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Appendix a a Conversation with the Authors: the Lina Bo Bardi Effect

Appendix a a Conversation with the Authors: the Lina Bo Bardi Effect

Appendix A A Conversation with the Authors: The Effect

Note to the reader: Providing a context for the preceding from the impressive open square at MASP to the long timber chapters in the book, the following conversation with the deck at SESC Pompeia called “The Beach”. New concepts authors, via email, was collated in March 2016. It is not of public space are part and parcel of her buildings. And ordered chronologically or in any particular order. finally, the way she has managed to use heritage as a strategic resource. It was quite progressive at this time. Ana Carolina Bierrenbach (ACB): ACB In beginning our conversation, we should consider Brazilian : culture. Steffen, what is your personal connection with Annette, what is your response on Brazilian culture? What is fi ? And how did you first come across Lina Bo Bardi's your personal connection to Brazil, and how did you rst ’ work? come across Lina s work? Steffen Lehmann: Annette Condello: I was aware of the MASP museum since I had seen photos For me, Brazilian culture began when I saw the 1980s film of it around 1985. My Brazilian wife Cida de Aragon had Pixote, which was so distressing, but it didn’t put me off told me some anecdotes about the building, especially its wanting to visit . I have relations there. The first vast public space underneath the building, but I could not get time I stumbled across Lina's work was in Portugal in 1997 to Brazil before 1990. When I finally visited São Paulo, quite accidently. When I was travelling around Porto for my Brasilia, , and Salvador, I not Masters to document Alvaro Siza’s , in the only visited the MASP and Glass House, but also discovered context of Francesco Venezia’s work in , I went to the more of Lina’s projects and spent some time at the Institute, Lello bookshop and bought a booklet on the SESC Pompeia doing research for my book Brazil’s Pathway into Mod- Factory. At the time I didn’t know who Lina was. I actually ernism, which came out of my Ph.D. studies. I was fortunate thought the booklet was about Pompeian ruins. What I find to meet the masters of Brazilian architecture before they interesting is that in Peter Robb’s Death in Brazil (2003), he died, such as Lucio Costa and , but I noted that in the early 1980s, Brazil still had a consulate in never met Lina Bo Bardi. was very Naples. Architecture-wise, I thought about Lina’s work generous with his time. I remember I was so impressed with when I was living in Mexico in the early 2000s. This is the SESC Pompeia and Lina’s urban renewal projects in specifically the case with her Sugarloaf cable-car renovation Salvador, Bahia, that I kept talking to my Brazilian archi- project, Rio de Janeiro, in the context of Italian architect tects’ friends about it. The SESC is Lina’s largest and most Adamo Boari’s work in Mexico City—I’ve always thought comprehensive project that took many years to be com- there was something there, something they had in common. pleted, and it reflects probably the best of her personal Since then I’ve done research in Manaus, , Belo approach to process, re-use and participation of the end-user. Horizonte, Brasilia and Rio de Janeiro for my Ph.D. and saw Since then I have visited Brazil numerous times. Three Lina’s works in São Paulo with my Brazilian relatives. things have interested me in Bo Bardi's work that have been Uncannily, one of them runs the restaurant in the there for over 25 years ago and are still there: firstly, the MASP. Also, I had been doing research on Pietro Maria relaxed and almost natural way she composed building Bardi, Pier Luigi Nervi, Gregori Warchavchik and Mina volumes, different functions and materials with each other. Klabin Warchavchik, which led me straight back to Lina’s Secondly, the integration and celebration of public space: work. The other uncanny thing is that I found Steffen’s

© Springer International Publishing Switzerland 2016 161 A. Condello and S. Lehmann (eds.), Sustainable Lina, DOI 10.1007/978-3-319-32984-0 162 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect writing on Brazil in Australia. We met and started talking her: “Today, I would make a house with a wood and stone about Lina’s projects and so this is how the idea for the book oven, without windows, but surrounded by a large park, full emerged. While there are several publications on Lina Bo of trees. I would throw the seeds at the wind in the woods”. Bardi’s work, we recognised that there was a gap with her At the same time, after a visit to Gaudi’s Park Guell in adaptive reuse projects. Barcelona, Lina built the sinuous retaining walls and walk- ways at her Glass House garden (Figs. A.1 and A.2). I believe ACB: she accomplished her passion for the tropical environment at When you think of Lina’s work, does any other female the City Hall project’s remarkable vertical gardens. architect role model come to mind which had a strong impact on yourself—except Eileen Grey of course, who was ACB: quite particular in her approach? Annette, you also have a strong interest in landscape. How would you describe the role of landscape and gardens in Annette Condello : Lina’s work? I’ve never really thought about it. I don’t think about gender Annette Condello when I think about architects. I have to say Bernard Rud- : ’ ofsky and Italian architect Francesco Venezia have impacted Lina s buildings and landscapes provided her with the me quite a lot. Italian architect Gae Aulenti has been on the middle ground, which she treated as a nurtured form of back of my mind, especially her impressive conversion of luxury. This is also how she imagined to transform Brazilian ’ the Gare D’Orsay railway station into the Musee D’Orsay in cities. Many of Lina s projects, especially the ones that Paris. I first came across Aulenti’s work in Manfredo challenge the traditional approach like the SESC Pompeia, “ ” Tafuri’s History of Italian Architecture: 1944–1985.So framed the organic approach. In this way, she bonded reflecting back on her work what springs to mind is the plants with ruins, which made her conserve existing build- “ ” Grotta Rosa on the Amalfi coast. Parts of it remind me of ings by adding green walls and green rooms or rather Lina’s SESC Pompeia complex. Two other architects I think plant rooms. Lina enriched the landscape poetically by of are both from Chicago: Marion Mahony Griffin, whose fusing pre-Columbian references and local references by fl — modern Café Australia restoration project embraced the carpeting oors with fresh eucalyptus leaves from an landscape, and more recently Jeanne Gang’s Pan-American Australian species. In this way, she allowed abandoned Aqua Tower. We mustn’t forget Lina designed towers for structures to breathe within their sites. I think she preserved the Taba Guaianazes complex too—bordered by a luxuriant the quality of luxury of the site, but in a new form. Lina wall. resuscitated building sites and their cultural remnants to show how luxury has changed from a natural phenomenon ACB: through the landscape—to one about managing building My next question is about landscape, which isn't simply waste in cities. about trees and bushes, but about garden design as a part of ACB: the project, as part of urbanism. There is random planting of So, how did Lina understand the notion of adaptive re-use identifiable trees and plants—often exotic, lush and and recycling of existing structures? colourful—juxtaposed with the building and circulation with specific framed views into the exterior, for instance, the view Renato Anelli: into nature at the Glass House or MASP garden, but also the Bo Bardi understood this notion in her ethnographic surveys more modest herbal garden at the SESC Pompeia. Renato, in North-eastern Brazil, the poorest region, where she had how would you describe the role of landscape and gardens great interest in the recycled utilitarian objects. She called in Lina's work? What about the Japanese resonances in her this the “civilization of survival” and proposed folk skills in gardens? recycling methods as a source to refresh modern design against growing consumerism in the 1970s. In Lina’s Renato Anelli: restoration projects we can find some parallels between Lina travelled to Japan twice. In 1973, she visited the recycling and the re-use of objects and structures. Seki-Tei at the Ryoan-Ji Temple in Kyoto where she took some photos of Japanese rock gardens. Understanding the ACB: “value of emptiness” is visible in some of her works. How- Coming from Italy to Brazil, Lina brought many of her own ever, she encountered landscape in the rainforest along the preoccupations and experiences, such as working with Gio Atlantic coast, which provoked a lasting fascination. Lina Ponti, with her to the “new world.” But we realise—once wrote about this lush environment numerous times. In a MASP was built and completed, and out of the way—she private letter to her husband, Lina expressed what it meant to commenced to absorb the cultural traditions of Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect 163

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

North-eastern Brazil and became even more curious about new, non-European conception of space and curation. It is the African influences. It was also a cry of frustration at the wonderful to see that this exhibition concept using glass overly European-influenced classical attitude, as easels has recently been reinstalled. Interestingly, the design blindly promoted by some of her colleagues. The MASP, of of MASP art gallery began already in the early 1950s, while course, is still much more part of a larger mesh of heroic, its construction only started in 1961, and the first time Bo monumental institutional buildings along a main avenue (in Bardi went to Bahia is in 1958. So her interest in the the sense of the 19th-century planning concept for important North-eastern culture is simultaneous with the delayed institutions in Paris) that turns some cities into a metropolis. construction activities of the MASP. I don’t think she What would you say was the point that she finally moved on expected that it would take her so many years to finally from the Italian background and fully immersed herself in complete the MASP. this new world? ACB: Steffen Lehmann: It was also about appreciating more the day-to-day objects There are a number of shifts in Bo Bardi’s life caused by the and artefacts of the poor people in Brazil. For instance, in different locations and influences she was exposed to. The the picture of a small Bahian stool in front of a vernacular early years after her arrival from Italy in São Paulo were still house in Bahia, there is nothing apparently grand or heroic, under the influence of Italian modernism and rationalism, but quite modest, utilitarian and simple. But if we look more and it took some years for her to move on. The final interior closely at it, imagine its likely context, usage and its degree of MASP with its particular way to exhibit paintings was of artisan finesse and resourcefulness, the stool becomes revised and re-designed, and here I believe we can detect a something unique to this culture. Renato, in which ways do 164 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect

Fig. A.2 Lina Bo Bardi’s sinuous retaining walls at the Glass House (Photo Federico Calabrese) you think Lina´s architecture has still an effect today? Has contrary, it increased her capacity to take risks in her design the work maintained its full architectural potential and in work. Architects of many generations have been attracted by which ways do her works, writings and approach still her work and statements, but, nowadays, they can’t simply influence a new generation of architects? repeat them. The current status of architects within society has changed to a much more submissive position, in order to Renato Anelli : find commissions and keep any job to guarantee their ’ Bo Bardi s architecture is still admired, in Brazil and abroad, livelihood. Do you think there is still room for such an maybe more today than before, when she was alive, innovative approach? designing the projects. As a vanguardist she was very con- ACB troversial and a frequent target of conservative critics of : different political and cultural positions. She believed in her It was always very important for Bo Bardi to envisage the capacity to change the world into a better place for common way people will use her buildings. Over the last years, have people, and she transformed herself into a tormented person you noticed any changes in the way her buildings in Sal- ã as society development went in another direction. She vador and S o Paulo are actually getting used? accused modern architectural design of changing from an Renato Anelli: emancipatory tool to a technocratic practice. This caused in In her drawings and watercolours, she tried to anticipate life her an anguish, which we can feel in her writing, and it scenes of people within her buildings. It wasn’t mere illus- triggered her to look for new directions in architectural tration, but a kind of rehearsal, useful to her design process. design. It is a remarkable characteristic, her political criti- Her main buildings in São Paulo were built during the dic- ’ cism of society didn t paralyze her design practice; on the tatorship. So, the use of the public space underneath MASP Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect 165 galleries, for instance, has increased a lot since then. It has ACB: transformed into an iconic spot for political parades. For the Steffen, in which ways do you think architects should best SESC Pompéia, the answer is more complicated: it is one of deal with Bo Bardi’s work and approach today, to keep it many venues of this corporate institution with its social relevant and alive? aims, founded in 1946. As all SESC venues are very Steffen Lehmann: receptive and accessible to the public, the question is to The issues raised through her work are still highly relevant identify in which way Fábrica Pompéia’s architecture dif- today. For instance, questions of reuse of existing structures ferentiates among them, or if this is actually the case at all. or issues around the loss of local identity and the distinctive However, we know that Lina’s work at Fábrica Pompéia character of place in times of globalisation. If anything, these changed the programme of use of all SESC leisure centres, challenges have only become more important today. The as it was very innovative and forward-looking when she most sustainable building is, of course, the building that conceived it. It was such a public success that SESC decided already exists, so keeping the existing and salvaging and to reproduce the experience in other complexes. Since it’s transforming for adaptive reuse—all these are topics that are inauguration in the eighties, the Pompéia leisure centre has very much of concern to architecture today. Dealing with hugely increased its number of public users, maybe even too over-consumption and our throwaway society to be more much for its capacity. The same happened with MASP, it’s resource-efficient requires deep and long-lasting behaviour almost too loaded with visitors. These projects were inno- change in industry, society but also in the way we design, vative when designed, looking to attract visitors and users in and to achieve such a transformational process requires a Brazil’s new urban society, but now they seem quite small, commitment from architects and designers. almost shy in the face of bigness of contemporary mass society. Of course, São Paulo is now a metropolitan region ACB: with twenty two million inhabitants. My last question is about urban renewal and the way Lina ACB: understood early that the revitalisation of the historic centre Bo Bardi’s work has become increasingly popular among of Salvador could not be a single-minded tourism-led the younger generation of architects and she has nowadays regeneration, but a cultural and housing needs-driven become quite a celebrity all over the world. Annette, do you regeneration process. The quarter had to become again a think that this situation can interfere positively or negatively functioning part of the wider enhancement of the city. Stef- with the conservation of her legacy? Are we in risk of fen, what are the challenges involved in such large-scale overlooking some of the complexities in her work? urban renewal projects and what is the type of thoughts one has when working on such regeneration projects? Annette Condello: Lina Bo Bardi’s work is relevant today in terms of recycling Steffen Lehmann: or architectural spoliation. With respect to her legacy, yes Cities are never finished, they are always in transition. For her work most definitely interferes positively not only with me, urban regeneration of larger quarters is not a problem of the younger generation of architects but also children too. single urban renewal projects, but touches all other complex Baba Vacaro, Daniel Almeida and Rogerio Trentini’s A problems and can only be faced within the framework of a Cidadela: O Sesc Pompeia de Lina Bo Bardi (2015), total city appreciation. Bo Bardi, with her aim to regenerate superbly illustrated, which remind me of Saul Steinberg’s the derelict Baroque centre of Salvador understood this well graphic art, is an important children’s book because it shows and that she had to move from the specific to a more sys- the next generation the complex issues we face in linking tematic and general approach: from the renovation project of Brazilian architecture, popular culture and sustainability, and Casa do Benin to the urban renewal program for the entire how to be aware of them in their future (Figs. A.3 and A.4). quarter, involving policy, community participation, and the Bo Bardi’s work for children is not simply about “plays- definition of wider goals for urban renewal. She recognised capes”—she went beyond that because she cared for all the importance of the existing urban fabric and instead of people, including the elderly, and SESC Pompeia shows demolition, she proposed to maintain and carefully regener- this, especially when you visit its library and community ate it—this was a novelty in Brazil at this time. But without a spaces. You clearly see this. For the younger generation of broad view of the over-all renewal challenge, going beyond architects the poetics of sustainability is necessary to physical renewal, the local efforts may even work against the understand the complexity of Bo Bardi’s work as well her interests of the people and affected communities. Restruc- mind-set when she created such projects, especially the turing a derelict quarter and re-modelling a community unbuilt ones since they convey the most incomplete stories within such an historic urban quarter sets up automatically an and how we should handle waste in the future. ideal for the life within it. Regeneration is more than just 166 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect

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) Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect 167

“redevelopment”—in Latin it means “rebirth”, to be born saying restructuring in Bo Bardi’s understanding means the again. So in Salvador it was not only about the economy but indigenous regeneration of the traditional activities of the the soul of the city. In Bo Bardi’s case, there are various locality and a restructuring of the quarter's economic base. scales of intervention but the “new” is always respectful of the existing context, designed with great precision and Ana Carolina Bierrenbach: without imitation of the “old”. Also, I would like to finish by Thank you all for the conversation. 168 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect

SESC Pompeia brick façade (Photo Federico Calabrese) Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect 169

Lina Bo Bardi walking along the street (Courtesy Marcelo Ferraz) 170 Appendix A: A Conversation with the Authors: The Lina Bo Bardi Effect

Hen in coop basket as featured on the cover of Marcelo Ferraz’s Arquitetura Rural na Serra da Mantiqueira (1996) (Photo Marcelo Ferraz) Appendix B Lina Bo Bardi—Timeline in Brazil (1946–1992)

[Compiled by the Editors] São Paulo (unbuilt).│ Bo Bardi is naturalized as a Brazilian. │ 1946 The Bardi couple move into their Glass House. Lina Bo Bardi marries in . In 1952 October, they travel to South America. │ The Bardi couple She is involved in the first Brazilian fashion show, which arrive in Recife. │ In Rio de Janeiro the couple meet incorporated fabrics designed for the Brazilian climate with Roberto Burle Marx, Lucio Costa and . patterns by Caribe, Burle Marx and Sambonet. 1947 1955 The Bardis befriend Gregori Warchavchik. │ The influential Bo Bardi starts teaching as lecturer in Architectural Theory Brazilian diplomat and art collector invites at the Faculty of Architecture and Urbanism, University of Pietro Maria Bardi to become Director of São Paulo Museum São Paulo (FAU USP); the same school that denies her a of Modern Art (MASP). │ Bo Bardi re-establishes her permanent teaching position in 1959. architectural practice in Brazil. │ In October, she prepares 1956 drawings of her first renovation, the MASP at 7 de Abril Street. Between August and November, Bo Bardi travels to Italy 1948 and meets again with Gio Ponti. Bo Bardi curates the Nos e o Antigo (We and the Old) exhi- 1957 bition. │ She designs jewelry by using Brazilian gemstones. │ She establishes the Studio de Arte e Arquitetura Palma (with Bo Bardi writes her dissertation Propaedeutic Contribution to ã Giancarlo Palanti) to design economical timber furniture. the Teaching of Architecture Theory, published in S o Paulo. │ She produces studies of a beach house (Casa de Praia) and 1949 preliminary designs of the MASP building on Paulista Ave- fi She begins working on her rst new building, a house for nue. │ Between March and April Bo Bardi travels to New herself and her husband, the Glass House (Casa de Vidro)in York and visits ’s Guggenheim Museum. ã suburban Morumbi, S o Paulo. │ Bo Bardi travels to Portugal and Spain, and documents 1950 rural constructions as well as the works of Antonio Gaudi. Bo Bardi co-founds Brazil’s Habitat magazine, together 1958 ’ with Pietro Maria Bardi. Therein, she writes about Brazil s Bo Bardi moves to Salvador, Bahia, and becomes the “ ” │ Northeast, Amazonas-poor architecture. She designs director of the Bahia Art Museum, until 1964 when political ã │ the Museo Sao Vicente,S o Paulo. Designs the poster for conflicts keep her from working in Salvador after the coup “ ” the Outskirts Ball. d’état. │ Bo Bardi Teaches “The Theory and Philosophy of 1951 Architecture” course at the Federal University of Bahia. │ She designs the Museu a Beira do Oceano in Sao Vicente. She meets construction engineer Norberto Odebrecht. Bo │ Collaborates with Pier Luigi Nervi and his son as engi- Bardi conserves the Odebrecht family mausoleum in Sal- neering consultants on the Taba Guaianases Complex in vador with vertical planting. │ Designs the Chame-Chame

© Springer International Publishing Switzerland 2016 171 A. Condello and S. Lehmann (eds.), Sustainable Lina, DOI 10.1007/978-3-319-32984-0 172 Appendix B: Lina Bo Bardi—Timeline in Brazil (1946–1992) house (aka House of Nature) in Salvador. | Brazil wins the 1972 first World Cup soccer title. In this period, Bo Bardi reads Claude-Levi Strauss, Karl ’ 1959 Marx and Herbert Marcuse s writings. Bo Bardi meets film director . │ She con- 1973 verts the Sola do Unhao, a former sugar mill in Salvador World Oil Crisis. │ Bo Bardi suffers from depression. converted to the Bahia Modern Art Museum (MAM BA). │ During the military dictatorship she hardly procures any new With Martin Goncalves, Bo Bardi designed and organized commissions. │ She travels to Japan. ã ’ the Bahia no Ibirapuera Exhibition, opened at S o Paulo s 1974 5th Biennial of Art on 21 September. Bo Bardi turns 60 years old. In this phase, she repurposes 1960 key abandoned buildings. │ She becomes involved with The new capital city, Brasilia, is inaugurated. Bo Bardi radical theatre productions. │ travels to Brasilia. The construction of MASP continues 1975 and is delayed. Bo Bardi travels to North Africa, specifically Marrakech, 1963 and then to Europe, mainly Barcelona, Paris, Rome and Pietro Maria Bardi travels to Italy to publish the book on Milan. ’ │ Roberto Burle Marx s landscapes. Bo Bardi stays in 1976 Salvador. Bo Bardi incorporates eucalyptus timber elements in the 1964 Church of the Holy Ghost of Cerrado (Igregja Espirito Santo Start of the military dictatorship in Brazil, which would do Cerrado) design in Uberlandia, Minas Gerais and in other continue for over 20 years. Because of the military coup projects. │ She begins collaborating with the two younger d’état in March, Bo Bardi leaves Salvador disappointed and architects Andre Vainer and Marcelo Ferraz which grows travels back to São Paulo. │ invites her to the into a long lasting collaboration. University of Rome to present a lecture on the Sola do 1977 Unhão Complex. Bo Bardi enters an active phase: she begins to design the 1965 Rastro Perfumery in Santana de Parnaiba, São Paulo. │ Bo She designs plans for the Butanta Institute’s Museum; Lage Bardi prepares sketches of the rehabilitation of the SESC Park pavilion in Rio de Janeiro; and the beach housing estate Pompeia Factory with a pool. Even though this pool was not in Ubatuba (all unrealized). built, she later called this place “The Beach.” 1966 1978 fi Bo Bardi re nes the new MASP design and its landscape; Bo Bardi travels to Japan again. │ The large-scale defor- construction of the MASP is on its way. estation of the Amazonian rainforest commences. 1968 1980 ’ Opening of Bo Bardi s new MASP and meets Queen Brazil reaches high inflation due to the rising cost of imported Elizabeth II. oil and lack of investment. │ Between the SESC Pompeia 1969 Complex’s existing sheds—instead of water-bodies, Bo Bardi Bo Bardi designs the stage-sets for In the Jungle of Cities in sketches landscape and gardens, and adds a solarium deck. At ’ collaboration with Jose Celso Martinez Correa. │ She the factory s entrance, she included sketches of aromatic and curates the Hand of the Brazilian People (A Mao do Povo medicinal herbs used in traditional popular medicine. | Open- │ Brasileiro) exhibition at MASP. ing of the SESC Pompeia Complex. Bo Bardi produces preliminary sketches for the Teatro Oficina in São Paulo. 1970 Emergence of the Flower Power Movement that swaps from 1982 the US to Brazil. │ In December Bo Bardi travels to Italy Opening of the Holy Ghost of Cerrado Church. │ First (Milan and Genoa). phase of SESC Pompeia Complex is completed. Appendix B: Lina Bo Bardi—Timeline in Brazil (1946–1992) 173

1983 Negra exhibition with Pierre Verger. │ In Salvador, Bahia, A severe drought plagues northeast Brazil. Bo Bardi receives the Comenda Dois de Julho. 1984 1989 Bo Bardi conserves the Teatro Oficina in collaboration with She designs the Pierre Verger Foundation; in Benin the Jose Celso Martinez Correa. | The old city quarter of Sal- Brazilian House; and in Campinas the Theatre of the Ruins vador is registered as UNESCO World Heritage site. (all unbuilt). │ In April, Bo Bardi is honored with the first ã 1986 exhibition of her work at the University of S o Paulo. Second phase of the SESC Pompeia Complex opens—the 1990 sports centre. │ Marcello Carvalho de Andrade formed Bo Bardi converts an abandoned railway station into the Pro-Natura Movement to save the rain forests through the Campinas State University. │ She prepares drawings for the sustainable development program, which was set up to conversion of the Palace of the Industries into São Paulo’s prevent clandestine logging. │ Bo Bardi designs an exten- City Hall with its distinctive vertical garden wall. │ The sive refurbishment plan for the historic area of Salvador. │ Instituto Lina Bo Bardi e P.M. Bardi is established to pro- She designs the rehabilitation project for the Urca Cable Car mote the study of Brazilian architecture and culture. │ Station on Sugarloaf Mountain, Rio de Janeiro (unbuilt). 1991 Bo Bardi returns to Salvador to renovate its historical centre. Bo Bardi receives the Latin American Prize at the 4th 1987 Buenos Aires Architecture Biennial, Argentina. In Salvador, Bo Bardi rehabilitates the Ladiera da Miscordia 1992 Hill, designs Coaty Restaurant and Housing, and the Benin Bo Bardi dies at São Paulo Glass House at the age of 77 on House Cultural Centre. │ At this time, the military dictator- 20 March. │ When she dies Bo Bardi leaves unfinished ship is slowly loosening its grip allowing for more democracy. designs such as the new São Paulo City Hall and a Cultural 1988 Centre for Vera Cruz. In Salvador, she designs Olodum House and a community centre in Caneia. │ At MASP, she organizes the Africa Index

A Boari, Adamo, 74 Abandoned buildings, 6, 72, 79, 87, 88, 93–95, 97 Bo Bardi, Lina, 2, 4, 52, 53, 58, 59, 71, 72, 87, 97 Abel, Chris, 54 Botanical, 6, 72, 75, 79, 89, 91, 93, 94 Adaptive reuse, 2, 4–6, 51, 53, 55–57, 59, 60, 66, 67, 71, 75, 77, 89 Botanical luxuriance, 74, 83, 88, 89, 91–93 Aesthetics of rubbish, 93 Botany, 93 African-influenced, 55 Brasil Arquitectura, 4, 94 African slaves, 54 Brasilia, 51, 62, 63, 68, 76, 102 Afro-Brazilian, 5, 6, 51, 54, 60 Brazil, 2, 4–6, 51, 52, 54, 55, 57, 62, 65, 67, 71, 74, 76, 78, 81, 85, 97, Afro-Brazilian culture, 51, 54, 55 110, 112 Amazon, 76, 79, 97 Brazil Builds exhibition, 52 Amazon forest, 6, 93 Brazilian folk art, 54 Anthropologist, 55, 97, 102 Brazilian Modernism, 63, 67, 72 Architectural elements, 62, 85, 93 , 81 Architectural models, 72 Brazil Northeast, 54, 67 Architectural spoils, 72 Brennand, Francisco, 110 Architecture without architects, 55 Brise-soleil, 4, 88, 89, 94 Argentina, 8 Burle Marx, Roberto, 6, 51, 54, 72 Arte Povera Movement, 2 Burra Charter, 57 Artificial, 83, 88, 91, 93 Artigas, Vilanova J., 13, 51 Aravena, Alejandro, vi C Asplund, Gunnar, 68 Cactus garden, 72, 82, 89, 91 Atlantic rainforest, 72 Calabi, Daniele, 53 Australia, 87, 92 Cangaceiro, 82, 83, 93 Authenticity, 67 Carnival, 54, 79 Avenida Paulista, 79 Casa de Vidro, 52, 53 Casa do Benin, 53, 56, 60, 67, 92 Casa do Olodum, 53, 56, 60, 67 B Catholic Church, 112 Bahia, 5, 6, 51, 53–55, 60, 66, 72, 82, 83, 88, 89, 91, 92, 97, 99, 102, Center for studies and work craft, 106 106 Centro Historico, 60 Bahian-African cultural center, 67 Cerrado Church, 88 Bamboo, 87 Charter of Athens, 51 Bardi, Pietro Maria, 52, 72, 74–76, 79 Chateaubriand, Assis, 99, 110 Baroque, 6, 51–54, 56, 60, 62, 66 Chicken-coup structure, 88 Barragan, Luis, 65 CIAM, 51 Barreto, Bruno, 76 City hall, 87 Basket-weaving, 106 Civilization of survival, 6, 97, 106 Bastide, Roger, 55 Civilization of the Northeast, 106 Bauhaus, 65, 68, 106 Classic treaties, 112 Bergdoll, Barry, 7, 52, 68 Climate change, 7 Beton brut, 58, 59, 63 Climate-controlled, 88 Bic-architects, 2 Climate-responsive, 4 Biennial of Arts in São Paulo, 99 Climatic conditions, 4, 7, 55, 63, 87 Bill, Max, 63, 99 Clube dos Artistas e Amigos da Arte, 82 Bíró,László József, 2 Coastal landscape, 81, 83 Bishop, Elizabeth, 76 Coatings, 88, 112

© Springer International Publishing Switzerland 2016 175 A. Condello and S. Lehmann (eds.), Sustainable Lina, DOI 10.1007/978-3-319-32984-0 176 Index

Coaty Restaurant, 6, 66, 72, 88 Eucalyptus, 81, 87, 91–94 Collaboration, 59, 61, 83, 85, 87, 110 Eucalyptus leaves, 91, 92 Collective creation, 110 Eurocentric, 111 Collective memory, 113 European modernism, 52 Colonial structures, 6, 51 Exhibition, 4, 6, 51, 52, 54, 59, 60, 71, 72, 89, 91, 95, 99, 106, 114 Concrete jungle, 93 Existing urban fabric, 56 Concrete-reed panel, 76, 89 Expiration, 95 Concrete tanks, 88 Ex-votos, 97 Conservation, 54, 74, 76, 82 Construction materials, 55 Consumers, 66 F Converting, 6, 97 Facadism, 4, 60, 93, 100 Correa, José Celso Martinez, 111 Factories, 6, 72, 75, 79, 83 Costa, Lucio, 5, 51, 54, 64, 68, 72, 76, 102 Federation of São Paulo State Industries, 114 Cotunduba Island, 76 Ferraz, Marcelo, 54, 59, 94 Counterculture, 106 Fire-escape, 87 Courtyard house, 52 Fireplace, 112 Crate-form, 81 Flamengo Landfill Park, 76 Crinkled-concrete panels, 88, 94 Flávio Império, 111 Critical regionalism, 6, 55, 65 Flower Power Movement, 79 Critical restoration, 6, 99, 102, 112 Folklore, 97, 102 Cross-cultural, 5, 66 Fontana, Lucio, 2 Cultural center/Centro cultural, 60, 61, 64, 67 Fourth Buenos Aires Architecture Biennial, 8 Cultural heritage, 5, 55, 72 Freire, Paulo, 110 Cultural luxuriance, 6, 72, 74, 83, 88, 89, 94 Furniture designer, 4, 51, 76 Curtis, William, 68

G D Garage, 87 Darwin, Charles, 84 Ghirardelli Square, 59 De Almeida, Rômulo, 106 Giants embraced, 112 De Campos, Augusto, 93 Giddens, Anthony, 67 De Campos, Olavo Redig, 51 Gil, Gilberto, 60, 66, 110 De Chirico, Giorgio, 102 Giovannoni, Gustavo, 6, 74, 75, 97, 100 Deforestation, 2, 79, 87 Glass House, 4, 52, 54, 56, 66, 72, 76, 78, 80, 81, 84, 87 De Goncalves, Domingo Magalhaes, 91 Glass tiles, 112 De Macedo Soares, Lota, 76, 77, 94 Globalising forces, 54 Demolition, 2, 5, 6, 51, 56, 57, 60, 99, 112 Goulart, João, 110 Demolition waste, 57 Gramsci, Antonio, 110 Design for reuse, 56 Green room, 87, 89 Dictatorship, 52, 55, 79, 111, 112 Green shell, 76 Do Amaral, Tarsila, 6, 72, 75 Gropius, Walter, 63, 68 Durability, 5, 56, 66 Guanabara Bay, 76 Dynamic, 5, 6, 54–56, 67, 74, 77 Guthmann, Armin, 102 Dynamic regionalism, 55, 67

H E Habitat, 65, 66, 78, 81, 87, 97, 98, 111 Eames, Charles and Ray, 52 Hammock, 5, 81, 83, 91, 98 Ecclesial community base, 112 Hennebique, François, 112 Ecological, 1, 2, 5, 6, 54, 56, 82, 88, 93 Heritage studies, 66 Economic boom, 52 Heroic Modern Movement, 55 Economic Commission for Latin America and the Caribbean (ECLAC), Herrle, Peter, 54 106 Hilbersheimer, Ludwig, 68 Economic planning, 106 Historical buildings, 4, 6, 97 Elito, Edson, 87 Hochschule für Gestaltung (HfG), 99 Environmental comfort, 55 Hut, 81 Environmental disaster, 2 Environmentalist, 71, 79, 81 Environmental planning, 2, 111 I Ephemeral regionalism, 6 Indigenous, 5, 6, 54, 55, 72, 74, 75, 79, 81, 87, 93 ESSO, 76, 88 Indigenous culture, 102 Estado Novo, 52 Indigenous luxury, 80, 81 Ethical, 5, 7, 55, 56, 67, 83 Industrial, 4, 6, 57, 72, 79, 83, 84, 87, 93, 95, 112 Ethnographical, 6, 97 Industrial design, 99, 102, 111 Ethnographic research, 98, 99 Industrial design center, 114 Index 177

Industrial landscapes, 77, 94 Migration, 106 Infrastructure, 5, 53 Minas Gerais, 2, 72, 76, 81, 87, 91, 106 Inhumane, 94 Modern Art Museum of Bahia, 97, 99, 110 Inorganic, 74, 82, 93, 95 Modern avant-garde, 53, 56 Institute of Contemporary Art, 99 Modern easy-chair, 98 Instituto Lina Bo e Pietro Maria Bardi, 62 Modernist, 2, 4, 52, 55, 56, 65–68, 72, 74, 76, 93, 97 International style, 56, 68 Modern Movement, 51, 52, 55, 66, 74, 94, 111 International Union of Architects, 112 Modular prefabricated components, 67 Italy, 2, 4, 6, 53, 56, 72, 74, 76, 78, 79, 87, 95, 110 Moore, Rowan, 5, 59 Itapecerica, 76 Morro da Urca, 6, 72, 76, 77, 87 Morumbi, 72, 75, 80, 84 Morumbi Studio, 87, 92 J Museu de Arte Moderna, 61 Japan, 53, 83, 97 Mutual-aid, 112 Jardim America, 72 Jardim Morumbi, 78 N Naples, 72, 74, 76 K National identity, 52, 102, 106, 111 Kertesz, Mario, 60 Natural, 2, 5, 6, 59, 64, 67, 71, 81–83, 87, 88, 91, 92 Kubitschek, Juscelino, 106 Nervi, Pier Luigi, 76 Niemeyer, Oscar, 51, 52, 63, 84, 91, 92 No Ibirapuera, 6, 72, 89, 91 L Northeastern, 79, 83, 91, 97, 110 Ladeira da Misericordia, 60 North-eastern Bahia, 54 Lake-landscapes, 83 Lanca-perfume, 79 Landscape architect, 5, 6, 66, 71, 72, 74, 78, 94, 95 O Latin America, 4, 52, 54, 56, 62, 66, 92, 94, 106, 111 Obrist, Ulrich, v Latin American Prize, 8 Open-air restaurant, 62 Leather uniforms, 106 Organic, 72, 74, 79, 81 Le Corbusian influence, 54 Organic architecture, 78, 79 , 2, 4, 52, 54, 62, 68, 76, 77, 84, 87 Organism, 4, 100 Leisure centre, 6, 53, 56, 57, 59, 72, 75, 83, 84 Ornament, 82, 85 Lele Filgueiras Lima, João, 61, 88 Outback, 82, 83, 93 Lessons from Lina, 7 Outdoor form, 6, 72 Levi, Rino, 53 Outer shells, 2 Levi-Strauss, Claude, 97 Outskirts, 82, 93 Lewerentz, Sigurd, 68 Life-cycle, 67 Limits to growth, 56 P Longevity, 66 Palanti, Giancarlo, 98 Loos, Adolf, 2, 5 Paper off-cuts, 91 Low-tech industry, 106 Patio-house, 72, 81 Luxo–Lixo, 93 Pedagogy of the Oppressed, 110 Luxuriance, 5, 6, 72, 74, 77, 79, 81, 83, 92–95 Pelourinho district, 53, 56, 89 Luxury, 2, 4, 5, 66, 74, 79–81, 93, 95 Perfume, 79, 82, 92 Luxury goods, 66, 79, 80 , 72, 76, 83, 110 Luxury objects, 80 Petrol, 79 Petroleum, 79 Philological analysis, 99 M Picturesque, 81 Made-good, 93 Pignatari, Francisco, 85 Maisons Jaoul, 62 Pinacoteca do Estado, 4 Mantles, 72, 87 Plan for Rio de Janeiro, 77 Manual weaving, 106 Plant rooms, 72, 74, 87, 93, 94 Marinetti, Filippo Tommaso, 74 Poetic, 58, 67, 72, 77, 81, 94, 102 Mashrabiyas, 102 Pollution, 2, 60 Masonry bricks, 112 Pompeia, 2, 4, 6, 56, 59, 72, 74, 75, 83, 87, 95 MASP, 4, 53, 55, 56, 62, 66, 66, 75, 79, 81, 82, 87, 99, 111 Pompeii, 74, 87, 95 Matarazzo Sobrinho, Francisco, 84 Ponti, Gio, 53 Material waste, 57, 95 Popular culture, 54, 65, 97–99, 102, 106, 110, 111, 113 Meandering water, 112 Popular Culture Movement (PCM), 110 Mee, Margaret, 79 Portuguese colonization, 111 Mendes da Rocha, Paulo, 4, 54 Portuguese settlement, 54 Mexico, 65, 74, 75 Praca do Pelourinho, 60 178 Index

Pre-Columbian, 6, 75, 80, 81, 85, 87, 93, 94 Social identity, 55 Preserve, 6, 55, 59, 72, 100, 106, 112 Social responsibility, 4, 66 Projeto Barroquinha, 66 Soilleux, Gyle, 84 Pro-modern luxury, 5 Solar do Unhão, 6, 82, 97, 99 SPHAN, 54 Spoliated, 6, 72, 74, 87 R Steel drum, 83, 88 Rastro Perfumery, 79 Steel off-cuts, 84 Raw materials, 56, 76, 81, 87, 91, 93, 94 Steel reinforcement, 83, 93 Recife, 72, 81–83, 89, 91, 110 Steinberg, Saul, 81 Recycled waste, 98 Streets for People, 83 Recycling, 2, 4–6, 55, 56, 66, 76, 92, 93, 97, 99 Suane, Lucia, 72, 74, 75, 81 Reed motif, 6, 72, 88 Sugar industry, 54 Refuse, 6, 63, 72, 95 Sugar Loaf Mountain, 76, 77 Re-fuseful, 6, 72, 93, 94 Superquadra, 62, 76 Re-fusing, 76, 94, 95 Survival, 6, 82, 83, 91, 93, 106 Regenerative, 72 Sustainability, 2, 4–7, 53, 55, 65, 66, 88, 89, 94 Regional culture, 4, 5, 54, 55, 64 Sustainable, 2, 4–7, 55, 67, 84, 92 Regionalism, 5, 6, 55, 56, 67 Sustainable Brazil, 2 Rehabilitate, 6, 8, 60, 72, 77 Sustainable urban development, 2, 57 Reinforced concrete, 53, 59, 64, 83, 84, 112 Sustainable urban renewal, 6, 51, 56 Religion, 55, 67 Sydney, 87 Renewable material, 94 Renewable resources, 6, 51, 55 Repurposing, 6, 56, 57, 71, 72, 79, 93 T Restaurante do Coaty, 61 Taba Guaianazes Complex, 84, 85, 87 Restoration, 5, 6, 53, 56, 64, 82, 97, 99, 100 Tafuri, Manfredo, 110, 113 Retaining, 5, 6, 51, 57 Teatro Oficina, 6, 72, 87, 93 Reuse, 4–6, 53, 56–58, 67, 74 Technocracy, 111 Rio de Janeiro, 1, 2, 4, 5, 51–53, 72, 76, 81, 92 Terragni, Giuseppe, 53 Rocha, Glauber, 82 Theater set designs, 111 Romanticism, 102 Topography, 53, 58, 62, 74 Romantic restoration, 99 Traditional techniques, 98, 108 Rome, 2, 6, 51, 53, 74, 97 Transportable, 81 Rubbish dump, 82 Trash, 74, 82, 93 Rudofsky, Bernard, 52, 72, 76, 79, 81, 83, 94 Tree trunks, 92, 94 Russian constructivists, 68 Trianon Park, 79, 82 Rustic, 4, 79, 88, 89, 94 Tropical/cultural gardens, 72 Tropical growth, 93 Tropical luxury, 93 S Typologies, 55 Salvador, 6, 51, 53–56, 60, 64, 67, 82, 88, 97, 99, 111 Salvage, 5, 6, 72, 74, 83, 92, 93 Salvaging, 5, 6, 72, 79, 82, 89, 93, 94 U São Paulo, 2, 51, 53–55, 59, 72, 75, 79, 83, 84, 93, 97, 106, 112 Uberlandia, 88 São Paulo Biennial, 63, 99 UNESCO, 60, 79 São Paulo , 75, 76, 84 United Nations Conference on the Human Environment, 112 Savage, 5 University of São Paulo, 54, 97 Scaffolds, 87 Upcycling, 2, 5, 51, 57, 66 Scarpa, Carlo, 53, 99 Urban cavity, 83 School of Industrial Design, 106 Urban generation, 7 Scientific restoration, 6, 97, 99, 100 Urban regeneration, 60, 74, 75 Screens, 81 Urban regenerator, 67, 95 Segall, Lasar, 75 Urban rehabilitation, 6, 51 Semi-arid landscapes, 72 Urban renewal, 5, 6, 51, 55, 60, 66, 74 Sertão, 72 Utopianism, 55 SESC Pompéia, 53, 57, 59, 67, 114 Utzon, Jorn, 87 SESC, Serviço Social do Comércio, 59 Shipbuildings, 106 Shipping container, 79 V Simplicity, 79, 81 Vainer, André, 58–60, 83 Sketches, 2, 75, 76, 79, 93 Van der Rohe, Mies, 52, 68, 91 Slavery, 54 Vargas, Getulio, 52 Social development, 102 Vegetal luxury, 82, 89 Index 179

Vegetation, 5, 6, 72, 74, 81, 85, 94 Waste, 2, 5, 57, 67, 72, 87, 93, 102 Veloso, Caetano, 110 Wattle-and-daub, 76 Verger, Pierre, 55, 66 Wedge and tenon, 102 Vernacular, 5, 6, 51, 55, 56, 66, 67, 72, 87, 88 Wright, Frank Lloyd, 74 Vernacular architecture, 55 Versailles, 79, 81 Vertical beach, 83, 84 X Vertical plantings, 83 Xangô, 112 Vilamajo, Julio, 84 Xavier, Livio, 110

W Z Warchavchik, Gregori, 6, 53, 72, 75 Zen gardens, 83 Warchavchik, Mina Klabin, 6, 72, 75, 84 Zevi, Bruno, 63, 78 Warehouse, 4, 57, 94, 100, 111

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