Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture
07/02/2019.
Casa de vidro [São Paulo] Brazil 15.12.2018 > 23.03.2019
metalocus, ÁNGEL TORNE
metalocus, ÁNGEL TORNE
From December 15 until March 23, 2019, the Pavilhão de Verão (Summer Pavilion), is occuping the gardens that surround Lina Bo Bardi’s famed Casa de Vidro. The temporary structure was designed by architect Sol Camacho. The pavilhão de verão, or summer pavilion, was built to receive events during the warm months from December to March.
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Simon Plestenjak
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Leonardo Finotti
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Leonardo Finotti
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Leonardo Finotti
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Simon Plestenjak
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Leonardo Finotti
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Simon Plestenjak
Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture. Photograph by Simon Plestenjak
Axonometric. Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture.
Ground floor plan. Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture.
Axonometric. Pavilhão de Verão (Summer Pavilion) at Casa de Vidro by Raddar Architecture.
"This residence represents an attempt of communion between the nature and the natural order of things, opposing to the natural elements the least number of means of defense." - Lina Bo Bardi in 1958. * “With these words I started the project, Lina thought and designed her house in total interaction with nature. She created, planted and took care of the garden of the Glass House for four decades. The garden and the house complement each other. The pavilion had to follow this idea."
Sol Camacho was firstly inspired by Lina Bo Bardi ’s designs of ephemeral structures and other architecture projects like the Quati restaurant in Salvador de Bahia. The pavilion’s organic lines draw from a careful study of the surrounding trees, the access to the Studio, and the stone ramp where it sits, following the possibilities of space while offering new relationships with the Glass House and a closer proximity to magnificent trees.
Placing for the first time a new structure close to the Glass House and inserted in the garden was a big challenge. It seemed to have almost no room for it. All trees were measured and the idea of the platform surpassing the existing stone ramp, in some moments incorporating the trees was the answer to the site. “The sinuous lines that define the border and benches came almost naturally just by sketching the possibilities of the platform’s overhang. The resulting ‘ameba’ quickly related with the surrounding low retaining walls and handrail that Lina designed for the garden. The idea of the black pillars merging as trees and sustaining the wooden canopy also follows the logic of blending with the context,” said Sol Camacho
Pietro Bardi and Lina Bo Bardi, founders of the Instituto, were big cultural promoters in all areas of the arts. The pavilion in this way continues the mission of promoting cultural and educational activities in a new open space that can receive from small groups up to 220 guests. Music and dance performances, lectures on architecture, arts and design, courses on drawing, gardening and even culinary events, for adults and children are part of the diverse program.
The pavilion is also an opportunity for regular visitors to the Glass House to spend more time in its garden, have a coffee or lunch and be inspired by the place.
“The pavilion is a temporary intervention in the House and its temporality is an essential part of the project. The design, framing the house, and the choice of the material was also important within the context of this preserved heritage site. The Glass House is listed in all instances of the heritage organizations of Brazil since 1986." affirmed Sonia Guarita - president of the Board.
A private opening of this ephemeral architecture was a big success, hosting the first ever fundraising event for the Instituto where the local celebrity Maria Bethânia sang for the audience of 250 guests. The public opening will be this Sunday 16th with a Ballet performance from the community of Paraisópolis.
Placing for the first time a new structure close to the Glass House and inserted in the garden was a big challenge. It seemed to have almost no room for it. All trees were measured and the idea of the platform surpassing the existing stone ramp, in some moments incorporating the trees was the answer to the site. “The sinuous lines that define the border and benches came almost naturally just by sketching the possibilities of the platform’s overhang. The resulting ‘ameba’ quickly related with the surrounding low retaining walls and handrail that Lina designed for the garden. The idea of the black pillars merging as trees and sustaining the wooden canopy also follows the logic of blending with the context,” said Sol Camacho
"The intention of activating other spaces of the House, while Casa de Vidro hosts MASP exhibition Sonia Gomes - Still I rise in its main salon, triggered the idea of building a temporary structure in its garden to present a diverse cultural program and a big fundraising event."
Waldick Jatobá - Executive Director of Instituto Bardi.
Pietro Bardi and Lina Bo Bardi, founders of the Instituto, were big cultural promoters in all areas of the arts. The pavilion in this way continues the mission of promoting cultural and educational activities in a new open space that can receive from small groups up to 220 guests. Music and dance performances, lectures on architecture, arts and design, courses on drawing, gardening and even culinary events, for adults and children are part of the diverse program.
The pavilion is also an opportunity for regular visitors to the Glass House to spend more time in its garden, have a coffee or lunch and be inspired by the place.
“The pavilion is a temporary intervention in the House and its temporality is an essential part of the project. The design, framing the house, and the choice of the material was also important within the context of this preserved heritage site. The Glass House is listed in all instances of the heritage organizations of Brazil since 1986." affirmed Sonia Guarita - president of the Board.
A private opening of this ephemeral architecture was a big success, hosting the first ever fundraising event for the Instituto where the local celebrity Maria Bethânia sang for the audience of 250 guests. The public opening will be this Sunday 16th with a Ballet performance from the community of Paraisópolis.
*Manuscript edited for the first time in the course of architecture of the Faculty of Fine Arts of the Federal University of Bahia in 1958. Republished in Lina Por Escrito, Textos Escolhidos of Lina Bo Bardi 1943-1991. Silvana Rubino and Marina Grinover (org)
More information
Architects
M.Arq Sol Camacho / @solcamacho - principal of Raddar Architecture
Design team
Raddar Architecture.- Flora Milanez, Alina Paias
Collaborators
@carpinteriaestruturas / Engineer Alan Dias
Client
Instituto Bardi / Casa de Vidro
Dates
December 15, 2018–March 23, 2019
Sol Camacho Raddar Architecture
Raddar Architecture. Architecture firm based in Sao Paulo and Mexico City founded and directed by Sol Camacho. Sol is an architect and urban designer. She earned her M.Arch Urban Design from Harvard University Graduate School of Design after earning a B.Arch from Mexico City’s Universidad Iberoamericana. Both degrees earned with the highest honors. Sol also studied at Ecole d’Architecture Paris Val de Seine for a full year during college.
Before establishing RADDAR, Sol worked independently as an open-office format with partnering with renowned architects in Mexico, US and Brazil. She also worked at TEN Arquitectos, Skdimore Owings & Merill in New York and Architecture-Studio in Paris. Sol has been awarded twice the FONCA grant among other grants and awards. She currently teaches at CENTRO University – City Master Program. She has been invited professor for workshops and courses in Harvard GSD, University of Michigan, PUC-Rio, Escola da Cidade Sao Paulo.
Sol currently is the Cultural Director of Instituto Lina Bo Bardi/Casa de Vidro, among other cultural institution participations.
Before establishing RADDAR, Sol worked independently as an open-office format with partnering with renowned architects in Mexico, US and Brazil. She also worked at TEN Arquitectos, Skdimore Owings & Merill in New York and Architecture-Studio in Paris. Sol has been awarded twice the FONCA grant among other grants and awards. She currently teaches at CENTRO University – City Master Program. She has been invited professor for workshops and courses in Harvard GSD, University of Michigan, PUC-Rio, Escola da Cidade Sao Paulo.
Sol currently is the Cultural Director of Instituto Lina Bo Bardi/Casa de Vidro, among other cultural institution participations.
Lina BO BARDI
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.
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.
Categories
Our selection
