In the perception of many, the favela embodies contradictory and opposed representations. For those outside its boundaries, the favela is frequently associated with crime, poverty, or illness. Yet, it is also regarded as the aesthetic embodiment of a nation, serving as the birthplace of culturally renowned elements worldwide, such as samba in the case of Brazil.
These perceptions are not arbitrary. There are underlying motives that justify political, urban, and social actions. To illustrate, let's delve into the history of Brazilian favelas. At the beginning of the 20th century, favelas were viewed as enclaves of the poor and unemployed. From the 1930s to the 1950s, government efforts began to address favelas as a solvable problem. However, by the 1980s, the narrative shifted, painting favelas as hubs of organized crime and drug trafficking. This resurgence of the favela-as-problem image led to the establishment of the Pacifying Police Units (UPP) in subsequent years.
In recent times, there has been a shift from using the term "favela" to "community," signifying a recognition of favelas not as incidental occurrences but as integral parts of cities. External perspectives do not just shape this new representation but are also informed by the viewpoints of residents themselves. However, alongside this change, there's a tendency to romanticize these areas. This includes the emergence of guided tourist tours through the communities. While external agents inevitably exploit the favela as an object, residents see it as an opportunity to engage in markets such as commerce and tourism.
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How Do You Design for Informality?Given this complex scenario, the widespread painting of facades in favelas can be seen as part of this new perspective, reinforcing the identity of the favela as a visual symbol. The vibrant display of colorful houses draws the attention of tourists and inspires local artists, serving as a means to promote acceptance of the favela's reality as a positive cultural asset.
However, it is a misconception to think that the idea is novel. Throughout the history of Brazilian favelas, there have been instances where painting served different purposes. For example, municipal secretaries once suggested painting could give the favelas a "Greek vibe." Additionally, there were cases of traffickers mobilizing the population to paint their houses (a total of 100) in the same shade of green to make it harder for the police to locate fugitives.
Just like any social initiative, the situation is incredibly complex, and the same concept can serve different agendas. However, beyond merely romanticizing the favela, there are standout initiatives that genuinely embrace the community. These models demonstrate the power of small-scale interventions in improving the residents’ daily lives. This starkly distinguishes them from empty initiatives, such as those mentioned earlier.
The influence of colors on architecture and urban environments is undeniable. Colors can establish ties with tradition, symbolize renewal and transformation, or evoke surprise. They can shape the user's emotions and even influence social behavior. Renzo Piano's urban renewal project in Central St. Giles, London, exemplifies how color can breathe new life into an area. Piano sees color as the building's response to the vibrant organism that is the city, emphasizing participation, a sense of belonging, and urban living. These principles have also been evident in recent interventions that have made an impact on Latin American favelas.
In 2006, the Santa Marta community in Rio de Janeiro gained global attention when images of its brightly painted facades circulated worldwide. These vibrant transformations were part of the Favela Painting project, led by Dutch artists Jeroen Koolhaas and Dre Urhahan. It's another example where an outsider's perspective was crucial in initiating (or validating) such a large-scale intervention. After extensive discussions and debates with the community, the once-uniform sea of brick buildings began to blossom with colorful hues. This idea was warmly welcomed by residents, as who wouldn't want to see their homes plastered and painted? In the realm of construction, this stage marks the final touch, signifying that the project is indeed complete.
To develop the project, the artists, who were already friends with residents of the community, spent a significant amount of time living there, establishing a crucial support network. Their creative approach did not adhere to a strict logic or predefined structure; rather, it emerged organically from their immersion in the favela and understanding of its dynamics, which had often been overlooked. As part of their initiative, they also trained young members of the community in painting, providing them with a means of artistic expression. Additionally, all interventions were conducted in collaboration with the community itself. The project's success led to the group evolving into a formal social program, with residents actively involved and employed within it.
In 2015, a collective of Mexican artists initiated a multi-perspective intervention in a community near Mexico City, drawing inspiration from traditional Mexican muralism. Known as Germen Crew, the collective adorned over 200 houses and covered an area of 20,000 square meters. By immersing themselves in the neighborhood and engaging closely with its residents, Germen Crew drew upon their stories to create the murals. This new form of Mexican muralism, rooted in community consensus, actively involved the 450 families in its production process. Government statistics indicate decreased crime rates in Las Palmitas following the project's inception. This positive outcome is likely linked to the initiative's empowerment of the community and its residents, offering alternative narratives while fostering a sense of unity and belonging.
More recently, in São Paulo's Paraisópolis favela, the "Cores da Favela" (Colors of the Favela) project has embarked on a mission to transform the community's facades. Beyond just aesthetics, the project also aims to enhance the skills and safety of the workers involved in the painting process. Through training sessions such as "Working at Heights" and "Painting Techniques," workers receive professional development opportunities. Furthermore, all materials used for the project are sourced from local businesses within the community, supporting the local economy in the process.
In this context, while the urgent needs of these communities revolve around basic infrastructure like sanitation, clean water, and waste management, we should not disregard the significance of small-scale interventions. These examples go beyond mere aesthetics—they aim to uplift the community's morale, safeguard mental health, and enhance some aspects of daily life. By refraining from romanticizing these efforts, we can see vibrant colors not only as symbols of social acceptance but also as avenues for fostering positive change.
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