By adding ‘parts’ of program to the existing longitudinal structure, Bo Bardi acheives a sense of ‘(dis)assembly’ in the redesign of the old factory.

Lina Bo Bardi’s SESC Pompeia attempts to create an experience that lies at the juncture between work and play. It employs the large proportioned and concrete clad brutalist style in order to retain the experience of the old factory (from which this building was redeveloped), while simultaneously creating a seemingly leisurely environment.

SESC Pompeia, Sao Paulo by Lina Bo Bardi 32 in. x 40 in. Pencil on Paper

The redevelopment process involves stripping the old building to its bare essence, which is its structure, and then adding to it the ‘parts’, namely program, functionality and formal language. Thus, when viewed in a 180 degree elevation oblique view, it is reminiscent of a do it yourself or take apart toy, where manual (on site in Bo Bardi’s case) assembly is required. This concept of a treating a factory as a toy and its resulting juxtaposition is what I attempted to capture with the vectorized playful aesthetic that exists throughout my work.

  • The two dissonant towers are connected by large concrete bridges, and this operation maps the proximity of the bridges to leisure spaces in order to better understand this sense of intimacy.

    A further analysis of the interactions of these bridges resulted in a formal intervention that depicted the way interactions occur amongst the bridges and the balconies of the taller building. By mapping the relative closeness of each bridge/balcony to a single bridge allows for an understanding of the role each bridge plays in creating this sense of intimacy. By using opacities to represent the strength of the interactions, one can remap the entire building, this time representing the locations and workings of spaces of maximum interaction. A primary factor is the design of these bridges, which looks like a truss when viewed in plan, thus allowing one to look down five floors with relative ease at certain points.