Jacques_Paola_Berenstein_Estetica_da_Ginga_A_arquitetura_das_favelas_atraves_da_obra_de_Helio_Oiticica .pdf (file size: MB. Herkenhoff, Paulo , Arte Brasileira na Coleção Fadel– da Inquietação do at: Jacques, Paola Berenstein , Estética da ginga/A arquitetura das favelas através da. PDF | This article aims to reflect critically the possibility of Keywords: border pedagogy, aesthetics of ginga, diversity and multiculturalism. .. e o Programa Fronteiras da Diversidade (PBD) 3, da Faculdade de Educação, da .. [Show full abstract] Estetica de la Ginga, presentando la propuesta de.

Estetica Da Ginga Pdf

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Keywords: border pedagogy, aesthetics of ginga, diversity and multiculturalism. JACQUES, Paola Estética da Ginga: a arquitetura diversity as a factor in. development. Keywords: border pedagogy, aesthetics of ginga, diversity and multiculturalism. JACQUES, Paola Estética da Ginga: a arquitetura das favelas. Paola Berenstein Jacques (Estetica da Ginga, ) from the investigation of temporality in the favela, and the process of form in the informal aerial view of the.

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Is this formal integration really necessary? Why not assume once and for all the aesthetics of the favelas without the little aesthetical, architectonic, and urbanistic impositions of the present-day urbanization projects, which ends up causing the destruction of the original architectonic and urban fabric of the favela, creating impersonal spaces spaces that oftentimes are not appropriated by the local population, being quickly deteriorated and abandoned?

Why is the neighborhood pattern always the example to be followed, to the detriment of the culturally and formally inventive and rich favela pattern?

Why not try to follow the favela pattern, trying to learn from its formal complexity and richness? It would be interesting to see this different form of intervention, inspired by the favelas, implemented in the city proper especially around its outer limits and borders 1. Conceptual figures. The favelas have their own spatial identity even though they differ from each other , while at the same time being part of the city as a whole, of its urban landscape.

In order to intervene in this space-temporal universe, which is completely different from the rest of the city, it is imperative that we understand this difference a bit better. Fragment from the body to architecture. A result of the observation of shanties, of the fragmentary way of building in the favelas, based on the idea of shelter, which is entirely different from the architectural practice designed by architects.

The shanties that make up the favelas are initially built from fragments of heteroclite materials randomly found by the builder. Therefore, shanties are formally fragmented.

The first goal of the builder — who is almost always the resident himself, who builds with the help of friends and neighbors the collective mobilization principle — is to shelter himself and his family. This first shelter is almost always precarious, but it already contains the foundation for a future evolution. From the moment the resident finds or downloads more adequate materials, he replaces the old ones and begins to expand the shanty.

A shanty never has a previously established construction project; the materials found make up the foundation of the construction, which will be contingent upon chance and the need to find new materials, or the ability to download them.

The shanty is constantly evolving, until it becomes a brick house, but even then the construction never ends, and houses are under constant renovation. Even though they are less fragmented than wooden shanties, the new brick houses are also fragmentary, as they are constantly being transformed. Construction is an everyday reality, being perpetually unfinished.

A conventional architecture, that is, an architecture done by architects, includes a project created before the construction begins, and it is this project that determines the end, the full stop that concludes the construction. When there is no project, the construction does not have a predetermined form, and thus it never ends, remaining always unfinished.

Unlike architects, those making a bricolage do not aim for an objective, nor do they look for unity; they act in a fragmentary fashion, through the comings and goings of a non-planned, empiric activity. The bricolage would be an architecture based on chance, an architecture devoid of a project.

The final form is a result of the building process itself, and the main goal of the builder is to create a shelter. To shelter means to cover, to wrap in order to protect, to conceal.

Nadir Afonso

In other words, it means building an inside area where one can enter, a delimitation between the outside and the inside. This separation exists on several levels, starting with the body itself: first, there is clothing; then, the shelter, the house, the neighborhood, the city etc.

The main difference between sheltering in bricolage and inhabiting in architecture is a temporal one, since sheltering relates to something temporary and provisory, and inhabiting, on the contrary, to something that is durable and permanent. A shelter is temporary even if it lasts forever, while a habitation is durable even if it tumbles down tomorrow.

But even when not conceived as such, a shelter has the potential to become a habitation: in each shelter there is an immanent sense of becoming-a-habitation.

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The most significant distinction in the way favela builders and architects treat space relates to temporality, since sheltering and inhabiting imply a completely different space-temporal process.

This opposition becomes clear when we compare the way architects conceive space — always starting from a project, with spatial and formal projections for a near future — and the way favelas are built — where there is never a pre-established project, and the formal outline of the future construction begins to appear only when the construction process is well underway, and even then, it is never fixed or pre-defined as is the case of a traditional project.

Maze from architecture to the urban.

Therein lies the big difference between the favela and the mythic Greek maze designed by Daedalus, the architect: the favela does not have a previously made blueprint, none has been drawn or projected. The favela-maze is much more complex because it is not static, finished, it is always being transformed. No favela blueprint is ever final, there can only be momentary blueprints, and they are always made afterwards. In the favela-maze, the myth, like the favela itself, remakes itself continuously, young men are sacrificed like the Athenians, and the residents-Ariadnes continue to weave — without the help of the architects-daedaluses — this great unplanned, collective structure.

Unlike traditional urban planning, which determines the tracing beforehand, favela streets as well as all public spaces are determined exclusively by use.

However, at the registration desk, he took the advice of the clerk, who told him that his high school diploma allowed him to enroll in Architecture , which was then a more promising career. As he later admitted, he made a mistake by listening to that man.

Settled in Porto, he started to design houses and industrial buildings, while at the same time painting the city around him under his other surname, Rodrigues.

As a member of the artist collective Independents , he took part in all their art exhibitions until and became a favorite with the national critics.

Art and architecture[ edit ] In , Nadir Afonso left Porto for Paris with a number of unfinished works from his "Iris period", and changed his signature with the surname Afonso. Nadir Afonso recalls this period of his life as the first time that he was in contact with the great world of art.

While working under Le Corbusier in Paris, Nadir Afonso gradually developed his own style of geometric abstractionism. His new fundamentals of aesthetics reoriented his concepts of the origin and essence of art that resulted in his research thesis controversial to his architectural work, Architecture Is Not an Art.


He went through a period of inspiration in the Portuguese Baroque , followed by an Egyptian period. From December to , Nadir Afonso crossed the Atlantic to answer an invitation to work with the Brazilian architect Oscar Niemeyer ; it was three years of "necessary architecture and obsessive painting". In , his first anthology exhibition took place at the Maison des Beaux-Arts in Paris, while initial exhibitions of his new style in his native country initially failed to raise as much interest as in the early expressionist years.

Full-time painter[ edit ] Paris was a world center of the arts but the fierce competition between artists proved too much for Nadir Afonso.

In , conscious of his social inadaptation, he moved back to his hometown of Chaves and gradually took refuge in isolation and accentuated the orientation of his life towards the creation of art. He terminated the architecture practice and pursued his aesthetics studies based on geometry , which he considered the essence of art. I learned from tradition to be humble, to praise the masters, and to live these eighty-six years with the simplicity that my lowly status has always guaranteed me.

To do a balance of my existence and of my work now is absurd. He was twice married, with five children, born between and International recognition[ edit ] The recognition of Nadir Afonso's talent came early in his career, both in his home country and internationally. By the age of 50, he was well known and regularly exhibited in New York and Paris. However, his reclusive personality and the memory of his first attempt in to show his paintings at an art gallery in Paris, which snubbed him and left him humiliated, caused him to shy from publicity and he did not personally promote his exhibitions.Likewise, there is much to be and affirmative actions in order to qualify the educational Global Journal of Human Social Science A Volume XIII Issue IV Version I done to enforce the right to quality of life, health, practices that promote respect for diversity and human education, housing, leisure, environmental health, rights in the educational space.

We might picture Nildo — an Afro-Brazilian and about the same age as the artist — also wearing the vestment and both companions very happy to share those moments.

In the post-modern Alexandrian critique, cities planned by architects and urbanists deemed artificial follow the tree logic, an order that is simple and binary, while vernacular and spontaneous cities deemed natural follow a semi-lattice logic, which would be a more complex, multiple order.

Final Considerations participant. In this case in fact, this approach is addressed to facilitate conscious processes of re-discovering and re-appropriation of the place by the local community and the visitors, in order to find out the real opportunities to focus on and strengthen to project a reviving action and a sustainable re-use.

If the staff members had not been conservative, the museum would have become the locus within which such changing of social roles might take place.

Boundary for the Future in the in-Between Places of Diversity process of identity formation for diversity and the through difference "in the fight" against our failure to see discursive practices that occur in what Bhabha calls our own reflection in the eyes of others [ His best-known and most distinctive work is the Cities series, each painting usually representing a city from anywhere in the world.

The artist was fascinated by Psychoanalysis, trans topology and her research entailed symbolic investigations of this disci- Donald Nicholson-Smith, WW Norton, New York, pline.

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