Now Lina Bo Bardi wanted to have a brief recollection for the italo-Brazilian arquitecta.
Well it can be said that, together with Eileen Gray, it shaped the feminine side of the modernity.
Lina was born in Rome in 1914 and died in Sao Paulo in 1992. He studied the career of architecture in Italy, graduating in 1939. There was employed with Gio Ponti, founder of the magazine Domus at Milan, city that it left in 1943 and of the one that escaped miraculously of the death after his study destroying an allied bombardment.
In the middle of the decade of the forties it moves to live through Brazil, where it will turn into one of the most representative figures of the Brazilian culture of the 20th century.
She was a complete artist, poseedora of a great creative capacity that led her to being employed at the most diverse activities. This way he collaborated in movies, sets for the opera and theatre, writing and journalism, painting, design of furniture, mode, jeweler’s shop and architecture, an architecture loaded with a peculiar sensibility humanizes, opposite to the technical spirit that was possessing the modern movement. It was provided with a genius that happened unnoticed in his time.
Lina in addition could understand the essence of the land where it lived for many years: Brazil. Representing the Mediterranean spirit tied to the tropic, to create, across the understanding of the environment, an architecture marked by a poetical balance, placed between the natural part of the human being and the part humanizes of the nature.
In 1951 it projected and constructed in Sao Paulo a residence for her and his husband, ” the house of crystal “, one of his works mas known. It was projected by three big foreheads of glass to take advantage to the maximum incredible of conference of the landscape that despliegan across the forest, and to enjoy of living in touch with the nature, of the dawns and puttings Suns. To accentuate the relation with the exterior landscape it tried to minimize the carpentry of the glass and the horizontal transoms of the windows, which rise over the line of the look not to obstruct this relation.
As Margarete Schütte-Lihotzky, worked with great interest for the most disadvantaged social caps, projecting housings and hospitals and introducing his anthropologic concepts in his way of doing architecture.
The Museum of Art of Sao Paulo, constructed between 1957 and 1968 is, surely, his more significant work and the one that has led her to being considered to be one of the most important architects of Brazil. In this building qualified by some as ” the architecture of the freedom “, it breaks with the models of museums proposed by the teachers of the modern movement, but his modernity and originality is undeniable. It is a question of a glazed fastened prism with two enormous red girders, in such a way that his interior is totally diaphanous.
Other one of his important works is the Cultural Center Pompéia’s SESC in the one that develops an intense plastic expression across the elegant and varied use of the concrete. Located in the city of Sao Paulo and constructed in 1977, it is located on the area of an old factory of drums, turning into the headquarters of one of the communal buildings of the Social Service of Trade.
Lina Bo Bardi is characterized for not having influences that could be identified, for what his work happens to be only, a response of his innovative ideas.
After his death in 1992, the foundation that takes his name realized an important exhibition that has travelled for 20 countries of the whole world, and of whose presentation we extract the phrase to put end to this brief recollection:
“His look, sharp and deep, managed to reject the superfluous thing and descartable and to reveal the essence of the daily life of the peoples across his objects and his constructed universe: the look like a tool that he us guides.”
Cristina García-Rosales. Architect
Madrid. May 2014