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Bo Bardi: come una donna ha rivoluzionato il mondo dell\u2019architettura e del Design"},"content":{"rendered":"

Lina Bo Bardi, nome originale completo di Achillina Bo, (nata il 5 dicembre 1914 a Roma, Italia, morta il 29 marzo 1992 a San Paolo, Brasile<\/strong><\/em>), architetto modernista brasiliano di origine italiana, designer industriale, conservatore storico, giornalista e attivista il cui lavoro ha sfidato la categorizzazione convenzionale. Progett\u00f2 audaci strutture idiosincratiche che fondevano modernismo e populismo. Bo Bardi si laure\u00f2 in architettura nel 1939 all’Universit\u00e0 di Roma, dove aveva studiato con architetti come Marcello Piacentini e Gustavo Giovannoni. <\/p>

Dopo la laurea, si trasferisce a Milano e inizia a lavorare con\nl’architetto Carlo Pagani e inizia la sua carriera nel giornalismo di\ndesign. Oltre che con Pagani ha lavorato anche con l’architetto e\ndesigner Gio Ponti e ha collaborato con lui alla rivista Lo Stile.\nNel 1944 divenne vicedirettore di Domus – una rivista fondata da\nPonti nel 1928 – e mantenne tale incarico fino al 1945. Nel 1945\nDomus commission\u00f2 a Bo Bardi, Pagani e al fotografo Federico\nPatellani di viaggiare per l’Italia documentando la devastazione\ndella seconda guerra mondiale. Pi\u00f9 tardi nello stesso anno ha\ncollaborato con Pagani e il critico d’arte Bruno Zevi alla rivista di\nbreve durata A – Attualit\u00e0, Architettura, Abitazione, Arte, che ha\npubblicato i loro risultati e discusso idee per la ricostruzione in\nItalia del dopoguerra.<\/p>

Nel 1946 spos\u00f2 Pietro Maria Bardi, direttore di una galleria d’arte, commerciante e critico. La coppia si trasfer\u00ec in Brasile poco dopo, dove suo marito era stato invitato dal giornalista e magnate dei media Assis Chateaubriand per aiutare a fondare e dirigere il Museo d’Arte di San Paolo (Museu de Arte de S\u00e3o Paulo; MASP<\/em>), il primo museo in Brasile a collezionare ed esibire arte moderna. <\/p>

Per il primo allestimento dell’istituzione museale, aperto nel 1947, realizzo in una parte dell’edificio che ospitava l’attivit\u00e0 di Chateaubriand, gli interni e gli allestimenti. Qui Bo Bardi ha sviluppato un sistema innovativo per sospendere i dipinti lontano dal muro. (il suo design \u00e8 stato demolito negli anni ’90 e sostituito con un sistema di sospensione a parete convenzionale<\/em>) Ha anche progettato sedie pieghevoli in legno e pelle di jacaranda brasiliane, che sono state utilizzate durante le lezioni e gli eventi. Successivamente ha curato una mostra al MASP sulla storia del design delle sedie.<\/p>

Nel 1950 Bo Bardi fond\u00f2 la rivista Habitat con suo marito, rivista per la quale ricopri il ruolo di editore fino al 1953. Durante quel periodo porto Habitat ad essere la rivista di architettura pi\u00f9 influente in Brasile. \u00c8 diventata cittadina brasiliana (1951), ha istituito il primo corso di design industriale<\/a> del paese presso l’Istituto di arte contemporanea (parte del MASP ampliato) e ha progettato per se stessa e suo marito la Casa de Vidro (o Glass House), nel quartiere Morumbi di San Paolo. <\/p>

La Glass House fu costruita su una collina e, nel tempo, si\nintegr\u00f2 completamente nel paesaggio. La facciata principale della\ncasa si estendeva sul pendio della collina, elevata e sostenuta da\nsottili pilastri. Nel 1951 disegna anche il suo mobile pi\u00f9 famoso,\nBardi’s Bowl, una sedia a forma di ciotola emisferica regolabile\nappoggiata su una culla d’acciaio.<\/p>

Nel 1958 inizi\u00f2 a lavorare sul un nuovo edificio del MASP\n(completato nel 1968). Situato in posizione centrale sull’Avenida\nPaulista di San Paolo, l’iconico edificio in vetro e cemento di Bo\nBardi si presenta sollevato da terra di 8 metri su importanti\npilastri rossi. Lo spazio a livello del suolo serviva, secondo la\nprogettazione, come luogo di ritrovo per concerti, proteste,\nsocializzazione…<\/p>

Alla fine degli anni ’50 Bo Bardi inizia un lungo periodo di vita\ne di lavoro a Salvador, una citt\u00e0 impoverita ma culturalmente ricca\nnello stato nord-orientale di Bahia. Qui ha tenuto una serie di\nconferenze alla School of Fine Arts della Bahia University nel 1958,\ne nel 1959 \u00e8 stata invitata a fondare e gestire il Museo di Arte\nModerna di Bahia (Museu de Arte Moderna da Bahia). \n<\/p>

Lina Bo Bardi e il periodo della dittatura militare.<\/h3>

Lo sconvolgimento politico che investi il Brasile negli anni 60\nla port\u00f2 a lasciare Bahia nel 1964. Il suo successivo ritorno a San\nPaolo segn\u00f2 l’inizio del prolungato periodo di oppressione del\nBrasile sotto una dittatura militare che dur\u00f2 fino al 1985. Durante\nquel periodo Bo Bardi cur\u00f2 mostre e lavor\u00f2 in teatro, progettando\nscenografie e costumi per diverse produzioni, in particolare una\nproduzione del 1969 di Im Dickicht der St\u00e4dte (Nella giungla delle\ncitt\u00e0), un’opera teatrale di Bertolt Brecht.<\/p>

La nascita dell\u2019architettura povera di Lina Bo Bardi<\/p>

L’esperienza di Bo Bardi a Bahia aveva alterato le sue filosofie\npolitiche ed estetiche. Gli esempi di architettura vernacolare e\nstorica della regione avevano dato origine a un processo di\nprogettazione sempre pi\u00f9 guidato da responsabilit\u00e0 sociali ed\netiche e ispirato dalla fedelt\u00e0 al suo paese adottato e alle sue\ntradizioni estetiche native. \n<\/p>

Bo Bardi si \u00e8 impegnata a creare un’architettura unicamente brasiliana, progettata in modo pi\u00f9 semplice e realizzata con materiali locali, quella che ha chiamato “Arquitetura Povera” (architettura “povera” o “semplice”<\/em>). <\/p>

Gran parte del suo lavoro, sin dalla sua esperienza iniziale in\nSalvador, ha riguardato il riutilizzo delle strutture esistenti,\nnonch\u00e9 il ripristino e la conservazione di edifici storici. Nel\ncorso degli anni ’80 Bo Bardi ha guidato progetti di conservazione e\nrestauro nel centro storico di Salvador, tra cui la Casa del Benin,\nche contiene una collezione d’arte e comprende uno spazio espositivo,\ne Miseric\u00f3rdia Hill, una strada storica estremamente ripida\n(entrambe nel 1987). \n<\/p>

Nel 2012, centenario della sua nascita, la carriera di Bo Bardi \u00e8\nstata celebrata con il lancio di una linea in edizione limitata della\nsua sedia da bocce, un’importante retrospettiva itinerante\norganizzata dal British Council a Londra e la pubblicazione di una\nmonografia accademica che la abbraccia lavoro della vita.<\/p>","protected":false},"excerpt":{"rendered":"

Lina Bo Bardi, nome originale completo di Achillina Bo, (nata il 5 dicembre 1914 a Roma, Italia, morta il 29 marzo 1992 a San Paolo, Brasile), architetto modernista brasiliano di origine italiana, designer industriale, conservatore storico, giornalista e attivista il cui lavoro ha sfidato la categorizzazione convenzionale. Progett\u00f2 audaci strutture idiosincratiche che fondevano modernismo e […]<\/p>\n","protected":false},"author":10,"featured_media":20828,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[53],"tags":[1142,3731],"class_list":["post-20825","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-professionisti","tag-architetti","tag-professionisti"],"acf":[],"yoast_head":"\nLina Bo Bardi: una Grande dell\u2019architettura e del Design<\/title>\n<meta name=\"description\" content=\"Lina Bo Bardi, nome originale completo di Achillina Bo, architetto modernista italo- brasiliano, designer industrial, giornalista e attivista sociale.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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