Lina Bo Bardi_Glass House Model Documentation

Analyse von Geb채uden und Stadtraum, 2013

THE GLASS HOUSE, Lina Bo Bardi

MENTORS: Gerhard Stocker Peter Nigst J端rgen Wirnsberger TEAM: Florian Anzenberger Thomas Harlander Bojan Kecman Simone Kremser Natasa Radakovic Silvia Schretter

„When we are born, we have nothing to choose, we are just born. I wasn‘t born here - I chose this place to live in. For this, Brazil is twice my country, it is my country of choice, and I feel myself a citizen of all its cities, from the Cariri to Minas Gerais‘ Triangle, from the interior to the border towns.“

Lina Bo Bardi, Curriculum literário, São Paulo: Instituto Lina Bo e P. M. Bardi, 1993. p. 12.

Achillina Bo Bardi (Rome, Italy 1914 - São

In 1946, she married the critic and art his-

But through all her myriad disciplines, Bo

Paulo SP 1992). She studied drawing at the

torian, Pietro Maria Bardi (1900 - 1999), and

Bardi put people at the center of her de-

Art Lyceum and graduated in architecture

the couple traveled to Brazil, her „country

sign.

from the School of Architecture of the Uni-

of choice“, as she would put it, and even-

Through exploring her many influences, Bo

versity of Rome, in 1940. The school, direc-

tually settled there.

Bardi created the spirit of experimentation

ted by the traditionalist architect Marcello

She approached the Brazilian architectu-

that transcended the boundaries of disci-

Piacentini (1881 - 1960), emphasized histo-

ral scene through publishing, creating in

pline. Her vivacious creations were inspired

ricism and classicism, a program labeled

1950 the magazine Habitat, which was pu-

by interaction – how people relate to one

by Bardi „aulic and stylish nostalgia“.

blished until 1954. In 1951, she planned her

another, to nature, to public and private

After graduation she moved to Milan whe-

residence in the Morumbi neighborhood,

space – but always designed with a sen-

re she worked alongside architect Gió

in São Paulo, the so-called „glass house“,

sitivity and earnest curiosity that inspired

Ponti (1891 - 1979), leader of a movement

considered a landmark of architectural ra-

innovation in all she did. She valued what

furthering Italian craftsmanship and direc-

tionalism in Brazil.

was essential – in nature and in design –

tor of the Milan Triennial, as well as of the

A true polymath, Bo Bardi applied her po-

but always with human participation.

magazine Domus.

pulist design philosophy to all her endea-

She founded the magazine A-Cultura del-

vors: architecture, stage design, curating,

la Vita together with the art critic, Bruno

editing, teaching, illustration, furniture and

Zevi (1918 - 2000).

fashion design.

http://www.itaucultural.org.br/aplicExternas/enciclopedia_ic/index.cfm?fuseaction=artistas_biografia_ing&cd_ verbete=8693&cd_idioma=28556

Glass House is architects first build work and also first house built in Jardim Morumbi, former Tea Farm. It was huge Brasilian Forest reserve with wide range of different animal and plant species.

The Glass House and its surrounding today represent the only reminding of what could have been great City Park. Nevertheless the area also refutes conventional solutions for habitation problems that are typical for its surrondings due the abstence of Master Plan for City of Sao Paulo.

1. Entrance 2. Library 3. Living room 4. Atrium 5. Fireplace 6. Dining room 7. Bedroom 8. Clothes closet 9. Kitchen 10. Servant‘s bedroom 11. Servant‘s living room 12. Wardrobe 13. Veranda 14. Patio 15. Storage

Project Analysis The house is placed along side the slope, surrounded by forest in direct relationship with its natural surrounding. Thanks to the sloped terrain building is developed through two main volumes: frontal - that rests on steel columns and back- that sits on the hill following the narrow terrain.

Regarding the spatial and functional distribution the space is cleraly divided in 3 zones. Living zone, sleeping zone and.

services. Each zone is divided through the open spaces-atriums in between.

Main part of the building thanks to whom the name Glass House was given is the frontal part with glass facade and concrete slabs held by the steel columns. This part is also main living zone with series of spaces within: living room, dining room, fire place, library. This “glass box” on the pilons contains atrium zone built around large tree. Placed around tree tops,

with completely opened glazed façade, living room is providing panoramic view of the city and the natural landscape.

Influence of the Le Corbusier and modernism is readable through different aspects, especially in this particular zone: open floorplan with columns, glass façade, free ground level and close relationship with nature and inevitable concrete.

„Although the composition is conditioned by the overriding way in which society was organised at that time, with segregated spaces for servants, it does suggest the idea of dialogue between this society, which still owes much to colonialism, and modernity.“ Domus Magazine

Main entrance and connection of frontal zone with ground is made through the steel staircase placed under the slab.

Living zone is connected directly through the kitchen with cleeping zone and services. Unlike living zone that is glazed from three sides, back of the house lays directly on the ground and it is made out of concrete. While master bedrooms are completely private, hidden in the core of the house, oriented to the inner courtyard and not visible from the exterior, service spaces

are more-less individual part of the house, clearly visible from exterior.

On the ground floor, facing garden and a large retaining wall cutting the ground is area of machinery and garage.

The idea of void on the ground level serves is to articulate and highlight the built mass, and it also leads to free flow of people, vegetation and air while plaing with light and shadow. “Inside becomes outside.”

House is very often compared with inverted green house. Relationship with nature

is guided to extreme level. All of this puts Lina Bo Bardis House of Glass in very specific style of “tropical modernism”.

In São Paulo, Bo Bardi designed and built her home known as the Casa de Vidrio – or the Glass House, currently home of the Instituto Lina Bo e P.M. Bardi – as well as the Museu de Arte Popular do Unhão in San Salvador de Bahia, the São Paulo Museum of Art (MASP) and later SESC Pompéia, a cultural a leisure center on the edge of São Paulo.

Working process The main goal of th course Analyse von Geb채uden was introduction to exact and precise model making as well as learning the material aplication, model making methods and choosing adequate way of presentation of the building.

Analysed project The Glass House by Lina Bo Bardi was choosen trough discussion between the mentors.

Friday 25th of October 2013 After forming the group, first and main task was to organise and divide the labor in order to have smooth and uninterrupted workflow.

Labour was divided to individual tasks for: - Terrain - Interior walls - Exterior walls and celings - Windows - Staircases - Typical details

Most of the tasks were suppose to be undertaken at the same time, so having precise and accurate plans was main priority for the group. Thereby before any of the tasks could start it was necesary to make dwg. drawing of the project. Analysis of the building was made through comparation of different floorplanvariants and photo reconstruction in order to have as precise results as possible. It was also necessary to measure roughly the floorplans and sections in order to define and order sufficient amount of material.

Modellbau Materialien: Projekt Lina Bo Bardi Plattenstärke

Abmessungen mm2

Plattengröße mm

Anzahl/Stück

6,0 mm 4,0 mm 2,0 mm 0,8 mm

69969,2 mm2 14711,6 mm2 29068,8 mm2 7092,8 mm2

750x300 mm 750x300 mm 750x300 mm 750x300 mm

3.Stück 2.Stück 2.Stück 1.Stück

Material: Birkensperrholz Stützen: Stahldraht: Stahldraht:

Rundstab

2x1000mm Buche 0,5x1000mm 0,6x1000mm

3.Stück 1.Stück 1.Stück

Monday, 4th of November 2013

Tuesday, 5th of November 2013

Wednesday, 6th of November 2013

After all specific elements were discussed with mentors in order to clarify ambiguities, final plans were done so whole group had the same starting point of the drawing reference and model making process could start.

For the inner and outer walls it was necessary to think carefully how connections work and how they are suppose to be done, so the joints, and milled edges are not visible. In wall elevation drawing is important to have plan for miter joints and to make sure that each sanded side of the wall includes additional space for miter that is suppose to be smoothed in right angle afterwards. The size of the openings was also very important because it needs to include additional space for veeners that is used to cover all visible milled edges.

After the window elements made previous day were not precise enough in the morning we started a new attempt. The veneers that were not made precisely were taken out and made again. Inner walls and outer walls were sanded for miter joint. Upper edge of façade walls were adjusted so the roof “blends inâ€? as it is in real. Terrain and frames were also miled.

Material study was done by mixing various pigment combination of acrylic mass and comparing the samples with wooden boards that were used as the main model material.

Elevation of each interior wall was drawn and prepared for cutting. And in afternoon celing plate, and window elements and the treads were milled. Different thicknes of each building/model element dictated dynamics of cutting and assembling elements together.

Veneers were cutted and pasted into window openings, while the rest of the walls were being milled. However, it was not error free.

Thursday, 7th of November 2013

Friday 8th of November 2013

Saturday, 9th of November 2013

After slab and wall plates (inner and outer) were ready with fine detail whole assembly could be putted together and tested for correcture of connection detail . Different teams defined at beginning started to merge together. Although all the elements fit together sucessfuly, some minor mistakes had to be corrected.

Some parts of the model were already glued together, main contoures of the building , as well as terrain could be recognized. Next task what to adjust and test how building and terrain fit together because some elements of the house were suppose to be fixed within terrain before final plastering.

After final correcturess, cutting out and fixing the armature web plastering of the terain could start. Model was almost completely joined together, with final touch ups such as fixing the staircases and window elements to be done.

Terrain, windows and stairs continued with progress regarding finishing details and touch ups. Work flow continued with occasional consolidations within the group about project in general.

Now when most of the walls were glued together working on the smaller details as chimney, fireplace, roof plate could take place.

Next few days took for plastering terrain and fitting in the house, as well as fixing the trees as final but crutial elemet of the model and the building.