In the sports facility, floor plans are open. She pursued the happiness of working class SESC members. SESC Pompeia Leisure Center, São Paulo, 1977–86, the “moment of amazement” described by Lina Bo Bardi about the space between the sports towers.

132 West 31st Street, 16th Floor [Photo by Nelson Kon], MASP, São Paulo, 1957–68, southern view of Trianon Terrace from the main staircase.

Bo Bardi discusses Architettura Povera, and how the Leisure Center enriches lives in the poor city. She crossed her arms and pressed them down against her chest, resting her elbows over the sheets of paper piled on the table. Credits: The Citadel of Leisure - The Pompeia Social Service Centre in Sao Paulo: Architectures - Achievements in Modern Architecture. Kiyonori Kikutake was one of the most gifted and influential of the Metabolist generation that dominated postwar Japan. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, interior view of main lobby in the elevated volume. Bo Bardi remained seated. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, view of the main auditorium with pleated concrete walls. [Photo by Nelson Kon], Casa do Olodum, Salvador, 1988–89, interior view of the community hall on the upper floor. She left Rome and followed her Milanese classmate and boyfriend Carlo Pagani to the more progressive north. Throughout her career, Bo Bardi witnessed significant cultural and economic transitions marked by political tension and unequal social realities. The clapping filled the space and echoed within the concrete walls of the auditorium. In an ongoing and occasional series, historians and critics assess the vigorous achievements of a generation of modernist practitioners. Living with Mies: The Towers at Lafayette Park, Kiyonori Kikutake: Structuring the Future, Regionalism Revisited: The Case of Francisco Artigas. Câu Chuyện Quốc Tế Recommended for you She expressed concern about contemporary architectural education and criticism. Unable to display map at this time. Public scholarship on architecture, landscape, and urbanism. [Photo by Nelson Kon], MASP, São Paulo, 1957–68, interior view of the semi-buried Civic Hall with ramped staircases in the background. The floors have names of the seasons. She brought her innovative ideas about culture, design and education to the Nordeste, an almost mythical region of the country, for which she developed a deep cultural and intellectual affinity. Every day, we help thousands of travelers plan great vacations.

Bo Bardi replaced some roofing with glass bricks.

[Photo by Nelson Kon], São Paulo City Hall, São Paulo, Industry Pavilion Recovery, 1990–92, interior view of ceremonial hall. Here are some tips on how to use your Listing Page to attract more travelers to your business - SESC Pompeia. P: 800.322.8755 F: 800.678.3633 Though fragmented, her lecture was frank and sophisticated. See the Pompeia Leisure Center in Sao Paulo, Brazil, built between 1977 and 1986.

Places Journal is celebrating ten years online thanks to the support of readers like you.Please Subscribe or Donate. R. Clélia, 93 - Água Branca, São Paulo - SP, 05042-000, Brazil, Create an itinerary including SESC Pompeia. For additional digital leasing and purchase options contact a media consultant at 800-257-5126 (press option 3) or sales@films.com. [Photo by Nelson Kon], Teatro Gregório de Matos, Salvador, 1986–87, interior view of the theater bar area with the hole-window in the background.

She was against the idea that architecture and design education were problem-solving endeavors. [Photo by Nelson Kon]. The library has two levels of reading rooms, including a mezzanine. Not available to Home Video and Publisher customers. A large crowd chatted impatiently in the brightly lit auditorium. She discusses her beliefs about architecture. [Photo by Nelson Kon], SESC Pompeia Leisure Center, São Paulo, 1977–86, art workshops separated by cinderblock walls. Prices include public performance rights.

It is a major architectural example of "Architettura Povera". We respect your privacy and will not use your address without permission. The accompanying slideshow is drawn from my new monograph. “Despite the great years being over,” she declared at the time of her São Paulo exhibition, “I continue working.” 4. She invited those who read her articles, attended her lectures or experienced the spaces she designed to consider “architecture not as built work, but as possible means to be and to face [different] situations.” 5 She strove to produce work that embraced how people live.

In that meeting she had sat, arms crossed, covering the drawings she had prepared, and listened in silence to the officials’ political speeches.

Her thinking and practice were situated at the intersection of different worldviews: north and south, city and hinterland, privilege and deprivation, modernism and tradition, past and present, abstraction and social realism. As she spoke into the microphone with her husky, Italian-accented Portuguese, the audience hushed. Bo Bardi arrived late for the event. Bo Bardi’s writings and wide-ranging designs are insightful and engaging, yet also ambivalent and idiosyncratic, and they cannot be easily classified into a single framework.

In the sports facility, floor plans are open. Inside, she removed partitions to create a large hall.

She progressed from a hesitant but ambitious early career in Italy to professional and intellectual maturity in Brazil, especially in the Nordeste, where she “learned that beauty, proportions, all these things are not important.” 6 Her life’s trajectory does not explain her work but made it possible. Please try again later. I am curious and this quality broadens my horizons.” Without hesitation, she added: “I am somehow special.” 7, Lina Bo and P. M. Bardi house in Morumbi, São Paulo, 1949–52, view from the northeastern side showing main glazed volume.

The building is a social and cultural center for employees. © Films Media Group.

Personal and political conflicts, however, kept her from working in Salvador after the 1964 coup d’état, which installed a military regime that lasted two decades. All rights reserved. Learn about the career of Lina Bo Bardi, architect of the Leisure Center. [Photo by Nelson Kon], LBA Leisure Center, Cananéia, 1988–90, interior view of the original community hall.

Marcelo C. Ferraz, interview with the author, São Paulo, August 4, 2006. [Photo by Nelson Kon], Back in São Paulo, disappointed and angry, Bo Bardi sought alternative work. Bo Bardi avoided walls and doors in the great hall. A stream and furniture structures the area- a Japanese conception of space. This essay and slideshow are adapted from the prologue to Lina Bo Bardi, by Zeuler R. M. de A. Lima, foreword by Barry Bergdoll, published recently by Yale University Press, and they appear here with permission of the author and the press. [Photo by Nelson Kon], Ladeira da Misericórdia Housing and Commercial Complex, Salvador, 1987–88, northern view of Coati Restaurant surrounding the mango tree with Misericórdia slope in the foreground. The floors have names of the seasons.