DE OLIVEIRA, OLIVIA
Table of contents:
Introduction
Overture - Lina's houses: overcoming contradictions
First movement
The glass house
Interiors in the open air
Two houses in one
What is the ?Glass house? made of?
The chame-chame house
A first study -abandoned
A change of course, the different studies for the house
The fluctuation between ?natural? and ?unnatural? architecture
Towards concise drawings and a synthesis
The domestic feeling -a 'harmonic fusion' of architecture and nature, or towards overcoming contradictions
The tropical garden -critique of a particular 'formal' and 'functional' architecture
The house as a recounted myth/as the extraordinary
Decoration, surfaces, symbols and vitality
Temple house, manifesto house
Interval for children
The popular and the religious in lina bo bardi's work
Architectural devices and linking elements
Staircases
From religion to play
SESC
Play spaces. SESC Pompéia
In search of complete freedom of the body: Yves Klein,
Isadora Duncan and Hélio Oiticica
Second movement
The masp
A glass pyramid -dechristianising the notion of the museum
An 'antimuseum', or a museum beyond bounds
Air, light, work of art -subtle substances in Lina Bo Bardi's architecture
Temple museums, house museums and the spiral theme in Lina Bo Bardi's work
On the notion of time in lina bo bardi's work
Convulsive spirals, the 'reverter' of time
Batuque -African drums and dance
Footnotes
Bibliography
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> Prêmio Instituto de Arquitetos do Brasil: melhor livro de 2006
> Finalist Pevsner Prize of The Royal Institute of British Architects
> Finalist Prêmio Jabuti: best art and architecture book
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Lina Bo Bardi, the Rome-born architect, emigrated after World War Two to Brazil, a country where she undertook her professional career. The outcome of her personal experience and of a wish to get closer to the culture and ways of life of the people, Bo Bardi?s creativity moved in the direction of an architecture that prized simplicity, spontaneity, the residual and the ephem-eral; an architecture understood as 'an organism suitable for life' which incorporated everydayness and the energy of the people who use it. As a result she used the word ?substances?, rather than ?materials?, to explain what her architecture was made of. These substances are air, light, nature and art, to which the author, Olivia de Oliveira, adds time. The work of Lina Bo Bardi, then, is presented here via a huge array of previously unpublished drawings, images, writings and projects that enable the reader to grasp in a kaleidoscopic way the power and current importance of her architecture as a critical confrontation with established reality.
