The site is one of the world’s great democratic spaces in a city often lacking in them. You are reading an article printed from Places, the journal of public scholarship on architecture, landscape, and urbanism. Estudos, aquarelas, plantas e esboços de Lina Bo Bardi inspiraram a linha de produtos para a série Sesc em Obras, criada em 2012. Above all, she believed that architects should embed their choices in the search for collective freedom and solidarity instead of in competition. Much of the design of the SESC Pompeia was defined on the ground, as the architect moved her office to the factory during rehabilitation. Fabrikada yaratıcı süreçleri içinde barındıran kütleler için açık hacimler düşünülmüş. Lina Bo Bardi, interview with Silvio Giannini, “Mostra reúne pela primeira vez obra de Lina Bo Bardi,” Folha de São Paulo, April 10, 1989. Miotto, Luciana, Savina Nicolini. This essay and slideshow are adapted from the prologue to Lina Bo Bardi, by Zeuler R. M. de A. Lima, foreword by Barry Bergdoll, published recently by Yale University Press, and they appear here with permission of the author and the press. She did not intend to leave Italy permanently, but in the new world she found a novel environment, rich with opportunity, and she collaborated with her husband in the creation of the Museu de Arte de São Paulo (MASP), which would become a powerhouse for the renovation and diffusion of modern culture in Brazil. With the enormous creativity that characterizes Lina Bo Bardi, Brazilian architect, the leisure center project SESC Pompeia Factory, rehabilitation and leisure center of an old factory barrels of oil embarking Sao Paulo. Chair model "SESC" Designed by Lina Bo Bardi, Marcelo Ferraz and Marcelo Suzuki Created for the center SESC Pompeia in Sao Paulo Manufactured by Lina Bo Bardi Brasil, 1980 Pine wood Measurements 52 cm x 40 cm x 68,5h cm 21,25 in x 15,74 in x 25,9h in. [Photo by Nelson Kon], São Paulo City Hall, São Paulo, Industry Pavilion Recovery, 1990–92, interior view of ceremonial hall. So that the space could accommodate all planned program and keep the old factory building two towers at the end of the field, a decision that granted a monumental aspect to the complex would be necessary. In Salvador, Bo Bardi resisted gentrifying the historic centre into a 'Disneyfied' tourist zone. Architects, like other professionals … depend on the country’s socioeconomic structure. Clássicos da Arquitetura: SESC Pompéia / Lina Bo Bardi. Amanhã, inauguram duas exposições sobre a arquiteta na instituição. 3. In 1946, she decided, rather impulsively, to marry the influential art dealer and journalist Pietro Maria Bardi and join him in a commercial venture to sell his art collection in South America. In this project Lina Bo Bardi decided to keep most of the complex as it was to preserve the characteristics of the place. [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, general western view of the sports towers and boardwalk over Águas Pretas Creek. [Photo by Nelson Kon], Teatro Oficina, São Paulo, 1982–93, interior view of the street-stage with scaffoldings and access door in the background. The mosaics of the bathrooms refer to buildings and folk arts, a mirror of water with pebbles permeates the floor of the shed factory. The functions of the old structure would be redesigned and manufacturing technology project become a modern project focused on popular applications like swimming pools, cafeteria, library, exhibition halls, sports facilities, etc. Esta obra, que é uma das mais importantes da sua carreira, trata-se, na verdade, da adaptação de uma antiga fábrica de tambores – e arredores – localizada na Vila Pompeia, em São Paulo. [Photo by Zeuler R. Lima], Ladeira da Misericórdia Housing and Commercial Complex, Salvador, 1987–88, interior view of Coati Restaurant surrounding the mango tree. Courtesy of the ILBPMB. A fim de celebrar o centenário de nascimento da arquiteta e designer ítalo-brasileira Lina Bo Bardi, o Sesc Pompeia realiza uma série de atividades colocando em foco sua trajetória e produção. In Lina Bo Bardi …major architecture project was the SESC Pompéia (built in stages, 1977–1986), a leisure and cultural centre in São Paulo sponsored by the nonprofit Social Service of Commerce (Serviço Social do Comércio). When the conversation ended, the guests onstage stood up and applauded, as did the audience. Questa è un’altra donna che abbiamo ammirato per l’eleganza, la forza, l’spirazione cristallina e la potenza del gesto, ”Donna Lina” ha costruito dall’altra parte del mondo, la sua precisa idea di estetica. Prolific architect and designer Lina Bo Bardi spent her working life primarily in Brazil, where her projects promoted architecture as an agent for integration between people and their city. Opting to keep the beautiful barns of the old barrel factory and covering the creek with a wooden deck, building terrain impossibilities are respected and taken to the architect to build in two areas, separated by a trickle. Stated another way, is a building that sits between the intervention and invention (Philippe Blanc). As she declared to a journalist who interviewed her in 1989, “I didn’t make myself alone. Guarde este projeto. The result is a seamless integration and continuity in activities, providing circulation spaces. Support public scholarship on design today. It borders the neighborhoods of Perdizes, Água Branca, Lapa, Barra Funda and Vila Romana. … “The precariousness of the means and the prevailing amateur building techniques mean that in much of South American architecture, the presence of marks mixed with traces of hand tools is inevitable. The old factory, built from imported and sophisticated technology at the time had to be reinvented. She and her husband co-founded the influential art magazine Habitat. The magazine's title referenced Bardi's conceptualization of the ideal interior as a "h… If you would like to share your thoughts about this article, or anything else on Places Journal, visit our Facebook page or send us a message on Twitter. Courtesy of the ILBPMB. The original structure was made of reinforced concrete and masonry trusses. Inside the plot there is a meeting of “tracks” for pedestrians, the main one is covering the Arroyo de Águas Pretas (Córrego das Águas Pretas). SESC Pompeia’nın ilginç mekanlarından birisi Lina Bo Bardi’nin kurguladığı tiyatrosu. [Photo by Nelson Kon], Angels’ Chapel, Vargem Grande Paulista, São Paulo, 1978, interior view and altar. When she graduated from architectural school, in 1939, Italian modern architecture was in crisis and the nation was about to enter World War II. The new project incorporates internal factory street, making it a stage for spontaneous demonstrations or scheduled performances. SITOGRAFIA. A nova impressão é exclusiva das Edições Sesc e conta com apoio do Instituto Lina Bo Bardi. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, southern view of Trianon Terrace from the main staircase. On the walls of the towers were left in sight marks the horizontal and vertical tables and their primitive drilling. Escrito por … (Lina Bo Bardi) Con la enorme capacidad creativa que caracteriza a Lina Bo Bardi, arquitecta brasilera, se emprende el proyecto del centro de ocio SESC Fábrica Pompéia, rehabilitación como centro de ocio de una antigua fábrica de barriles de petróleo en Sao Paulo. A glimpse of life at Lafayette Park, one of the most racially integrated and economically stable neighborhoods in Detroit. This leisure center consists of spaces of the old factory and two volumes five floors with a block of tennis, pool, workshop area, library, living rooms and exhibition, auditorium are distributed, a restaurant and a large solarium. The whole project shows an expressive austerity in material and formal condition, with a strong artistic expression. [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, theater with central stage and seats facing each other. 1 She conceived of the museum as a place for community, where art and craft intermingled, in her role as MAM-BA's first director from 1960 to 1964, the year a military coup reduced Brazil, Bo Bardi wrote, to a near 20-year silence. Concrete is used carefully and varied. Though fewer than 20 of her architectural projects were built, their social and conceptual meaning is deep, broad, and in direct communication with the many other types of design she developed. Zeuler R. M. de A. Lima is an architect and associate professor of history, theory, and design at the School of Design and Visual Arts at Washington University in St. Louis. Lina Bo Bardi, “Arquitetura como movimento,” lecture notes, Dance School, Salvador, August 1958. 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