Considerações finais

lš›ˆG•Œš›Žˆíé–G™Œ—™ŒšŒ•›ˆGœ”G—Œ™Šœ™š–SGœ”G—™–ŠŒšš–UGvG•›Œ™ŒššŒG—Œ“ˆG›Œ”盐ŠˆG‹–G “œŽˆ™G›™ˆ‰ˆ“ˆ‹ˆG—Œ“ˆGˆ™›ŒGŠ–•›Œ”—–™è•ŒˆG—Œ™”›œG–Šˆ™G–GŠˆ”—–GŠ–•ŠŒ—›œˆ“G •ˆšG—™ç›ŠˆšG ˆ™›óš›ŠˆšG˜œŒG–—Œ™ˆ”GˆG—ˆ™›™G‹ˆGš›œˆíé–GŒš—ŒŠóŠˆUGhG™Œ“ˆíé–GŠ–”Gœ”G›Œ™™›ù™–GŠ–•Š™Œ›–G revelava-se assim fundamental, pelo que a abertura ao contexto de estudo foi uma das principais vertentes de projecto.

Partiu-šŒSG•é–G‹ŒGœ”ˆG‹ŒˆG‹ŒG•›Œ™Œ•íé–G–œG–‰‘ŒŠ›–GˆG‹ŒšŒ•–“Œ™SG”ˆšG‹ˆG—™–Šœ™ˆG ‹ŒG œ”ˆG ”Œ›–‹–“–ŽˆG ˜œŒG ™Œš—–•‹ŒššŒG ‹ŒG–™”ˆG š•Žœ“ˆ™G ˆ–G Œš—ˆí–G ‹ŒG ˆŠíé–UG Apesar de •é–G ›Œ™G š‹– sempre clara, foi ˆ›™ˆŒššˆ•‹–G •‹ŒŠšûŒšG ŒG ™ŒŠœ–šSG revelando parte do projecto em si mesmo. A abordagem ao Š–•›ŒŸ›–G™Œšœ“›ˆG—–™›ˆ•›–G‹ŒG›–‹ˆGŒš›ˆGˆšŒG—™ïˆG ‹ŒGŒš›œ‹–SG™Œš—–•‹Œ•‹–GˆG•˜œŒ›ˆíûŒšG˜œŒGšŒG–™ˆ”G”ˆ•Œš›ˆ•‹–UG

Estudou-se uma ideia de imagem de cidade, que se revelou demasiado redutora na ˆ—™–Ÿ”ˆíé–G ˆG Œš›ˆG Š–•š›™œíé–G –—Œ™ˆŠ–•ˆ“G ˜œŒG Šˆ‹ˆG œ”G —™–‹œ¡G •ˆG ™Œ“ˆíé–G Š–”G –šG “œŽˆ™ŒšSG —ˆ™ˆG ‹Œ—–šG šŒG ‹ŒšŽ•ˆ™G Š–”–G œ”ˆG —ˆšˆŽŒ”G •‹‹œˆ“UG wˆšˆŽŒ”G Œš›ˆG ˜œŒG ïG ”ùŒ“SGˆ‘ˆGŠ–”GŠˆ‹ˆGœ”GŒG•é–GïGŒš›ˆ•˜œŒUGp•Š–™—–™ˆGšŒ•šˆíûŒšSG‹ŒˆšSG™ˆŽ”Œ•›–šG‹ŒG –œ›™–šG Œš—ˆí–šG ˜œŒG šŒG ŒŸ—Œ™Œ•Šˆ”SG •œ”ˆG Š–•š›™œíé–G ”Œ•›ˆ“G ™™Œ—Œ›óvel, que em cada •‹ó‹œ–GŒŸš›ŒGŠ–”–Gœ”ˆGŠ‹ˆ‹ŒG•šóŒ“106_{UGÏ ˆ–G•óŒ“G‹Œš›ˆG—ˆšˆŽŒ”G•‹‹œˆ“G˜œŒGšŒG}

—™–Šœ™ˆG –—Œ™ˆ™SG •ˆG ™Œ“ˆíé–G Œ•›™ŒG ”Œ”ù™ˆG ŒG ŒŸ—Œ™ð•ŠˆG ‹ˆ˜œŒ“ŒG ˜œŒG ïG –G Œš—ˆí–G Œ”G estudo.

hG ‹”Œ•šé–G —ˆ™›Š—ˆ›ˆG Œ–G ‹Œ•šŠˆ™G –G —™–‘ŒŠ›–SG œ“›™ˆ—ˆssando a mera paisagem óšŠˆSG —Œ™”›•‹–G ›™ˆ‰ˆ“ˆ™G ˜œŒš›ûŒšG œ•‹ˆ”Œ•›ˆšG •–G Œš›œ‹–G ‹–G “œŽˆ™SG Š–”–G ˆG ”Œ”ù™ˆSG ‹Œ•›‹ˆ‹ŒGŒGŒŸ—Œ™ð•ŠˆUGh›™ˆïš ‹ŒGœ”ˆG™Œ“ˆíé–G‹ŒG—ˆ™›“ˆSGˆGŠ–•›™‰œíé–G‹ŒGiŒ™•ˆ™‹•ˆG permitiu ver –GŒš—ˆí–GŒ”GŒš›œ‹–GŠ–”G–œ›™–šG–“–šSGprolongando-se na sua alteridade, ao mesmo tempo que foi sendo palco de uma das partes do projecto. Pode considerar-se que šŒGŒŸ›™ˆˆšˆ”G–šG“”›ŒšG‹ŒG”Œ™–šG™ŒŽš›–šSG—Œ“–G˜œŒGšŒGŽŒ™ˆ”G‹•è”ŠˆšGš–ŠˆšSG˜œŒG —–™›ˆ”GŒ”–íûŒšGŒG‹Œ™Œ•›ŒšGŒš›ó”œ“–šUGhG•›Œ•íé–G›Œ™çGš‹–GšŒ”—™ŒG‹ŒG—Œ™”›™GˆG“œ‹Œ¡G ‹Œš›ŒG—™–ŠŒšš–SGšŒ”Gœ”GŠˆ™çŠ›Œ™G™óŽ‹–SGŒG˜œŒG—™“ŒŽˆššŒGa qualidade destes encontros. hG—ˆ™›Š—ˆíé–G‹ŒGiŒ™•ˆ™‹•ˆG™ŒŒ“–œ-šŒG•é–GšùGŠ–”–G”ˆ›ï™ˆG—™–‘ŒŠ›œˆ“SG”ˆšG›ˆ”‰ï”Gœ”G processo relacional extremamente interessante, articulando aspectos relacionados com a ”Œ”ù™ˆG ŒG ŒŸ—Œ™ð•ŠˆG ˆŠ›œˆ“UG uœ”ˆG šó•›ŒšŒG —–š›Œ™–™SG ˆ—™ŒšŒ•›ˆ‹ˆG •Œš›ˆG ‹ššŒ™›ˆíé–, •›Œ™Œššˆ™ˆ”Gš–‰™Œ›œ‹–G–šG”–”Œ•›–šG‹ŒG•›Œ™šŒŠíé–G‹Œš›ˆšG”Œ”ù™ˆšGŒ”G‹Œ™‹–GŠ–”G–šG Œš—ˆí–šG—Ā‰“Š–šGŒ”GŒš›œ‹–UGEste processo dŒGšœ‰š›ˆ•Šˆíé–GŒ™‰ˆ“G‹ˆG”Œ”ù™ˆG—Œ™”›œG Œ™Šˆ™GˆG™Œ“ˆíé–G‹ˆšG•›Œ™™œ—íûŒšG‹ˆšG™–›•ˆšG˜œ–›‹ˆ•ˆšGŠ–”GˆGˆšš–Šˆíé–GˆG”–”Œ•›–šG ”ˆšG ”ˆ™Šˆ•›ŒšSG ˜œŒG ˆ—Œšˆ™G ‹ŒG •é–G ˆŠ–•›ŒŠŒ™Œ”G ‹œ™ˆ•›ŒG œ”G —Œ™ó–‹–G ‹ŒG “–•ŽˆG ‹œ™ˆíé–S acabam por ser aqueles mais facilmente reŠ–™‹ˆ‹–šSG ˆšš–Šˆ‹–šG ˆG Œ—šù‹–šG ”ˆ™Šˆ•›ŒšUG lš›ˆG ‹”Œ•šé–G ™Œ“ˆŠ–•ˆ“G –G ŒŸ›™Œ”ˆ”Œ•›ŒG ”—–™›ˆ•›ŒG •–G ‹ŒŠœ™š–G ‹ˆG •Œš›Žˆíé–SG —Œ“–G ˜œŒG —Œ™”›œG ˜œŒG –G —™–‘ŒŠ›–G šŒG —™–“–•ŽˆššŒG —ˆ™ˆG ˆ“ï”G ‹ŒG š”—“ŒšG ™ŒŽš›–šG ŒG de um

     

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”–”Œ•›–G ‹ŒG ”—“Œ”Œ•›ˆíé–UG lš›ŒG ŒŸš›œG ›ˆ”‰ï” de uma forma singular na vida de BernardinaSG —Œ™”›•‹–G ›™ˆ‰ˆ“ˆ™G ˆG ”—–™›è•ŠˆG ‹Œš›ŒG šŒ•›‹–G •‹‹œˆ“G •ˆG “Œ›œ™ˆG ŒG Š–•š›™œíé–G ‹–šG “œŽˆ™ŒšUG hG ˆšš–Šˆíé–G ‹–G Šˆ”—–G ‹ŒG Œš›œ‹–G ˆG œ”G ›Œ™™›ù™–G šŒ”G œ”ˆG identidade precisa e ao qual se relaciona a ideia de uma š›ù™ˆG ™ŒŠŒ•›ŒSG —Œ™”›ŒG ˜œŒG –G —™–‘ŒŠ›–GšŒGˆššœ”ˆGŠ–”–Gœ”GŠ–•›™ˆ—–•›–GˆGŒš›ˆG•–íé–U

ˈvGŒš—ˆí–G—Ā‰“Š–GïGOˎPGœ”GŒš—ˆí–G‹–SGŠ–”G–œ›™ˆšGš›ù™ˆšGŒG”Œ”ù™ˆšSG“ùŽŠˆšG ‹ŒGœ•Š–•ˆ”Œ•›–GŒG–™Žˆ•¡ˆíé–UGhóSGˆGˆ™›ŒGˆGˆ–GŒ•Š–•›™–G‹ˆšG—Œšš–ˆšSGšœ™—™ŒŒ•‹Œ•‹–- as no seu dia-a-‹ˆSGŠ–”–G–™”ˆGŒš—ŒŠóŠˆG‹ŒGŠ–”œ•Šˆíé–GŒG•›Œ™—Œ“ˆíé–Uˉ107

hšG —™–—–š›ˆšG ‹ŒG •›Œ™Œ•íé–G šintetizam de uma forma visual este processo de projectoSG œ”ˆG •ˆ™™ˆ›ˆG ŒŸ—™ŒššˆG •ˆG —Œ™–™”ˆ›‹ˆ‹ŒG ‹ˆšG ”é–š de Bernardina, que se implementa em dois momentos. Estes •é–G™Œ—™ŒšŒ•›ˆm —–™ï”Gœ”Gmomento •ˆ“SG‘ç que se —™Œ›Œ•‹ŒGˆššœ”™GŠ–”Gœ”GŠˆ™çŠ›Œ™GŒ”Gˆ‰Œ™›–, qœŒGšŒG—™–“–•ŽˆGŠ–”–GŒŸ—Œ™ð•ŠˆGŒš›ï›ŠˆG •–šG ‹Œ™Œ•›ŒšG –‰šŒ™ˆ‹–™ŒšG ŒG •ˆšG ‹Œ™Œ•›ŒšG “Œ›œ™ˆšG ŒG •›Œ™—™Œ›ˆíûŒšG ˜œŒG ‹ŒšŒ•Šˆ‹ŒˆUG Mais do que um ponto de chegada, este considera-se um ponto de partida que introduz a ‹ŒˆG ‹Œš›ˆG Šˆ™›–Ž™ˆˆG ‹–šG “œŽˆ™ŒšG —Œ“ˆšG —Œšš–ˆšG ˆ›™ˆïšG ‹–G —™–‘ŒŠ›–. Foi importante —Œ™ŠŒ‰Œ™G˜œŒGŒš›ˆG”Œ›–‹–“–ŽˆG›Œš›ˆ‹ˆG—–‹ŒGšŒ™Gœ”G”Œ–G‹ŒG—Œ•šˆ™G–šG•––šG›Œ™™›ù™–šG‹–G urbano, —ˆ™›•‹–G‹ŒGœ”ˆGˆ•ç“šŒGšŒ•šóŒ“Gˆ–GŠ–•›ŒŸ›–SGŒG›™ˆ‰ˆ“ˆ•‹–G–GšŒ•›‹–G•‹‹œˆ“G‹–G “œŽˆ™G Š–”–G ”Œ–G ‹ŒG —–›Œ•Šˆ™G ˆG ˆŠ›ˆíé– dˆG Š–•šŠð•ŠˆG ˆ›™ˆïšG ‹ˆG ‹š›è•ŠˆG ‹ŒG œ”G —Œ•šˆ”Œ•›–G Š™ó›Š–U No fundo testou-se uma forma de —Œ•šˆ™G Œš›ŒšG ›Œ™™›ù™–šG ˆ›™ˆïs da —™ç›ŠˆGˆ™›óš›Šˆ. Distingue-šŒG‹ˆGˆ™˜œ›ŒŠ›œ™ˆGŒG‹ŒG–œ›™ˆšG癌ˆšG‹šŠ—“•ˆ™ŒšG˜œŒG›™ˆ‰ˆ“ˆ”G –GŒš—ˆí–G—Ā‰“Š–, š–‰™Œ›œ‹–G—–™˜œŒG•é–G—Œ™šŒŽœŒGœ”G–‰‘ŒŠ›–G—™ˆŽ”盐Š–SGdistanciando- šŒG ‹ŒG œ”G Šˆ™çŠ›Œ™G œ•Š–•ˆ“G ŒG ŽŒ•Œ™ˆ“š›ˆSG —ˆ™ˆG ˆ“–™¡ˆ™G ˆG —Œ™š—ŒŠ›ˆ e pensamento individual. hšG ”ˆŽŒ•šG •ˆšG ‹ˆG •›Œ™Œ•íé–G •é–G Œ•ŠŒ™™ˆ”G œ”ˆG šó•›ŒšŒG ‹–G ›™ˆ‰ˆ“–G ™Œˆ“¡ˆ‹–SG ”ˆšG —–›Œ•Šˆ”G ‹Œ™Œ•›ŒšG “Œ›œ™ˆšUG lš›ŒG •é–G ‹ŒŸˆG ‹ŒG šŒ™G œ”G —–›Œ•Šˆ“G Œš—ŒŠœ“ˆ›–SG —Œ“–G ˜œŒG Š–”–G šŒG ™ŒŒ™œG ˆ•›ŒšG •é–G šé–G ˆšG ”ˆŽŒ•šG ˜œŒG ›™ˆ•š–™”ˆ”, mas podem inspirar e ‹ŒšŒ•Šˆ‹Œˆ™G Œš›ŒG —™–ŠŒšš–GŠˆ›ˆ“šˆ‹–™G ˜œŒG™Œ‹Œ•ˆG ŒG ˜œŒš›–•ŒG ˆG •–ššˆG ™Œ“ˆíé–G Š–”G–šG lugares. Procura-seSGŠ–”–G™ŒŒ™ŒGtˆ™›ˆG{™ˆ˜œ•–SGˈOˎPGŠ–•›™‰œ™G—ˆ™ˆG–G—™ù—™–G—™–ŠŒšš–G ‹ŒG ‹ŒšŒ•–“”Œ•›–G ‹–G Œš—ˆí–G —Ā‰“Š–Uˉ108 _{O momento expositivo posterior pretende}

—™–“–•Žˆ™GˆG•Œš›Žˆíé–G•œ”G‹Œš‹–‰™ˆ”Œ•›–SG•Š–™—–™ˆ•‹–G‹Œ™Œ•›ŒšG—Œšš–ˆšG˜œŒG–™ˆ”G ‹ŒG ˆ“Žœ”ˆG –™”ˆG ›–”ˆ•‹–GŠ–•ŒŠ”Œ•›–G ŒG —ˆ™›ŒG ‹Œš›ˆG •Œš›Žˆíé–SG —Œ™”›•‹–G o debate de diferentes aspectos que se levantam.

lš›ˆG •Œš›Žˆíé–G ›™ˆ¡G œ”ˆG ‹ˆšG ”œ›ˆšG –™”ˆšG —–ššóŒšG ‹ŒG —Œ•šˆ™G –G “œŽˆ™SG ‹ŒG contribuir para este debate alargado, priorizando a perspectiva individual, porque conforme ïG ™ŒŒ™‹–G ˆ•›ŒšSG šé–G ˆšG —Œšš–ˆšG ˜œŒG ˆ¡Œ”G –šG “œŽˆ™ŒšU Pensa-se o projecto como uma cartografia a uma escala intimista, desenha-se esta paisagem vivida •ˆG ŒŸ—Œ™ð•ŠˆG ‹–G Œš—ˆí–UG hG ”ˆŽŒ”G ˜œŒG šŒG —™–‹œ¡G —Œ™”›ŒG šŒŽœ™G œ”ˆG •ˆ™™ˆ›ˆG ˜œŒG ˆóG šŒG ŒŸ—™ŒššˆSG •é–G ‹ŒŸˆ•‹–G ‹ŒG ™Œ‹œ¡™G ›–‹ˆG œ”ˆG šï™ŒG ‹ŒG Š–”—“ŒŸ‹ˆ‹ŒšG ˜œŒG Š–•š››œŒ”G ˆG ‹Œ•›‹ˆ‹ŒG “œ‹ˆG

     

107 _{Marta Traquino, 2010, p. 125} 108 _{Idem, p. 126}

90

 

dos lugar e de cada indiv󋜖UGué–G—–‹Œ™çGšŒ™GŒš›ˆGœ”ˆG–™”ˆG‹ŒGŠˆ™›–Ž™ˆˆG‹–šG“œŽˆ™ŒšfG hG™Œ“ˆíé–GŠ–”GˆšGš›ù™ˆšG das vidas de cada um que se inscrevem n–G“œŽˆ™SG•é–G—–‹Œ™çG ser uma forma de mapear um local?

uŒš›ŒGŠˆš–G‹ŒGŒš›œ‹–GŒš—ŒŠóŠ–GŒš›ˆG–Gœ”ˆGˆ‰–™‹ˆŽŒ”G˜œŒGŒ–G ao encontro das •˜œŒ›ˆíûŒšG ˜œŒG šŒG –™ˆ”G ”ˆ•Œš›ˆ•‹–G •ˆG ˆšŒG —™ïˆG ‹ŒG “Œˆ•›ˆ”Œ•›–SG ŒššŒ•Šˆ“G •ˆG “ùŽŠˆG ‹Œš›ˆG ”Œ›–‹–“–ŽˆG ‹ŒG ›™ˆ‰ˆ“–G ‹ŒšŒ•–“‹ˆUG {–‹–G Œš›ŒG —™–ŠŒšš–G ïG •Œš›ˆG •Œš›Žˆíé–G ˆššœ”‹o como parte do projecto, que representa uma das respostas —–ššóŒšGæG—™•Š—ˆ“G˜œŒš›é–G‹ŒG•Œš›Žˆíé–UGzŒ•‹–GŒš›ˆG—–™G—™–‘ŒŠ›–SGŒš›ŒGš•›Œ›¡ˆGtoda œ”ˆG ŒŸ—Œ™ð•ŠˆG ŒG —Œ™Šœ™š–G —Œšš–ˆ“, pelo que representa uma das muitas formas de pensar e abordar o lugar. Do contacto para o projecto.

ˈj™ˆ™Gœ”ˆG”ˆŽŒ”GŠ–•šš›ŒGŒ”G™G™Œ›™ˆ•‹–G‹–G–‰‘ŒŠ›–G›–‹ˆšGˆšGšœˆšG‹”Œ•šûŒšSGœ”ˆG ˆGœ”ˆaG–G—Œš–SG–G™Œ“Œ–SG–G—Œ™œ”ŒSGˆG—™–œ•‹‹ˆ‹ŒSG–G›Œ”—–SGˆGŠ–•›•œ‹ˆ‹ŒSGŒSGïGŠ“ˆ™–SG–G šŒ•›‹–Uˉ Jean Baudrillard109

 

     

91

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bibliografia    

Créditos  de  Imagens    

92

 

Bibliografia

hœŽïSGtˆ™ŠSGué–GsœŽˆ™ŒšaG•›™–‹œíé–GˆGœ”ˆGˆ•›™–—“–ŽˆG‹ˆGš–‰™Œ”–‹Œ™•‹ˆ‹Œ, trad. tŽœŒ“GzŒ™™ˆšGwŒ™Œ™ˆSGsš‰–ˆaGl‹›–™ˆG`WÀSGYWW\ h™‹Œ••ŒSG wˆœ“SG |•G ˆ™›G Š–•›ŒŸ›œŒ“G aG Š™ïˆ›–•G ˆ™›š›˜œŒG Œ•G ”“ŒœG œ™‰ˆ•SG Œ• situation, ‹˅•›Œ™Œ•›–•SG‹ŒG—ˆ™›Š—ˆ›–•SGwˆ™šGaGm“ˆ””ˆ™–•SGYWW[

w™ˆ›˜œŒšG Š–•›Œ”—–™ˆ•ŒšaG “˅ˆ™›G Š–””ŒG ŒŸ—Œ•ŠŒ, Paul Ardenne, Pascal iŒˆœššŒSGsˆœ™Œ•›Gn–œ”ˆ™™ŒSGwˆ™šaGGϋ›–•šGkšG}–™SGX``^

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Bachelard, Gaston, hG—–ŠˆG‹–GŒš—ˆí–, ›™ˆ‹Uh•›ù•–G‹ŒGw狜ˆGkˆ•ŒšUG- Z°Œ‹UGzé–G Paulo :Martins Fontes, 1998

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jˆŒ™–SGt癐–, Lisboa capital do nada, Marvila 2001aGŠ™ˆ™SG‹Œ‰ˆ›Œ™SG•›Œ™™G•–GŒš—ˆí–G —Ā‰“Š–dsš‰–•GGŠˆ—›ˆ“G–G•–›•ŽSGtˆ™“ˆGYWWXGaGŠ™Œˆ›ŒSG‹Œ‰ˆ›ŒSG•›Œ™Œ•ŒG•G—œ‰“ŠGš—ˆŠŒ / concep. t癐–Gq–™ŽŒGjˆŒ™–SGsš‰–ˆaGlŸ›™ˆ”œ™–šSGYWW^

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h™˜œŒ–“–ŽˆG ‹–G |™‰ˆ•–G VG ˆ‰–™‹ˆŽŒ•šG ŒG —™ç›Šˆš, ed. Gabriela Vaz-Pinheiro, Porto: Editora FBAUP, 2009

OkŒšPs–ŠˆíûŒšaG ŒŸó“–SG ›–—–“–ŽˆSG ‹Œš“–Šˆ“¡ˆíé–bG OkšPs–Šˆ›–•šaG ŒŸ“ŒSG ›–—–“–Ž SG relocation, ed. Gabriela Vaz-Pinheiro, Porto: Editora FBAUP, Transformactions, 2011.

No documento Pensar em Novos territórios do urbano através das práticas artísticas (páginas 87-93)