She covered the river and canal with a deck, creating a solarium. In an ongoing and occasional series, historians and critics assess the vigorous achievements of a generation of modernist practitioners. His architecture remains as powerful as ever. Places Journal is celebrating ten years online thanks to the support of readers like you.Please Subscribe or Donate. [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. 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. In the mid 20th century, Francisco Artigas was one of the best known architects in Mexico. This and the following quotes from Lina Bo Bardi, lecture at the Architecture and Urbanism College of University of São Paulo (FAU-USP), April 14, 1989. This was the same stance she had taken a few years earlier when she presented her proposals for Salvador’s historic Pelourinho District to city administrators. Perhaps rebutting the narrow formalism that had kept her unusual work from being fully accepted by modern Brazilian architects, she spoke against a tradition that she traced back to the Enlightenment, a “set of classical rules that were codified in books and erudite treatises.” 1, “I would not say that those rules are as dangerous as Gropius thought,” she warned, “but they may disturb the creative education of architects when they are not well understood historically.” Instead, she suggested, “it is necessary to consider the past as a historical present, still alive,” and to “forge another ‘true’ present” that could not be found in books. Courtesy of the ILBPMB. It is a major architectural example of "Architettura Povera". She remained faithful throughout her distinctive career to a process of self-renewal despite (or perhaps because of) the discontinuous means she employed, the unusual paths she pursued, and the wide-ranging collaborations she embraced. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, view of interior hallway under pre-stressed concrete beam holding steel rods in the elevated volume. 3. Review Your Listing Review information on this page and make sure it is accurate. [Photo by Nelson Kon], Teatro Gregório de Matos, Salvador, 1986–87, interior view of the theater bar area with the hole-window in the background. 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. Building structure made a round, Elizabethan theater unworkable. We respect your privacy and will not use your address without permission. Inside, she removed partitions to create a large hall. In fact, she admired an earlier generation who fought for equality, and she noted that among the poorer classes women always strove side by side with men. Bo Bardi remained seated. [Photo by Zeuler R. Lima], Angels’ Chapel, Vargem Grande Paulista, São Paulo, 1978, external view. Public scholarship on architecture, landscape, and urbanism. This slideshow presents a broad selection of her architectural work, from her first built project, her own house (1952), to her last, an adaptive reuse project for the São Paulo City Hall (1992). [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, sports court inside the larger tower showing waffle slabs and hole-windows. [Photo by Nelson Kon], Unhão Estate (MAMB and Museum of Popular Art), Salvador, 1963, general view of added staircase. Bo Bardi designed a fake chimney, used as a water tower. Architects, like other professionals … depend on the country’s socioeconomic structure. It is necessary that the work does not fall from the sky over its inhabitants, but rather expresses a need.” In conclusion, she said, “You should always look for the ideal, decent object, which could also be defined by the old term ‘beauty.’”, Bo Bardi then welcomed the audience’s remarks. [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, library bays in concrete inserted amid the structure of the renovated factory sheds with lounge in the foreground. The floors have names of the seasons. Please try again later. [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, art workshops separated by cinderblock walls. [Photo by Nelson Kon], Back in São Paulo, disappointed and angry, Bo Bardi sought alternative work. She expressed concern about contemporary architectural education and criticism. Her thinking and practice were situated at the intersection of different worldviews: north and south, city and hinterland, privilege and deprivation, modernism and tradition, past and present, abstraction and social realism. She was occupied at first with the new MASP building, which was completed in 1968. R. Clélia, 93 - Água Branca, São Paulo - SP, 05042-000, Brazil, Create an itinerary including SESC Pompeia. In an ongoing and occasional series, historians and critics offer new assessments of modern masters. [Photo by Nelson Kon], Lina Bo and P. M. Bardi house in Morumbi, São Paulo, 1949–52, interior view with dining room and internal patio in the foreground. In that meeting she had sat, arms crossed, covering the drawings she had prepared, and listened in silence to the officials’ political speeches. The Universidade de São Paulo — the same school that, three decades earlier, had denied her a permanent teaching position — hosted a show highlighting her proposal for the urban revitalization of the historical center of Salvador, the first colonial capital of Brazil. 132 West 31st Street, 16th Floor Its architect, Lina Bo Bardi, preferred to refer to it as a "citadel of leisure", a symbol, both of the reconversion of work premises and the affirmation of an Alternative, in front of the city. When she graduated from architectural school, in 1939, Italian modern architecture was in crisis and the nation was about to enter World War II. Câu Chuyện Quốc Tế Recommended for you 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. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, southern view of Trianon Terrace from the main staircase. Architects, she believed, did not need to know how to solve everything. Text by Placement. Read more at placesjournal.org. Every day, we help thousands of travelers plan great vacations. Bo Bardi replaced some roofing with glass bricks. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, southwestern view on avenida Paulista. They needed to know how to think innovatively about where to look for solutions. The accompanying slideshow is drawn from my new monograph.