Mara Sánchez presents her book 'Lina Bo Bardi. Objects and collective actions', an investigation into the work of Lina Bo Bardi that encourages the reader to become 'creater' in order to fully discover her works.

Lina Bo Bardi. Objetos y acciones colectivas (edited by Editorial Diseño), presents a journey through the extensive work of the extensive work of the Italian-Brazilian architect Lina Bo Bardi and Brazilian places she loved. She tries readers know one Lina Bo Bardi who wanted to teach us to 'rediscover the world, learn, dream and play', not only her built works.

Mara Sánchez presents this research with the idea that objects and collective actions are the precursors of the complex work of Lina Bo Bardi, which mingle with the architecture and allow to observe her fully work.

In this way, she presents this research on the architecture of Lina Bo Bardi divided into three parts. A first in which presents her life experience an her interest in objects. It gives way to an analysis of the collective for Lina Bo Bardi. And finally, Toys and Games, it focuses on the study of the toys an objects created by her and how its public architecture dialogue with them.
 

'It rediscoveres the architecture of Lina Bo Bardi from a new perspective born of her life experience, with a clear didactic vocation that makes the relationship with others and learning; and then, from this new dimension, presenting the game as mechanism project that uses the architecture itself as an inducer of collective action.'

CREDITS.-

Title.- Lina Bo Bardi. Objects and collective actions.
Authot.- Mara Sánchez Llorens.
Publisher.- hna Diseño Editorial.
Pages.- 316 pags.
Format.- Paperback. 21x15 cm.
Language.- Spanish.
ISBN-10.- 9873607749.
ISBN-13.- 978-9873607745.

Read more
Read less

More information

Achillina Bo was born on December 5, 1914 in Rome, Italy. Lina was the oldest child of Enrico and Giovana Bo, who later had another daughter named Graziella. In 1939, she graduated from the Rome College of Architecture at the age of 25 with her final piece, "The Maternity and Infancy Care Centre". She then moved to Milan to begin working with architect Carlo Pagani in the Studio Bo e Pagani, No 12, Via Gesù. Bo Bardi collaborated (until 1943) with architect and designer Giò Ponti on the magazine Lo Stile – nella casa e nell’arredamento. In 1942, at the age of 28, she opened her own architectural studio on Via Gesù, but the lack of work during wartime soon led Bardi to take up illustration for newspapers and magazines such as Stile, Grazia, Belleza, Tempo, Vetrina and Illustrazione Italiana. Her office was destroyed by an aerial bombing in 1943. From 1944-5 Bardi was the Deputy Director of Domus magazine.

The event prompted her deeper involvement in the Italian Communist Party. In 1945, Domus commissioned Bo Bardi to travel around Italy with Carlo Pagani and photographer Federico Patellani to document and evaluate the situation of the destroyed country. Bo Bardi, Pagani and Bruno Zevi established the weekly magazine A – Attualità, Architettura, Abitazione, Arte in Milan (A Cultura della Vita).[4] She also collaborated on the daily newspaper Milano Sera, directed by Elio Vittorini. Bo Bardi took part in the First National Meeting for Reconstruction in Milan, alerting people to the indifference of public opinion on the subject, which for her covered both the physical and moral reconstruction of the country.

In 1946, Bo Bardi moved to Rome and married the art critic and journalist Pietro Maria Bardi.

In Brazil, Bo Bardi expanded his ideas influenced by a recent and overflowing culture different from the European situation. Along with her husband, they decided to live in Rio de Janeiro, delighted with the nature of the city and its modernist buildings, like the current Gustavo Capanema Palace, known as the Ministry of Education and Culture, designed by Le Corbusier, Oscar Niemeyer, Lucio Costa, Roberto Burle Marx and a group of young Brazilian architects. Pietro Bardi was commissioned by a museum from Sao Paulo city where they established their permanent residence.

There they began a collection of Brazilian popular art (its main influence) and his work took on the dimension of the dialogue between the modern and the Popular. Bo Bardi spoke of a space to be built by living people, an unfinished space that would be completed by the popular and everyday use.
Read more

Mara Sánchez Llorens, doctora arquitecta por la Universidad Politécnica de Madrid. Urbanista y diplomada en Historia. En 2010 defiende su Tesis Doctoral «Objetos y Acciones Colectivas de Lina Bo Bardi» (Sobresaliente Cum Laude, UPM); premiada por la Fundación Caja de Arquitectos y por la VIII Bienal Iberoamericana de Arquitectura y Urbanismo; y de la que nace este libro. Profesora de Proyectos arquitectónicos desde el año 2004 ha desarrollado esta actividad, así como la de curadora y ponente en congresos y foros internacionales, en diversas universidades europeas y latinoamericanas. En 2012 recibe el Primer Premio de Innovación Docente Laureate International Universities. Compagina su actividad investigadora y docente con la profesional como arquitecta y urbanista independiente. En 2004 funda la oficina Coma arquitectura, junto a Constanza Temboury. Es autora de los libros (Re) Thinking Tropicalia (2015), Conversaciones sobre el futuro. Arquitectura y sociedad (2014), Cartografías de la Ciudad Universitaria Latinoamericana (2013), Materia de arquitectura. Nuevos y viejos materiales (2012). Desde el año 2012 es editora de la revista de Ciencias Sociales «Sociedad y Utopía». Participa habitualmente en revistas de Arquitectura y Arte.

Read more
Published on: July 23, 2015
Cite: "Lina Bo Bardi. Objects and collective actions" METALOCUS. Accessed
<https://www.metalocus.es/en/news/lina-bo-bardi-objects-and-collective-actions> ISSN 1139-6415
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...