Lina Bo Bardi (December 4, 1914 – March 20, 1992) was one of the most important and expressive architects of 20th century Brazilian architecture. Born in Italy as Lina Achillina Bo, she studied architecture at the University of Rome, moving to Milan after graduation. In Milan, Bo Bardi collaborated with Gio Ponti, and later become editor of the magazine Quiaderni di Domus.
With her office destroyed in World War II Bo Bardi, along with Bruno Zevi, founded the publication A Cultura della Vita. As a member of the Italian Communist Party, she met the critic and art historian Pietro Maria Bardi, with whom she would move permanently to Brazil.
Mid-century modern visionaries, Albert Frey and Lina Bo Bardi are exhibited together at the Palm Springs Art Museum for an unprecedented show of models, drawings, design objects, and photographs, opened this fall and will remain on exhibit through January 7, 2018.
The Teatro Oficina Uzyna Uzona, popularly know as Teatro Oficina, located on Jaceguai Street, in the Bela Vista neighborhood, in São Paulo, was founded in the 1960s, more specifically in 1958 by José Celso Martinez Correa, acting as a manifest theater, marked by great spectacles between theatrical expressions, musical presentations, dance and performances.
Over time, the theater sought to revolutionize the performances that they put on. To this end, the architecture was designed to "collaborate" with the events, allowing the drama of the spectacle to engage more profoundly with audiences. T he architect Edson Elito, who would later instigate this reform, said [trans.]:
How many lives does a great work of architecture have? The first begins when it is built and inhabited, judged based on the quality of life it provides for its residents. The second comes generations later when it becomes historically significant and perhaps its original function no longer suits the demands of society. The value of such buildings is that they inform us about the past and for that reason their conservation is necessary.
However, in Latin America, there are countless cases of buildings of great architectural value that are in tragic states of neglect and deterioration. Seven such examples are:
Designing a museum is always an exciting architectural challenge. Museums often come with their own unique needs and constraints--from the art museum that needs specialist spaces for preserving works, to the huge collection that requires extensive archive space, and even the respected institution whose existing heritage building presents a challenge for any new extension. In honor of International Museum Day, we’ve selected 23 stand-out museums from our database, with each ArchDaily editor explaining what makes these buildings some of the best examples of museum architecture out there.
https://www.archdaily.com/871555/23-examples-of-impressive-museum-architectureAD Editorial Team
Christopher Grimes Gallery is pleased to present a solo exhibition of new works by Veronika Kellndorfer. This body of work stems from her 2015 solo exhibition at the Casa de Vidro in São Paulo, home of celebrated Italian-born Brazilian architect Lina Bo Bardi. During this time Kellndorfer also engaged with the architecture of Oscar Niemeyer and gardens of Roberto Burle Marx, finding their approach to Brazilian Modernism nascent to a new scope of reference.
“Concrete has the ability to be primitive and technological, massive and levitating, to combine the properties of steel with those of mud,” says Rowan Moore in his list of The 10 best concrete buildings created for The Guardian. Through examples spanning three continents, Moore unites old standbys with unexpected wonders, all of which show the varied possibilities inherent in mixing water, aggregate, and cement. In a list that incorporates examples from Classical times to the present, Moore establishes concrete’s unique ability to adapt to different times, styles, applications, and treatments.
Examples by Le Corbusier, Álvaro Siza, Lina Bo Bardi, and Marcel Breuer demonstrate that concrete is anything but workaday or utilitarian. Moore’s list affirms that a material simultaneously strong and light, durable, sustainable, and fire-resistant, can scarcely be considered anything short of miraculous. Of course, ten buildings can only provide an abridged version of concrete’s possibilities, and Moore cheekily apologizes for some of the obvious omissions. Check out the full list here.
Forty-seven years after their first appearance, Lina Bo Bardi's iconic glass easels have returned to the gallery at São Paulo's Museum of Art (MASP), displaying some of the museum's most valuable paintings, spanning from the medieval to the modern, in an exhibition on the second floor of the museum.
Removed from display in 1996, the concrete pillars, wood and glass easels were reviewed by METRO Arquitetos, who became part of MASP's curatorial team -- in charge of exhibition design -- last December. Having carried out various exhibitions this year at the museum - such as Brazilian Art Through the 1900s - METRO Arquitetos decided to end the year by bringing back the easels, in an exhibition similar to the original one conceived by Lina, which almost five decades later, continues to impress with its innovative way of exhibiting art in museums.
We had the opportunity to visit the exhibition montage and speak with architect Martin Corullon about the return of the easels and the process of recovering the space as conceived by Lina for the museum. Read the complete interview below.
ArchDaily is continuing our partnership with Radical Pedagogies, an ongoing multi-year collaborative research project led by Beatriz Colomina with a team of PhD students of the School of Architecture at Princeton University, presenting a series of paradigmatic cases in architectural education. In this fourth example of Radical Pedagogies in Latin America, Vanessa Grossman (PhD Candidate in History and Theory of Architecture at Princeton University) presents Lina Bo Bardi's application for a chair at the Faculty of Architecture and Urban Studies of the University of São Paulo. Although the application was rejected by the faculty commission, the submitted essay still is a singular source of new ideas for architectural education.
"We performed hitherto a sort of tour throughout time and throughout the “theories” of architecture, dwelling upon one of the aspects and modes of interpretation: the critical aspect. But the experience of teaching has led us to assume, among students, a certain impatience. This impatience we know very well: it means that we no longer feel the sap flowing from the past, that we have almost constitutionally “cut the roots,” that the natural habit of a calm and methodical study no longer exists, despite the consciousness of an acquired cultural heritage. It is the impatience of those who no longer want to know things that do not produce a result soon, of things that do not serve solutions to the problems of immediate life."
—Lina Bo Bardi, Introduction to “Problems of Method,” the second and final chapter of Propaedeutic Contribution to the Teaching of Architecture Theory (1957) [p. 45 in the 1992 Brazilian edition].
Text description provided by the architects. The design of the Lina em Casa: Percursos (Lina at Home: Journeys) exhibition was developed with the intention of preserving the spatial experience and the unique atmosphere of Casa de Vidro (Glass House). Understanding the House as the principle legacy of the architect on display and a major object of interest for visitors, the organization of the exhibition stands avoids creating spatial subdivisions that could detract from the building’s architecture.
From April 25 through July 25, 2015, the Graham Foundation will host an exhibition at its Madlener House showcasing the vision of Italian-Brazilian architect Lina Bo Bardi. Known for her emphasis on social modernism and expressive use of materials, Lina Bo Bardi: Togetherexplores her legacy through her collected works, as well as that of other artists paying homage to the architect and striving to generate new conversations about her designs. Curated by Noemi Blager, the exhibition features photographs, films, and artistic objects reflecting Bo Bardi's diverse work and immersion in Brazilian culture.
To celebrate International Women’s Day, we asked the Brazilian non-profit group Arquitetas Invisíveis to share with us a part of their work, which identifies women in architecture and urbanism. They kindly shared with us a list of 48 important women architects, divided into seven categories: pioneers, “in the shadows,” architecture, landscape architecture, social architecture, urbanism and sustainable architecture. We will be sharing this list over the course of the week.
Today we present women architects who stand out for the quality of their work.
Following our top 40 Architecture Docs to Watch in 2014and our favourite 30 Architecture Docs to Watch in 2013, 2015 is no exception! Our latest round up continues to feature a fantastic range of films and documentaries telling the tales of unsung architectural heroes and unheard urban narratives from around the world. This entirely fresh selection looks past the panoply of stars to bring you more of the best architectural documentaries which will provoke, intrigue and beguile.
From a film which explores one man's dream to build a cathedral (#4) and a simultaneous history of and vision of Rotterdam's future (#7), to a tour of the world's last surviving squatter town in Copenhagen (#14) and A Short History of Abandoned Sets in Morocco (#16), we present - in no particular order - thirty freshly picked documentaries for you to watch in 2015.
The idea was to recreate – now in moving images – an iconic photograph of the site by exploring issues of representation, transparency, interior/exterior, promenades, ways of living and the tectonics of this architectural masterpiece.
When Lina Bo Bardi received the commission to build a new museum of art on São Paulo’s Terraço do Trianon, she was given the job under one condition: under no circumstances could the building block the site’s panoramic vistas of the lower-lying parts of the city. This rule, instituted by the local legislature, sought to protect what had become an important urban gathering space along Avenida Paulista, the city’s main financial and cultural artery. Undeterred, Bo Bardi came up with a solution that was simple and powerful. She designed a building with a massive split through its midsection, burying half of it below the terrace and lifting the other half into the sky. As a result, the plaza remained open and unobstructed, and in 1968, the iconic São Paulo Museum of Art (MASP) was born.
If you are in Berlin in August, make sure to check out the exhibition “Lina Bo Bardi: Together” at The Deutsche Architecture Zentrum, dedicated to the legacy of the famed Italian-born Brazilian architect, and focusing on her “capacity to engage with every facet of culture and to see the potential in all manner of people.” More on the exhibition after the break.
The Italian furniture brand Arper recently reissued Lina Bo Bardi's signature Bowl Chair. The pioneering project of the Brazilian-Italian architect presents a more relaxed approach to "sitting" - one that was fairly radical when it was originally released in 1951. The reissue of the chair - presented at the Salone del Mobile 2013 - is a testament to the forward-thinking vision of the architect.
Arper, who worked in partnership with the Instituto Lina Bo e P.M. Bardi to produce the Bowl Chair, based the design on the original prototype drawings. The genius of the chair is in its simple execution: consisting of two loose parts - an upholstered shell on a metal structure - the seat remains free to move in all directions. It is a chair for living, not just for sitting, and (as with all of Bo Bardi's works) places the human at the center of the design.