Courtesy of Instituto Lina Bo e P.M. Bardi archive. While she carried her European heritage with her, she naturalized herself Brazilian, and famously said, “Brazil is the country I chose, and it is therefore twice my country. Today, the house serves as the headquarters of the late architect’s foundation, but it’s also something of a time capsule, filled with the original art and design from its heyday. The largely artificial garden perhaps poses the most serious challenges. Mar 8, 2019 - Explore Irina Miron's board "Lina Bo Bardi" on Pinterest. The staircase leading to Lina Bo Bardi’s house. Bardi and Lina. She once proclaimed the need to “combat the modernistic voice which goes, ‘The old doesn’t work any more’,” calling it a “dangerous generalization.” The design and appliances of the house are certainly sophisticated and technologically advanced for their time, but there are old technologies, too, like the individually crafted blue tiles on the living room floor, and a special appreciation for the knick knacks of the past. Lina Bo Bardi’s living room in 2010; the set-up is not Bo Bardi’s original, since many of the objects are now in her husband’s family possession after his death. As such, the paintings appear to float weightlessly, much like her home. “It was really kind of a surprise.”, The Famous Photographers behind 6 Unforgettable Fashion Moments, How the Black Turtleneck Came to Represent Creative Genius, After the Bauhaus, the Lesser-Known Ulm School Had a Seismic Impact on Design, The Mysterious Appeal of Art That Depicts Figures from Behind, These Photographers Use Staged Portraits to Create Truthful Visions of Black Identity, Why Imogen Cunningham’s Light-Filled Photographs Are So Soothing Right Now, 5 Must-See Photography Shows You Can View Online. View of the Glass House from an inner courtyard. For a time, the objects in the house were reconfigured to fill the gaps; my architect sister visited during this period, and when I compare my own photos to hers (I’ve included a few in this article) it becomes clear that the living room has since been greatly emptied. Lina Bo Bardi’s radical approach to the design of people-friendly buildings in Brazil is a major contribution to modern architecture, Jason Farago argues. In one of her most transcendent and personal work, her own house, her first thoughts would be reflected, in an unprecedented combination of modernity and tradition, and whose originality has remained until today. In 1946, Bo Bardi married art critic Pietro Maria Bardi, and during travels to South America that same year, they decided to settle in Brazil. Completed in 1950 by Brazilian modernist architect Lina Bo Bardi, Casa de Vidro in Sao Paulo is considered a modern architecture in Brazil. Once the site of the Atlantic Forest, the land was uninhabited countryside at the time. “Everything was in vogue at the time, but she used it in a different way,” she says, gesturing to the pale blue stone tiles that cover the main room’s floor. Bo Bardi maintained the topography of the area, and built the house on slim pilotis, which are blue and elegant, elevating the house and extending through the interior of the glass home. Inspired by Brazilian culture, she sought to create a space that would enmesh domestic living with the natural world, to engender a visible and experiential harmony between man and nature. lina bo bardi, sesc pompeia, deck, photographer unknown. See more ideas about Glass house, Design, Interior. Lina Bo Bardi, Cirell House, São Paulo, Brazil, 1957-1958, conceptual elevation with plants, ca. In 1950s Brazil, this type of tile was commonly used on the facades of buildings, but to install them on the floor, as Bo Bardi did, was unprecedented. Even in her architecture, Bo Bardi’s approach was not solely aesthetic, but practical. According to the director of the Lina Bo and P.M. Bardi Institute, Renato Anelli, when Pietro died seven years after Lina, in 1999, the heirs of his first marriage demanded their share of their inheritance, and made an agreement with the institute. One enters Casa de Vidro from below, by climbing a twisting staircase of concrete slabs. Lina and Pietro Maria Bardi create and run the Industrial Design Course at the Institute of Contemporary Art (IAC). “Simplicity was one of her main characteristics and more than that, her goal,” says Carmona Tozzi. SESC Pompeia is a cultural centre in the east zone of São Paulo, designed by the architect Lina Bo Bardi, and opened in 1982. Lina Bo Bardi, born Achillina Bo, was an Italian-born Brazilian modernist architect. The entire house, Carmona Tozzi says, is exemplary of Bo Bardi’s inventive use of materials. I was not born here, I looked for this place and decided to live here. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York. During their … While she studied under radical Italian architects, she quickly became intrigued with Brazilian vernacular design and how it could influence a modern Brazilian architecture. See more ideas about modernist architects, glass house, architecture. Though supremely elegant, the rooms feel somewhat ordinary today, only emphasizing how ahead of her time Bo Bardi was. The impulse to expand the premises is a reasonable one, given Bo Bardi’s archive of 15,000 photographs and 7,000 drawings. 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Completed in 1951, Casa de Vidro or Glass House, the home of Lina Bo Bardi and Pietro Maria Bardi, rests on a sloped site in the now affluent Morumbi neighborhood of São Paulo. In the mid-1980s, working with architects André Vainer and Marcelo Carvalho Ferraz, she designed an addition to the Glass House to serve as the Instituto Lina Bo e P.M. Bardi (originally the Instituto Quadrante), a place to house the Bardis’ archive and dedicated to the study and exhibition of Brazilian art and architecture. When Bo Bardi built her house, in 1950, it was practically the only one; armadillo and wild cats still roamed the grounds. Bo Bardi loved to cook, especially Brazilian dishes, like moqueca (a typical northeastern fish stew) and carne de sol (dried, salted meat). In an essay about the house three years after building it, she writes: This residence represents an attempt to arrive at a communion between nature and the natural order of things; I look to respect this natural order, with clarity, and never liked the closed house that turns away from the thunderstorm and the rain, fearful of all men. Lina Bo Bardi House (Glass House) Location: Morumbi, São Paulo, Brazil Date: 1950-1951 Architect: Lina Bo Bardi Residents: Lina Bo Bardi and her husband Pietro Bardi Biography of Lina: -Born December 5, 1914 in Rome Italy -Died March 20, 1992 in Sao Paul, Brazil The couple’s musical tastes were equally diverse, with found vinyl records by Duke Ellington and the Brazilian samba and bossa nova musician Dorival Caymmi. The Bardis brought their extensive library and art collection with them from Italy, and once in Brazil, they continued to amass objects, particularly popular art from the northeastern state of Bahia, where Lina Bo Bardi lived and worked for a few years as the director of the Museum of Modern Art. The level of thoughtfulness and sense of place is on par with great buildings like the Royal Festival Hall on London’s Southbank. Lina Bo Bardi considered every detail. Casey Lesser is Artsy’s Lead Editor, Contemporary Art and Creativity. And while we can no longer see a faithful representation of what the interior rooms of Bo Bardi’s house once were, at least through a few photographs and what remains, we can imagine the person behind the glass. Dec 12, 2015 - Explore Toni Walker's board "Lina Bo Bardi" on Pinterest. She is the author of two iconic buildings in the city of São Paulo, MASP and Sesc Pompeia—a center of culture and leisure. The Hand of the Brazilian People continues at the São Paulo Museum of Art (MASP) (Av. This becomes especially clear in the kitchen of her home, where each detail was intended to reduce the burden of labor: the sink’s steel surfaces are easy to clean; the floor is a black tile; the trash travelled through a chute; there was an imported dishwasher; and the doorway is generously wide, to make carrying trays full of food easier. Located in the wealthy Morumbi neighborhood of São Paulo, the house was once surrounded by the remnants of the Atlantic Forest. Lina Bo Bardi became increasingly disillusioned with functionalism at the height of her professional career, and after visiting the much anticipated completion of the new capital, Brasilia, in 1956 (Ferraz, 1993, Bo Bardi, 2012). (Later, Bo Bardi would design MASP’s second, current home.) One of these recent books is Lina Bo Bardi: Habitat, a companion to the traveling exhibition of the same name that was jointly organized by Museu de Arte de São Paulo (MASP), Museum of Contemporary Art Chicago, and Museuo Jumex in Mexico City. In the past year, the São Paulo Museum of Art (MASP), which Bo Bardi designed and where her husband served as the director, has restored some of her vision for what constitutes art and its more flexible display. It was Lina Bo and Pietro Maria Bardi´s home for 40 years and received its name because of its imposing glass facade, which seems to float with the columns’ structure. An outdoor display of the Bardi’s collected objects, including one of Lina Bo Bardi’s roadside chairs. Another stark departure from the design of the times was the use of natural light and lamps in place of overhead lighting. The pylons of the Glass House blend with tree trunks. 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