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Appendix AA Conversation with the Authors: The Lina BoBardi Effect

Note to the reader: Providing a context for the precedingchapters in the book, the following conversation with theauthors, via email, was collated in March 2016. It is notordered chronologically or in any particular order.

Ana Carolina Bierrenbach (ACB):In beginning our conversation, we should consider Brazilianculture. Steffen, what is your personal connection withBrazil? And how did you first come across Lina Bo Bardi'swork?

Steffen Lehmann:I was aware of the MASP museum since I had seen photosof it around 1985. My Brazilian wife Cida de Aragon hadtold me some anecdotes about the building, especially itsvast public space underneath the building, but I could not getto Brazil before 1990. When I finally visited São Paulo,Brasilia, Belo Horizonte, Rio de Janeiro and Salvador, I notonly visited the MASP and Glass House, but also discoveredmore of Lina’s projects and spent some time at the Institute,doing research for my book Brazil’s Pathway into Mod-ernism, which came out of my Ph.D. studies. I was fortunateto meet the masters of Brazilian architecture before theydied, such as Lucio Costa and Roberto Burle Marx, but Inever met Lina Bo Bardi. Paulo Mendes da Rocha was verygenerous with his time. I remember I was so impressed withthe SESC Pompeia and Lina’s urban renewal projects inSalvador, Bahia, that I kept talking to my Brazilian archi-tects’ friends about it. The SESC is Lina’s largest and mostcomprehensive project that took many years to be com-pleted, and it reflects probably the best of her personalapproach to process, re-use and participation of the end-user.Since then I have visited Brazil numerous times. Threethings have interested me in Bo Bardi's work that have beenthere for over 25 years ago and are still there: firstly, therelaxed and almost natural way she composed buildingvolumes, different functions and materials with each other.Secondly, the integration and celebration of public space:

from the impressive open square at MASP to the long timberdeck at SESC Pompeia called “The Beach”. New conceptsof public space are part and parcel of her buildings. Andfinally, the way she has managed to use heritage as astrategic resource. It was quite progressive at this time.

ACB:Annette, what is your response on Brazilian culture? What isyour personal connection to Brazil, and how did you firstcome across Lina’s work?

Annette Condello:For me, Brazilian culture began when I saw the 1980s filmPixote, which was so distressing, but it didn’t put me offwanting to visit São Paulo. I have relations there. The firsttime I stumbled across Lina's work was in Portugal in 1997quite accidently. When I was travelling around Porto for myMasters to document Alvaro Siza’s architecture, in thecontext of Francesco Venezia’s work in Italy, I went to theLello bookshop and bought a booklet on the SESC PompeiaFactory. At the time I didn’t know who Lina was. I actuallythought the booklet was about Pompeian ruins. What I findinteresting is that in Peter Robb’s Death in Brazil (2003), henoted that in the early 1980s, Brazil still had a consulate inNaples. Architecture-wise, I thought about Lina’s workwhen I was living in Mexico in the early 2000s. This isspecifically the case with her Sugarloaf cable-car renovationproject, Rio de Janeiro, in the context of Italian architectAdamo Boari’s work in Mexico City—I’ve always thoughtthere was something there, something they had in common.Since then I’ve done research in Manaus, Recife, BeloHorizonte, Brasilia and Rio de Janeiro for my Ph.D. and sawLina’s works in São Paulo with my Brazilian relatives.Uncannily, one of them runs the restaurant in theMASP. Also, I had been doing research on Pietro MariaBardi, Pier Luigi Nervi, Gregori Warchavchik and MinaKlabin Warchavchik, which led me straight back to Lina’swork. The other uncanny thing is that I found Steffen’s

© Springer International Publishing Switzerland 2016A. Condello and S. Lehmann (eds.), Sustainable Lina, DOI 10.1007/978-3-319-32984-0

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writing on Brazil in Australia. We met and started talkingabout Lina’s projects and so this is how the idea for the bookemerged. While there are several publications on Lina BoBardi’s work, we recognised that there was a gap with heradaptive reuse projects.

ACB:When you think of Lina’s work, does any other femalearchitect role model come to mind which had a strongimpact on yourself—except Eileen Grey of course, who wasquite particular in her approach?

Annette Condello:I’ve never really thought about it. I don’t think about genderwhen I think about architects. I have to say Bernard Rud-ofsky and Italian architect Francesco Venezia have impactedme quite a lot. Italian architect Gae Aulenti has been on theback of my mind, especially her impressive conversion ofthe Gare D’Orsay railway station into the Musee D’Orsay inParis. I first came across Aulenti’s work in ManfredoTafuri’s History of Italian Architecture: 1944–1985. Soreflecting back on her work what springs to mind is theGrotta Rosa on the Amalfi coast. Parts of it remind me ofLina’s SESC Pompeia complex. Two other architects I thinkof are both from Chicago: Marion Mahony Griffin, whosemodern Café Australia restoration project embraced thelandscape, and more recently Jeanne Gang’s Pan-AmericanAqua Tower. We mustn’t forget Lina designed towers forthe Taba Guaianazes complex too—bordered by a luxuriantwall.

ACB:My next question is about landscape, which isn't simplyabout trees and bushes, but about garden design as a part ofthe project, as part of urbanism. There is random planting ofidentifiable trees and plants—often exotic, lush andcolourful—juxtaposed with the building and circulation withspecific framed views into the exterior, for instance, the viewinto nature at the Glass House or MASP garden, but also themore modest herbal garden at the SESC Pompeia. Renato,how would you describe the role of landscape and gardensin Lina's work? What about the Japanese resonances in hergardens?

Renato Anelli:Lina travelled to Japan twice. In 1973, she visited theSeki-Tei at the Ryoan-Ji Temple in Kyoto where she tooksome photos of Japanese rock gardens. Understanding the“value of emptiness” is visible in some of her works. How-ever, she encountered landscape in the rainforest along theAtlantic coast, which provoked a lasting fascination. Linawrote about this lush environment numerous times. In aprivate letter to her husband, Lina expressed what it meant to

her: “Today, I would make a house with a wood and stoneoven, without windows, but surrounded by a large park, fullof trees. I would throw the seeds at the wind in the woods”.At the same time, after a visit to Gaudi’s Park Guell inBarcelona, Lina built the sinuous retaining walls and walk-ways at her Glass House garden (Figs. A.1 and A.2). I believeshe accomplished her passion for the tropical environment atthe City Hall project’s remarkable vertical gardens.

ACB:Annette, you also have a strong interest in landscape. Howwould you describe the role of landscape and gardens inLina’s work?

Annette Condello:Lina’s buildings and landscapes provided her with themiddle ground, which she treated as a nurtured form ofluxury. This is also how she imagined to transform Braziliancities. Many of Lina’s projects, especially the ones thatchallenge the traditional approach like the SESC Pompeia,framed the “organic” approach. In this way, she bondedplants with ruins, which made her conserve existing build-ings by adding green walls and “green rooms” or ratherplant rooms. Lina enriched the landscape poetically byfusing pre-Columbian references and local references bycarpeting floors with fresh eucalyptus leaves—from anAustralian species. In this way, she allowed abandonedstructures to breathe within their sites. I think she preservedthe quality of luxury of the site, but in a new form. Linaresuscitated building sites and their cultural remnants toshow how luxury has changed from a natural phenomenonthrough the landscape—to one about managing buildingwaste in cities.

ACB:So, how did Lina understand the notion of adaptive re-useand recycling of existing structures?

Renato Anelli:Bo Bardi understood this notion in her ethnographic surveysin North-eastern Brazil, the poorest region, where she hadgreat interest in the recycled utilitarian objects. She calledthis the “civilization of survival” and proposed folk skills inrecycling methods as a source to refresh modern designagainst growing consumerism in the 1970s. In Lina’srestoration projects we can find some parallels betweenrecycling and the re-use of objects and structures.

ACB:Coming from Italy to Brazil, Lina brought many of her ownpreoccupations and experiences, such as working with GioPonti, with her to the “new world.” But we realise—onceMASP was built and completed, and out of the way—shecommenced to absorb the cultural traditions of

162 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect

North-eastern Brazil and became even more curious aboutthe African influences. It was also a cry of frustration at theoverly European-influenced classical modernism attitude, asblindly promoted by some of her colleagues. The MASP, ofcourse, is still much more part of a larger mesh of heroic,monumental institutional buildings along a main avenue (inthe sense of the 19th-century planning concept for importantinstitutions in Paris) that turns some cities into a metropolis.What would you say was the point that she finally moved onfrom the Italian background and fully immersed herself inthis new world?

Steffen Lehmann:There are a number of shifts in Bo Bardi’s life caused by thedifferent locations and influences she was exposed to. Theearly years after her arrival from Italy in São Paulo were stillunder the influence of Italian modernism and rationalism,and it took some years for her to move on. The final interiorof MASP with its particular way to exhibit paintings wasrevised and re-designed, and here I believe we can detect a

new, non-European conception of space and curation. It iswonderful to see that this exhibition concept using glasseasels has recently been reinstalled. Interestingly, the designof MASP art gallery began already in the early 1950s, whileits construction only started in 1961, and the first time BoBardi went to Bahia is in 1958. So her interest in theNorth-eastern culture is simultaneous with the delayedconstruction activities of the MASP. I don’t think sheexpected that it would take her so many years to finallycomplete the MASP.

ACB:It was also about appreciating more the day-to-day objectsand artefacts of the poor people in Brazil. For instance, inthe picture of a small Bahian stool in front of a vernacularhouse in Bahia, there is nothing apparently grand or heroic,but quite modest, utilitarian and simple. But if we look moreclosely at it, imagine its likely context, usage and its degreeof artisan finesse and resourcefulness, the stool becomessomething unique to this culture. Renato, in which ways do

Fig. A.1 Lina Bo Bardi’s sinuous retaining walls at the Glass House (Photo Federico Calabrese)

Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect 163

you think Lina´s architecture has still an effect today? Hasthe work maintained its full architectural potential and inwhich ways do her works, writings and approach stillinfluence a new generation of architects?

Renato Anelli:Bo Bardi’s architecture is still admired, in Brazil and abroad,maybe more today than before, when she was alive,designing the projects. As a vanguardist she was very con-troversial and a frequent target of conservative critics ofdifferent political and cultural positions. She believed in hercapacity to change the world into a better place for commonpeople, and she transformed herself into a tormented personas society development went in another direction. Sheaccused modern architectural design of changing from anemancipatory tool to a technocratic practice. This caused inher an anguish, which we can feel in her writing, and ittriggered her to look for new directions in architecturaldesign. It is a remarkable characteristic, her political criti-cism of society didn’t paralyze her design practice; on the

contrary, it increased her capacity to take risks in her designwork. Architects of many generations have been attracted byher work and statements, but, nowadays, they can’t simplyrepeat them. The current status of architects within societyhas changed to a much more submissive position, in order tofind commissions and keep any job to guarantee theirlivelihood. Do you think there is still room for such aninnovative approach?

ACB:It was always very important for Bo Bardi to envisage theway people will use her buildings. Over the last years, haveyou noticed any changes in the way her buildings in Sal-vador and São Paulo are actually getting used?

Renato Anelli:In her drawings and watercolours, she tried to anticipate lifescenes of people within her buildings. It wasn’t mere illus-tration, but a kind of rehearsal, useful to her design process.Her main buildings in São Paulo were built during the dic-tatorship. So, the use of the public space underneath MASP

Fig. A.2 Lina Bo Bardi’s sinuous retaining walls at the Glass House (Photo Federico Calabrese)


galleries, for instance, has increased a lot since then. It hastransformed into an iconic spot for political parades. For theSESC Pompéia, the answer is more complicated: it is one ofmany venues of this corporate institution with its socialaims, founded in 1946. As all SESC venues are veryreceptive and accessible to the public, the question is toidentify in which way Fábrica Pompéia’s architecture dif-ferentiates among them, or if this is actually the case at all.However, we know that Lina’s work at Fábrica Pompéiachanged the programme of use of all SESC leisure centres,as it was very innovative and forward-looking when sheconceived it. It was such a public success that SESC decidedto reproduce the experience in other complexes. Since it’sinauguration in the eighties, the Pompéia leisure centre hashugely increased its number of public users, maybe even toomuch for its capacity. The same happened with MASP, it’salmost too loaded with visitors. These projects were inno-vative when designed, looking to attract visitors and users inBrazil’s new urban society, but now they seem quite small,almost shy in the face of bigness of contemporary masssociety. Of course, São Paulo is now a metropolitan regionwith twenty two million inhabitants.

ACB:Bo Bardi’s work has become increasingly popular amongthe younger generation of architects and she has nowadaysbecome quite a celebrity all over the world. Annette, do youthink that this situation can interfere positively or negativelywith the conservation of her legacy? Are we in risk ofoverlooking some of the complexities in her work?

Annette Condello:Lina Bo Bardi’s work is relevant today in terms of recyclingor architectural spoliation. With respect to her legacy, yesher work most definitely interferes positively not only withthe younger generation of architects but also children too.Baba Vacaro, Daniel Almeida and Rogerio Trentini’s ACidadela: O Sesc Pompeia de Lina Bo Bardi (2015),superbly illustrated, which remind me of Saul Steinberg’sgraphic art, is an important children’s book because it showsthe next generation the complex issues we face in linkingBrazilian architecture, popular culture and sustainability, andhow to be aware of them in their future (Figs. A.3 and A.4).Bo Bardi’s work for children is not simply about “plays-capes”—she went beyond that because she cared for allpeople, including the elderly, and SESC Pompeia showsthis, especially when you visit its library and communityspaces. You clearly see this. For the younger generation ofarchitects the poetics of sustainability is necessary tounderstand the complexity of Bo Bardi’s work as well hermind-set when she created such projects, especially theunbuilt ones since they convey the most incomplete storiesand how we should handle waste in the future.

ACB:Steffen, in which ways do you think architects should bestdeal with Bo Bardi’s work and approach today, to keep itrelevant and alive?

Steffen Lehmann:The issues raised through her work are still highly relevanttoday. For instance, questions of reuse of existing structuresor issues around the loss of local identity and the distinctivecharacter of place in times of globalisation. If anything, thesechallenges have only become more important today. Themost sustainable building is, of course, the building thatalready exists, so keeping the existing and salvaging andtransforming for adaptive reuse—all these are topics that arevery much of concern to architecture today. Dealing withover-consumption and our throwaway society to be moreresource-efficient requires deep and long-lasting behaviourchange in industry, society but also in the way we design,and to achieve such a transformational process requires acommitment from architects and designers.

ACB:My last question is about urban renewal and the way Linaunderstood early that the revitalisation of the historic centreof Salvador could not be a single-minded tourism-ledregeneration, but a cultural and housing needs-drivenregeneration process. The quarter had to become again afunctioning part of the wider enhancement of the city. Stef-fen, what are the challenges involved in such large-scaleurban renewal projects and what is the type of thoughts onehas when working on such regeneration projects?

Steffen Lehmann:Cities are never finished, they are always in transition. Forme, urban regeneration of larger quarters is not a problem ofsingle urban renewal projects, but touches all other complexproblems and can only be faced within the framework of atotal city appreciation. Bo Bardi, with her aim to regeneratethe derelict Baroque centre of Salvador understood this welland that she had to move from the specific to a more sys-tematic and general approach: from the renovation project ofCasa do Benin to the urban renewal program for the entirequarter, involving policy, community participation, and thedefinition of wider goals for urban renewal. She recognisedthe importance of the existing urban fabric and instead ofdemolition, she proposed to maintain and carefully regener-ate it—this was a novelty in Brazil at this time. But without abroad view of the over-all renewal challenge, going beyondphysical renewal, the local efforts may even work against theinterests of the people and affected communities. Restruc-turing a derelict quarter and re-modelling a communitywithin such an historic urban quarter sets up automatically anideal for the life within it. Regeneration is more than just


Fig. A.3 Lina Bo Bardi’s lying beneath the MASP (Illustration by Daniel Almeida)

Fig. A.4 Lina Bo Bardi’s Pompeia factory wasteland (Illustration by Daniel Almeida)


“redevelopment”—in Latin it means “rebirth”, to be bornagain. So in Salvador it was not only about the economy butthe soul of the city. In Bo Bardi’s case, there are variousscales of intervention but the “new” is always respectful ofthe existing context, designed with great precision andwithout imitation of the “old”. Also, I would like to finish by

saying restructuring in Bo Bardi’s understanding means theindigenous regeneration of the traditional activities of thelocality and a restructuring of the quarter's economic base.

Ana Carolina Bierrenbach:Thank you all for the conversation.



SESC Pompeia brick façade (Photo Federico Calabrese)

Lina Bo Bardi walking along the street (Courtesy Marcelo Ferraz)


Hen in coop basket as featured on the cover of Marcelo Ferraz’s Arquitetura Rural na Serra da Mantiqueira (1996) (Photo Marcelo Ferraz)


Appendix BLina Bo Bardi—Timeline in Brazil (1946–1992)

[Compiled by the Editors]

1946Lina Bo Bardi marries Pietro Maria Bardi in Rome. InOctober, they travel to South America. │ The Bardi couplearrive in Recife. │ In Rio de Janeiro the couple meetRoberto Burle Marx, Lucio Costa and Oscar Niemeyer.

1947The Bardis befriend Gregori Warchavchik. │ The influentialBrazilian diplomat and art collectorAssisChateaubriand invitesPietro Maria Bardi to become Director of São Paulo Museumof Modern Art (MASP). │ Bo Bardi re-establishes herarchitectural practice in Brazil. │ In October, she preparesdrawings of her first renovation, theMASP at 7 de Abril Street.

1948Bo Bardi curates the Nos e o Antigo (We and the Old) exhi-bition. │ She designs jewelry by using Brazilian gemstones.│She establishes the Studio deArte eArquitetura Palma (withGiancarlo Palanti) to design economical timber furniture.

1949She begins working on her first new building, a house forherself and her husband, the Glass House (Casa de Vidro) insuburban Morumbi, São Paulo.

1950Bo Bardi co-founds Brazil’s Habitat magazine, togetherwith Pietro Maria Bardi. Therein, she writes about Brazil’sNortheast, “Amazonas-poor architecture.” │ She designsthe Museo Sao Vicente, São Paulo.│ Designs the poster forthe “Outskirts” Ball.

1951She designs the Museu a Beira do Oceano in Sao Vicente.│ Collaborates with Pier Luigi Nervi and his son as engi-neering consultants on the Taba Guaianases Complex in

São Paulo (unbuilt).│ Bo Bardi is naturalized as a Brazilian.│ The Bardi couple move into their Glass House.

1952She is involved in the first Brazilian fashion show, whichincorporated fabrics designed for the Brazilian climate withpatterns by Caribe, Burle Marx and Sambonet.

1955Bo Bardi starts teaching as lecturer in Architectural Theoryat the Faculty of Architecture and Urbanism, University ofSão Paulo (FAU USP); the same school that denies her apermanent teaching position in 1959.

1956Between August and November, Bo Bardi travels to Italyand meets again with Gio Ponti.

1957Bo Bardi writes her dissertation Propaedeutic Contribution tothe Teaching of Architecture Theory, published in São Paulo.│ She produces studies of a beach house (Casa de Praia) andpreliminary designs of the MASP building on Paulista Ave-nue. │ Between March and April Bo Bardi travels to NewYork and visits Frank Lloyd Wright’s Guggenheim Museum.│ Bo Bardi travels to Portugal and Spain, and documentsrural constructions as well as the works of Antonio Gaudi.

1958Bo Bardi moves to Salvador, Bahia, and becomes thedirector of the Bahia Art Museum, until 1964 when politicalconflicts keep her from working in Salvador after the coupd’état. │ Bo Bardi Teaches “The Theory and Philosophy ofArchitecture” course at the Federal University of Bahia. │She meets construction engineer Norberto Odebrecht. BoBardi conserves the Odebrecht family mausoleum in Sal-vador with vertical planting. │ Designs the Chame-Chame


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house (aka House of Nature) in Salvador. | Brazil wins thefirst World Cup soccer title.

1959Bo Bardi meets film director Glauber Rocha. │ She con-verts the Sola do Unhao, a former sugar mill in Salvadorconverted to the Bahia Modern Art Museum (MAM BA). │With Martin Goncalves, Bo Bardi designed and organizedthe Bahia no Ibirapuera Exhibition, opened at São Paulo’s5th Biennial of Art on 21 September.

1960The new capital city, Brasilia, is inaugurated. Bo Barditravels to Brasilia. │ The construction of MASP continuesand is delayed.

1963Pietro Maria Bardi travels to Italy to publish the book onRoberto Burle Marx’s landscapes. │ Bo Bardi stays inSalvador.

1964Start of the military dictatorship in Brazil, which wouldcontinue for over 20 years. Because of the military coupd’état in March, Bo Bardi leaves Salvador disappointed andtravels back to São Paulo. │ Bruno Zevi invites her to theUniversity of Rome to present a lecture on the Sola doUnhão Complex.

1965She designs plans for the Butanta Institute’s Museum; LagePark pavilion in Rio de Janeiro; and the beach housing estatein Ubatuba (all unrealized).

1966Bo Bardi refines the new MASP design and its landscape;construction of the MASP is on its way.

1968Opening of Bo Bardi’s new MASP and meets QueenElizabeth II.

1969Bo Bardi designs the stage-sets for In the Jungle of Cities incollaboration with Jose Celso Martinez Correa. │ Shecurates the Hand of the Brazilian People (A Mao do PovoBrasileiro) exhibition at MASP.

1970Emergence of the Flower Power Movement that swaps fromthe US to Brazil. │ In December Bo Bardi travels to Italy(Milan and Genoa).

1972In this period, Bo Bardi reads Claude-Levi Strauss, KarlMarx and Herbert Marcuse’s writings.

1973World Oil Crisis. │ Bo Bardi suffers from depression.During the military dictatorship she hardly procures any newcommissions. │ She travels to Japan.

1974Bo Bardi turns 60 years old. In this phase, she repurposeskey abandoned buildings. │ She becomes involved withradical theatre productions.

1975Bo Bardi travels to North Africa, specifically Marrakech,and then to Europe, mainly Barcelona, Paris, Rome andMilan.

1976Bo Bardi incorporates eucalyptus timber elements in theChurch of the Holy Ghost of Cerrado (Igregja Espirito Santodo Cerrado) design in Uberlandia, Minas Gerais and in otherprojects. │ She begins collaborating with the two youngerarchitects Andre Vainer and Marcelo Ferraz which growsinto a long lasting collaboration.

1977Bo Bardi enters an active phase: she begins to design theRastro Perfumery in Santana de Parnaiba, São Paulo. │ BoBardi prepares sketches of the rehabilitation of the SESCPompeia Factory with a pool. Even though this pool was notbuilt, she later called this place “The Beach.”

1978Bo Bardi travels to Japan again. │ The large-scale defor-estation of the Amazonian rainforest commences.

1980Brazil reaches high inflation due to the rising cost of importedoil and lack of investment. │ Between the SESC PompeiaComplex’s existing sheds—instead of water-bodies, Bo Bardisketches landscape and gardens, and adds a solarium deck. Atthe factory’s entrance, she included sketches of aromatic andmedicinal herbs used in traditional popular medicine. | Open-ing of the SESC Pompeia Complex. │ Bo Bardi producespreliminary sketches for the Teatro Oficina in São Paulo.

1982Opening of the Holy Ghost of Cerrado Church. │ Firstphase of SESC Pompeia Complex is completed.

172 Appendix B: Lina Bo Bardi—Timeline in Brazil (1946–1992)

1983A severe drought plagues northeast Brazil.

1984Bo Bardi conserves the Teatro Oficina in collaboration withJose Celso Martinez Correa. | The old city quarter of Sal-vador is registered as UNESCO World Heritage site.

1986Second phase of the SESC Pompeia Complex opens—thesports centre. │ Marcello Carvalho de Andrade formedPro-Natura Movement to save the rain forests through thesustainable development program, which was set up toprevent clandestine logging. │ Bo Bardi designs an exten-sive refurbishment plan for the historic area of Salvador. │She designs the rehabilitation project for the Urca Cable CarStation on Sugarloaf Mountain, Rio de Janeiro (unbuilt). │Bo Bardi returns to Salvador to renovate its historical centre.

1987In Salvador, Bo Bardi rehabilitates the Ladiera da MiscordiaHill, designs Coaty Restaurant and Housing, and the BeninHouse Cultural Centre. │ At this time, the military dictator-ship is slowly loosening its grip allowing for more democracy.

1988In Salvador, she designs Olodum House and a communitycentre in Caneia. │ At MASP, she organizes the Africa

Negra exhibition with Pierre Verger. │ In Salvador, Bahia,Bo Bardi receives the Comenda Dois de Julho.

1989She designs the Pierre Verger Foundation; in Benin theBrazilian House; and in Campinas the Theatre of the Ruins(all unbuilt). │ In April, Bo Bardi is honored with the firstexhibition of her work at the University of São Paulo.

1990Bo Bardi converts an abandoned railway station into theCampinas State University. │ She prepares drawings for theconversion of the Palace of the Industries into São Paulo’sCity Hall with its distinctive vertical garden wall. │ TheInstituto Lina Bo Bardi e P.M. Bardi is established to pro-mote the study of Brazilian architecture and culture.

1991Bo Bardi receives the Latin American Prize at the 4thBuenos Aires Architecture Biennial, Argentina.

1992Bo Bardi dies at São Paulo Glass House at the age of 77 on20 March. │ When she dies Bo Bardi leaves unfinisheddesigns such as the new São Paulo City Hall and a CulturalCentre for Vera Cruz.

Appendix B: Lina Bo Bardi—Timeline in Brazil (1946–1992) 173

Index

AAbandoned buildings, 6, 72, 79, 87, 88, 93–95, 97Abel, Chris, 54Adaptive reuse, 2, 4–6, 51, 53, 55–57, 59, 60, 66, 67, 71, 75, 77, 89Aesthetics of rubbish, 93African-influenced, 55African slaves, 54Afro-Brazilian, 5, 6, 51, 54, 60Afro-Brazilian culture, 51, 54, 55Amazon, 76, 79, 97Amazon forest, 6, 93Anthropologist, 55, 97, 102Architectural elements, 62, 85, 93Architectural models, 72Architectural spoils, 72Architecture without architects, 55Argentina, 8Arte Povera Movement, 2Artificial, 83, 88, 91, 93Artigas, Vilanova J., 13, 51Aravena, Alejandro, viAsplund, Gunnar, 68Atlantic rainforest, 72Australia, 87, 92Authenticity, 67Avenida Paulista, 79

BBahia, 5, 6, 51, 53–55, 60, 66, 72, 82, 83, 88, 89, 91, 92, 97, 99, 102,

106Bahian-African cultural center, 67Bamboo, 87Bardi, Pietro Maria, 52, 72, 74–76, 79Baroque, 6, 51–54, 56, 60, 62, 66Barragan, Luis, 65Barreto, Bruno, 76Basket-weaving, 106Bastide, Roger, 55Bauhaus, 65, 68, 106Bergdoll, Barry, 7, 52, 68Beton brut, 58, 59, 63Bic-architects, 2Biennial of Arts in São Paulo, 99Bill, Max, 63, 99Bíró, László József, 2Bishop, Elizabeth, 76

Boari, Adamo, 74Bo Bardi, Lina, 2, 4, 52, 53, 58, 59, 71, 72, 87, 97Botanical, 6, 72, 75, 79, 89, 91, 93, 94Botanical luxuriance, 74, 83, 88, 89, 91–93Botany, 93Brasil Arquitectura, 4, 94Brasilia, 51, 62, 63, 68, 76, 102Brazil, 2, 4–6, 51, 52, 54, 55, 57, 62, 65, 67, 71, 74, 76, 78, 81, 85, 97,

110, 112Brazil Builds exhibition, 52Brazilian folk art, 54Brazilian Modernism, 63, 67, 72Brazilian Pavilion, 81Brazil Northeast, 54, 67Brennand, Francisco, 110Brise-soleil, 4, 88, 89, 94Burle Marx, Roberto, 6, 51, 54, 72Burra Charter, 57

CCactus garden, 72, 82, 89, 91Calabi, Daniele, 53Cangaceiro, 82, 83, 93Carnival, 54, 79Casa de Vidro, 52, 53Casa do Benin, 53, 56, 60, 67, 92Casa do Olodum, 53, 56, 60, 67Catholic Church, 112Center for studies and work craft, 106Centro Historico, 60Cerrado Church, 88Charter of Athens, 51Chateaubriand, Assis, 99, 110Chicken-coup structure, 88CIAM, 51City hall, 87Civilization of survival, 6, 97, 106Civilization of the Northeast, 106Classic treaties, 112Climate change, 7Climate-controlled, 88Climate-responsive, 4Climatic conditions, 4, 7, 55, 63, 87Clube dos Artistas e Amigos da Arte, 82Coastal landscape, 81, 83Coatings, 88, 112


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Coaty Restaurant, 6, 66, 72, 88Collaboration, 59, 61, 83, 85, 87, 110Collective creation, 110Collective memory, 113Colonial structures, 6, 51Concrete jungle, 93Concrete-reed panel, 76, 89Concrete tanks, 88Conservation, 54, 74, 76, 82Construction materials, 55Consumers, 66Converting, 6, 97Correa, José Celso Martinez, 111Costa, Lucio, 5, 51, 54, 64, 68, 72, 76, 102Cotunduba Island, 76Counterculture, 106Courtyard house, 52Crate-form, 81Crinkled-concrete panels, 88, 94Critical regionalism, 6, 55, 65Critical restoration, 6, 99, 102, 112Cross-cultural, 5, 66Cultural center/Centro cultural, 60, 61, 64, 67Cultural heritage, 5, 55, 72Cultural luxuriance, 6, 72, 74, 83, 88, 89, 94Curtis, William, 68

DDarwin, Charles, 84De Almeida, Rômulo, 106De Campos, Augusto, 93De Campos, Olavo Redig, 51De Chirico, Giorgio, 102Deforestation, 2, 79, 87De Goncalves, Domingo Magalhaes, 91De Macedo Soares, Lota, 76, 77, 94Demolition, 2, 5, 6, 51, 56, 57, 60, 99, 112Demolition waste, 57Design for reuse, 56Dictatorship, 52, 55, 79, 111, 112Do Amaral, Tarsila, 6, 72, 75Durability, 5, 56, 66Dynamic, 5, 6, 54–56, 67, 74, 77Dynamic regionalism, 55, 67

EEames, Charles and Ray, 52Ecclesial community base, 112Ecological, 1, 2, 5, 6, 54, 56, 82, 88, 93Economic boom, 52Economic Commission for Latin America and the Caribbean (ECLAC),

106Economic planning, 106Elito, Edson, 87Environmental comfort, 55Environmental disaster, 2Environmentalist, 71, 79, 81Environmental planning, 2, 111Ephemeral regionalism, 6ESSO, 76, 88Estado Novo, 52Ethical, 5, 7, 55, 56, 67, 83Ethnographical, 6, 97Ethnographic research, 98, 99

Eucalyptus, 81, 87, 91–94Eucalyptus leaves, 91, 92Eurocentric, 111European modernism, 52Exhibition, 4, 6, 51, 52, 54, 59, 60, 71, 72, 89, 91, 95, 99, 106, 114Existing urban fabric, 56Expiration, 95Ex-votos, 97

FFacadism, 4, 60, 93, 100Factories, 6, 72, 75, 79, 83Federation of São Paulo State Industries, 114Ferraz, Marcelo, 54, 59, 94Fire-escape, 87Fireplace, 112Flamengo Landfill Park, 76Flávio Império, 111Flower Power Movement, 79Folklore, 97, 102Fontana, Lucio, 2Fourth Buenos Aires Architecture Biennial, 8Freire, Paulo, 110Furniture designer, 4, 51, 76

GGarage, 87Ghirardelli Square, 59Giants embraced, 112Giddens, Anthony, 67Gil, Gilberto, 60, 66, 110Giovannoni, Gustavo, 6, 74, 75, 97, 100Glass House, 4, 52, 54, 56, 66, 72, 76, 78, 80, 81, 84, 87Glass tiles, 112Globalising forces, 54Goulart, João, 110Gramsci, Antonio, 110Green room, 87, 89Green shell, 76Gropius, Walter, 63, 68Guanabara Bay, 76Guthmann, Armin, 102

HHabitat, 65, 66, 78, 81, 87, 97, 98, 111Hammock, 5, 81, 83, 91, 98Hennebique, François, 112Heritage studies, 66Heroic Modern Movement, 55Herrle, Peter, 54Hilbersheimer, Ludwig, 68Historical buildings, 4, 6, 97Hochschule für Gestaltung (HfG), 99Hut, 81

IIndigenous, 5, 6, 54, 55, 72, 74, 75, 79, 81, 87, 93Indigenous culture, 102Indigenous luxury, 80, 81Industrial, 4, 6, 57, 72, 79, 83, 84, 87, 93, 95, 112Industrial design, 99, 102, 111Industrial design center, 114

176 Index

Industrial landscapes, 77, 94Infrastructure, 5, 53Inhumane, 94Inorganic, 74, 82, 93, 95Institute of Contemporary Art, 99Instituto Lina Bo e Pietro Maria Bardi, 62International style, 56, 68International Union of Architects, 112Italy, 2, 4, 6, 53, 56, 72, 74, 76, 78, 79, 87, 95, 110Itapecerica, 76

JJapan, 53, 83, 97Jardim America, 72Jardim Morumbi, 78

KKertesz, Mario, 60Kubitschek, Juscelino, 106

LLadeira da Misericordia, 60Lake-landscapes, 83Lanca-perfume, 79Landscape architect, 5, 6, 66, 71, 72, 74, 78, 94, 95Latin America, 4, 52, 54, 56, 62, 66, 92, 94, 106, 111Latin American Prize, 8Leather uniforms, 106Le Corbusian influence, 54Le Corbusier, 2, 4, 52, 54, 62, 68, 76, 77, 84, 87Leisure centre, 6, 53, 56, 57, 59, 72, 75, 83, 84Lele Filgueiras Lima, João, 61, 88Lessons from Lina, 7Levi, Rino, 53Levi-Strauss, Claude, 97Lewerentz, Sigurd, 68Life-cycle, 67Limits to growth, 56Longevity, 66Loos, Adolf, 2, 5Low-tech industry, 106Luxo–Lixo, 93Luxuriance, 5, 6, 72, 74, 77, 79, 81, 83, 92–95Luxury, 2, 4, 5, 66, 74, 79–81, 93, 95Luxury goods, 66, 79, 80Luxury objects, 80

MMade-good, 93Maisons Jaoul, 62Mantles, 72, 87Manual weaving, 106Marinetti, Filippo Tommaso, 74Mashrabiyas, 102Masonry bricks, 112MASP, 4, 53, 55, 56, 62, 66, 66, 75, 79, 81, 82, 87, 99, 111Matarazzo Sobrinho, Francisco, 84Material waste, 57, 95Meandering water, 112Mee, Margaret, 79Mendes da Rocha, Paulo, 4, 54Mexico, 65, 74, 75

Migration, 106Minas Gerais, 2, 72, 76, 81, 87, 91, 106Modern Art Museum of Bahia, 97, 99, 110Modern avant-garde, 53, 56Modern easy-chair, 98Modernist, 2, 4, 52, 55, 56, 65–68, 72, 74, 76, 93, 97Modern Movement, 51, 52, 55, 66, 74, 94, 111Modular prefabricated components, 67Moore, Rowan, 5, 59Morro da Urca, 6, 72, 76, 77, 87Morumbi, 72, 75, 80, 84Morumbi Studio, 87, 92Museu de Arte Moderna, 61Mutual-aid, 112

NNaples, 72, 74, 76National identity, 52, 102, 106, 111Natural, 2, 5, 6, 59, 64, 67, 71, 81–83, 87, 88, 91, 92Nervi, Pier Luigi, 76Niemeyer, Oscar, 51, 52, 63, 84, 91, 92No Ibirapuera, 6, 72, 89, 91Northeastern, 79, 83, 91, 97, 110North-eastern Bahia, 54

OObrist, Ulrich, vOpen-air restaurant, 62Organic, 72, 74, 79, 81Organic architecture, 78, 79Organism, 4, 100Ornament, 82, 85Outback, 82, 83, 93Outdoor form, 6, 72Outer shells, 2Outskirts, 82, 93

PPalanti, Giancarlo, 98Paper off-cuts, 91Patio-house, 72, 81Pedagogy of the Oppressed, 110Pelourinho district, 53, 56, 89Perfume, 79, 82, 92Pernambuco, 72, 76, 83, 110Petrol, 79Petroleum, 79Philological analysis, 99Picturesque, 81Pignatari, Francisco, 85Pinacoteca do Estado, 4Plan for Rio de Janeiro, 77Plant rooms, 72, 74, 87, 93, 94Poetic, 58, 67, 72, 77, 81, 94, 102Pollution, 2, 60Pompeia, 2, 4, 6, 56, 59, 72, 74, 75, 83, 87, 95Pompeii, 74, 87, 95Ponti, Gio, 53Popular culture, 54, 65, 97–99, 102, 106, 110, 111, 113Popular Culture Movement (PCM), 110Portuguese colonization, 111Portuguese settlement, 54Praca do Pelourinho, 60

Index 177

Pre-Columbian, 6, 75, 80, 81, 85, 87, 93, 94Preserve, 6, 55, 59, 72, 100, 106, 112Projeto Barroquinha, 66Pro-modern luxury, 5

RRastro Perfumery, 79Raw materials, 56, 76, 81, 87, 91, 93, 94Recife, 72, 81–83, 89, 91, 110Recycled waste, 98Recycling, 2, 4–6, 55, 56, 66, 76, 92, 93, 97, 99Reed motif, 6, 72, 88Refuse, 6, 63, 72, 95Re-fuseful, 6, 72, 93, 94Re-fusing, 76, 94, 95Regenerative, 72Regional culture, 4, 5, 54, 55, 64Regionalism, 5, 6, 55, 56, 67Rehabilitate, 6, 8, 60, 72, 77Reinforced concrete, 53, 59, 64, 83, 84, 112Religion, 55, 67Renewable material, 94Renewable resources, 6, 51, 55Repurposing, 6, 56, 57, 71, 72, 79, 93Restaurante do Coaty, 61Restoration, 5, 6, 53, 56, 64, 82, 97, 99, 100Retaining, 5, 6, 51, 57Reuse, 4–6, 53, 56–58, 67, 74Rio de Janeiro, 1, 2, 4, 5, 51–53, 72, 76, 81, 92Rocha, Glauber, 82Romanticism, 102Romantic restoration, 99Rome, 2, 6, 51, 53, 74, 97Rubbish dump, 82Rudofsky, Bernard, 52, 72, 76, 79, 81, 83, 94Russian constructivists, 68Rustic, 4, 79, 88, 89, 94

SSalvador, 6, 51, 53–56, 60, 64, 67, 82, 88, 97, 99, 111Salvage, 5, 6, 72, 74, 83, 92, 93Salvaging, 5, 6, 72, 79, 82, 89, 93, 94São Paulo, 2, 51, 53–55, 59, 72, 75, 79, 83, 84, 93, 97, 106, 112São Paulo Biennial, 63, 99São Paulo Museum of Modern Art, 75, 76, 84Savage, 5Scaffolds, 87Scarpa, Carlo, 53, 99School of Industrial Design, 106Scientific restoration, 6, 97, 99, 100Screens, 81Segall, Lasar, 75Semi-arid landscapes, 72Sertão, 72SESC Pompéia, 53, 57, 59, 67, 114SESC, Serviço Social do Comércio, 59Shipbuildings, 106Shipping container, 79Simplicity, 79, 81Sketches, 2, 75, 76, 79, 93Slavery, 54Social development, 102

Social identity, 55Social responsibility, 4, 66Soilleux, Gyle, 84Solar do Unhão, 6, 82, 97, 99SPHAN, 54Spoliated, 6, 72, 74, 87Steel drum, 83, 88Steel off-cuts, 84Steel reinforcement, 83, 93Steinberg, Saul, 81Streets for People, 83Suane, Lucia, 72, 74, 75, 81Sugar industry, 54Sugar Loaf Mountain, 76, 77Superquadra, 62, 76Survival, 6, 82, 83, 91, 93, 106Sustainability, 2, 4–7, 53, 55, 65, 66, 88, 89, 94Sustainable, 2, 4–7, 55, 67, 84, 92Sustainable Brazil, 2Sustainable urban development, 2, 57Sustainable urban renewal, 6, 51, 56Sydney, 87

TTaba Guaianazes Complex, 84, 85, 87Tafuri, Manfredo, 110, 113Teatro Oficina, 6, 72, 87, 93Technocracy, 111Terragni, Giuseppe, 53Theater set designs, 111Topography, 53, 58, 62, 74Traditional techniques, 98, 108Transportable, 81Trash, 74, 82, 93Tree trunks, 92, 94Trianon Park, 79, 82Tropical/cultural gardens, 72Tropical growth, 93Tropical luxury, 93Typologies, 55

UUberlandia, 88UNESCO, 60, 79United Nations Conference on the Human Environment, 112University of São Paulo, 54, 97Upcycling, 2, 5, 51, 57, 66Urban cavity, 83Urban generation, 7Urban regeneration, 60, 74, 75Urban regenerator, 67, 95Urban rehabilitation, 6, 51Urban renewal, 5, 6, 51, 55, 60, 66, 74Utopianism, 55Utzon, Jorn, 87

VVainer, André, 58–60, 83Van der Rohe, Mies, 52, 68, 91Vargas, Getulio, 52Vegetal luxury, 82, 89

178 Index

Vegetation, 5, 6, 72, 74, 81, 85, 94Veloso, Caetano, 110Verger, Pierre, 55, 66Vernacular, 5, 6, 51, 55, 56, 66, 67, 72, 87, 88Vernacular architecture, 55Versailles, 79, 81Vertical beach, 83, 84Vertical plantings, 83Vilamajo, Julio, 84

WWarchavchik, Gregori, 6, 53, 72, 75Warchavchik, Mina Klabin, 6, 72, 75, 84Warehouse, 4, 57, 94, 100, 111

Waste, 2, 5, 57, 67, 72, 87, 93, 102Wattle-and-daub, 76Wedge and tenon, 102Wright, Frank Lloyd, 74

XXangô, 112Xavier, Livio, 110

ZZen gardens, 83Zevi, Bruno, 63, 78

Index 179

appendix a a conversation with the authors: the lina bo ...978-3-319-32984-0/1.pdf · appendix a a...

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