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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Many of the concepts — the relationship between programme and project — had been tried out during that Bahian phase. The architectural language of the new buildings reinforced the manufacturing and industrial heritage of the complex. 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.
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 palette. Such statements are often no more than a pious hope, but Bo Bardi meant it. The Brazil in which she worked was never rich and was often politically turbulent. These are in fulfillment of the architect’s wish that art should be made at the museum as well as seen there.
Bari of the design of the SESC Pompeia was defined on the ground, as the architect moved his office to the factory during rehabilitation. The new Centre was intended to foster conviviality as an infallible formula for cultural production without needing to use the term.
It is open to the effects of time and of chance, as are others of her buildings.
SESC Pompeia Factory – Data, Photos & Plans – WikiArquitectura
Contact Widget This is sample text. One is a water tower and the other bbo house the sports courts and bars and changing rooms.
This, she said, is “unwavering, and shaped by a love of humanity”.
The functions of the old structure would be b and manufacturing technology project become a modern project focused on popular applications like swimming pools, cafeteria, library, exhibition halls, sports facilities, etc.
Bo Bardi, who died inwas strong-willed and passionate, as the unforgettable concrete castle shows. They succeed largely in not making what people don’t want. In the concrete walls of the volume that houses the courts of SESC can be read not only marks horizontal formwork tables, but also arrivals beams interior slabs and drilling scaffolds: In Bo Bardi built a glass house, for herself and her husband, raised on stilts above a sloping site on the edge of the city.
After all, architecture is an effective and necessary means of communication. That is a role of architecture — indeed, one of its most noble.
The Making of SESC Pompéia by Marcelo Ferraz
Linking the two towers, between the changing rooms and the sports courts, eight pre-stressed concrete walkways spanned gaps of up to bbardi and created a whimsical, expressionist feel, evoking the Fritz Lang film Metropolis.
The draft proposes SESC Pompeia maintain clearance of the sheds, but suggests catalyze activities and revitalize the place. The blindingly obvious truth is surely that both have value, the skill and imagination of architects and the experiences and wishes of the public. You can eat in a popular canteen, and you can sunbathe on a boardwalk called “the beach”. Thus began the discussion about what kind of programme should be implemented. One of her most beautiful creations is a wooden stair using techniques adapted from the making of ox carts.
The projects are an appropriation, digestion and proposal of a new modern local movement, Brazilian, from the incorporation of the people.
Open for po,peia 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. It was a form of architecture that evaded easy classification. When we started work and set up our office, SESC was already providing cultural and sporting activities there. Some craft construction processes were included in the reform of the factory: The all-concrete sports block opened inand actually caused the biggest shock.
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. The original structure was made of reinforced concrete and masonry trusses. Bo Bardi herself, inattacked the “exterior forms and acrobatics” that she felt were devaluing “the spirit of modern architecture”. 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.
This experience holds a key for those who want to reflect on the role of architecture in human life: This is, moreover, a common practice; it 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. The street sloped, enters the cultural and services, program leads the visitor to a reserved area, which mostly houses the pool and sports area.