De integrante de um complexo ferroviário a espaço para eventos: por que o Centro de Artes e Convenções da UFOP teve um reuso adaptativo de sucesso?

This work is a case study on the UFOP Arts and Convention Centre, which it has sought to present a range of adaptative reuses of this architectural complex and how the most recent interventions may be assessed under the principles of intervention in restoration projects, already sedimented by the restoration theory and supported by the heritage charters. For this purpose, the text firstly outlines a breef historic of the architectural complex, since the beginnings of the XX Century, as a maintenance workshop of railway; after as the Augusto Barbosa Metallurgic Park between the 40s and 60s; then, as a multiuse space of the Federal University of Ouro Preto (UFOP) from the 70s; and, finally, as a venue for events and artistic activities since 2001. Afterwards, it discourses about the interventions carried out and its relation with the principles of interventions in restoration works and it ends up seeking to clarify how well the adaptative reuse of the UFOP Arts and Convention Centre occured. To achieve this result, bibliographic and documental research were made. Books on industrial heritage were consulted, specially these ones: “Preservação do Patrimônio Arquitetônico da Industrialização – Problemas Teóricos de Restauro” by Beatriz Kühl, “Preservação do Patrimônio Edificado: a questão do uso” by Cyro Corrêa Lyra and “Teoria da Restauração” by Cesare Brandi. Beyond these books, the following heritage charters were consulted: Venice Charter (1964), Burra Charter (1980), Nara Conference (1964), Carta de Brasília (1995) and Nizhny Tagil Charter (2003). The author also consulted laws and decrees related to the uses and functions of the UFOP Arts and Convention Centre architectural complex. The documental primary sources were acquired from the Ouro Preto Municipal Archive, from the UFOP Central Archive and from reports belonged to people who had worked directly in the project of requalification of the UFOP Arts and Convention Centre in the 90s. A qualitative approach of the content were accomplished after the research and reading of collected material, which permitted the elaboration of the final text. The conclusions achieved are that the UFOP Arts and Convention Centre may not be considered as an example of restoration work, for the interventions carried out have not taken into consideration principles and theories of restoration already consecrated. However, it has become an example of successful adaptative reuse by the convergence of the following factors: its privileged localization in Ouro Preto town; the versatility of industrial architecture for adaptative reuse; financial and strategic articulation between public and private powers for requalification of that architecture complex and, finally, the adaptative reuses for which that industrial complex went through were all suitable to Ouro Preto vocation.