MANIFESTOOFRE-READING HOUSE IN BAIÃO

CRISTINA CARPINTERO LÓPEZ

READING AND CHOOSING STORIES

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In a first moment we must read the stories of houses that appear in the blog, interesting stories about the process of projecting, building, the life inside after your construction. This stories tell us how the architect expressed the project after learn all the needs for the customer, and how the house affect their lives.

Can Lis and Can Feliz in Mallorca, by Jørn Utzon

The Stretto House in Dallas, by Steven Holl

Blas House in Sevilla la Nueva (Madrid), by Alberto Campo Baeza

Blas House in Sevilla la Nueva (Madrid), by Alberto Campo Baeza

Architects Anne Lacaton and Jean Philippe Vassal were asked by a brother and sister to build for them a holiday house on land they owned on the Atlantic coast of France. A key condition of their request was that the project should respect as much as possible the 46 trees – some up to 30 metres in height and over 80 years old – that grew on the site. The result was a dream come true; the dream that every child has, and keeps, of having a house in the

trees.trees.

The U-House was built in 1976 in the centre of Tokyo. It was designed by the architect Toyo Ito for his older sister, who had just lost her husband to cancer. In 1997 the house was demolished before Toyo Ito's eyes. How does one explain

such an ending?

House in Baião, by Eduardo Souto de Moura

House in Baião, by Eduardo Souto de Moura

House in Lège, by Anne Lacaton and Jean Philippe Vassal

House in Lège, by Anne Lacaton and Jean Philippe Vassal

Having a steep and “uncomfortable” site yet with a beautiful view over the horizon, a professor of literature in Madrid approached the architect, Alberto Campo Baeza, to design a house for his family where they could “listen to music”. As a present he gave the architect a beautiful book of poetry, as it were provisions for starting the design process. Thus, the client directed the architect whose world-wide reputation was recognised for his poetic treatment of natural light.With this mutual cultural understanding between the client and the architect, a house was being With this mutual cultural understanding between the client and the architect, a house was being born where one listens to the music within the silence.

The Portuguese architect, Eduardo Souto de Moura, received a commission for a small house from a couple with two children, which would be built by the river, Duoro, set in the Baião hills. The client wished the house to have the character of a shelter used for weekends and requested that the existing ruins on the site would be the starting point for the project.

The U-House in Tokyo, by Toyo Ito

The U-House in Tokyo, by Toyo Ito

FIRST SELECTION

------------------------------------------------FInal SELECTION

Ernest Mourmans' House in Belgium, by Ettore Sottsass

BAIÃO HOUSE---------------------------------------

PLANT

SECTION

AXONOMETRICAXONOMETRIC

PLANT

SECTION

THE BAIÃO HOUSE---------------------------

The Portuguese architect, Eduardo Souto de Moura, received a commission for a small house from a couple with two chil-dren, which would be built by the river, Duoro, set in the Baião hills. The client wished the house to have the character of a shelter used for weekends and requested that the existing ruins on the site would be the starting point for the project.

Between nature and the artificeA ruin can be understood as the edge between architecture and nature. In other words, the moment when a construction ceases to be architecture and becomes nature. The work of Souto de Moura shows an interest in this dialectic between nature and artifice. A dialectic where the building site changes into a tool, it becomes a mental and an intellectual exercise in itself.This sensitivity towards the site goes hand in hand with the belief in simplicity as a means to transmit thoughts. Following the words of the poet, Eugenio de Andrade, "... only the exact word is of public transmit thoughts. Following the words of the poet, Eugenio de Andrade, "... only the exact word is of public interest...", Souto de Moura believes that the tools used by the architects to write - with materials such as stone, iron and glass, as well as their joints, which are of no less importance - have as their final goal to create an anonymous and serene work in relation to time. In other words, to become poetry and to arose feelings.Architecture of high complexity based on its contextual textures is, however, a consequence of this simplicity Architecture of high complexity based on its contextual textures is, however, a consequence of this simplicity in the use of materials and its joints. It was inherent in the profound integration with the site, of camouflaging new spaces with nature, of fusing borders, underlining characteristics and expressing judgements of all the surrounding elements.The ruin becomes important when understanding it as a division which defines the limits, as a fundamental element of spatial definition and of obtaining a concept of time. It maintains a dialogue with the fundamental element of spatial definition and of obtaining a concept of time. It maintains a dialogue with the context where it is placed. It is an architecture that is not forced, a silence where nature is seen as architectu-re and culture as nature.

The ruin Wall House 1990 - 1993Responding to the wishes of the client, the ruin of the old farm which was attached to a retaining wall became interpreted as a kind of a bridge between internal culture (of the inhabitant) and an external reality (of time). The work began with the demolition of the retaining wall of big granite stone blocks, a traditional material of North Portugal. This was followed by the movement of earth, shaping a "negative" of the house in the ground and the old ruins began to take the form of a sort of a closed garden that served as a entrance hall for the house. This was a second building which consisted of a concrete box which was suppor-ted by the ruin and inserted into the earth. In this way, the ruin served as a joint between the past and the new rectangle house which, because of being partly set into the earth, was 'blind' on its side walls except the front facade which opened towards the river, Douro. From the interior, next to a fire-place built of stones from the facade which opened towards the river, Douro. From the interior, next to a fire-place built of stones from the old retaining wall, one could enjoy a view to the far away valley of Cerdeira through the glass facade.The simple programme of the house is laid out in one level under a grass roof which forms part of the topo-graphy of the place. Being faithful to the concept of the ruin ceasing to be architecture and becoming nature, the house is camouflaged by the landscape in such a way that it is not the trees' foliage which acts as a second skin but the landscape itself.

CASA EN BAIÃO ----------------------------------

Uno de los primeros encargos que distinguió al joven discípulo de Alvaro Siza, el portuense Souto de Moura, fue una pequeña vivienda. En realidad era un refugio de fin de semana construido para un ma-trimonio con dos hijos, frente al río Duero, a su paso por las colinas de Baião. La familia requirió que el punto de partida del proyecto fuese las ruinas allí existentes.

Entre naturaleza y artificioLa ruina puede entenderse como un límite de la arquitectura con la naturaleza, es decir, el momento en el que la construcción cesa de ser arquitectura para hacerse naturaleza. La obra de Souto de Moura está inte-resada en esta dialéctica entre naturaleza y artificio; dialéctica por la que el lugar donde construir se convier-te en un instrumento, en un ejercicio mental e intelectual en sí mismo.Esta sensibilidad para entender el lugar va acompañada de una creencia en la simplicidad para poder trans-mitir pensamientos. Siguiendo las palabras del poeta Eugenio de Andrade, "... sólo la palabra exacta es de utilidad pública...", Souto de Moura cree que las herramientas que utilizan los arquitectos para escribir - ma-teriales como la piedra, acero y vidrio, junto a sus no menos importantes detalles de encuentros - tienen como objetivo final hacer un trabajo sencillo y anónimo, sereno con relación al tiempo... en otras palabras, llegar a construir poesía para apelar a los sentimientos.El resultado de esta simplicidad en el empleo de materiales y sus encuentros es, sin embargo, una arquitec-tura de una complejidad basada en sus texturas contextuales. Es una cuestión de integración profunda con el lugar, de camuflar nuevos espacios con la naturaleza, de fusionar bordes, subrayando así sus características y expresando juicios de todos los elementos circundantes.La ruina se hace importante al entenderse como división que define los límites, como elemento fundamental de definición espacial y de obtención la concepción del tiempo. Es una arquitectura no forzada, es un diálogo con el contexto donde se implanta, un silencio donde la naturaleza es vista como arquitectura y la cultura como naturaleza.

La casa en Baião, 1990 - 1993Respondiendo a los deseos del cliente, la ruina de la edificación rural adosada a un muro de contención pasó a ser interpretada como puente entre la cultura interna (el habitante) y la realidad externa (el tiempo).El trabajo comenzó desmontando los sillares del muro de contención construido con granito, material caracEl trabajo comenzó desmontando los sillares del muro de contención construido con granito, material carac-terístico del norte de Portugal, al que le siguió el movimiento de tierras que modelaba "el negativo" de la casa en el terreno. Entonces, la antigua edificación en ruinas empezó a tomar la forma de jardín cerrado que servía de vestíbulo de la vivienda. Ésta era una segunda construcción que consistía en una caja de hormigón adosada a la ruina y encajada en la colina. Así, la ruina en sí sirvió de unión entre el viejo pasado y la nueva casa que, por su condición de estar semienterrada, era ciega por todos sus laterales excepto por el frente que está abierto hacia el río Duero. Desde el interior de la vivienda, junto a una chimenea de mampostería que está abierto hacia el río Duero. Desde el interior de la vivienda, junto a una chimenea de mampostería realizada con la piedra del viejo muro de contención, se puede contemplar hasta la lejanía el valle de Cerdei-ra a través de la fachada de cristal.La sencillez del programa de la casa se resuelve en un solo nivel, bajo una cubierta ajardinada, que forma parte de la topografía del lugar. Fiel al concepto de la ruina que deja de ser arquitectura para convertirse en naturaleza, la casa se camufla con el paisaje de tal modo que no es el follaje de los árboles plantados frente a la vivienda los que actúan de segunda piel sino el paisaje mismo.

La casa en Baião, 2005Con el paso del tiempo la casa se ha completado con una gran piscina en la siguiente terraza ganada a la falda de la colina, y su jardín es en la actualidad frondoso y con abundantes flores.La última noticia recibida de la vivienda es que está en alquiler. Se puede encontrar anunciada en una página La última noticia recibida de la vivienda es que está en alquiler. Se puede encontrar anunciada en una página web británica, que la ofrece enfatizando su alto valor arquitectónico. El anuncio dice así: “Localizada el en Valle Duero al norte de Portugal, con impresionantes vistas a la montaña y el río, la Casa del Río fue cons-truida entre 1990 y 93 en 3 hectáreas de un terreno privado. Además de la tranquila localización y de las es-pléndidas praderas, el atractivo de esta casa se encuentra en su diseño único, un trabajo del galardonado ar-quitecto Eduardo Souto de Moura, quien, a partir de los requerimientos de los dueños, concibió el edificio más bello y funcional que podría integrarse en esta ladera aterrazada. Por un lado la casa conecta con una vieja ruina en perfecta armonía y desde todas las habitaciones unos grandes ventanales abren directamente al jardín.”Esta idílica obra se ha convertido en algo más que una casa de fin de semana. Como toda buena arquitectu-ra, la casa que se ha generado a partir de los deseos de una familia, trasciende la particularidad y se hace universal. Ahora es una atracción turística muy especial y en ella uno puede sentir las ruinas contar historias o la muy estrecha relación establecida con la naturaleza.

PHOTOMONTAGES (PM)

SERIES OF

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PM1In this photomontage I reflect about all the sensations that the house transmit, because in this house you need all the senses to appreciate it fully.

PM2Why look for a place for poetry when we define poetry as a place?

Poetry enters in our mind for creating spaces that overlap each other to create the perfect architectural atmosphere.

PM3

REVIVAL OF MEMORY

An architectural space has thability to evoke memories through two forms of expression: trans-cendence and revival. Through the exploration of the human sense, a person is able to experience the building in the present while also simultaneously experiencing the past of the space. This changing of time evokes memories of place. It also allows a person to transcend from the physical constraints of person to transcend from the physical constraints of the building and enter into a more spiritual realm. This realm is unrestrained from order and rule but instead it allows the person's memories to be in control. A building that integrates the past of the site through the restoration of any existing building elements is crucial to reviving its memory. The ability to explore the history of a building, through both to explore the history of a building, through both physical elements and the transcendence of space, infinitely increases the qualities of the architecture.

Un espacio arquitectónico tiene la capacidad de evocar recuerdos a través de dos formas de expresión: la trascendencia y el renacimiento. A través de la exploración del sentido humano, una persona es capaz de experimentar el edificio en el presente mientras que, al mismo tiempo, experimen-ta el pasado del espacio. Este cambio de tiempo evoca recuerdos del lugar. También permite a una evoca recuerdos del lugar. También permite a una persona trascender de las limitaciones físicas del edificio y entrar en un reino más espiritual. Este campo no tiene restricciones, sino que permite tener el control de los recuerdos personales. Un edificio que integra el pasado del lugar a través de la restauración de los elementos de construcción existentes es crucial para revivir su memoria. La existentes es crucial para revivir su memoria. La capacidad para explorar la historia de un edificio a través de ambos elementos físicos y la trascenden-cia de espacio, aumentan infinitamente las cualida-des de la arquitectura.

After Eduardo Souto de Moura completed the house in 1993, the client, Cesar, enjoyed the house for 4 years before life became too busy to be able to return every weekend to enjoy the house. Instead, Cesar welcomed guests including family and friends, to take the space as their own and enjoy the wonderful atmosphere that Souto de Moura worked so hard on creating. Most of these guests found themselves returning weekend after weekend to the found themselves returning weekend after weekend to the house simply to enjoy its connection to the site and its ability to communicate time in the physical remains of the ruin.

Returning back to the original history of the site, a small garden was planted just in front of the ruins. This garden was tenderly cared for by each visitor - each family carefully tending to the vegetables by either maintaining the already planted food or by introducing new vegetables to the area. This creation allowed the space to be a source of not only nutrition for the visiting guests but a strong connection back to the original conditions of the site. to the original conditions of the site.

The one major issue that all guests could agree on was the lack of connection to the ruins. Although their physical presence weighed heavily on the site, there seemed to be a lack of connection for the visitors. Over time, small interventions were introduced within the physical farmhouse ruin. Initially it was a simple bench or table for the families to eat dinner. But quickly it became something more. As the families returned year after year, the farmhouse became a space of remembrance. A floor was built on the interior to avoid muddy feet. Then a small ladder was propped up against the wall to allow children to climb up to see out of the top window. After too many accidental falls by the the top window. After too many accidental falls by the children, a grandfather of one of the families built a platform on the second level of the farmhouse to allow his grandchil-dren a safe place to sit. This platform was quickly used as a perfect retreat for sleeping under the stars on warm summer nights. As the children began to fall in love with the second floor space, the adults became curious: what would it be like if they were to move up one more level and make the roof of the farmhouse an alternative entrance? This would allow for a more meaningful connection between the ruins and the site while also offering additional floor area for a more adult zoned space. Once again, the grandfather got to work along with his two sons. They quickly built a third platform within the farmhouse which boasted 360 degree views of the landscape. landscape.

These three platforms: ground level, second and third, allow the visitors individual spaces to not only use the farmhouse as a functional addition to the house but also to reflect on the large history of the ruins.

THE FIRST STORY

THE RED LIQUID

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BAIAO HOUSE: A PLACE OF SLOW LIFE

At the end of twentieth century, life becomes too hectic and fast in the cities. Time is money, and life is to earn money and spend it. If you are a tourist you must see all important monuments of a country in a few days. But now society is realizing that this is not a quality life. Enjoy something makes you happier Enjoy something makes you happier than just to see a lot of things. The experience of being a part of the production of a wine it's better than only drink it. Connect with a place, its culture and landscape, make it yours, transcends the complexity of wine and beco-mes a liquid memory. This is what the family has in mind when realized that the house designed by Souto de Moura was unique. Not only rent the house for normal tourism, but looks for some selected customers with a commitment with a project of life. They could come to the house some weeks year after year, learning about the process of making wine, culture and nature of process of making wine, culture and nature of the region as well. Of course, they could relax in the courtyard enjoying the landscape with friends, and wine inside everyone glass. Beyond the economical factors is the concern about sustainability of the nature, a culture, a landscape, a way of life that must be recovered from tradition, there is no need to imagine a completely new life, just the revival of a life that always have been there.

In Portugal the enoturism is one of the ways of tourism the most requested behind that it is one of the countries that produce more wine of Europe. Portugal have a important bond with others countries where they import their different types of wine. A long time ago the wine regions had used wine how connection with the tourism, relating it with gastronomic tourism, cultural (architecture, art), and the health-beauty, wine's therapy. The tourist art), and the health-beauty, wine's therapy. The tourist knows all the wine's zone through the tasting of their wines, the visit wineries and vineyards.

We have been working about all the process to make wine, since it's planted until it's in our mouth and we have studied all the necessary aspects to make good wine.

This reflections have led us to come up a new actions that we can do in this place, first imagine this actions for after drawing it in detail.

CASA EN BAIÃO: UN LUGAR PARA UNA VIDA TRANQUILA

A finales del S. XX, la vida se vuelve más ajetreada y rápida en las ciudades. El tiempo es dinero, y la vida se centra en ganarlo y gastarlo. Si eres turista, debes visitar los monumentos más importantes del país en pocos días. Pero la sociedad actual se está dando cuenta de que eso no es una buena calidad de vida.calidad de vida. Disfrute de algo que te haga más feliz que ver muchas cosas. La experiencia de formar parte de la producción del vino es mejor que solo beberlo. Conectar con el lugar, su cultura y su paisaje, hacerlo tuyo, transcender de la complejidad del vino para llegar a una memoria líquida. Esto es lo que la familia tiene en mente y se da cuenta de que la casa diseñada por Souto de Moura era única. No solo alquilar la casa a un turismo normal, sino también buscar clientes selectos comprometidos con un proyecto de vida. Ellos podrían ir a la casa algunos fines de semana año tras año, aprendiendo así el proceso de producción del aprendiendo así el proceso de producción del vino, la cultura y la naturaleza de la región. Por supuesto, podrían relajarse en el exterior de la casa disfrutando del paisaje con los amigos, junto con una copa de vino. Más allá de los factores económicos, contamos con una preocupación por la naturaleza, la cultura, el paisaje y una forma de vivir recuperada de la tradición, no es necesa-rio imaginar una nueva vida, sólo el resurgi-miento de una vida que siempre había estado allí.

ENOTURISM IN PORTUGAL----------------

INTERACTION WITH WINEINTERACTION WITH VINEYARDS

ACTIONS-----------------------------

ACTIONS

-----------------------------INTERACTION WITH WINE

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INTERACTION WITH VINEYARDS

V1V2

INTERACTION WITH WINE-----------------------------

INTERACTION WITH WINE

This draws represented the exterior actions that you can do in the house. Stay in the vineyard not only means that you must recollected the grapes, you can do an others activities how go to the picknic, go to how go to the picknic, go to the bicycle around there or inclusive visit the vineyards from the air, with helicop-ter, for example. You can also introduce you in the world of wine's production, since the planting until wine's tasting.

V3The different processes of the grapes until it turns in wine and the quality of the enviroment for a good harvest. And we must know that we must know that the manual processes makes a better wine.

ACTION IN SECTIONS-----------------

ACTION IN PLANS-----------------

TECNICAL DETAIL

A Place where you can rest after harvest, sheltering from the sun and rain. Or only you can relax here while you enjoy a plasement view of the vineyards. This structure also aims to create a grape roof becaurse it will be cover of grapevine.

PLAIN OF SITUATION THE STRUCTURE--------------------------------------------------------

bibliography

web-----------------

video

http://www.youtube.com/watch?v=TR9T48czcdo&feature=related

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http://www.passionvines.com/main.asp?request=ARTICLES&article=12 http://vinoturismo.blogspot.com.es/2009/11/enoturismo-en-portugal.htmlhttp://inwinetruth2.blogspot.com.es/2011/09/portugal-paradox-of-iberian-discovery.html http://www.dtlux.com/dolcevita/viajes/articulo/enoturismo-en-el-pais-vecinohttp://uvas-parras.blogspot.com.es/2009/11/cultivo-de-la-vid-en-vinedos.html http://www.agrobit.com/Documentos/G_2_Microemp%5C431_mi000001uv[1].htm http://hogar.comohacerpara.com/n7443/como-cultivar-uvas.html http://hogar.comohacerpara.com/n7443/como-cultivar-uvas.html http://www.vitivinicultura.net/2011/08/cuando-se-planta-una-vid.html www.movimientoslow.com http://www.ecologiablog.com/post/129/slow-movement-viajar-comer-vivir-y-leer-con-calma-y-armoniahttp://www.oporto.net/bodegas-oportohttp://www.viajerosdelvino.com/blog/escapada-de-enoturismo-a-oporto/http://grapeseek.org/faq.html#18http://www.ehow.com/how_7726908_make-grape-vine-poles.htmlhttp://www.ces.ncsu.edu/depts/hort/consumer/quickref/fruit-small/training_grapevine.htmlhttp://viticulture.hort.iastate.edu/info/pdf/vineyard10121_49.pdfhttp://www.essentialgardenguide.com/garden-fruits-care/32/Grapes/http://www.ehow.com/facts_4925023_how-long-does-wine.htmlhttp://it.blog.visitportoandnorth.travel/touring/top-10-del-douro_it/http://www.guadoalmelo.it/lavoro-vigna.asphttp://www.guadoalmelo.it/lavoro-vigna.asp

CARL HONORÉ, (2005) “In praise of slow”, (chapter: ''the age of rage'')

RAMIS, A. "Turismo y vino en el mundo: El caso de Bodegas Enrique Mendoza". Master in Tourism Management and Planning. University of Alicante.

HALL, M.; SHARPLES, L.; CAMBOURNE, B.; MANCIONIS, N. (eds) (2000): "Wine tourism around the world: Development, management and markets", Elsevier Science, Oxford, UK.

SIMOES, O. (2008): "Enoturismo em Portugal: as Rotas de Vinho". Pasos. Revista de turisSIMOES, O. (2008): "Enoturismo em Portugal: as Rotas de Vinho". Pasos. Revista de turis-mo y patrimonio cultural, Vol. 6, Nº 2.

MUHR, D.; REBELO, J. "Innovation in Wine SMEs: The Portuguese Douro Boys". American Asociation of Wine Economics. Viewed at: http://www.wine-economics.org/

manifesto-------------------------

Un proyecto arquitectónico no nace de la nada, detrás de él encontramos una historia, la cual modela hasta el último detalle del mismo, surgiendo de un pensamiento, una imagen, una conversación. En un primer momento nos adentramos en la visión de una casa, ya no solo por sus planos o fotos una vez acabada, sino por todo lo que arrastraba consigo antes de su proyección, con-versaciones con los propietarios, exigencias es-pecíficas, necesidades, etc.Una de las partes más importantes de un pro-yecto es la relación con el propietario, ya que cuanto más intenso sea el vínculo mejor sabrás proporcionarle lo que necesita. Lectura de diferentes historias y la elección definitiva de la Casa en Baião, Portugal, del ar-quitecto Eduardo Souto de Moura, fue el primer paso para conocer la casa que más tarde remo-delaríamos. Se nos propuso trasladar esta edifi-cación al S. XXI, por lo que en primer lugar tuvi-mos que impregnarnos de la cultura portuguesa, un cultura donde el vino forma parte de su tradición, donde una gran parte del turismo se relaciona con él, por lo que nuestro objetivo fue potenciar esta gran virtud, ya que Portugal es uno de los productores de vino más grandes Europa, además de la elevada cantidad de zonas de viñedos en Baião. Para poder llevar a cabo este objetivo propu-simos distintas acciones que se ejecutarían en el exterior y en el interior de la casa, dándole una nueva utilidad a ese hogar familiar destina-do como residencia de fin de semana que, ac-tualmente, se encuentra en alquiler. Con la nueva perspectiva de la vivienda preten-demos avivar el flujo de visitantes creando todo un conjunto de actividades que te permiten aflo-rar sensaciones, experiencias, pensamientos que te llenan en cada momento. No podemos permitir que un lugar tan excep-cional como éste se pierda en el olvido, aunque no cumpla ciertos requisitos, nos damos cuenta que sus otras virtudes hacen de él un lugar no simplemente arquitectónico, sino puramente sensorial, abriendo puertas que ningún otro lugar nos abrirá.

An architectural project not emerge of nothing, behind him we find a story, which models until last detail of it, emerging from a thought, an image, a conversation.

At first moment we go to sight a house, and not only for his plans or pictures once finished, but for all that it carry on with him before to be projected, conversations with owners, specific requirements, needs, etc.

One of the most important parts of a project is the relationship with the owner, because if the more intense was the link with the owners you will known better what you need.

Reading the different stories and the final choice of the House in Baião, Portugal, the ar-chitect Eduardo Souto de Moura, was the first step to see the house that we will remodel more later. Their aim to move this building to S. XXI, so first we had to impregnate of Portuguese cul-ture, a culture where wine is part of their tradition, where a large part of tourism is related to it, so our objective was to promote this great virtue, because Portugal is one of the largest wine producers in Europe, and too Baião have a high number of vineyards areas.

To accomplish this objective we proposed di-fferent actions to be executed outside and inside of the house, giving a new use to the family home as a residence designed weekend that now is in rent.

With the new perspective of the housing we pretend the visitor flow creating a whole range of activities that those makes possible bring out feelings, experiences, thoughts that it feels you over all times.

We can't allow a place as exceptional as it is lost in oblivion, but it doesn't fulfil certain requi-rements, we realize that their other virtues make it a place not simply architectural but purely sen-sory, opening doors that others places won't opened .

1. reading and chooicing stories

2. baião house

3. series of photomontages (pm)

4. the first story

5. the red liquid

6. enoturism

7. drawing the action

8. tecnical detail

9. bibliography

10. manifesto

TABLE OF CONTENTS