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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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? Seen this way, a building is not very different from a sandcastle or a mud pie. Assemble, the group of young not-quite-architects who made the Cineroleum and the Folly for a Flyover in London, have designed the installation that will make the British Council’s somewhat anonymous premises off the Mall into a corner of Brazil.

The blindingly obvious truth is surely that both have value, the skill and imagination of architects and bari experiences and wishes of the public. It houses football, swimming, theatre, dance and art. The new ppompeia incorporates internal factory street, making it a stage for spontaneous demonstrations or scheduled performances. It is an architectural experience that combines creativity with great rigour, freedom with responsibility, richness with conciseness and an economy of means, poetry with ethics.

SESC Pompeia | Architectuul

Bo Bardi herself, inaesc the “exterior forms and acrobatics” that she felt were devaluing “the spirit of modern architecture”. You could call her a modernistas she used plain forms and concrete and glass, but she also embraced the traditional cultures of her adopted country and added mud and straw to her pompsia. They succeed largely in not making what people don’t want. It forms part of a rediscovery of Bo Bardi that is now gathering pace.

She later added three concrete towers, castle-like and consciously defiant of any right-wing government that might want to sweep the bradi away. Show 25 25 50 All. It symbolised an escape route from a modernist model already somewhat in decline.

Perhaps, in fact, it was the only concrete building of its kind in Brazil. After it was complete, she continued to contribute, with the invention and design of exhibitions, on insects and folk art. Lack of communication, in the broadest sense, is a major cause of the misfortunes our cities suffer today. No one takes notes, no one rationalises — nor is it necessary to do so — but everyone feels through their five senses the presence of the factory in the architectural solutions.


It is open to the effects of time and of chance, as are others of her buildings.

This idea permeates the concept of free will that distinguishes the work of the architect, as the MASPwith large demonstrations. The architectural language of the new buildings reinforced the manufacturing and industrial heritage of the complex. Threads collapsed expanded unthreaded. 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.

It is immortalised in Ayn Rand ‘s book The Fountainhead and the subsequent Gary Cooper moviein which the preposterous architect hero blows up a social housing project built to a compromised version of his designs, rather than let this aesthetic affront stand. Order by newest oldest recommendations. She has also inspired an exhibition opening in London tomorrow, hosted by the British Council and sponsored by the furniture company Arper. You can eat in a popular canteen, and you can sunbathe on a boardwalk called “the beach”.

With soul and personality.

SESC Pompeia – Concrete Oasis

In this project Lina Bo Bardi decided to keep most of the complex as it was to preserve the characteristics of the place. Loading comments… Trouble loading? Everything is there to fulfil its ssesc as an element in a centre for leisure. In a way, given the extent of its activities, it has functioned in Brazil as a supplementary culture and sports ministry.

It was a bomb, a shock.

Open for expression or creative process space is frequently invoked by architect at SESC Pompeia, theater dissolves traditional form of theater for opera and adapts to the requirements for the works that she represented. The SESC is a non-governmental organisation linked to a national business federation, created in the s bbo 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, pimpeia opera and theater, writing and journalism, painting, cultural activism, design furniture, fashion and jewelry. She was someone who could work with whatever was at hand, including on one occasion off-cuts from the building of stage sets.


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

One is a water tower and the other two house the sports courts and bars and changing rooms. The works of Lina Bo Bardi certify a popular creation potential, giving space and voice to make it happen: We understand the quality of this translation is not excellent and we are working to replace these with high quality human translations. After all, architecture is an effective and necessary means of communication.

For nine years —86 we developed the project with Lina, working every day in the midst of the building site: This experience holds a key for those who want to reflect on the role of architecture in human life: Now they are making the pilgrimage to Brazil to see her work, and more celebrations can be expected.

And that can lead to inhibition or traumatised dullness. In order to maintain existing spatial qualities on the site, the architect focused placing objects freely within the space, like a thin concrete structure which divides the main room into a library, an exhibition space and lounge group, with a fireplace and a river that runs through them all.

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. The result is a seamless integration and continuity in activities, providing circulation spaces. But that is another story. Factory elevation above Barao do Bananal. These are in fulfillment of the architect’s wish that art should be made at the museum as well as seen there.

Many of the concepts — the relationship between programme and project — had been tried out during that Bahian phase.