While the house, which was most recently conserved in 1993, is in decent condition, glass does occasionally break and the stone annexes and walls have cracked. SESC Pompeia is a cultural centre in the east zone of São Paulo, designed by the architect Lina Bo Bardi, and opened in 1982. “As such, many of the artworks, furniture, and carpets went, leaving the living room with only a part of its decoration,” Anelli said. Inside, the columns blend with the tree trunks that act like another curtain to the outside world. Courtesy of Instituto Lina Bo e P.M. Bardi archive. Another stark departure from the design of the times was the use of natural light and lamps in place of overhead lighting. When Bo Bardi built her house, in 1950, it was practically the only one; armadillo and wild cats still roamed the grounds. courtesy of the instituto lina bo e p. m. bardi. Bo Bardi, who died in 1992, also designed the couple’s residence, a modern villa above São Paulo called the Glass House, now part of the Lina Bo and P.M. Bardi Institute. Completed in 1951 on the outskirts of Sao Paulo, the house was designed and built for herself and Pietro Maria Bardi. Photo by Henrique Luz. Analysed project The Glass House by Lina Bo Bardi was choosen trough discussion between the mentors. I chose my country.”, The kitchen, with steel surfaces that are easy to clean. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. The Hand of the Brazilian People continues at the São Paulo Museum of Art (MASP) (Av. [Photo by Nelson Kon] Unhão Estate (MAMB and Museum of Popular Art), Salvador, 1963, general view of added staircase. She came with her husband, the art critic and collector Pietro Maria Bardi. 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. “With everything that you see, simplicity was the ultimate sophistication.”. Lina Bo Bardi: Habitat This exhibition addresses the life, work, and legacy of the Italian-Brazilian architect, designer, curator, editor, set designer, and influential thinker Lina Bo Bardi (1914–1992). Located in the wealthy Morumbi neighborhood of São Paulo, the house was once surrounded by the remnants of the Atlantic Forest. 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 hard to picture this when I visited, passing by the tall gated homes that are shielded from the surrounding slums — a sadly typical scenario in Brazil’s largest cities. As arts communities around the world experience a time of challenge and change, accessible, independent reporting on these developments is more important than ever. In 1951 Bo Bardi built a glass house, for herself and her husband, raised on stilts above a sloping site on the edge of the city. A gleaming glass and concrete box, it reflects the surrounding trees and sunlight. See more ideas about modernist architects, glass house, architecture. 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. The trash can was connected to a chute that sent discarded items below the house. See more ideas about Glass house, Design, Interior. 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. The pylons of the Glass House blend with tree trunks. 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. With its harmonies of light and geometry, density and apparent weightlessness, Lina Bo Bardi’s Casa de Vidro (Glass House) in Morumbi, São Paulo, is one of the most beautiful of all architect’s homes. The museum has also remounted its inaugural exhibition of 1969, curated by Bo Bardi, titled The Hand of the Brazilian People. Bo Bardi planted these now soaring trees, which frustrated her for not growing faster. Born in Rome, Bo Bardi escaped Fascist Italy for Brazil in 1946, at the age of 32. One enters Casa de Vidro from below, by climbing a twisting staircase of concrete slabs. 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. 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. Follow her on Twitter and Instagram. 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. She is the author of two iconic buildings in the city of São Paulo, MASP and Sesc Pompeia—a center of culture and leisure. Built in 1951, the house is recognized as one of the Italian architect’s most notable works, and a pivotal contribution to the golden age of Brazilian Modernism. From this end of the house, its architecture has lost any resemblance to glassy modernism and mimics Brazilian colonial architecture with its handmade shutters. The largely artificial garden perhaps poses the most serious challenges. As such, the paintings appear to float weightlessly, much like her home. The main space is almost entirely enclosed by windows, giving visitors the feeling of being inside an ultramodern treehouse. Lina Bo Bardi considered every detail. In the lush São Paulo suburb of Morumbi, a rainforest inhabited by monkeys and toucans cradles an iconic, Modernist glass house: Built in 1951, the house is recognized as one of the Italian architect’s most notable works, and a pivotal contribution to the golden age of Brazilian Modernism. 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