Lina Bo Bardi’s Casa de Vidro: Modern Architecture in a Tropical Environment

we are now we are an institute you speak about that and how we are running in this project of the keeping it modern that's very very important for us so this is the house this is the house in nineteen eight and this is the house in the fifties so as you can see the garden the trees and these all these forest like garden wasn't there it was suburbian allotment was a tea farm before and there was some spots of vegetation of trees but there wasn't nothing because was a plantation first so she beauty house and you can see the new plants here and there and we will speak about that the house was her first project and was very very published abroad not only in Brazil but abroad this I like this picture because the the publication on Dom's magazine in Italy in Milan and you can see the composition of the house with the role of the color of the red color on the dorms on the sleeping room and dividing or making this transition between the transparent space of the living room and the services in the backyard well this is the a model explaining that and this is a sketch of the mountain house designed by Mies van der Rohe never built in Italy in 1934 publishing the catalog of in this version of 1947 so she of course had this book in because in her collection of the talks by Philippa Johnson we found it at the library and the idea of this house gently paused placed in this slope with the pillars the columns various think columns in the other side is very present in the architecture of that moment included in her work I should mention others acted not influenced or not written with so clear reference to to miss van der Rohe like I have to do this this is Rio de Janeiro this is come apart in houses designed by Alphonse elaborate this is could be an iconic house in the future in the at the same time that Lina designed her home and here is Rena levy in some large cups is 70 miles from Sao Paulo it's a public park now you can visit is very well maintained it but empty and you can see the role of this the house in the landscape and as observation deck for the landscape this is something that Lina later call no natural park d'etre so he here is Lina at her house in one of the first publication she was very fashionable in that moment she was running the museum with her husband Pietro body so she posed for the photographer's to be published in in a way to be recognized as an octet she would was when the first woman's design act debtor in Brazil spied she's not Brazilian I explained a little bit later she so this is this is iconic we can see that in all these visions of the centenary in the last years in this reproduce this situation is her interpretation of the city's schedules of liquor booze yet that summarize a position of the Brazilian theatre that took from liquor boozy that is the identity of the Brazilian debtor should be this relation with the landscape so not only the garden with natural regional plants but also this beautiful this very special landscape so but the other is this share transparence to the landscape and you there sitting armchair contemplated it this is something quite difficult in Brazil because of the sunlight in the heat of the sunlight so the you can see the shades or the frames like that inspired in Portuguese Arabian octet ER did by wood to create this trans not full transparency but this membrane between the interior and the studio and at the glass house was one of the first that she sighed to not have this kind of mediation between the interior and exterior so and this was very specifically she she put she presented that data as a way to be singular in the Brazilian in that Brazilian moment so this is the house in the neighborhood it's not it's not it was an outskirts over there and this was a perso that was supposed to be a wealth support as wouldn't be called Morumbi as this was not so beautiful in some of the pictures the landscape that distant landscape of the earth scratches eraser has created that image view of a full nature environment the house who is you can see here had this middle of this this is the allotment being built was the first house built there was nothing around and neither infrastructure or other installation this is the library clearly inspired in Franco beanie glass in Italy partly he's not there anymore because the glass is broken with the weight of the so to explain a little bit the house so this is a model and we have this the transparent part of the house living room room here okay you have the living room then occurred the kitchen connecting with the service in the backyard and with this model you can see that the house is there in the typical of you and we have three editions this is the entrance for the cars and house there this is the the first one built in with the house this is a custodian house in 1952 that one is the garage beauty 58 silk and this is her studio built in the AIDS in 86 something like Miss Philippa Johnson house you have this narrative of different times and different moments of her career that the first one is to the mix of Italian rationalism with international style here more inspired in in Bruno's arrogancy ISM in here bringing her experience with the national popular folk rock petrol producing Brazil that she work on need after the sixties soon after she built the house and moved to the house she wrote to her husband who was in Italy for some research saying that our house is very beautiful the garden is wonderful but today I would never make a house like that it is the residue of my beliefs on a limited progress today I would make a house with a wood stone oven without windows and surrounded by a large bag full of woods I would throw the seeds at the wind in the woods and this is some sketch of hair in the same letter and then she start to build the pathways around and she was going further with his idea of and control and a garden so it's not a sign garden like bulla max for example that says like a painting but this is it it's supposed to be in spontaneous garden she's very careful in this species but through at the wind so this is the garden now and the pathways in another completely kind of style of attacher so after there before that she was she was a close friend of Bruno's death with a lot of letters among them and she went to Barcelona v3 Gaudi work was written very impressed with Gaudi so this is the garden in the actual situation and we have a lot of pathways like that you can imagine for visitors the problem of universal accessibility for handicaps over there so we have a lot of things to two inches just to face in this case is that the day of the walls the sustainable walls with so sorry this and automatically so one of the questions is about the species of the the plants very tropical not all brazilian species and we have some problems of the growth of the house the trees and the roots very special I will return to that he's speaking about the plan for a conservation plan that we should remove some of those trees because the roots are Bush snap the structure of the house so this is this is Jesus figures elastico snoozes this is a very hard one some species is part of our survey so but the house was not only the garden houses inside was a place where they could rehearsal their way of present art in the space so they were running a museum she built the she was organizing this vision design distribution so you can see contemporary modern furniture designed by her in a mother house this is blue like the blue this is a Renaissance table a modern sculpture another now we have a Diana sculpture from the first century there and was clearly rehearsal how to put together with transference the art and nature and a rehearsal for this way to present art that she proposed in the museum in second venue of the museum built in the sixties so with the transparent displays and transparent facets so it's there you can now it's back there you convince the the museum something like this this disposition is a challenges is quite of site-specific designed to present the Arts in the dead moment so this is Pietro Maria body in the purse her husband over there is Joe Joe Ponte visiting Brazil in 52 and Lina in the middle of them so the the house was we have a lot of registers of these visitors of this network of Dan receiving max bill receiving a lot of foreign actors and artists intellectuals the house was a center for them for meetings and and it was but was a place for their life and the age came so the house that was like this in the beginning became these the man and these when they pass away so full of a huge collection of work of Arts or furnitures of rugs and everything however yeah you have this some steel there at that time so that all the objects of their collection in some somehow this is something like the inn's house in the sense of this collection of things that they designers things that they collect our around the world however when Pietro pass away he is he had students of his first marriage and the their son his sons came and claimed the heritage so and they took away a lot of things so houses the living room became quite empty sometimes to clean the house it's more aimed so we start to discover this not only as a limitation but as a potentiality to use the living room for as for others proposal proposals houses this is Pedro and this is linen by 1990 and but in 99 they create the phones this institute is to tool in a bow and Pedro a pain but they and they donate the house to this Institute a nautical action and they sold a painting Koya painting he was also unhurt not only the director of the museum and with this endowment we live until 2014 when it finished so this is this is our product and the Institute was creates to promote Brazilian cultural art and architecture so this is the aim of the house the house was donated to the Institute to preserve this and to put not on to preserve itself but to be a center a dynamic center of production of culture of art of a debtor so and this is really a challenge and I will speak about that and we are dealing with that within the keepings modern conservation and management plan we have the octet or the preservation of a pet rejected is quite well preserved this is some survey that we are doing now we have problems with the roof of course the tires are very old we have some problem of infiltrations in some spots we had glass broken glass box always and this is I was very glad to see in one of the houses yesterday a broken glass say okay it's not all our problem it's we have some some theories of how to what you should do to avoid the broad and the garden is another challenge because the trees are so close to the octet or that they are falling and they have to be a part of them should be remove you have 800 trees and we should remove more than 100 so this is not only for the security issues but the cannot of the trees creates such a shadow underneath that all the colorful of the plants on the ground level disappear with the time so we have to open some some windows in this and in this cannot just to enter the sunlight and to create a new landscape under needs recovering some species and some flowers of these we have a an archive that now it's very well organized this it was organized with some public funds bazillion public funds for research we have 707 thousand drawings they are digitalized at an online in our website we have 15,000 pictures of photography's we have a lot of documents and a lot of work of art very well conserve a so such conserve a to the house we have to conserve 8 the archive and we have to give access to researchers all over the world to the archive and this is not it's not easy to do both things is another challenge to us and the other one is how to do what to do with in in the house so as an institute in the after the small restoration that we did some years in front 2008 when 2010 we were invited by hands which office to make he want to promote an exhibition there and he promoted in 2012 and 2013 the insides are on the outside and for the first time we realized that it's vital has being very distant in the suburb of sample its we could gather more than 10000 people visiting the house in 45 days so in this this becomes another challenge not not because it's not a museum to receive such amount of visitors but we realized that we could do some reservations we just exploring and present publicly items of our archive the first one was in 1915 as parts two of her centenary commemorations later in 16 with hair design and this is very controversial because some updates or visitors who complains that oh they came to see the original house the region of living space and Matins vision there so but this is not who he is very hard to do it again as the original situation so this is a original condition we can't do it anymore we can just get closer so one one of one of our ideas is to do things like that this is an exhibition that is just there is a house as a home so we we look for some of the works of art that were removed and we are the new owners of those those who works borrowers first and to those tables side tables and in the back that is there for two months so the idea is to make some months of the years the houses the most original as we can do but the houses has also a very strong possibility for meetings debates is a very charming place to have meetings and we have a series of lectures there document lecture there are in the studio downstairs during these emissions or or not and we have a social program in art education this is the houses very close to a favela one of the biggest favela in sample Perez opals and these are the kids that come from from the favela day of school of dance that are visiting there but we have a lot of programs with kids with all ages and specialized arts program going to the conclusion there's a urban possibility potentiality for the the house is to create an assemble of three important Modern Art at two houses designed by Lena the glass house the other one is the valle de serie hell real houses is that in the new phase that she had 15 straight clothes one block distance we can knock this is a private home but is they are not living there is listed they want to sell it but as is listed nobody wants to buy it so but we don't have any funding to buy it and to create this connection and the other one is the that Scheffel company was a ruin completed by Raja fresh a few as pension nation before was the first octet to produce modern and 13 so Paul so we can create this triangle just visitors not come only to the Glass House to the Casa de to do but to make this tool around as I think this could be a nice thing to do finally I this was an exhibition that I created some months ago and it's coming to us in the inauguration of the macro Mickey observe the macro Mickey house reveal the Elmhurst Museum so it's an exhibition comparing lina bo-buds houses with music undergoes Farnsworth de Filippi draws on glass house and the ins house reyne in house this will be in Elmhurst is this is near Chicago in the metropolitan region Chicago it would be inaugurated open in June 10th and there's a nice addition created by bareback though about the house and he invited me to bring our addition to be a side exhibition just conceptualising the glass houses of this work so I hope to see you there and that you join the city thank you very much [Applause]

Channel: IconicHouses

Views: 7,342

Rating: 4.9452057 out of 5

Keywords: lina bo bardi, renato anelli, iconic houses, casa de vidro, sao paolo, iconic houses network, mid century modern, modern house, house museum, casa museo, Instituto Lina Bo e P. M. Bardi, Keeping it Modern, iconic houses conference, modern architecture, MCM

Id: aJb5jFoBxE8

Length: 27min 1sec (1621 seconds)

Published: Mon Jun 25 2018