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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After it was complete, she continued pompsia contribute, with the invention and design of exhibitions, on insects and folk art. Sixty years later, this statement still makes a good manifesto.
SESC Pompeia – Concrete Oasis | Brasil Wire
In the shuttering of the water tower casting burrs, also in mortar lining the interior walls is controlled. This is, moreover, a common practice; pompeix was also the case with the SESC centres at Belenzinho, Pinheiros and Paulista, where they began using the space in an improvised way, even before the renovation or construction work.
Very few architects realised this better than the Brazilian Lina Bo Bardi, who achieved a rare combination of passion and generosity. Bridges connect them, such that the 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. Seen this way, a building is not very different from a sandcastle pokpeia a mud pie.
The street sloped, enters the cultural and services, program leads the visitor to a reserved area, which mostly houses the pool and sports area.
They succeed largely in not making what people don’t want. And that can lead to inhibition barfi traumatised dullness. This experience holds a key for those who want to reflect on the role of architecture in human life: 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.
SESC Pompeia – Concrete Oasis
This idea permeates the concept of free will that distinguishes the work of the architect, as the MASPwith large demonstrations. She then made it into a village assembly of spaces, enriched with things such as a shared hearth and a meandering, river-like length of water. Many of the concepts — the relationship between programme kina project — had been tried out during that Bahian phase.
The architectural language of the new buildings reinforced the bafdi and industrial heritage of the complex. It symbolised an escape route from a modernist model already somewhat in decline. The Linna in which she worked was never rich and was often politically turbulent. With soul and personality. Everything is there to fulfil its role as an element in a centre for leisure. The all-concrete sports block opened inand actually caused the biggest baardi.
The old factory, built from imported and sophisticated technology at the time had to be reinvented. One of her most beautiful creations is a wooden stair using techniques adapted from the making of ox carts. 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. Regular Text Widget This is sample text.
Factory elevation above Barao do Bananal. The whole baardi shows an expressive austerity in material and formal condition, with a strong artistic expression.
An architectural complex in some ways shocking, combining a red-brick building that had housed a drum factory since the s — well proportioned, in the style of British factories — with three huge and unconventional concrete towers connected by aerial walkways. Now they are making the pilgrimage to Brazil to see her work, and more celebrations can ;ompeia expected.
Sometimes violent, as in the concrete towers; sometimes delicate, as in the channels of rainwater running along the central street or in the wooden trellises on the windows. Linking the two towers, between the changing rooms and the sports courts, eight pre-stressed concrete walkways spanned gaps of up to desc and created a whimsical, expressionist feel, evoking the Fritz Lang film Metropolis.
The mosaics of the bathrooms refer to buildings and folk arts, a mirror of water with pebbles permeates the floor of the shed factory. Noemi Blager, the curator of the exhibition, says she “put people in the centre of the project”. This, she said, is “unwavering, and shaped by a love of humanity”.
Exhibition Times and Location Contact. For this reason I have long nurtured a mild obsession for her work and have made her the heroine of my book, Why We Build. Topics Architecture The Observer. 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. It forms part of a rediscovery of Bo Bardi that is now gathering pace. She was someone who could work with whatever was at hand, including on one occasion off-cuts from the building of stage sets.
When SESC was being built, Bo Bardi worked on site, absorbing and throwing out ideas, and listening to builders and users. 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.
The title of the new exhibition is Lina Bo Bardi: But this was only one aspect of the work, and certainly not the most important.
On the walls of the towers were left in sight marks the horizontal and vertical tables and their primitive drilling. It is open to the effects of time and of chance, as are others of her buildings.
Lack of communication, in the broadest sense, is a major cause of the misfortunes our cities suffer today. Order by newest oldest recommendations.
Open for expression or creative process space is frequently invoked by architect at SESC Barri, theater dissolves traditional form of theater for opera and adapts to the requirements for the works that she represented. It is immortalised in Ayn Rand ‘s book The Fountainhead and the subsequent Gary Cooper moviein which the preposterous architect hero blows sexc a social housing project built lian a compromised version of his designs, rather than let this aesthetic affront stand.
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. We were at the end of a year military dictatorship, which contributed to an architectural mediocrity mirrored in works that lay outside our own culture and reality.