (alleyway)

park Raul Soares

sala da luz (room of light)

THE STREET CARNIVAL BLOCK

It was a beautiful day in Belo Horizonte, the sun was shining, the sky was blue and the streets were flled with excitement and joy. People from all over the country had come to celebrate the carnival, the most democratic party in Brazil.

As the day went on, the streets started to fll up with people dressed in colourful costumes and dancing to the sound of samba. The “blocos de rua” had started their parade and were making their way through the city, singing and dancing along the way.

The most famous block of the carnival usually end the show in the Raul Soares square, but this year, something special was about to happen. The block had decided to take a different route and go through the Candelaria alleyway, where the newly opened Novo Candelaria building stood tall.

As the block approached the building, they started to slow down. Suddenly, the block opened up in the middle of the building, creating a magical moment where the agglomerate people divided in the 2 main buildings. The sound of samba flled the air, and the people inside the building started to dance along with the block.

It was a moment of pure joy and happiness, as people from all walks of life came together to celebrate the carnival. The party continued as the block made its way down through the inner square of the building, and eventually, they occupied the lower street.

The carnival was not just a party, it was a statement. It was a moment to occupy the streets and enjoy every corner of the city. The people of Brazil came together to celebrate their diversity and embrace their differences.

4.3. Story: The street carnival block

BECO DA CANDELARIA CANDELARIA ALLEYWAY

The street Carnival block

4.3. Story: The street carnival block

THE STREET CARNIVAL BLOCK

Goitacazes street

beco candelaria (alleyway)

park Raul Soares

4.3. Story: The street carnival block

4.3. Story: The street carnival block

4.3. Story: The street carnival block

4. BEHIND SCENES

The behind-the-scenes glimpse offers insights into the design process. These sections represent the “hits and misses” experienced throughout the past year, providing a look at the project’s journey and development.

In conclusion, New Candelaria embodies several of my key interests. It refects my passion for reuse and transformation, which I’ve explored throughout my academic journey, emphasizing attention to existing fragments and intricate details that have shaped the fnal design.

Furthermore, I’ve had the opportunity to delve into my fascination with designing public and inclusive spaces. I fnd immense joy in using architecture as a means to create welcoming environments where people feel connected and included. New Candelaria strives to integrate seamlessly into the city and society, aspiring to be as public and inclusive as possible. In this pursuit, I’ve drawn inspiration from the work of Lina Bo Bardi, whose designs prioritize adaptability over specifc functions.

The incorporation of flm industry tools in this project allowed me to bridge my

past and present experiences. I drew a connection to my previous role in Brazil, where I specialized in exhibition design. Simultaneously, it harmonized with my current work in the Netherlands, where I frequently engage with materials and atmospheres. This synthesis of skills and experiences has enriched the project’s design process and outcomes.

The utilization of scripts has enhanced my ability to craft narratives and shape spaces, while the creation of sets serves as a framework with essential elements to convey the story.

In essence, this project serves as a refection of my multifaceted interests and experiences, truly representing who I am as a designer.

Research:

Dias, D. N. ; Freitas, A.F. (2016). Uma abordagem antropológica sobre o patrimônio civil edifcado em Belo Horizonte, Minas Gerais | An anthropological point of view about built civil heritage in Belo Horizonte, Brazil

ETH Studio Basel (2013). Belo HorizonteOpening a territory and making a capital. A territorial research. www.studio-basel. com

Larkam, P. J. (2005) Conservation and the city

ICOMOS. Carta de Veneza. 1964. Carta de Veneza. II Congresso Internacional de Arquitetos e Tecnicos dos Monumentos Hist ricos. 1964.

Larkham, P.J (1996). Conservation and the city, London.

Peixoto, A. C. M. (2011). Vacância residencial na Região Metropolitana de Belo Horizonte: Mobilização do estoque vago para a promoção de habitação de interesse social. Belo Horizonte: Escola de Arquitetura da Universidade Federal de Minas Gerais.

Pena, Ada, (2021). Visualising vacancy using electricity consumption data: A study of the centre of Belo Horizonte, Brazil

Prefeitura Municipal de Belo Horizonte (2007). Plano de Reabilitacao do Hipercentro de Belo Horizonte.

Pontes, M. M. (2006). Requalifcação do Hipercentro de Belo Horizonte: Possibilidades de inserção do uso habitacional. Belo Horizonte: Universidade Federal de

Minas Gerais.

Raquel, E.B.O (2020). Dossiê de ausência: O patrimônio arquitetônico urbano em condição de vacância na região central de Belo Horizonte.

Vilela, N. M. (2006). Hipercentro de Belo Horizonte: Movimentos e transformações espaciais recentes. Belo Horizonte: Universidade Federal de Minas Gerais.

Design :

Alkemade, F; Iersel,M; Ouburg J. - Rewriting Architecture 10+1 actions (2019)

OASE #101 - Microcosm Searching for the city in its interior

Flores y Prats - Sala Beckett, international drama centre. Reabilitation of the former cooperative Pau i Justicia

Poblenou, Barcelona

Stewart. B. - How buildings learn

Albano, C. - Cine Pathe

Machado, C.D. - Minhas memorias do cinema

Wong, L - Adaptive reuse

Bo bardi, L. - Instituto Casa de Vidro

Micropolis - 99 ideas para um cinema de rua

Pimlot, M. - The public interior an idea and project

Documentaries, Lectures, Podcasts:

Entre uma pipoca, um beijo e um drops dulcora (https://vimeo.com/263981790)

Lecture Mark Pimlott - TU delft

Carla Juaçaba - Architecture foundation

- Scaffolding Podcast (https:// architecturefoundation.org)

Acknowledgments

I want to thank Machiel Spaan, Aura Luz Melis, and Jarrik Ouburg for being a great committee, keeping me motivated, and guiding me throughout this graduation process. I am grateful to have worked together with you.

I’d also like to thank my friends, family, and studio colleagues who were with me in this project’s various stages.

I want to express my gratitude to SSA Architects for providing me with all the support I needed.

Thank you to my Brazillian friends that helped me fnd the necessary information for my research, in special to Ana Luiza Marques, Raquel Byrro and Carolina Boaventura.

I extend my sincere thanks to Ana Matoso for her crucial role in facilitating access to the building. Your assistance has been essential in making this project possible.

Thanks to the teachers from the Film Academy and Theater and Dance Academy, like Jordi van Hollander and Bart de Visser, for their valuable input.

And a special thanks to Pedro Henrique Magalhaes, who was always there to support and help me.