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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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.

Assemble, the group of young not-quite-architects who made the Cineroleum and the Folly for a Flyover in London, have designed the installation that will make the British Council’s somewhat anonymous premises off the Mall into a corner of Brazil.

These are in fulfillment of the architect’s wish that art should be made at the museum as well as seen there. After it was complete, she continued to contribute, with the invention and design of exhibitions, on insects and folk art. Show 25 25 50 All.

The music shows, circuses, festas juninasmulti-ethnic festivals, memorable exhibitions — or even just meeting up with someone and doing very little, sitting on the public sofas beside the water or the fire… It seems that everything good has happened and continues to happen there.

Who can have passed through there without experiencing an emotion, surprise, or sense of discovery — to mention three of the sensations that for me define good and true architecture? The blindingly obvious truth is surely that both have value, the skill and imagination of architects and the experiences and wishes of the public. It forms part of a rediscovery of Bo Bardi that is now gathering pace. And so the programme and the project were merged, entwined, amalgamated. Old men play chess there, and children play with building blocks.

Over the years, vegetation has surrounded it, as she knew it would, such that it has become a richer and more beautiful place than when first built. The old middle class neighborhood socioeconomic change scores due to the commissioning of buildings of high standing, though its inhabitants still face chaotic and constant flooding of streets, a problem exacerbated by the vertical integration and lack of investment in infrastructures.


Born in Italy in and arriving in Brazil inBo Bardi was, as well as an architect, a political activist, a designer of furniture and stage sets, an editor and writer and a curator of exhibitions. The new Centre was intended to foster conviviality as an infallible formula for cultural production without needing to use the term.

The care taken to ensure that so many details of the old factory remained visible — whether on walls, floors, roofs and other structures, or in the new facilities — meant the space would begin its new life full of warmth and animation.

This experience holds a key for those who want to reflect on the role of architecture in human life: With the enormous creativity that characterizes Lina Bo BardiBrazilian architect, the leisure center project SESC Pompeia Factory, rehabilitation and leisure center of an old factory barrels of oil embarking Sao Paulo. 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.

The SESC is a non-governmental organisation linked to a national business federation, created in the s to provide employees with health services and with sporting and cultural activities.

Order by newest oldest recommendations. Opting to bardk 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. Sixty years later, this statement still makes a good manifesto.

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SESC Pompeia | Architectuul

The architectural language of the new buildings reinforced the manufacturing and industrial heritage of the complex. Perhaps, in fact, pompwia was the only concrete building of its kind in Brazil.

The new project incorporates internal factory street, making it a stage for spontaneous demonstrations or scheduled performances. We had an office inside the building itself; the project and the programme were formulated as an amalgam, joined and inseparable. Bo Bardi herself, inattacked the “exterior forms and acrobatics” that she felt were devaluing “the spirit of modern architecture”. 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.


She has also inspired an exhibition opening in London tomorrow, hosted by the British Council and sponsored by the furniture company Arper. It was a form of architecture that evaded easy classification. Apart from the fact that she was a brilliant and astonishing person, there are plain reasons why she should be popular in economically troubled times.

The original structure was made of reinforced concrete and masonry trusses. But that is another story. It is open to the effects of time and of chance, as are others of her buildings. This idea permeates the concept of free will that distinguishes the work of the architect, as the MASPwith large demonstrations.

You can eat in a popular canteen, and you can sunbathe on a boardwalk called “the beach”. Also in a time when we are, in theory at least, more suspicious of spectacular architectural icons.

In this project Lina Bo Bardi decided to keep most of the complex as it was to preserve the characteristics of the place.

SESC Pompeia – Concrete Oasis | Brasil Wire

Their coming together is likely to involve some friction, but it’s worth the effort because it is this encounter that makes architecture worth having. 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.

Threads collapsed expanded unthreaded. Much of the design of the SESC Pompeia was defined on the ground, as the architect moved his office to the factory during rehabilitation. The Brazil in which she worked was never rich and was often politically turbulent.

The whole project shows an expressive austerity in material and formal condition, with a strong artistic expression.

The Making of SESC Pompéia by Marcelo Ferraz

Thus began the discussion about what kind of programme should be implemented. In the shuttering of the water tower casting burrs, also in mortar lining the interior walls is controlled. Factory elevation above Barao do Bananal.