While she carried her European heritage with her, she naturalized herself Brazilian, and famously said, “Brazil is the country I chose, and it is therefore twice my country. ![]() The earlier photos of the house reveal the eclectic jumble of objects, from brilliant art nouveau vases and earthenware pots from the northeast of Brazil, to a plastic toy car and Baroque sculpture of an angel. The couple’s musical tastes were equally diverse, with found vinyl records by Duke Ellington and the Brazilian samba and bossa nova musician Dorival Caymmi.īo Bardi’s passion for, and even affinity with Brazilian culture was profound. ![]() The Bardis brought their extensive library and art collection with them from Italy, and once in Brazil, they continued to amass objects, particularly popular art from the northeastern state of Bahia, where Lina Bo Bardi lived and worked for a few years as the director of the Museum of Modern Art. The impulse to expand the premises is a reasonable one, given Bo Bardi’s archive of 15,000 photographs and 7,000 drawings. According to Anelli, they are still deliberating whether to build an annex for this purpose. The ultimate goal of the institute is to transform the Glass House into a museum. The blue pylons elegantly extend through the interior of the house To leave the house mostly sparse betrays Bo Bardi’s character as an avid collector, for whom space was as much about its design as it was about how it was inhabited and adopted. More disconcerting, however, has been the choice to install the institute’s administrative offices in the corner of the living room, where rows of tall bookshelves previously stood. While I comprehend the decision, I can’t help but disagree with it. For a time, the objects in the house were reconfigured to fill the gaps my architect sister visited during this period, and when I compare my own photos to hers (I’ve included a few in this article) it becomes clear that the living room has since been greatly emptied. “I prefer that we assume this void,” Anelli said. “As such, many of the artworks, furniture, and carpets went, leaving the living room with only a part of its decoration,” Anelli said. Bardi Institute, Renato Anelli, when Pietro died seven years after Lina, in 1999, the heirs of his first marriage demanded their share of their inheritance, and made an agreement with the institute. ![]() Lina Bo Bardi’s living room in 2010 (detail) (photo by Letícia Wouk Almino)Īccording to the director of the Lina Bo and P.M.
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