LINA BO BARDI SESC POMPEIA PDF

The designer and photographer Fernando Pires has completed a photographic series on Sesc Pompéia, one of Lina Bo Bardi’s most. SESC Pompeia is a cultural centre in the east zone of São Paulo, designed by the architect Lina Bo Bardi, and opened in The site is one. El Centro Cultural SESC de Pompéia es una de las más importantes obras de la arquitecta Lina Bo Bardi, con una intensa expresión plástica a.

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Lina Bo Bardi: buildings shaped by love | Art and design | The Guardian

For nine years —86 we developed the project with Lina, working every day in the midst of the building site: She later added three concrete towers, castle-like and consciously defiant of any right-wing government that might want to sweep the complex away. Also in a time when we are, in theory at least, more suspicious of spectacular architectural icons.

It was certainly something that seemed beyond the possible universe, unattainable by the hands of contemporary architects. At the invitation of the SESC directors, Lina, linq middle-aged, plunged into a journey that would prove to be the most fruitful and prolific of her life. This, she said, is “unwavering, and shaped by a love of humanity”. The new Centre was intended to foster conviviality as an infallible formula for cultural production without needing to use the term.

The draft proposes SESC Pompeia maintain clearance of the sheds, but suggests catalyze activities and revitalize the place.

We were at the end of a year military dictatorship, which contributed to an architectural mediocrity mirrored in bbardi that lay outside our ses culture and reality. The “together” comes from a statement of hers about the importance of collaboration, and the show is a multiple effort. The old factory, built from imported and sophisticated technology at the pompeiq had to be reinvented.

She then made it wesc a village assembly of spaces, enriched with things such as lin shared hearth and a meandering, river-like length of water. And so the programme and the project were merged, entwined, amalgamated. The SESC is a non-governmental organisation linked to barci national business federation, created in the s to provide employees with health services and with sporting and cultural activities.

This is a late work of the architect, a return to architecture, as their creative abilities led him to explore other fields collaborations in film, stage opera and theater, writing and journalism, painting, cultural activism, design furniture, fashion and jewelry.

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Order by newest oldest recommendations. The whole project shows an popmeia austerity in material and formal condition, with a strong artistic expression. Bo Bardi, who died inwas strong-willed and passionate, as the unforgettable concrete castle shows. Exhibition Times and Location Contact.

When we started work and set up our office, SESC was already providing cultural and sporting activities there. The result is a seamless integration and continuity in activities, providing circulation spaces.

With soul and personality.

Lina Bo Bardi: buildings shaped by love

Architecture is better explained in images Follow us on Instagram! Over the years, vegetation has surrounded it, as she knew it would, such that it has become a richer and more beautiful place than when first built. After lima, architecture is an effective and necessary means of communication. Bridges connect them, such that pompsia journey from locker to court, usually a humdrum trip lined by lino and lit by fluorescent lights, is an event of urban drama, with the city spread out around you.

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SESC Pompeia – Concrete Oasis | Brasil Wire

The street sloped, enters the cultural and services, program leads the visitor to a reserved area, which mostly houses the pool and sports area. Perhaps, in fact, it was the only concrete building of its kind in Brazil.

Very few architects realised this better than the Brazilian Lina Bo Bardi, who achieved a rare combination of passion and generosity. This is, moreover, a common practice; it was also the case with the SESC centres at Belenzinho, Pinheiros and Paulista, where they began using ;ompeia space in an improvised way, even before the renovation or construction work.

Lack of communication, in the broadest sense, is a major cause of the misfortunes our cities suffer today. With the enormous creativity that characterizes Lina Bo BardiBrazilian architect, the leisure center project SESC Pompeia Factory, rehabilitation and leisure center of an old factory barrels of oil embarking Sao Paulo.

Bo Bardi herself, inattacked the “exterior forms and acrobatics” that she felt were devaluing “the spirit of modern architecture”. The extension of the functional program that requires vertical integration and distance for two buildable spaces, suggesting no less effective simple solution, but the occupation of the airspace and robust gateways.

This experience holds a key for those who want to reflect on the role of architecture in human life: Here Bo Bardi’s first move was to argue that the old factory should not be demolished, as had been planned, on the grounds that it was already informally colonised by some of the uses — such as barbecues and puppet theatres — which the new centre was intended to serve.

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After it was complete, she continued to contribute, with the invention and design of exhibitions, on insects and folk art. Such statements are often no more than a pious hope, but Bo Bardi meant it.

Regular Text Widget This is sample text. An old disused pompea, no longer serving the purpose for which it was designed, is reborn with striking touches. The works of Lina Bo Bardi certify a popular creation potential, giving space and voice to make it happen: Factory elevation above Barao do Bananal.

At that time we were still digesting the modernist project of Brasilia and its aftermath.

Noemi Blager, the curator of the exhibition, says she “put people in the centre of the project”. It was a bomb, a shock. Paris had just seen the inauguration of the Pompidou Centre, an extravagant architectural model that caused a stir among students and young architects, and which would soon become a point of reference.

In Bo Bardi built a glass house, for herself and her husband, raised on stilts above a sloping site on the edge of the city. Who can have passed through there without experiencing an emotion, surprise, or sense of discovery — to mention three of the sensations that for me define good and true architecture? The public is always in front the other part of the public, contrary to what traditionally happens in a theater in which the audience is faced artists who, in this case, they have to create new forms of expression and behavior in a scenario with two fronts.

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. They succeed largely in not making what people don’t want.