Casa de Vidro

Lina Bo Bardi architect

Conservation Management
Plan
 Casa de Vidro
Lina Bo Bardi architect

This report is made possible

with support from the Getty
Editor
Renato Anelli
Instituto de Arquitetura
e Urbanismo da Conservation Management
Foundation through its
Keeping It Modern initiative.
Supervisor
Marcelo Suzuki
Universidade de São Paulo
Ana Lúcia Cerávolo
Plan
Aline Coelho Sanches
Marcio Minto Fabrício
João Adriano Rossignolo
Luciana Bongiovanni Schenk

Instituto Bardi Casa de Vidro

Sol Camacho

São Paulo, 2019

The collaboration of the Institute of Architecture and Founded in 1990, the Instituto Bardi / Casa de Vidro keeps
Urbanism of the University of São Paulo with the Instituto alive the objective of promoting and stimulating the study of
Bardi for the production of the Casa de Vidro Conservation art and architecture in Brazil, as defined by its founders, Lina
Management Plan, with funding from the Getty Foundation, Bo Bardi and Pietro Maria Bardi.
is a special moment of long cooperation in the form of
research activities, teaching and extension. Headquartered in the iconic residence designed by Lina
Bo Bardi, the Institute arouses double interest: it houses a
The first master’s thesis written on the Casa de Vidro was relevant collection of over 40,000 items and is an important
held at the USP Graduate Program in Architecture and modern architectural heritage in the city of São Paulo, listed
Urbanism in São Carlos, in 1995, by architect Maria de since 1987 by Condephaat [Council for the Defense of
Fátima Campello in the Arqbras Research Group. Professor Historical, Archaeological, Artistic and Touristic Heritage].
Anelli’s research at the Instituto Bardi goes back to his
surveys on the role of Italian architects in São Paulo, The selection of the Casa de Vidro project by the Getty
supported by CNPq since 1996. Foundation for its Keeping It Modern (KIM) program
has enabled the Instituto Bardi to update itself on the
Since then, several researches on Lina Bo Bardi’s work have contemporary methodologies for preserving modern
been developed at IAU, illuminating little-known aspects architecture.
of her career and presenting new interpretations of her
work. For this reason, the Instituto Bardi invited the IAU to To meet the challenge of building a long-term policy for
establish the current collaboration agreement to preserve the preservation of the Casa de Vidro, a team of heritage
the Casa de Vidro. The plan published here is the result of experts, architects, architectural historians, landscape
this cooperation. architects, civil engineers and consultants was mobilized.

By deciding to produce the plan in an academic institution, The partnership with the Institute of Architecture and
the Instituto Bardi contributed to the mobilization of a team Urbanism of the University of São Paulo in São Carlos
of more than 20 researchers and consultants, an important (IAU USP) gave to the project a formative dimension of
stimulus for the formation of new generations of architects undergraduate and graduate students, stimulating research
interested in the preservation of historical heritage. groups and laboratories.

Miguel Antônio Buzzar The development of the survey opened new fields of
Dean of the Institute of Architecture and Urbanism international dialogue for the Brazilian team. Seminars and
University of Sao Paulo / Campus São Carlos workshops brought then closer to researchers from different
countries, generating an exchange of methodology and
technology.

The participation of the Institute in the KIM program is

consistent with the importance of Lina Bo Bardi in the field
of knowledge on restoration, internationally recognized.
By producing its long-term preservation management
policy, in accordance with the methods proposed by the
KIM program, the Casa de Vidro becomes a contemporary
preservation reference itself.

The Instituto Bardi / Casa de Vidro thanks the Getty

Foundation for their support and trust in this endeavor, and
the team mobilized by the project, both essential to the
results achieved. The legacy of the Bardi couple thus finds
a new place in contemporary times, proposing the most
up-to-date conservation practices of modern architecture.

Sonia Guarita do Amaral

Chair of the Administrative Council
Instituto Bardi / Casa de Vidro
 Contents

8 Executive summary

14 1. Introduction
16 1.1 Reflections on Keeping It Modern program /
Getty Foundation in Brazil
Beatriz Mugayar Kühl
32 1.2 The Glass House project for the Keeping It
Modern program

34 2. The Casa de Vidro, the Bardi Couple and the Bardi

Institute: History and Significance
36 2.1 The Bardi couple’s project in Brazil: from cultural
action to the construction of their own history
Renato Anelli
48 2.2 Casa de Vidro’s and Bardi Couple’s timeline
58 2.3 Casa de Vidro: a site of continuous
experimentation
Aline Coelho Sanches
114 2.4 The Casa de Vidro: architecture, art and nature
Renato Anelli
128 2.5 The Instituto Bardi and the Casa de Vidro
Ana Lúcia Cerávolo e Renato Anelli

140 3. Inventory and recommendations for conservation

142 3.1 Introduction
143 3.2 The complex of buildings and the garden
152 3.3 Main House
252 3.4 Studio
262 3.5 Garage
280 3.6 Caretaker’s House
304 3.7 Landscaping. The construction of the landscape:
the buildings and the garden.

374 4. Conservation Management Plan

376 4.1 Declaration of Cultural Significance
378 4.2 Significance Matrix
382 4.3 Management Conservation Policy - Plan of Goals,
Actions and Projects
398 4.4 Summary of projects and phases
400 4.5 Financial sustainability
402 4.6 Master Plan for Expansion and Urban Integration

420 5. Production process of the plan

422 5.1 Stakeholders for the preservation of the
Glass House
430 5.2 Structural Report
Ricardo Couceiro Bento
442 5.3 Glazing Report
Osny Pelegrino
444 5.4 Casa de Vidro point cloud and information
processing
Júlio César Franco Jr., Ana Regina Mizrahy
Cuperschmid e Márcio Minto Fabricio
456 5.5 Documenting modern architecture to learn
from the masters
Marcelo Balzani, Federica Maietti e Luca Rossato
Executive summary

The preservation of the Casa de Vidro stems from the plans The first of these initiatives was the Institute transformation By participating in the Keeping It Modern program, the Bardi
of the couple Lina Bo and Pietro Maria Bardi. In the last from a Non-Profit Cultural Association to a Social Institute proposed to combine four research fronts, called
years of their active life, the couple began the process of Organization in the Culture Area, adding more professional tasks:
declaring the building a historical heritage site, demanded at and efficient operating parameters. The second was the
the Council for the Defense of the Historical, Archaeological, realization of the transfer of the building potential of part of • Task 1: Systematize the documentary study of the
Artistic and Tourist Heritage (Condephaat, 1986), and the land of the Casa de Vidro, raising resources for priority history of the house.
founded a non-profit cultural association, the Bardi Institute interventions for its preservation and adaptation to the
(1990), which would become the owner of the house after house museum functions. And the third was the successful • Task 2: Perform careful digital surveys of the architecture
the death of Lina and Pietro – respectively in 1992 and 1999 submission of a proposal for the Getty Foundation’s of the main building, attachments and garden.
– and responsible for its preservation. In order to finance Keeping It Modern program, in partnership with a group of
its operation, they endowed the Institute with funds from researchers from the Institute of Architecture and Urbanism • Task 3: Identify the conservation status of building
the sale of a painting from its collection. The plan was (IAU) of the University of São Paulo (USP), that allowed the systems, especially their structure.
successful, the Casa de Vidro was kept in a good state of elaboration of this Plan of Management and Conservation.
preservation and the Institute stood out for its performance • Task 4: Evaluate the garden situation, understood as
in promoting Brazilian art and architecture, while still Being a specimen of 20th Century Modern Architecture, a fundamental element of Lina and Pietro’s conception
preserving the couple’s valuable collection. the Casa de Vidro presents similar conservation problems of what a modern house should look like in the tropics.
as those found in other buildings and similar sites in many
Nevertheless, despite numerous fundraising projects for countries around the world. In order to respond to these The four tasks brought the subsidies that converged on the
the Institute’s activities, the original fund ran out in 2014. challenges, the Getty Foundation has developed the Keeping three chapters that structure this report:
Without the security backing of those funds, the Institute It Modern program, a support for the production of studies
has continued to function thanks to the voluntary efforts of and proposals for the preservation of important 20th century
many people, as well as for the resources obtained from buildings.
the copyright of Lina’s works and from Petrobras’ cultural
support, which began that year. But uncertainties arising Since the program began in 2014, funding destinations
from fluctuations in cultural policies in Brazil impacted the have been decided from proposals made by institutions
Institute, leading to the interruption of this support in 2016. around the world, which are then examined by Getty
Foundation’s experts. In August 2016, the Casa de Vidro
This situation makes it clear that the main challenge for the was the third Brazilian project to receive support from the
preservation of the Casa de Vidro is the achievement of its Getty Foundation in this program, after the USP School
long-term financial sustainability. Despite the interruption of Architecture and Urbanism (designed by João Batista
of Petrobras’ support, three initiatives of the Institute have Vilanova Artigas and Carlos Cascaldi), in São Paulo, and
allowed it to continue its operation and underpin its current the Burle Marx’s panel at the Arthur Neiva Pavilion of the
moment. Oswaldo Cruz Foundation (designed by Jorge Ferreira), in
Rio de Janeiro, both in 2015. The following year, 2017, the
São Paulo Art Museum (Masp) would also be selected to
participate in the program.

At the beginning of the preparation of the proposal, in 2015,

the Bardi Institute chose to carry out the preservation project
with university researchers, instead of with a specialized
company. In addition to the long history of partnerships
with scholars dedicated to the study of the couple’s work,
the agreement with USP would bring the most innovative in
the preservation area in the country, while encouraging the
formation of new researchers in the area, one of objectives
set out by the founders of the Bardi Institute.

Developed over three years, the Conservation and

Management Plan has enabled a broader assessment of
conservation needs, extending the surveys to the garden
and the annexes – Caretaker’s House, Garage and Studio.
In accordance with Getty’s announcement, which follows
the Burra Charter (document produced by the International
Council of Monuments and Sites, ICOMOS), the plan
includes aspects of institutional management and use
program, without which the physical preservation of the
property risks to be limited in time.

8 9
1 The Casa de Vidro, the Bardi Couple and the Bardi 2 Inventory and recommendations for conservation • Landscaping: A garden-specific inventory of vegetation
Institute: History and Significance surveys associated with building conflicts (retaining
A synthesis of the four tasks, the inventory presents walls, walls, paths, etc.) has the main highlights:
It organizes and presents the research developed by task the surveys, diagnoses, pathologies and guidelines for
group 1 and the coordination in five items: maintenance and restoration interventions. The inventory o Inventory of built components: Retaining walls,
was organized by building, with a special section devoted to garden walls, paths, stairs, ramps, rainwater
• The project of the Bardi couple in Brazil: from cultural landscaping. reservoirs, floors and living spaces. Points out
action to the construction of their own history – seeks required routine maintenance locations and
to elucidate the role of the couple Lina Bo and Pietro The part related to the buildings shows the main highlights: exceptional intervention situations.
M. Bardi in the Brazilian historical-cultural and political
process, identifying their legacy and the mission of the • Main House: The analysis of the structure attests to o Arboreal management plan: Urgency item in the
Institute they founded before dying. the good condition of the reinforced concrete and Plan of Management and Conservation due to the
its ability to withstand the new use of the house as risk to buildings, garden environments and, on the
• The Casa de Vidro: a site of continuous experimentation a publicly accessible institution (Annex 2: Structural street, to the public power grid. It proposes pruning
– presents in detail the history of the house, its Report). The study of the causes of constant glass and suppression of 159 tree individuals in a set of
construction and transformation to the present day. It breakage points to different displacements of the slabs 832 that make up the garden.
relies on in-depth documentary research in the Bardi by thermal expansion, alteration of the glazing pockets
Institute and several other institutions. geometry by oxidation and impact of tree branches, o Visiting Paths and Areas of Support: Evaluates the
resulting in urgent intervention guidelines for its difficulty and points of interest of the paths through
• The Casa de Vidro: architecture, art and nature – preservation. Roof leaks constitute the other urgency, the existing paths, selecting a set of 43 remarkable
launches hypothesis of interpretation of the role of the which demands changing tiles, eliminating fiber cement trees to receive didactic identification.
garden in the expographic and architectural conception tiles and correcting storm water system defects. Other
of the couple Bardi. interventions are mostly routine maintenance, use o Ramps and stairs: Evaluation of the slope
adjustments, or removal of alterations to rescue the conditions, their accessibility classification and
• The Bardi Institute and the Casa de Vidro - from the original form. It is noteworthy the use of the method of recommendations.
documents used in the process of declaring the Casa de cathodic protection against the oxidation of the glazing
Vidro a heritage site and the foundation of the Institute, pockets with zinc sacrificial anode (Annex 3: Glazing
it tells the history of the institution and reflects on the Pockets and Glazing Report).
possibilities of use of the house.
• Studio: The assessment indicates a good state of
conservation, which requires only regular maintenance,
and assesses the building as suitable for new uses, such
as courses, lectures and workshops.

• Garage: Indicates a good overall condition, alerting

for the urgent need to remove trees that have grown
spontaneously in the garden slab. It also identifies
a structural arrow in the gate, when opened, which
requires its replacement by a lighter model.

• Caretaker’s House: The evaluation points to the

infiltration originating from the garden cover and the
wall in contact with the soil as the main problem, giving
indications for its correction. And reveals the potentiality
of changes of its interior for new uses.

10 11
3 Conservation Management Plan • Goals Plan: establishes six goals for management and 4 Plan Production Process
conservation policy, structured into goals, actions and
The plan feeds a conservation policy of the Casa de Vidro projects: • Stakeholders for the preservation of the Casa de
related to institutional recommendations on the Bardi Vidro: presents the main interlocutors interested in the
Institute, responsible for its management. The plan consists o Goal 1 – Preserve the modern aesthetic integrity conservation of the Casa de Vidro during the production
of: of the Casa de Vidro as an example that stands of the plan. It presents a transcript of the main debate
out in amidst the vast array of modern architecture with guests, held at the Casa de Vidro Studio in 2018.
• Declaration of Significance: Indicates the value of the produced in Brazil in the 1950s.
Casa de Vidro aesthetic exceptionality amidst the modern • Structure Report: complete report by engineer Ricardo
Brazilian architecture, pointing out the importance of the o Goal 2 – Preserve the attached buildings (Caretaker’s Bento on the structural capacity of the Casa de Vidro.
glazed room and its slender structure for the integration House, Garage and Studio) as testimony of the
with the tropical garden in which it is inserted. It defines transformations in the architectural and cultural • Glazing Pockets Report: complete report by engineer
the role of annexes in constructing a narrative of the conception of the Bardi couple. Osny Ferreira on the pathologies that produce the
transformations that architect Lina Bo Bardi undergoes breakage of the living room glass, with indications for its
throughout her life. It establishes the historical importance o Goal 3 – Make the garden enjoyable for visitors, correction.
of the house as a residence of the Bardi couple, where seeing it not just as a complement to architecture.
they lived and where their collection of works of art and • Casa de Vidro Cloud of Points and information
their documentary collection are housed. It also points out o Goal 4 – Institutional: Consolidate its use as a house processing: presentation of the process of incorporating
the role of the House, listed in the three levels – municipal, museum, headquarters of the Bardi Institute, with the cloud of points, generated by laser scanning, in the
state and federal –, as a reference for the preservation of a significant collection, consisting of the personal elaboration of the Casa de Vidro and its attachments’
the collection and architecture. Finally, it highlights the Bardi documents of the couple Lina and Pietro Maria HBIM models.
Institute’s mission of cultural formation in the field of the Bardi, and their collection of works of art.
arts, considering it inseparable from the preservation of the • Documenting Modernist Architecture to Learn from the
Casa de Vidro. o Goal 5 – Plan new buildings and expand the urban / Masters: Describes the laser scanning methodology
social insertion of the Casa de Vidro. applied to the Casa de Vidro, compared to Oscar
• Matrix of Significance: Based on the researches, it Niemeyer’s Canoas House.
attributes aesthetic and historical value, as well as o Goal 6 – Provide the Casa de Vidro with adequate
authenticity, degree of irreplaceability and general facilities, infrastructure and routines for its use as a
meaning to the main components of the complex that cultural institution and its status as a listed historical
makes up the Casa de Vidro. heritage site.

• Summary of Projects and Phases: Sorts out the

goals plan projects in order of priority, presenting
the necessary referrals and indicating their
situation regarding the source of resources for their
execution.

• Master Plan: A plan that outlines the need for new

constructions on the property and the guidelines for
urban integration with the neighborhood and region
its. It’s composed by:

o Guidelines for the Expansion of the Institute:

Stairway and Ramp, to give universal accessibility
to all buildings (Goal 6). Proposed location of new
toilets and water tank (Goal 6). Proposed area for
expansion of the Bardi Institute (Goal 5).

o Guidelines for urban integration (neighborhood

and municipality): Urban Insertion Plan near the
immediate neighborhood: Carlos Drummond
de Andrade Square, Valeria P. Cirell House and
Morumbi Chapel (Goal 5). Situation map of the Casa
de Vidro in São Paulo. Reference to the limits of the
urban area when it was built and nowadays (Goal 5).

12 13
1 Introduction

14 15
1.1 Reflections on the KIM Program / Getty
Foundation projects in Brazil

Beatriz Mugayar Kühl Opening Remarks The Getty Foundation thus provides the means for a
crucial first phase: the basal research upon which these
Four Brazilian proposals were selected for grants under the action plans will be grounded. Specificities notwithstanding,
Getty Foundation’s Keeping It Modern program, which has the proponents who undertake this research have to
awarded 54 projects worldwide to date. The program was shoulder the responsibility to fight—no other word quite
launched in 2014 and is expected to run through to 2020. It covers it— for the conditions to ensure that the plans
is designed to finance in-depth research into 20th-century are implemented and carried through. Specific foci were
works of outstanding architectural significance. The idea selected for each work in response to their characteristics, Figure 1
Oswaldo Cruz
is to offer grants to fund the creation of conservation grant size, team makeup, and timeframe, and there are Foundation, Arthur
management plans that steer long-term maintenance numerous issues that will need to be addressed in the future Neiva Pavilion,
policies and set new paradigms for the conservation of the if sufficiently scoped conservation management plans are to architect Jorge
Ferreira, 1942, Rio
period’s architecture. A library of the technical reports on be achieved. de Janeiro. Photo:
these projects is gradually growing1, and will undoubtedly Glauber Gonçalves.
prove a crucially important means of exchanging references
and experiences on the theme.
The program is an initiative of the utmost importance,
as there is a dearth of systematic research on how to
conserve these works. Brazil is privileged to have received
grants for the study of four modern buildings: the premises
of the University of São Paulo’s Faculty of Architecture and
Urbanism (awarded in 2015), designed by João Batista
Vilanova Artigas and Carlos Cascaldi; the Oswaldo Cruz
Foundation’s Arthur Neiva Pavilion, designed by Jorge
Ferreira, in Rio de Janeiro (awarded in 2015); the Casa de
Vidro (Glass House), which the architect Lina Bo Bardi
designed as her own residence in São Paulo (awarded in
2016); and the Assis Chateaubriand São Paulo Museum of
Art (MASP), also by Lina Bo Bardi (awarded in 2017).
First and foremost, suffice it to say that the Getty
initiative has enabled something hitherto impossible on
this scale when it comes to 20th-century architecture in
Brazil: systematic, in-depth research on modern works,
their documentation, configuration and present state of
repair, the materials and systems used to build them, and
the pathologies to which they are prone, all with a view
to ensuring their adequate preservation. Though these
are famous works amply covered in the historiography on
Brazilian modern architecture, none had ever been subjected
to this level of cognitive examination, and this has yielded
numerous historiographical clarifications.
The Getty Foundation’s importance and the fact that the
proponent institutions are the stewards of these landmark
buildings means a deeper awareness can be garnered
and better paradigms adopted for when and how to take
planned, tailored measures rather than impromptu and often
emergency spot repairs in the light of suddenly manifested
pathologies. The intention here is to use the research
findings to understand the underlying problems so that
preventive, scheduled, considered conservation steps can
be taken to boost the performance of their various systems.
This change of approach requires studies, planning, constant
monitoring and long-term structured actions.

16 17
The importance of maintenance and preventive Florence flood of 1966, which very dramatically recalled the – coordinated by Koenrad Van Ballen, based at the
conservation connection between the monument and its environment, a Raymond Lemaire Centre for Conservation at the Katholieke
perception echoed in the voices of various authors. In the Universiteit Leuven, in Belgium. Numerous authors have
Down through the millennia, ongoing maintenance has decade that followed the theme reverberated on an even published Pragmatic manuals and best practices on how to
always been the most effective way of ensuring a building’s wider scale, with Giovanni Urbani’s 1975 Pilot Plan for the devise conservation plans. Notable examples are Australian
survival and keeping depreciation and repair costs to a Programmed Conservation of Cultural Heritage in Umbria author James Stemple Kerr’s pioneering The Conservation
minimum. The treatises have said as much since at least (URBANI, 2000, p. 103-112; BASILE, 2004). Through an Plan, first published in 19827, and Icomos-Australia’s Burra
Vitruvius, roundly seconded by Alberti, who drew parallels articulate and complex formulation that goes from the Charter, especially from the 1999 edition on.
with medicine and declared that the best way to treat an training of the various professionals involved to proposals In Brazil, there have been many projects in this direction,
ailment was to understand its underlying causes.2 This type for urban and territorial-wide stewardship, Urbani broaches some of the most pioneering and longest-lasting deserve
of approach was echoed in successive treatises by various cultural assets as territorially rooted, and favors regular, special mention, starting with Claudia Carvalho (2014, p.
different authors. As Giovanni Carbonara (1992, p. 41) continual conservational interventions directed at whole 147-48) and her 1994 Preventive Conservation Project for
recalls, constant maintenance is assimilated into preventive contexts over exceptional remedial measures applied to Libraries and Archives, followed by another milestone in
medicine with a view to avoiding or postponing the need isolated landmarks. the area, her work at the Museu de Arte Sacra (Museum of
for more drastic and traumatic intervention, such as surgery. As Claudia Carvalho (2014) notes, the issue gained Sacred Art) in Salvador in 1998, for the Federal University
This was already clear to John Ruskin in the mid 19th weight in the international debate from the 1990s on, of Bahia (UFBA), an integrated project that involved
Century: catalyzed by the museums and the conservation of archives conservators and architects from the Federal Universities of
“Take proper care of your monuments, and you will not and estates, which required concerted action in climate and Bahia and Minas Gerais, Fundação Vitae and the GCI.
need to restore them. A few sheets of lead put in time upon pest control, etc., later consolidating as risk management. The Museum of Sacred Art project generated further
the roof, a few dead leaves and sticks swept in time out of a An understanding that the conservation of collections partnerships with the GCI and Fundação Vitae, such as
water-course, will save both roof and wall from ruin. Watch depends on their interactions with the buildings that house Alternative Climate Control for Historic Buildings (2003-
an old building with an anxious care; guard it as best you them, many of which are themselves key preservation 2010)8, under the enormously competent coordination of
may, and at any cost from every influence of dilapidation. targets, broadened the discussion and attempts to establish Shin Maekawa and Gina Gomes Machado (both GCI), with
[...]; and do this tenderly, and reverently, and continually, and a methodology, as can be seen from Getty Conservation Franciza Toleda (Vitae) in a consulting role. The project
many a generation will still be born and pass away beneath Institute (GCI) proposals, which have been working in that encompassed actions at the Museu Paraense Emílio Goeldi
its shadow” (RUSKIN, Create Space Independent Publishing direction for decades4. (Emílio Goeldi Museum of Pará), in Belém (Lucia Hussak van
Platform, 2016, p. 117) In the meantime, preventive conservation in the field Velthem, curator; Algria Celia Benchimol, technician; Rosa
The need for maintenance has been reaffirmed of architecture continued to mature, not only in the Italian Arraes, conservator) and the Fundação Casa de Rui Barbosa,
countless times over the centuries, even in international proposals arising since the 50s, but also, as Carvalho Rio de Janeiro (Ana Pessoa, director; Claudia S. Rodrigues
charters and recommendations, such as the Athens Charter (2014, p. 145) shows, in Dutch experiences from the de Carvalho, architect in charge). In 2001, this partnership
for the Restoration of Historic Monuments (1931), Article 1 70s onwards, which proposed constant and periodical held the symposium “Taller Edificios de Museos y sus
of which urges for: “regular and permanent maintenance maintenance actions that successfully staved off more Colecciones - un proyecto del Consorcio latinoamericano
to ensure the appropriate conservation of buildings”— drastic and expensive invasive restorations, leading to de formación en conservación preventiva” at the Centro
something reiterated in Article 4 of the Venice Charter of important savings. Many more cases followed, such as de Conservação e Restauração de Bens Culturais
1964, “It is essential to the conservation of monuments that those occurring in Belgium after 1991, in the UK in 1999, Móveis—UFMG (UFMG Center for the Conservation and
they be maintained on a permanent basis”. and in Spain in 2015, with the publication of the Spanish Restoration of Cultural Estates), with the participation of
Constant conservation became a broader topic in National Plan for Preventive Conservation. The plan was Brazilian and Latin American professionals from museums,
the 20th Century, with Cesare Brandi3 coining the term buoyed by the recommendations issued by a scientific conservation centers and universities. Since the 2000s,
“preventive restoration” in 1956. The author argues that congress held in Vantaa, Finland, in 2000, with a view to preventive conservation has also featured on the curricula
the expression should not be taken to mean that one can devising a preventive conservation strategy for Europe. The of undergraduate and postgraduate courses at a wide
vaccinate a work against the ravages of time, but rather Vantaa gathering was supported by numerous institutions, variety of institutions. Under the auspices of the National
that “through stewardship, carefully removing dangers including the International Centre for the Study of the Heritage Protection Institute (IPHAN) and the Monumenta
and ensuring favorable conditions” (BRANDI 2004, p. 99), Preservation and Restoration of Cultural Property (ICCROM), Program, the year 2000 saw the publication of a preventive
more urgent restorations can be avoided. Brandi’s notion an intergovernmental organization in the service of the UN. conservation manual for buildings coauthored by Griselda
of prevention goes beyond the strict material sense of the ICCROM has been developing numerous activities related to Pinheiro Klüppel, formerly with the Museu de Arte Sacra
work to include how it is inserted within its environment. preventive conservation, including risk management, such project, and Mariely Cabral de Santana, both from UFBA.
This theme drew even greater attention in Italy after the as courses and workshops and draft directives (ICCROM;
CCI, 2017). Of particular importance at ICCROM is Gaël
de Guichen’s5 pioneering work in preventive conservation,
and that of José Luiz Pedersoli in risk management. There
is a UNESCO chair devoted to the theme – PRECOMOS6

18 19
 The work underway at Casa de Rui Barbosa, begun in On issues in architecture maintenance in the 20th
1998, also warrants special mention. Rigorously conducted Century
by Claudia Carvalho, the research has seen the preventive
conservation plan morph through revised and expanded One particularly valuable result the Getty program has
editions. This continual risk management means that furnished is that we are beginning to see experimental
priorities can be established and issues addressed in procedures and protocols for recurrent issues in 20th
a scheduled, ongoing manner over the long term. The Century architecture that have not yet been systematically
measures taken focused on the roofs, climate control, tackled, not only in Brazil, but internationally too. Problems
garden drainage, the garden itself, and the architectonic such as those affecting the roof of the USP Faculty of
surfaces, etc.9 This experience shows that it is not only Architecture and Urbanism have cropped up in similar
possible but viable to work in this way, with significant constructions elsewhere and no adequate, appropriately
results. monitored solution as been found. The same could be said
These initiatives clearly evince the need for ongoing, in relation to other issues that have arisen out of the funded
in-depth study of the works and environments on and in projects, not least the structural behavior identified at MASP,
which conservation measures will be taken. The approach particularly the problems caused by water seepage, the
is akin to preventive medicine, subjecting the works to constant window breakage at the Casa de Vidro, and the
periodical check-ups to ascertain their general state of popping tiles at the Arthur Neiva Pavilion.
health and identify areas for specialist consultation, which Another topic for reflection is the cause of this lack of
can then follow established protocols or opt for experimental structured knowledge of maintenance procedures and of
approaches in order to reduce the necessity for invasive systemized data on the behaviors of certain materials and
(surgical) interventions. structural solutions. What has happened to the erstwhile
This certainly demands research, lengthy periods of culture of conservation? That’s the question posed by
results analysis and action planning, all of which requires Andrea Canziani, Stefano Della Torre and Valentina Minosi
institutional will. The Keeping It Modern program offers (2004). The authors explored the root causes of the lax
professionals the chance to conduct research and analyses maintenance that has been so prevalent since the early 20th
that would be financially impracticable if relying on Brazilian Century, as measures once assiduously taken have become
funding alone. increasingly sporadic and uncertain. Among the possible
explanations, the authors identify the immense quantity
and heterogeneity of the interventions that now stock this
class of action (maintenance, cure, etc.), the construction

Figure 2 Figure 3
Gable restoration Analytical scheme of
works, 2013. rainwater collection
University of São in the coverage and
Paulo, Faculty of distribution of the
Architecture and pipe by the central
Urbanism, architect pillars of the building.
João Batista Vilanova Conservation Plan
Artigas, 1961 - 1969, of Vilanova Artigas
São Paulo. Photo: Building, Faculty of
Renato Anelli. Architecture and
Urbanism, 2017.

20 21
market’s incapacity to keep up with the demand through and how they unfold over time. We ought to be well beyond Notes on Keeping It Modern projects in Brazil
loss of technical knowledge; a lack of systematic study the phase of keeping subjective “state of conservation”
and shortage of instruments that would enable various files, based solely on the conservator’s trained eye—ticking The projects awarded grants by the Keeping It Modern
disciplines to make a concrete difference to construction buildings off as good, regular, or poor—, but we’re not, program in Brazil (see Table 1) chose different approaches,
processes; the dearth of scientific and technical R&D for because we failed to amass the systemized knowledge given the characteristics of the buildings in question, the
new maintenance procedures; and an overall incapacity to and procedures that would take. Without qualifying this construction materials and systems used, their development
define maintenance in a satisfyingly over-arching manner. information and without knowing how problems arise over time, present state of repair, institutional factors, prior
They also mention discontinued worksite methods and and play out over time it is impossible to plan adequately. research and interventions, teams at their disposal, etc.
significant cultural change related to the idea of modernity, Sometimes it’s more important to take action on a building That’s exactly right; there is no one-size-fits-all remedy, only
new technologies, materials and reflections on architecture. that is still in good condition, but has begun to show rigorous approximation from a shared methodological base
The authors identified a pair of diverging beliefs, one that incipient signs of some fast-deteriorating pathology, than and accumulated knowledge on the theme. The drafting
saw constructions as open and ephemeral, after Giedion, it is on a place that’s in poor but stable shape. Likewise, of the proposal and the execution of the conservation
who, as far back as 1929, claimed that houses had no problems that prove to be recurring have to be tackled management plan are site-specific, due to all the factors
abiding value in themselves, merely use value; and the at their root causes, not their effects. To do that requires listed above, and one more: their respective Declarations
other, expressed by people like Breuer, who, in 1934, research, monitoring and records over time, something the of Importance, understood as the result of a thorough
reminded his readers that we cannot simply change built Keeping It Modern program has afforded since the outset. examination of the site and its material, shape and terrain,
environments like we change tie (CANZIANI; DELLA TORRE; and changes over time, analyzed in a wide-ranging manner.
MINOSI, 2004, p. 11). Associated with this more lasting A lot more has to go into it than a cursory glance just to
outlook was the belief that certain materials last forever, fill in a blank space on a form. In thesis, the Declaration of
such as concrete, aluminum, steel, glass, and ceramic, all Importance is part of the development methodology, and the
considered age-proof. To prove their hypotheses, the authors plan has to be applicable, so it is crucial that this Declaration
analyzed various construction treatises. What they found be approached as the complex procedure which it is, fruit
was that both perceptions of modern constructions, as of a snapshot vision of the asset at a given time and formed
ephemeral and as durable, lead to the same abandonment in tandem with the plan’s goals. In short, it should be the
of the tradition of upkeep and care. The problems arising summary of an ample, multidisciplinary research process.
from this were already palpable in the 1910s, but were
swept under the carpet. They became harder to ignore in
the 60s, as more aggressive atmospheric conditions took
an unmistakable toll on materials old and new. The authors
argue for a renewed relationship with the built environment,
a return to the ethic of cure and to a mindset that does not
pursue abstract perfections but acts upon the reality with
the instruments of research and management.
The lack of continual maintenance, the interruption
of systematic research that could continue to field
knowledge on how constructions behave over time, and the
non-existence of consolidated protocols on certain materials
and construction systems lead to serious problems. The
need for research is an urgent theme. It’s not enough to
identify pathologies: we have to know what causes them

22 23
Arthur Neiva Pavilion Keeping It Modern 2015 Faculdade de Arquitetura e Keeping It Modern 2015 São Paulo Art Museum Keeping It Modern 2017
Applicant Applicant Applicant
Oswaldo Cruz Foundation Sociedade de Promoção da Urbanismo Fundação de Apoio à Pesquisa Assis Chateaubriand MASP
Jorge Ferreira architect, Casa de Oswaldo Cruz Universidade de São Paulo da USP (MASP)
Getty Project Team - MASP
1942 Getty Project Team - Departamento de
(FAUUSP) FAUUSP
Lina Bo Bardi, 1968 Project coordinator
Patrimônio Histórico/Casa de Oswaldo João Batista Vilanova Maria Angela Faggin Pereira Leite Silvio Oksman
Cruz Artigas and Carlos Cascaldi director Architect
Ricardo Marques de Azevedo Lúcia A. Furlan
Project Coordinator architects, 1969 deputy-director Intern
Barbara Cortizo de Aguiar Luiza Nadalutti
Supervisor Getty Project Team -FAUUSP
Ana Maria Barbedo Marques Coordinator Structures Consultant
Research and methodology of the Project Coordinator Heloísa Maringoni
conservation management plan Maria Lucia Bressan Pinheiro Reinforced Concrete Consultant
Carla Maria Teixeira Coelho Vice-coordinator Juca Pires
Supervisão do projeto Claudia T. de Andrade Oliveira
Daniel Lopes Moreira Task 1 FAUUSP. Coordinators MASP team
Coordenação da equipe de Beatriz Mugayar Kühl Supervisor 2016-2018
conservação e restauração Silvio Oksman Lucas Pessôa
Elisabete Edelvita Chaves da Silva Task 2 Roofs. Coordinators Supervisor 2018
Historic and landscape research Antonio Carlos Barossi Fábio Frayha
Inês El-Jaick Andrade Claudia T. de Andrade Oliveira Project manager
Heritage education Rodrigo C. Vergili Miriam Elwig
Maria Luisa Carcereri Task 3 Façade Responsible for the building
Historic research Claudia T. de Andrade Oliveira intervention plan
Renato Gama-Rosa Costa Collaborators Martin Corullon
Preventive conservation plan Norberto Corrêa da Silva Moura
Rosana Soares Zouain Advisor: Claudia R. S. De Carvalho Direction MASP
Professional Team Chief Executive Officer
Collaborators and consultants Ana Paula Arato Gonçalves Heitor Martins
Damage survey – tiles panel Fábio Gallo Júnior Deputy Chief Executive Officer
Alessandra Ribeiro Pacini Renata Cima Campiotto Jackson Schneider
Pictorial research Rodrigo A. Campagner Vergili Artistic Director
Áurea Ferreira Chagas Colaborator Adriano Pedrosa
Damage survey – tiles panel Carmen Silvia Saraiva Masseo de Operations and Finance Director
Carolina Oliva dos Santos Castro (2014-2018)
Clara de Freitas Interns Lucas Pessôa
Structural assessment Eric Palmeira Operations and Finance Director
Falcão Bauer S.A. Letícia de Almeida Chaves (2018)
Pathologies of tiles panel Luiza Nadalutti Fábio Frayha
Grifo Diagnóstico
Pictorial research Research Laboratories / Collaborative
Sandra C. Feliciano Guedes Firms
Cadastral survey and building damage Chemical and strength analysis of
mapping materials
Priscila Fonseca da Silva IPT
Laser 3d scanning/training of local
team
DIAPReM Unife
Metric survey
Relevo
Polyurea Tests
SGS do Brasil
Concrete cleaning tests and repair
mortars
Pires Giovanetti e Guadia
Tree survey
Podarte

24 25
 In the case of the Arthur Neiva Pavilion at the Oswaldo of its construction, but there was always a oneness to it,
Cruz Foundation, designed by Jorge Ferreira and built in something that was lost after the patchwork renovation. The
the 1940s, the first step was to assess signs of pathologies, focus of the proposal was the effectiveness of the building’s
especially seepage, crumbling plaster, and cracks in the protective elements: the roof (Task 2) and overhang (Task
tile mural by Burle Marx. Based on the findings of this 3). However, it was understood that the treatment of these
preliminary assessment, the project was structured as features was closely related with the ways the building has
follows: characterization; diagnostics; identification of the been perceived and apprehended over time (Task 1). As
causes; procedures and strategies. Thanks to the Getty such, Task 1 strove to systematize archive material, study
program it was possible to conduct articulated actions, the bibliography, and document the transformations and
covering an updating of the basemaps, mapping of forms of spatial appropriation, organizing data and studying
the damage to the façade, pictorial research, structural the records. The idea was not to create an archive or merely
assessment, specific consultancy on damage to the tile apposition the elements, but rather to carry out analyses
mural, and research on Burle Marx’s landscape design. on the spatial characteristics and proposed directives
With the data obtained and systemized, it was possible for the use and treatment of the spaces, respecting their
to release partial and then final results, develop heritage- compositional traits, understood as an asset to be preserved
education activities to underscore the value of these assets, in order to ensure that the building is seen as its creators
and plan the next steps, which included risk assessment intended it to be. With regard to the roof, one of the main
and the procedures and strategies to be adopted. The concerns was to verify its performance since the completion
aim is that these research activities should be integrated of the restoration work in 2014. In addition to various
into a broader preventive conservation plan, engaging the analyses—including a thorough and precise examination
various institutional agents responsible for taking care of of the structural deformities—one of the partial results was
the FIOCRUZ Institute’s cultural heritage (see AGUIAR; the creation of a monitoring and management plan that
CARCERI, 2017). established periodicity and methodologies for inspection,
Of all the grant-receivers, FIOCRUZ is perhaps the one cleaning and conservation work, and outlined some targeted
whose management structure is best versed in tackling waterproofing repairs suited to the techniques used on
preventive conservation issues, given its experience in the last intervention and to the proposed performance
preserving a vast and extremely varied institutional collection levels. The issues related to the overhang are complex, as
and the fact that the Oswaldo Cruz House Heritage the studies conducted during the Getty project identified
Department has been up and running since 1989, tending to the inefficiency of the repairs performed, revealing cracks,
the organization’s architectonic, urbanistic and archeological shedding, and exposed formwork, compromising structural
assets. In other words, it already has an institutional design performance and protection against corrosion. Laser scans
for conservation research and management in place, were carried out to obtain the precise geometry of the
with a proven track record stretching back decades. This overhang, check for deformities, and obtain more precise
structure is not found at similar maturity levels at the other diagnoses of pathological manifestations. On the areas
institutions, though these do have maintenance crews and where concrete patches had fallen off, attempts were made
an architecture sector, even if they are not articulated with a to obtain more satisfactory results formally and structurally,
Figure 4 research structure tooled for preservation. but without conclusive results. That said, premisses were
Construction of
the São Paulo Art
In the case of the FAU-USP building on the University established for future developments.
Museum, architect of São Paulo campus (built between 1966 and 1969) and
Lina Bo Bardi, 1957 designed by Vilanova Artigas and Carlos Cascaldi, the
- 1969, São Paulo.
Source: IB. Photo:
aim was not to create a complete preventive conservation
Hans Gunter Flieg, plan, but to conduct research to underpin one in the future
1968. (PINHEIRO et AL., 2017). Two main fronts were chosen:
first, to control and manage the building’s most constant
agent of degradation (water); and, second, carry out studies
to determine the effects of repair work to the concrete
gables in 2014, which detracted from its uniformity. The
building’s brutalist overhang always proudly wore the traces

26 27
 Lina Bo Bardi’s Casa de Vidro, designed and built Concluding remarks conservation, and that implies a distinct approach. To return
between 1950 and 1952, is described in detail in this to our comparison with medicine, what we don’t want is
volume, but suffice it to say here that it, too, involved These four cases covered by the Keeping It Modern Program an autopsy or lesson in anatomy. These buildings must be
a process of gathering and systemizing historical in Brazil were essential to consolidating or inculcating treated as living organisms, and given regular checkups.
documentation, articulated transversally with the other an awareness of the need for conservation management Interventions will have to be made, but they should be as
work fronts, including a thorough appraisal of the present plans based on in-depth research. Each of the institutions mild as possible. We have to do what’s needed, but the
state of the building and its grounds (using traditional has a different design for absorbing the dynamics that less invasive that is, the better. With light but constant
survey methodologies, 3D laser modeling and BIM, etc.), surround the drafting of such a plan: FIOCRUZ has the conservation, we can ensure that these works enjoy a long
the precise examination of the existing constructed area, most robust structure, while FAUUSP, Casa de Vidro and and dignified existence.
a tree survey and landscape studies. These last-mentioned MASP have architecture and maintenance departments The experience garnered over the course of the Keeping
measures were adopted because the building/landscape that are better equipped to handle the daily demands, but It Modern program was fundamental to ensuring a process
relationship is essential to the complex and the gardens are not operationally linked with conservation or research of awareness-building about the benefits of conservation
are important in their own right and so require specific departments. A public organization like FIOCRUZ, FAUUSP management at these institutions, based on research that
directives. The plan is structured as follows: declaration of is an educational institution whose syllabus includes fosters deeper knowledge about the works in question
importance; diagnostics and inventory; conservation plan conservation themes, yet it had never systematically and which translates into wide-ranging conservation
geared towards material interventions, and an institutional directed its expertise into conserving its own buildings. management plans that actually guide institutional practices
management plan for conservation. All of the institutions involved have maintenance routines, and serve as a reference—scientific and institutional—for
From the very start, the MASP project was the but these are generally remedial, impromptu and unshored other buildings and their caretakers.
one that established objectives specifically and mainly by specific research, systemized knowledge, constant
concerning the structure and its functioning, as preliminary monitoring and a sufficient budget. The Keeping It Modern
evaluations found these to be the priority areas. The experience was of the utmost importance on numerous
documental research that underpins the proposal was fronts, one of which was instilling a long-term conservation-
therefore conducted with two key objectives in mind: (a) to mindset. Scientific output on the theme reveals that
establish a declaration of importance; and (b) subject the scheduled, periodical preventive conservation costs less
structure to more rigorous examination, spanning both its than major sporadic interventions and is far more efficient in
construction and any interventions that have been made to respecting the material, structural and documental aspects
it over the years. The documental research was associated of the building by requiring less invasive measures.
with two other interconnected fronts: the conservation of Though these are all widely studied constructions,
the concrete; and the structural behavior of the building, the projects on these four cultural assets offer a trove of
including modeling to ascertain how the structure was previously unavailable knowledge on how they were built,
designed to function (the original calculations) and how it how they really function structurally and materially, and
actually functions today. This allowed the team to identify about their respective geometries. As such, they provide
the most urgent vulnerabilities, suggest ways to address historiographical clarifications of crucial relevance. The
them, and provide data for a proposed conservation policy documental and bibliographical research informs the work
that includes periodical monitoring and an action plan of other disciplines and vice-versa, leading to reciprocal
for tackling the most pressing problems. The proposal enrichments and promoting integration between areas,
is that this initial kernel expands into a full conservation something valued in theory but hard to establish in practice.
management plan in the future. The studies on materials and structures were also
important in honing the general awareness of the method’s
analytical and diagnostic applications, as it’s not a matter
of conducting studies on structures and materials as
such, merely to broaden the specific knowledge base
about them. As these are buildings of cultural note and
import, the research should be pursued in the interests of

28 29
Bibliography Notes

AGUIAR, Bárbara Cortizo de; CARCERI, Maria ICCORM; CANADIAN CONSERVATION 1 The reports are available at the Keeping
Luisa Gambôa. Arquitetura Moderna e INSTITUTE. A Guide to risk management It Modern Report Library on the Getty
sua Preservação: estudos para o plano de of cultural heritage. 2017. Disponível em: website: http://www.getty.edu/foundation/
conservação preventiva do Pavilhão Arthur <http://www.iccrom.org/sites/default/ initiatives/current/keeping_it_modern/
Neiva. Rio de Janeiro: In-Fólio, 2017. files/2017-12/risk_management_guide_ report_library/index.html
BASILE, Giuseppe. Dal restauro ala english_web.pdf>. Acesso em: 17 out.
conservazione programmata. Ricordo di 2018. 2 Alberti, De re aedificatoria, X. 1. Cf.
Giovanni Urbani a diece anni dalla morte. KERR, James Semple. Conservation Plan. Icomos JOKILEHTO, 1999, p. 27. The author returns
Kermes, Roma, n. 54, p. 35-40, 2004. Austrália, 2017. Disponível em: <https:// on various occasions to these proposals
BRANDI, Cesare. Cosa debba intendersi per australia.icomos.org/wp-content/uploads/ developed over the centuries.
restauro preventivo. Bollettino dell’Istituo The-Conservation-Plan-7th-Edition.pdf>.
Centrale del Restauro, Roma, n. 27-28, p. Acesso em: 22 out. 2018. 3 The term appeared in print for the first time
87-92, 1956. KLÜPPEL, Griselda Pinheiro; SANTANA, in an article from 1956 (BRANDI, 1956),
BRANDI, Cesare. Teoria da Restauração. Cotia: Mariely Cabral de. Manual de Conservação republished in 1963 in Theory of Restoration
Ateliê Editorial, 2004. preventiva para edificações. Brasília: IPHAN, (BRANDI, 2004, p. 97-109).
CANZIANI, Andrea; DELLA TORRE, Stefano; 2000.
MINOSI, Valentina. L’Introduzione dei nuovi PINHEIRO, Maria Lucia Bressan; OLIVEIRA, 4 See, for example, the important book by
materiali e i problemi della manutenibilità Claudia T. A. O; KÜHL, Beatriz Mugayar; Kathleen Dardes (1998). The bibliography
e della manutenzione. In: SCIENZA E BENI BAROSSI, Antonio Carlos (Orgs.). Subsidies on the theme in Brazil and abroad is
CULTURALI, 20, 2004, Atti: Architettura for a Conservation Management Plan: vast. For more on these issues and a
e materiali del novecento. Conservazione, Vilanova Artigas Building. FAUUSP, 2017. preliminary bibliography on the theme, see:
restauro, manutenzione, Venezia: Arcadia, Disponível em: <https://www.getty.edu/ CARVALHO, 2014.
2004, p. 9-16. foundation/pdfs/kim/fauusp_vilanova_
CARBONARA, Giovanni. Beni culturali, restauro, artigas_building_cmp2.pdf> Acesso em: 22 5 The author’s output is extensive. See, for
e recupero: un contributo al chiarimento out. 2018. example, DE GUICHEN, 1999.
dei termini. In: IL RECUPERO DEL RUSKIN, John. A Lâmpada da Memória. Cotia:
PATRIMONIO ARCHITETTONICO. Seminario Ateliê, 2008. 6 Based in the Raymond Lemaire International
Aosta, 1990, Atti, Aosta: s. e., 1992, p. Centre for Conservation – RLICC at the
33-44. Catholic University of Leuven, Belgium.
CARTA DE ATENAS, 1931. Disponível em:
<http://portal.iphan.gov.br/portal/ 7 The first edition was published by the
baixaFcdAnexo.do?id=232>. Acesso em: 17 Historic House Trust NSW, Australian
out. 2018. Heritage Commission and Commonwealth
CARTA DE VENEZA, 1964. Disponível em: Department of Housing and Construction.
<http://portal.iphan.gov.br/portal/ The seventh, revised and updated edition
baixaFcdAnexo.do?id=236>. Acesso em: 17 was published by Icomos-Australia in 2013.
out. 2018.
CARVALHO, C. Conservação preventiva de 8 http://www.getty.edu/conservation/our_
edifícios e sítios históricos: pesquisa e projects/science/climate/climate_partners.
prática. Revista CPC, São Paulo, n. 18, p. html
141-153, 2014. Disponível em: <https://doi.
org/10.11606/issn.1980-4466.v0i18p141- 9 For more information visit the institutional
153>. Acesso em: 22 out. 2018 website: http://www.casaruibarbosa.gov.br/
DARDES, Kathleen. The conservation assessment: interna.php?ID_S=23&ID_M=528
a proposed model for evaluating museum
environmental management needs. Los
Angeles: The Getty Conservation Institute,
1998.
DE GUICHEN, Gaël. Preventive conservation: a
mere fad or far-reaching change? Museum
International, v.51, n. 201, p. 4-6, 1999.
JOKILEHTO, Jukka Ilmari. A History of
Architectural Conservation. Oxford:
Butterworth-Heinemann, 1999.

30 31
1.2 The Casa de Vidro project for the KIM program:
structure, process and development.

When preparing the proposal for the KIM program The inventory made from the surveys performed by such as the humidity of the finishing, irrelevant dirt and
call for 2016, the Bardi Institute chose to establish a teams of tasks 3 and 4, use as digital bases of drawings small irregularities of whitewashed surfaces. On the other
collaborative partnership with researchers from the Institute made by team 2 to display the components, their diagnoses hand, major damage such as malfunctioning of the living
of Architecture and Urbanism of the University of São and maintenance guidelines. room ceiling to floor casements, may have more efficient
Paulo IAU USP. Besides being the university institution Thus, the inventory gathers in files the detailed annotation modes than damage maps.
in which works as professor the architect Renato Anelli, presentation of the Glass House with the intervention Landscaping items related to vegetation and garden
then IB director, the IAU USP presented the conditions of proposals that underlie the Conservation Management Plan. constructions have been grouped together to clarify project
academic knowledge in the area of preservation of historical The inventory is a consultation and guidance guide for information delivered on larger sheets incompatible with
heritage, landscaping, architectural history, digital design the preservation management of the Casa de Vidro. such a presentation.
systems and pathology of buildings. The project for the Its structure is divided into: They focus on the management plans of trees (grove)
KIM program brought together outstanding professors in and shrubbery and fodder (understorey). The main guideline
these areas, organizing them on four working fronts, which Main House (CV) is to cut a large number of trees because of the threat
would provide input for the preparation of the Conservation the main house and its immediate surroundings of posed to buildings and street power, or due to the health
Management Plan. external paving. of individuals. The tree management plan was detailed,
Named as tasks numbered one through four, the Studio (ES) while the understorey management had its guidelines only
research fronts were structured as follows: Studio, built in 1986 to house the team of collaborators roughly indicated, as its detailing depends on the openings
who accompanied Lina Bo Bardi in the last phase of her generated by the previous action. The landscaping team
Task 1 career. also assessed the condition of garden paths, identifying
Coordinator Prof. Dr. Aline Coelho Sanches Corato - Garage (GA) infrastructures and slopes, suggesting alternatives to ramps
Historical research on the house and the Bardi couple Garage, masonry construction probably completed and elevator for universal accessibility. Identificaram ainda
in primary sources (documents, drawings, photos) and in 1958 to replace a previously existing lightweight características da vegetação que permitem a criação de
reference bibliography. Systematization of the surveyed structure. percursos temáticos, classificados por grau de dificuldade
documents and elaboration of a historical information Caretaker’s House (CC) ou importância das espécies.
base for the other project teams. Caretaker’s dwelling place, built along with the main The project, planned to be completed in 18 months, had
Task 2 house. to be extended. The first extension was until its delivery, on
Coordination Prof. Dr. Márcio Minto Fabrício Landscaping (PA) November 30, 2018. It was motivated by the difficulties in
- elaboration of digital bases in BIM system, Gathering existing building components in the garden, synthesizing the products of the four tasks that structured
encompassing house, annexes and garden. One of such as stone pathways, walls, gates, etc. the work. Also contributing to it was the unfamiliarity of the
the bases generated was the point cloud made from methodology proposed by the KIM program, which was
laser scanning, produced by a team from the Diaprem The components of each of these units are organized not fully understood by the team until the Getty Foundation
laboratory at the University of Ferrara, under the according to the classification recommended by ASBEA - workshop in August 2017.
coordination of Prof. Dr. Marcello Balzani. Brazilian Association of Architectural Offices: The second extension stems from the need to revise the
Task 3 2018 report and deepen the plan. It progresses until August
Coordination Prof. Dr. João Adriano Rossignolo - survey Structure 2019, being led by a small team consisting of coordinator
of the state of conservation of buildings and preparation structural system, foundations, pillars, beams, slabs, etc. Renato Anelli and supervisor Marcelo Suzuki and technical
of pathology diagnosis, with prevention of corrective Seals staff, with the support of the original team. The main
actions. Among the objectives of this task was a walls, partitions, etc. objectives of this new phase were:
diagnosis of the capacity of the structure of the main Architecture
house, produced by the civil engineer Ricardo Couceiro Finishing, Casement, Frames, Roofing, Stairs, Lighting, • Review of how to synthesize information gathered
Bento. Interior Architecture, etc. and processed in the first phase into a better readable
Task 4 Hydraulics structure and format;
Coordination Prof. Dr. Luciana Martins Schenck - survey System of hot and cold water, hydraulic systems, water • Deepening the discussion of the Conservation
of the state of conservation of the garden, including tanks, sewage, etc. Management Plan proposals with the Bardi Institute
paths, garden walls and retaining walls. Preparation of Electrical Council, considered insufficient in the first phase.
diagnosis, with recommendations for management and System of electrical power installations, logic, telephony,
maintenance. sockets, lightning protection system, etc.

The work of the groups gathered for these tasks has The inventory sheets were located on general drawings
converged to an inventory, a usual instrument in the area of of the Glass House building complex. Thus, the damage
preservation of historical heritage in Brazil. maps initially produced are not necessary, since the damage
annotations on the surfaces of the built volumes presented
little utility, given the characteristics of the property. A
relevant aspect in the maps produced from the laser
survey refers to the markings of the damaged areas on the
masonry surfaces, which noted non-pathological items,

32 33
2 The Casa de Vidro, the Bardi Couple and
the Bardi Institute: History and Significance

34 35
2.1 The Bardi Couple project in Brazil: from cultural
action to the construction of their own history

Renato Anelli Figure 1.

Lina Bo visiting war
ruin in Italy. Place, date
and author of the photo
not identified. Source:
IB.. Foto: Federico
Patellani

Figure 2.
Tavola degli Orrori,
collage made by Fr. M.
Bardi for the Second
Italian Exhibition of Ratio-
nal Architecture, Rome,
1931.

The Casa de Vidro [Glass House] was the residence of The Casa de Vidro records this history in its architecture, As a publisher, critic and journalist in Italy, his most suc-
the couple Lina Bo Bardi and Pietro Maria Bardi for about which is transformed by its use and its new constructions, in cessful initiative was the Quadrante magazine, that he start-
forty years. In it, their trajectories in Brazil are registered, the garden, which, with the growth of trees, notes the pass- ed in 1933 and which became one of the main vectors of the
a country to which they made important contributions ing of time, on the furniture, objects, works of art that ac- debate on modernism until its closure in 1936. Thanks to it,
concerning its modernization process. The first and most cumulate in the interior of the building, in the library, which he could approach the architects of the vanguards of other
acknowledged moment of this trajectory was the creation makes explicit their intellectual interests. countries, mainly for his participation in the IV International
and direction of the Museum of Art of São Paulo (Masp), The couple met in Rome, Italy, in 1943, when Lina, four- Congress of Modern Architecture in 1933. By taking Le Cor-
conceived as the fulcrum of a project of a modernizing teen years younger than Bardi2, was at the beginning of her busier to give conferences in Rome and Milan in 1934, Bardi
cultural action which, from an art museum, extended career, while he was already an intellectual known for the de- consolidated himself as a reference in his country. His com-
to the architecture, design, theater, fashion, advertising, fense of modern art and architecture.3 Self-taught, he com- bative performance would arouse the attention of young Lina
publishing and teaching to play an active role in the process bined several fronts of work, in magazines and newspapers, Bo even in her undergraduate years.
of accelerated industrialization through which the country with the activities of marchand and director of art galleries. Shortly after graduating in the Faculty of Architecture of
passed after the end of World War II. Bardi’s participation in the organization of the Second Rome, in 1939, Lina moved to Milan, starting a partnership
With successes, failures and revaluation revisions, the Italian Exhibition of Rational Architecture, held in Rome in with her schoolmate Carlo Pagani. In the midst of the war,
Bardi couple changed with events: from their engagement in 1931, was decisive for the space that modern youngsters with the low activity of the civil construction, she dedicated
the “developmentalist”1 project of the 1950s, its exhaustion would conquer in fascist Italy. Its goal was to dispute the he- herself to illustration and interior design projects. Along with
in the 1970s and culminating, in the 1980s, in its transfor- gemony exercised by Marcello Piacentini, then leading a pro- Pagani, she collaborated with Gio Ponti for the magazines
mation into an active and anticolonialist posture, during the cess of modernization without rupture with the neoclassical Bellezza and Lo Stile, producing covers and illustrations.
time of Brazil’s redemocratization. The international transit of academic tradition. Bardi organized a provocative exhibition, With the worsening of the war, Lina followed Pagani in
the couple, from Italy and Europe, extending to the United opening with a panel of collages that ridiculed the provin- his transfer to Domus magazine in 1943. In addition to pro-
States, Africa, Asia and Latin America, generated peculiar cialism of Italian architecture, the Tavola degli Orrori [Table ducing articles more engaged in the proposition of modern
nuances in their interpretation of Brazil and in their proposi- of Horrors]. During Mussolini’s visit to the opening of the architecture, she already anticipated the agenda of the years
tions regarding the country’s directions for its culture, econo- exhibition, Bardi presented him the Rapporto sull’Architettu- of reconstruction that would follow the end of the conflict.
my and society. ra [Report on Architecture], a pamphlet in which he argued She started supporting her friends in resisting the German
that rationalist architecture should be adopted as an “art occupation, even if her direct participation in the movement
of state”, for it was the best expression of the modernizing is not proven. In 1945, with the end of the war in Europe,
character of the regime. Despite the negative reaction of the she founded, with Pagani and Bruno Zevi, the magazine
Duce and other authorities to the request, a period of relative A – a synthesis of “Attualità, Architettura, Abitazione, Arte”
acceptance of the modern architecture was opened, which – dedicated to presenting reconstruction issues to a non-spe-
would be victorious in many contests for public projects in cialized audience.
the following years.

36 37
Figure 3. Figure 4.
Bardi couple disembark- Museum on Waterfront,
ing in São Paulo from architect Lina Bo Bardi,
Rio de Janeiro, February São Vicente, 1951 (not
26, 1947. Source: IB. built). Source: IB.

The adherence of Pietro Maria Bardi to fascism is contro- Bardi brought to Brazil the museological conception that The Casa de Vidro was an opportunity for experimenta-
versial. It is not unlike that of most rationalists who, during would emerge in Italy after the war, and which animated the tion, as Aline Corato develops in her article that follows in
the war, would repent and act in opposition to the regime. museums created in order to occupy palaces and castles this volume.
Recent studies have revealed he was an isolated figure in restored and adapted for that use. The new way of expos- The role of an art museum in Brazil, however, brought
the bureaucratic political apparatus of the state, a character ing would also come with the couple. The design of Franco new problems in relation to the Italian experience. The con-
whose political conception was not accepted by the mem- Albini’s exhibitions from 1941 in Milan, with its slender and stant presence of Nelson Rockefeller in São Paulo pointed to
bers of the Fascist Party.4 The reaction of political sectors of transparent supports, was similar to those created by Lina the Museum of Modern Art (MoMA) of New York as a refer-
fascism, which did not accept modern art and architecture, at Masp’s first headquarters. They brought an Italian way of ence for the new Brazilian museums, among other subjects
led to the closing of Quadrante in 1936 and to Bardi’s cen- thinking the modern in a country with the presence of rem- of interest of the United States government. The opening to
sorship in 1938. nants of so many different times in art and architecture on the international debate is expressed by Bardi’s participation,
In addition to his editorial activity in magazines, Bardi the streets of its cities. In the metaphysical art of De Chirico, since 1947, in the International Council of Museums (ICOM),
had experience in directing cultural institutions. He directed the central theme was this coexistence between times in which proposed policies for museums to be aimed at train-
the Galleria d’Arte di Roma from 1930 to 1933 and, in 1944, the city. For this, light and perspective created a dimension ing audiences and artists.
founded the Studio d’Arte Palma, where he developed a of eternity, beyond any instrumentalization of the classic by Masp was created with this program, taking into ac-
program of exhibitions, conferences and training in the area the historical present, be it authoritarian or democratic. It count the enormous potential of the rapid growth of São
of restoration and attribution of works of art. It was thanks was not by chance that Lina’s drawings for the Museu à Bei- Paulo’s economy and population after the war. In 1950, the
to it that Bardi, newly married to Lina, planned to come to ra do Oceano [Museum on the Waterfront], made in 1951, creation of the Instituto de Arte Contemporânea (IAC), at
Brazil in September 1946 to present art exhibitions in Rio de used depth and metaphysical light, depicting paintings and Masp, expanded the formative character of the first years,
Janeiro. In the first of these, held in the Ministry of Educa- sculptures through collages in perspective, with the infinite introducing courses such as industrial design (the first one in
tion building, a manifesto construction of Brazilian Modern ocean in the background. An experiment was carried out in Brazil), advertising and marketing, fashion, filmmaking and
Architecture, Bardi met the millionaire media entrepreneur the room of the Casa de Vidro and, later, in the transparency other directly connected to art. As a project of active inser-
Assis Chateaubriand, from whom he would receive an invita- of the headquarters of the Masp in the Paulista avenue. Glass tion in the process of modernization and industrialization in
tion to assist in the construction of his museum in São Paulo easels and transparent facades arranged works of art in the
(Masp). same space and time, suspended over the city, between the
green of the Trianon park and the view of the valley.

38 39
 Figure 7
Figure 8. Pinacotheca of the new
Page of Habitat maga- headquarters of Masp
zine featuring the Polish in Avenida Paulista,
designer Leopold Haar architect Lina Bo Bardi,
during the course of 1957-1969. Source: IB.
Industrial Design at the Photo: Paolo Gasparini,
Institute of Contempo- 1970.
rary Art of Masp. Habitat
#5, 1951, p.45.

Figure 5. Brazil, it was intended to repeat the role of integration with a neoclassical project by Auguste Perret at Pacaembu neigh-
Furniture and artwork
arranged in the living
the industry that characterized the German Werkbund in the borhood, in São Paulo. With the failure of this partnership in
room of the Casa de early twentieth century, from which the avant-garde Bauhaus 1957, Lina would begin to work, the following year, on the
Vidro with the landscape (1919-1933) emerged. project for a new headquarters for Masp in Paulista Avenue,
in the background.
Source: IB. Photo: Peter
The specificities of the Brazilian industrialization process, which was inaugurated only in 1968.
Scheier guided by large multinational companies, did not open space The formative character of the museum carried the risk
for a design practice of its own, and the project would give of Eurocentrism, and the effort made by the couple to avoid
its first sign of crisis when the industrial design course was it was enormous. The acknowledgement of the Brazilian cul-
closed, in 1953, thanks to the lack of corporate support. The ture cultivated by them can be followed in the articles pub-
crisis worsened as accusations arose as to the authenticity of lished in the Habitat magazine, where there was no contrast
works of art of the museum’s collection. Due to his political between their interest in Le Corbusier and in baroque art,
position and the instrumental use he made of the media of or in the ex-Northeastern votes. Popular culture was clearly
his property, Chateaubriand also attracted fierce opposition articulated to the erudite, whether ancient or modern. The
to the Masp, which extended to Bardi’s direction. As a re- museum should be “out of bounds,” as Bardi had written at
sult, in 1953 Bardi started an international tour to some of the ICOM Congress in 1947 and reaffirmed in his article for
the world’s leading museums, proving, with his prestige, the the first issue of Habitat magazine in 1951.
quality of Masp’s collection. In their private library, essential books of “Brazilian
On the other hand, the physical space limits of Masp’s thought”5 present annotations and highlights that have fu-
first headquarters required alternatives. The first of these was eled the intellectual transformation of the couple in the de-
a partnership agreement with the Armando Álvares Penteado Figure 6. at the center, standing cades they lived in Brazil. Works by Gilberto Freyre, Caio Pra-
Authorities at the open- behind someone else.
Foundation (FAAP), which was building its headquarters with ing of the expansion of Published in Habitat do Jr., Claude Lévi-Strauss, Celso Furtado and Paulo Freire
Masp, April 1950. Sitting magazine #1, 1951, present, in excerpts, the origins of arguments that support
on the ground: Nelson p.18. Source: IB. the texts by the couple.
Rockefeller and Assis
Chateaubriand, at the
left the President of Bra-
zil, Eurico Gaspar Dutra,
and Pietro Maria Bardi

40 41
Figure 8. Figure 9. Figures 10 and 11.
Page of Habitat maga- Lina Bo Bardi with Glau- Exhibition Nordeste at
zine featuring the Polish ber Rocha and film crew Solar do Unhão, which
designer Leopold Haar of the feature film Deus was adapted to be the
during the course of e o Diabo na Terra do Sol headquarters of the
Industrial Design at the [Black God, White Devil], Museum of Modern Art
Institute of Contempo- 1963. Source: IB. of Bahia, architect Lina
rary Art of Masp. Habitat Bo Bardi, 1963. Source
#5, 1951, p.45. IB. Photos: Armin Guth-
mann.

The transformation of Lina, friend and correspondent to She uses the same technique in the house of Valeria Cirell, tion of modern architecture, not in the sense of Zevi’s organi-
Bruno Zevi, is mediated by her approximation to the organic who becomes her neighbor in Morumbi, and, in Bahia, in the cism, but in the approach to an authentic popular root.
architecture proposed by him, which makes her make a stop Casa do Chame-Chame, both of 1958. Between 1960 and 1964, she remains in the board of the
in Barcelona, during her return of a trip to Italy in 1956, just The trip to Salvador, that same year, at first for confer- Museum of Modern Art of Bahia (Mamba), from where she
to know the work of Gaudí. ences and then for a course, opened up new perspectives conducted an ethnographic research of the Brazilian North-
From their first years in the country the couple traveled for the architect. There she met European intellectuals, hired east through the sertão [back country] of Pernambuco, Ceará
through Brazil, getting to know different ecosystems, from as teachers of the University of Bahia, who fed a movement and other states of the region. She conceived a museum that
the humid forests of the Atlantic forest of the coast to the of renewal in the music (the German Hans J. Koellreuter and had as its goal reproducing, in a smaller scale, Masp’s IAC,
arid landscapes and inhospitable rocky formations of the the Swiss Walter Smetak) and in the dance (the Polish Yanka but inserted in the projects of economic and social devel-
park of Vila Velha, in Paraná. They, accompanied by Saul Rudzka), besides Eros Martins Gonçalves, from Recife, who opment of the Northeast under direction of Celso Furtado.
Steinberg, visited Roberto Burle Marx’s country house in Rio innovated in theater. Glauber Rocha’s engagement in film Unlike the industrialization with advanced technology, which
de Janeiro, in 1950, posing for a photo ahead of philoden- clubs was also important, as it was by then he started mak- occurred in the Southeast, the proposal for the Northeast
drons and other plants selected by the landscaper in Brazilian ing short films before his first feature, Barravento, in 1962. was the intensive use of abundant and unspecialized labor
native flora for his gardens. In the same year, Bardi promoted She was charmed by the possibilities of the living together in workshops with low technology and little need for capi-
the exhibition Os Jardins de Burle Marx [Burle Marx’s Gar- of a sophisticated cultural avant-garde and an economic and tal investments. There she started the Centro de Estudos e
dens] in the Masp, presenting it in an article in Habitat maga- social reality of underdevelopment. Being the first capital of Trabalho Artesanal (Ceta), where engineers, architects and
zine (BARDI, 1951). the colony for two centuries (1549-1763), Salvador kept ex- artisans would develop an industrial design based on the
Lina’s architecture changed over the years. She designs amples of baroque religious architecture in the midst of large popular knowledge she had found in the regional culture. A
the garage and the walls of the Casa de Vidro with rustic groups of civil architecture buildings from that period, part knowledge that was based on the ability to survive with the
mortar coverings inlaid with rolled pebbles and compositions of which was in ruins. Another strong presence in the city is
of ceramic pieces. On these walls she creates small voids for the population of Afro-Brazilians descended from slaves. Lina
plants, using species that grow clinging to rocks and ruins. learned from intellectuals and local artists the value of this
mixed culture, a living example of the theories of sociologist
Gilberto Freyre. She sees the possibility of building a renova-

42 43
Figures 12 and 13.
Exhibition “O Design no
Brasil, história e reali-
dade” at SESC Pompéia,
1982. Source: IB. Pho-
tos: Paquito

minimum resources in adverse conditions, producing tools synthesis of modern and popular, in a project of political and exhibition, the cultural project of the Bardi couple recognized
with traditional modes of manual labor juxtaposed to the cultural character with which she tried to renew what she the economic and social role of art and architecture, without
recycling of garbage of industrialized products. classified as the decadence of the international architecture which these could not be effective in transforming society.
The research would result in the exhibition Nordeste, at from the decade of 1960. In a way, to be known by future generations, this was the
the inauguration of the Solar do Unhão, restored in 1963 to Lina transformed the first project implemented in the IAC project that the couple was based on when they conceived a
become Mamba’s headquarters. The restoration of this con- and in the Masp in the 1950s into something more inserted cultural institution to be headquartered in the Casa de Vidro,
struction of the seventeenth century and its adaptation to be in the cultural and political debate of the country in the be- which would be preserved. The official recognition of the
used as a museum was Lina’s first intervention in a heritage ginning of the 1960s. Bardi, in turn, made a similar approach house with heritage site status took place in 1986, and the
site. The interventions followed the principles of Critical Res- to the culture of the country, including the folk crafts and foundation of the Institute in 1990.
toration, a theoretical conception of restoration that emerged the applied arts to the studies of history of Brazilian art and The Bardi Institute, The Casa de Vidro and its collection
in Italy after World War II and which was defended by au- architecture. form, thus, the center of reference of the historical narrative
thors such as Cesare Brandi, Roberto Pane, Pietro Gazzola Back in São Paulo after the 1964 coup, Lina approaches of the Bardi couple’s trajectory.
and Renato Bonelli, and was not yet adopted in Brazil at the the theater vanguard of Zé Celso and Flávio Império, while
time (CERAVOLO, 2013). Bardi welcomes the new generations of artists in Masp.
The restoration carried out by Lina was daring in inter- Years later, in 1982, the exhibition O design no Brasil:
ventions of demolition and new constructions. The most im- balanço e realidade [Design in Brazil: Balance and Reality],
portant of these is the new internal staircase, made of wood organized by Lina at the recently concluded Sesc Pompeia,
and using “wedge and spike” bolting techniques, common brought together a collection of objects and utensils that
in the old wooden wheels of ox carts. The design, however, she had begun to gather in the years she spent in Salvador
is abstract geometric, having nothing in common with the and which constitute the collections of the Casa de Vidro. To
figurativeness of popular objects. It establishes her best them were added industrial products designed by Brazilian
designers, such as cars, computers and airplanes, which
were absent from the exhibitions of 1963 and 1969 (A mão
do povo brasileiro [The hand of the Brazilian people]). Pre-
sented with no intention of constituting a synthesis in this

44 45
Bibliography Notes

ANELLI, R. L. S. Casa de Vidrio: arquitectura, DO CARMO, Fernanda Heloísa; VICHNEWSKI, 1 In Portuguese, “desenvolvimentista”, derived
arte y naturaleza. In: SANCHEZ, Mara Henrique; PASSADOR, João; TERRA, from “desenvolvimentismo” [developmental-
Llorens; FONTÁN, Manuel del Junco y Leonardo. Cesare Brandi. Uma releitura ism], refers to an economic theory which states
TOLEDO, Maria Gutiérrez (orgs.). Lina Bo da teoria do restauro crítico sob a ótica that the best way for less developed economies
Bardi. Tupí or not tupí. Brasil 1946-1992. da fenomenologia. Arquitextos, São Paulo, to develop is through fostering a strong and
Madrid: Fundación Juan March, 2018, p. ano 16, n. 189.01, Vitruvius, fev. 2016. varied internal market and imposing high tar-
60-71. Disponível em: <http://www.vitruvius.com. iffs on imported goods, therefore forcing the
ANELLI, R. L. S. Recycling and restoration: br/revistas/read/arquitextos/16.189/5946>. expansion and strengthening of its industrial
adding new meaning to historical buildings Acesso em: 21 mai. 2019. sector.
through minimal interventions. In: LEON, E. IAC Instituto de Arte Contemporânea:
CONDELLO, Annette; LEHMANN, Steffen Escola de Desenho Industrial do MASP 2 We have adopted in these texts the use of the
(orgs.). Sustainable Lina. Lina Bo Bardi’s (195101953): primeiros estudos. Faculdade surname Bardi to refer only to Pietro Bardi, for
Adaptative Reuse Projects. 1 ed. Basel: de Arquitetura e Urbanismo, Universidade being the way the professor was called.
Springer Nature International Publishing AG de São Paulo, São Paulo, 2006.
Switzerland, 2016, v. 1, p. 97-160. LIMA, Z. R. M. De A. Lina Bo Bardi. New Haven/
ANELLI, R. L. S. O Brasil moderno do casal London: Yale University Press, 2013. 3 There are different accounts of the exact date
Bardi. Folha de São Paulo, São Paulo, p. I 4 - MORAIS, F. Chatô, o Rei do Brasil. São Paulo: they met. The year of 1943 is quoted by Lina
I 5, 10 mai. 2015. Companhia das Letras, 1994. Bo Bardi in her biographical notes, although the
BARDI, L. B. (entrevista por Carlos Roque). TENTORI, F. P. M. Bardi. Milano: Mazzota, 1990. relationship between them became public in
Eu acho que o Brasil Não Faz parte do 1946 (LIMA, 2013, p.24).
Ocidente. Interview, n. 63, p. 24-26, ago.
1983. 4 Cf. RUSCONI, Paolo, Conferências: “A Invenção
BARDI, L. B. Planejamento ambiental: “desenho” de um Personagem – Iconografia e Fortuna de
no impasse. Malasartes, Rio de Janeiro, n. Pietro Maria Bardi nos Primeiros Anos Trinta”,
2, p. 4-7, dez./fev. 1976. and BIROLLI, Zeno, “Bardi, Pound e o Fascis-
BARDI, L. B. Lettera del Brasile. Architettura mo”, in: I Simpósio Internacional Pietro Maria
Cronache e Storia, Roma, n. 9, p. 182-187, Bardi – Construtor de um Novo Paradigma
jul. 1956. Cultural. Campinas: IFCH/Unicamp, 2011.
BARDI, P. M. Os Jardins de Burle Marx. Habitat,
São Paulo, n. 3, p. 7, abr./jun. 1951. 5 “Pensamento brasileiro”, literally “Brazilian
BARDI, P. M. Musées hors des limites. Habitat, thought”, is the way the first Brazilian theorists
São Paulo, n. 4, p. 50, 1951. of sociology, economy and politics that dedicat-
CERÁVOLO, A. L.. Interpretações do patrimônio: ed themselves to understand Brazilian reality,
Arquitetura e urbanismo moderno na such as the ones mentioned in the paragraph,
constituição de uma cultura de intervenção are referred to in Brazil.
no Brasil, 1930-1960. São Carlos:
EDUFSCar, 2013.
CORATO, A. L. S. Italia e Brasile, oltre il ‘silenzio
di un oceano’: Intrecci tra arte e architettura
nel Novecento. Tese (Doutorado).
Politecnico di Milano, 2012.

46 47
2.2 Casa de Vidro and Bardi Couple’s timeline

Lina Bo and Pietro Maria

Bardi get married in Italy It is decided that the
and make a trip to Brazil, museum will be created in
arriving in Rio de Janeiro. São Paulo, and the Bardi
Bardi, who comes to Brazil couple then establish
to sell paintings, sculptures themselves in this city to Creation of the Studio de Lina and Palanti designed the
and objects of art in South found and direct the Masp, Arte Palma, which brought expansion of Masp, which
America, meets Assis inaugurated on October 2. together Lina Bo Bardi, houses then the Institute of
Chateaubriand, who offers The couple initially resides Pietro Maria Bardi, Giancarlo Contemporary Art. The first
him the opportunity to create in the neighborhood of Palanti and Valeria Piacentini issue of Habitat magazine is Pietro Maria Bardi becomes
a large museum in Brazil. Pacaembu. Cirell. published. a Brazilian citizen

Bardi Couple’s
Biographical
Timeline
1946 1947 1948 1949 1950 1951 1952
Casa de Vidro
Timeline

The Bardi couple acquire Pier Luigi Nervi designs the Nervi’s original Structural The construction of the
two plots of land in structure of the Casa de Design is adapted by Tulio house is completed,
Morumbi. Vidro e from the architectural Stucchi. After receiving the receiving its permit for
design of Lina. construction permit, the occupation in November.
work is started.

48 49
 Lina reassumes the
accompaniment of the works
First studies for the The period Lila spent in Inauguration of the Museu of the Masp in the Avenida
headquarters of Masp, on Salvador, where she gives de Arte Moderna da Bahia Paulista and Bardi creates
Avenida Paulista, and for lectures and courses and (MAMB). Lina remained as Gallery Mirante of the
Lina becomes a Brazilian the house Valeria Piacentini designs the Casa do Chame- the head of the institution Arts, of which he becomes Inauguration of Masp’s new
citizen. Cirell, in Morumbi. Chame. until 1964. partner. headquarters.

1953 1954 1956 1957 1958 1960 1966 1968

The house is called Casa Lina complains about the First exchange of broken The Bardi couple buys the
de Vidro [Glass House] lack of infrastructure in the glass. third plot for the house, so
and appears in several neighborhood, and has to the land acquires its current
magazines. live in a hotel. dimensions. Although it
is not documented, it is
possible that the couple has
constructed the new garage
and the paths in the garden
in that period.

50 51
Lina starts to work on the
design of Sesc Pompeia, a
landmark work of the latter
phase of her career.

1977 1978 1981 1983 1986 1987 1990 1991

Construction of the sidewalk First major renovation in the Renovation of the glazing Condephaat declares the The handrails of the garden Creation of the Quadrante Repairs on the roof and the
and exterior wall of the Casa Casa de Vidro. pockets and installations. Casa de Vidro a heritage site, paths are installed, as well Institute, current Bardi declaration of the Casa de
de Vidro: roof, lightning rods, after request of the Bardi as new curtains, while the Institute. Vidro as a heritage site by
gate. couple. painting is renovated and the Conpresp.
glasses replaced with new
The “little house” is ones.
built, a studio for Lina’s
collaborators.

52 53
Lina Bo Bardi dies on March
20. In her memory, Bardi Due to his health condition,
donates to Masp the painting Bardi gradually leaves the
by the Maestro del Bigallo Masp, from which he had The centenary of Pietro
Our Lady on the Throne become president of honor. Maria Bardi is celebrated
with Jesus and Angels, Beginning of the with the release of a
which the couple kept in organization of the Casa de Pietro Maria Bardi dies on documentary and the
their residence. Bardi writes Vidro collection; inauguration 10 October, and the Bardi publication of the Brazilian
História do Masp [History of an exhibition, a catalog Institute is now presided version of his biography,
of Masp], published by the and a documentary about over by Graziella Bo authored by Francesco
Quadrante Institute. Lina Bo Bardi. Valentinetti. Tentori.

1992 1993 1995 1996/97 1999 2000 2001 2006

Another renovation of the Pietro Maria Bardi donates Beginning of contacts with Condephaat tomba a Casa Architect Marcelo Ferraz, The visitation to the Casa de
Casa de Vidro for changing the Casa de Vidro to the the Institute of Technological de Vidro a pedido do casal collaborator of Lina Bo Bardi, Vidro is suspended due to
windows, refurbishing the Bardi Institute in order to be Research and Museum of Bardi. leaves the Bardi Institute. falls of pieces of coating of
frames, renovation of roofs its headquarters. Archeology and Ethnology the slab of pilotis.
and floors of the garden, of USP to eliminate termites Construída a “casinha”,
painting and changing of both in the residence and estúdio que abriga os
tiles. outside the house. The colaboradores de Lina.
interventions are palliative
due to the presence of Bardi
in the house, when he was
already very old and fragile.

54 55
2007 2008 2009 2013 2014 2016 2017 2019

The process of termite Graziella Bo Valentinetti dies Completion of the Renovation of the house Sonia Guarita do Amaral Research for the Decease of Sonia Guarita
control in the Casa de Vidro and Giuseppe D’Anna is maintenance of the floor of plumbing installations; becomes chairwoman of the development of a preventive do Amaral.
marks the beginning of elected as the new chairman the room by Vidrotil. restoration of atelier’s sliding Bardi Institute. conservation plan for the
a new set of renovations of the Institute. doors; refurbishment of Casa de Vidro is initiated, Giuseppe D’Anna elected
and restorations of the the wall of support of the with funding from the Getty chairman of the board.
glazing pockets, coats, roof, The organization of the caretaker’s house. Foundation.
hydraulic installations. collection progresses
under the direction of Anna Site-specific exhibition at the The Bardi Institute is
Carboncini and with the Casa de Vidro, with works by transformed into Social
technical work of Malu Villas renowned artists and curated Organization in the area of
Boas. by the German Hans Ulrich culture.
Olbrist.
56 57
2.3 Casa de Vidro: a site of
continuous experimentation

Aline Coelho Sanches A modern House as well as identify its characteristics, both globally and in The studt’s sources and the construction of a
Brazil, included the house as their typical example. A photo hypothesis
The Casas de Vidro [Casa de Vidro] 1, as the headquarters of of its glass facade was featured in Gillo Dorfles’s 1954
the Bardi Institute in São Pauli is currently known, is an icon book L’Architettura Moderna in the section dedicated to To reconstruct this history, I began with primary
of Modern Architecture. Indeed, this is one of the attributes Brazil and Latin America, and reappeared in print in 1956, documentary sources such as drawings, photos, receipts,
of the main building in the complex that, for four decades, accompanied by drawings and images of its interior, in budgets, letters, notes, accounting books, meeting minutes
was the home of an illustrious wife and husband: architect Henrique Ephim Mindlin’s Modern Architecture in Brazil, and others, found in various archives in Brazil and Italy.
Lina Bo Bardi (1914-1992) and art critic, art dealer and which praised the architect’s taste for sophisticated details I interviewed Lina and Pietro’s former collaborators and
director of the Museum of Art of São Paulo Ð Masp, Pietro and the vocabulary based on advanced industrial techniques. employees at the Bardi Institute3, in addition to, evidently,
Maria Bardi (1900-1999), both of whom were born in Italy Faith in new constructive possibilities and their potential to studying so-called secondary sources-- namely, articles,
and became naturalized Brazilian citizens. transform spaces and society energized modern architects books and theses written by notable researchers4.
With a project that was initiated in 1949 and like Mindlin and Lina, who sought to take advantage of the In this latter set of interpretations, I did not find any
construction that was finalized in 1952, the house reflects industrial technologies of mass production and new uses works specifically from the perspective of the History of
ideals of form, technique and life propagated by Modern of such materials as glass, steel and reinforced concrete, Construction.
Architecture. Though from the very start, the design improved through research developed in laboratories and The analysis, systematization and crossing of all these
created by the architect was conceived of as a hybrid of constructions. At the worksite, this implied a character sources enabled the construction of the main hypothesis of
material representation of faith in technological progress of experimentation, adjustment to the availability of local this text5, specifically that the Casa de Vidro was a laboratory
and machines and the material representation of vernacular materials and a certain boldness. In general, as was the for continuous constructive experimentation, invested both
constructive cultures – just look at the complex’s service case with the Casa de Vidro, there was a belief that these in the promises of modern architecture in terms of the use
wing made of ordinary brick and the thatch roof over the first materials would be permanent, though without certainty of iron, steel, reinforced concrete, glass and industrialized
garage. These vernacular characteristics were read from a of their actual performance, which only time could tell with materials (such as asbestos cement roofing tiles and glass
modern point of view, that is, they came from someone who accuracy. wool), as well as the rational, resourceful employment of
had, during her formative years in Italy and her early years in Almost seventy years after the completion of the House’s traditional techniques and materials such as brick, wood and
Brazil, learned in various ways to appreciate these cultures construction, it is now possible to better understand how ceramic roof tiles. Under various circumstances, it was also
based on the values of modern rationality, economy and those promises were and were not kept. As such, in this a locale for experimentation in the conservation of Modern
simplicity2. essay, I will attempt to present this example of modern Architecture or confirmation of processes. A description of
Immediately after its construction, the house was also architecture and Brazilian cultural heritage with a focus on its history will allow us to demonstrate this hypothesis and
recognized and proclaimed by critics as an exemplary its construction process. To do so, I will seek to compose an understanding of the aging of the materials can help us
modern model. In 1953, when it was published in a narrative of the complex over the passage of time, from consider alternatives for maintenance.
“Domus,” architect Gio Ponti, director of the important the purchase of the land, through to the project and the
Italian magazine, declared that it had a recognized place in worksite, down to the additions and maintenance work,
Modern Architecture. In addition, two international books attempting to simultaneously clarify the reasons for the
that attempted to narrate the history of this new architecture materials chosen and how they have aged. Furthermore,
I intend to identify the technical culture mobilized at each
moment and the meaning behind it, as well as reveal some
of its actors, beyond the author of the architectural project.
The narrative’s perspective relies on recommendations made
by John Summerson in his famous introduction to the study
of the History of Construction, published in 1985, in which
he sought to pinpoint dual efforts at understanding the
works of architecture, both through a comprehension of the
design of structures as well as the construction practices
employed in them.

58 59
 The Bardis, the Casa de Vidro and the promises of a running an important specialized magazine, “Quadrante.”
São Paulo in Metropolization Pietro was a privileged connoisseur of modern ideals, having
participated, for example, in the famous Fourth International
The history of the Casa de Vidro in Morumbi is clearly Congress of Modern Architecture – Ciam in 1933, where
interconnected with the Bardis’ life story, as well as the he was able to make contact with architect Le Corbusier,
history of Masp. The connections with the museum were whom he so admired. Despite his defense of modern art
especially strong during the period in which the institution and architecture, his vision of the lessons of the past and
was situated at Rua Sete de Abril, at the time it was the need to make ancient art present, a theme particular to
founded in October of 1947 by magnate, journalist and Italian culture, was committed and ideological and would
politician Assis Chateaubriand, owner of the powerful media prove definitive throughout his entire career9. It was an
conglomerate Diários Associados. From the beginning, Masp idea shared by his young wife Lina, 14 years his junior and
was under Pietro’s direction and Lina contributed heavily who had studied architecture in her hometown of Rome,
to the exhibitions and educational actions, as well as the having earned her degree in 1939. Soon after completing
museum design. her studies, she moved to Milan, where, along with her
Masp was one of the new cultural institutions created classmate Carlo Pagani, she opened an office, which was
in São Paulo during the period of the city’s metropolization, bombed during World War II. She was also a collaborator at
as were such others as the Museum of Modern Art - Mam, the architectural firm run by renowned architect Ponti. In that
the Brazilian Theater of Comedy - Tbc and the Vera Cruz city, however, her work was particularly limited to interior
Cinema Company, which counted on the work of a new design, illustration and the editing of texts for magazines.
batch of European professionals who immigrated after the She even directed the famed publication “Domus” with
war6. Included among them were the Bardis, newlyweds Pagani, toward the end of the conflict, and founded, along
who arrived in Brazil in 1946 without definite plans to stay. with Pagani and Bruno Zevi, the magazine “A: Cultura della
Pietro was looking for better opportunities for the Italian Vita10.” A proponent of modern architecture, she was up to
art and antique market in Latin America, because of the speed on its discourses both internationally and at home,
difficulties in Europe in the aftermath of World War II. He had where the architectural culture was branded in intricate and
coordinated a commercial itinerary from inside Studio d’Arte multifaceted manners by the dilemmas of identity, translated
Palma, the ambitious Rome gallery that he founded in 1944, at times in terms of mediterraneità, classicism and, later
and which offered such services as restoration, organization on, neorealism. The experience of fascism and the war had
of exhibitions, book publishing, sales and professional marked the Bardis in several ways: Pietro had initially been
expertise7. As such, he realized three exhibitions in Rio de a supporter, believing in the possibilities of transforming
Janeiro with the collection brought over on the ship: one of artistic culture, but he was persecuted by the fascist
ancient art, another of applied arts and the third of modern police nevertheless and did not go through the clearance
Italian art. Historians seem to agree that it was at the first processes that took place after the conflict11. For Lina, the
one8 that Pietro was invited by Chateaubriand to contribute war was a harsh political formation and life experience
to the founding and direction of the long dreamed-of art that would reinforce her objections to the regime, which
museum. matured in the conflict. Arriving in Rio de Janeiro just over
Pietro’s life accompanied the entire 20th century. Born in a year after fighting had ended, the couple found a recently
La Spezia, Liguria in 1900, he was self-taught and worked democratized country with an effervescent output of modern
in Rome and Milan as a journalist, gallery owner and art architecture that was acclaimed abroad: a place filled with
dealer, coming to Brazil as a great expert in European promise for life, work and the realization of the ideals of art12.
art, both ancient and modern. He was also a prominent After Chateaubriand’s decision to establish the
figure in the promotion of modern architecture, the author museum’s headquarters in São Paulo, the couple moved
of controversial exhibitions, articles on the theme and to the city. For a period, they lived in the modern residence
responsible, along with writer Massimo Bontempelli, for designed by Italian architect Daniele Calabi, who came
to Brazil in 1939 fleeing Italy’s race laws, only to return in
194813. It was a house of particular character, built in the
suburban neighborhood of Jardim do Pacabembú, with a
patio and a portico that framed the landscape of that São
Figure 1 Paulo in a phase of accelerated growth. The city would
Exterior view of the newly built
Casa de Vidro, still with no visible
grant Lina the possibility to design her own house, her first
building in the vicinity. architectural volume to be constructed, no longer ephemeral
Photo: PMB. Source: IB. like her interior designs up to that point, but actually built to
last, a symbol of the decision to remain in the country, recast
their own history and construct their own trajectory in it.

60 61
 The purchase of the lots in Jardim Morumby Though the new land divisions were part of the
ongoing process of horizontal expansion of the city limits,
On May 19, 1949, the Bardis signed a Commitment of Sale simultaneous to the ever-increasing verticalization of the
and Purchase of two plots of land, lots 05 and 06 on block city center and its surroundings, they represented an
08 of the recently subdivided Jardim Morumby14, located on exception given their designation for elites, planning and
the other side of the Pinheiros River, the region previously relative proximity to the center unlike many other poor areas
home to the Muller Carioba Tea Farm. This land was paid characterized by the do-it-yourself construction that emerged
for by the Bardis over a number of years to the Morumby at that moment.
Real Estate Company [Companhia Imobiliária do Morumby], The Morumby Real Estate Company’s pamphlets
represented by Luiz Oliveira de Barros, in installments that employed a variety of resources to attract elite buyers: the
included the implementation of electricity, running water, old farmhouse served to provide the place with airs of old
paved roads and forestation. The lots chosen were located Portuguese nobility, while stories of the bandeirantes and
at one of the highest spots in the region, nearby Avenida the hunting fields and imagery of the indigenous chief
Morumbi and the old Farmhouse, as well as an old chapel, Caiubí’s retreat were mobilized as values. The Casa de
binding the future residence to an idea of the past, nature Vidro also played a role in the propaganda: it was the first
and a landscape that glimpsed the new profile of the city of construction in the subdivision and promoted the image of a
São Paulo from afar. modern neighborhood, one of bold, modern architecture in
Lina was the one listed on the contract as the owner coexistence with nature.
of the land. In this document, the rules of land division as In the fifth issue of “Habitat,” the art and architecture
well as the alignments and templates of the buildings to magazine promoted by the cultural activities of the Bardis
be constructed are underlined, indicating that the architect in Brazil, Lina, editorial director at the time, presented a
had probably studied them. They stipulate that the lots be photo of the vegetation in Morumbi and proposed that the
occupied exclusively by isolated residences of two stories neighborhood be constructed in “rigorously contemporary”
or less, at a distance from the property lines with large molds, encouraging the hiring of architects like Oswaldo
indentations, closed off by walls that were not to exceed Bratke and Gregory Warchavchik who then collaborated with
one meter in height and, in the event of the need for support the companies that subdivided the land in the region. Her
walls, they had to be covered by vines or hedges which intention was to provide a modern unity to these new spaces
the owners committed to maintain well. They envisaged that would repel the image of neighborhoods like Jardim
the materialization of the formation of a city inspired by América or Jardim Europa, characterized, according to her,
the American suburbs, with low density and large gardens by “people with lots of money, and lots of bad taste too”
implanted in a sinuous roadway with cul-de-sacs, influenced, (Morumbi, 1951, p. 66).
in turn, by the English idea of the City-Garden, and anchored Part of the sub-prefecture of Santo Amaro at the time,
in a manner that sought to strike a compromise with that Jardim Morumby, where the Casa de Vidro was situated,
singular geography of hills which still held large forested was adjacent and practically contemporary to the Paineiras
areas, plantations and pastures. do Morumbi, a subdivision designed by Bratke, who built his
house there in 1951, also using it a laboratory for modern
construction and life in the suburbs15.

Figure 2
Lina Bo Bardi on the balcony of her
first residence in São Paulo, project
by Daniele Calabi, 1945. Photo:
PMB. Source: IB

62 63
 The Bardi Institute’s archives contain a copy of the
blueprints for Jardim Morumby, with a stamp attributing
authorship to the civil engineering firm of Américo de
Carvalho Ramos, who had modified the land development
in 1946 and 1947. On it, we see two sets of lots marked in
yellow pencil: one corresponds to the lots designated for the
Casa de Vidro, the other for the “Land reserved for the ‘Art
Institute of São Paulo.’” We know of the latter destination
because of the caption of one amplified drawing of the
same lots, undated, included in the archive of Warchavchik’s
projects16 at Fau-Usp. The same drawing would reappear in
1986, in the request to landmark the Casa de Vidro authored
by the Bardis. On it, we read in Lina’s handwriting: “blueprint
of the lots where the studios of Masp’s Contemporary Art
Institute - Iac should have been been built in 1953.” After,
she wrote: “Blueprint of the Lots for Masp, acquired by the
Diários Associados and later soldÐ (Bo Bardi, 1986, p. 34).
Thus, she reinforced the idea that part of Masp’s design
school17 should have been implanted there and explained
that the Casa de Vidro should have been its Cultural Center.
According to the architect, with the plan’s failure, the house
was left over to serve as the couple’s residence. Though I
recall that the Iac was only officially founded in 1951, it could
well be true, according to this narrative recounted by Lina
in 1986 and indicated by the clue found in the Warchavchik Figure 5
Morumby Allotment plan with
archive, that it was in the works since 1949, when the Bardis highlights of the Casa de Vidro
purchased their plots of land. (above) and IAC (center) lots in
Warchavchik was linked to the development of the yellow. Ink, graphite, crayons,
printing, on offset paper. Source: IB
neighborhood and he was the author of the projects for the
“Reform of the Farm House for the Morumby Country Club”
in 1948 and the “Renovation of the Morumby Chapel,” as Figure 6
Land reserved for the Institute
he himself named it, in addition to two houses in the new of Contemporary Art, by Masp.
subdivision, designed in 1950. An architect who played a Page of the Casa de Vidro listing
fundamental role in introducing modern architecture in Brazil process by Condephaat, with notes
by Lina Bo Bardi. Source: www.
and connected to the cultural proposal of the modernist arquicultura.com.br
group in São Paulo, he shared with the Bardis the experience
of foreign origins, having come from the Ukraine, and with
Lina he shared the experience of having been educated at
the same Roman architecture school, as well as having lived
in Italy for a few years. According to Zeuler Lima (2013,
p. 55), a scholar of Lina’s career and architecture, it was
Warchavchik who introduced Pietro to the neighborhood. A
bit later on, the architect would once again play a part in the
house’s history.

Figure 3 Figure 4
Cover an advertising flyer for Morumby Real Estate Company,
Morumby Garden, s / d. Source: IB page of report submitted
to shareholders about Morumby
Garden, 1953. Source: IB

64 65
 Lina Bo Bardi’s project the rest of the architect’s work. The author also recognized
the project’s affinity with the ideas of modern masters like
Architects and architecture historians have dedicated Mies Van der Rohe and Le Corbusier. For her, the house
themselves to understanding Lina’s project for the Casa de was built of “air, light, nature and works of art” (the subtle
Vidro, seeking to interpret the reasoning behind its forms, substances that Lina used and affirmed as architectural
to understand her process in developing it, to discern the materials) and characterized by its transformation over time,
intricate network of choices that produced it. Ponti, the the ever-increasing presence of nature and the objects
first one to christen it the Casa de Vidro, back in 1953, in the face of its own architecture. More recently, Lima
recognized the dual character of its final result with its great (2013) emphasized this relationship between architecture
glazed, periscopic main room – the place of day, of empty and nature and observed the extent to which the project
space, light, air, sun and green -, and with its bedroom preserved the traditional divisions of gender and class in
section – the place of night, walled and secret -, holding Brazilian houses, pointing out that the service area block is
the kitchen in its depths. He believed that the house was in the shadow of the main part of the house. Ultimately, he
a tribute to Brazil, which had motivated it, and Italy, from stressed Lina’s desire to reconcile modernity and tradition,
whose architectural school it had been derived. providing continuity to the Italian debate.
More recent readings, based on methods and questions Like some of these authors18, I believe that Lina initiated
from the history of architecture, have come up with new her project during the purchase of the land, namely in the
interpretations. Maria de Fatima de Mello Barreto Campello’s first half of 1949. The sketches and drawings created by the
dissertation from 1997 attempts to pinpoint the project’s architect and conserved at the Bardi Institute are rich and
generators: for her, they could be found as much in the dead abundant, but they aren’t dated, thus making it difficult to
tree on the patio, as in the choice of the site as an overlook understand the exact sequence of the generation of forms
where Lina would design a geometric project, representative and choices, even with the aid of various scholars who
of order and rationality in the face of nature. In 1999, Renato attempted to reconstruct it19. These sketches bring to light a
Anelli interpreted a peculiar mark of a certain architecture system of ideas and, in them, we recognize some decisions
of Italian immigrants to Brazil in the house’s patios and its in terms of materials. The word vetro [glass], for example,
relationship with Brazilian nature. In 2006, Olivia de Oliveira has an important presence, just like the drawing of the works
called the house’s glass walls “landscape-walls,” underlining of art and the nature and scenery that the glass should bring
the relationship between architecture and nature in this, and into the residence’s interiors. For Lina, glass appeared as a
possibility for implementing her idea of a Platform-House, an
Observation Deck-House entirely connected to surroundings
of vegetation and the landscape.

Figure 7 Figure 9 Figure 10

Side view of the Casa de Vidro Glass house interior with few Side view of the Casa de Vidro
with the caretaker’s house in the furniture and no curtain. View towards the landscape with
foreground. Photo: PMB. Source: of Santo Amaro district on the unidentified visitors. Photo: PMB.
IB. horizon. Photo s / d PMB. IB source Source: IB.

Figure 8
View from the corner of the Casa
de Vidro’ living room. Photo: PMB.
Source: IB.

66 67
Figure 11 Figure 14
Photo of tree trunk and patio at Plan of pilotis and technical area of
Casa deVidro. Photo: Peter Scheier. the built version of Casa de Vidro.
Source: IB Nanjing on paper. Source: IB.

Figure 12 Figure 15
Sketches drawn by Lina Bo Bardi Main floor plan of the built version
for the Casa de Vidro project. 1950 of Casa de Vidro. Nanjing on paper.
c. Source: IB. s / d Source: IB

Figure 13
Longitudinal and cross sections of
the built version of Casa de Vidro.
Nanjing on paper. Source: IB.

68 69
 For Pietro there was also a particular meaning in the use themes. The Studio Palma in Rome assisted in the content
of that material, of which he was an advocate. In 1934, for editing for the exhibits and Lina handled the exhibition
example, he titled an article of his published in “Quadrante” design, which featured crystal panels supported on top
The glass revolution. Six years later, writing in the book of metallic tubes, bearing a resemblance to their house,
L’industria del vetro in Italia, anonymously, due to his designed like a crystal box supported by metal tubes. In the
persecutions by fascists (as demonstrated by Tentori, 2000) museum’s expansion project, designed in 1949 and 1950,
-, he would declare: which the architect worked on basically simultaneously to
the house’s project, she also created another didactic device,
Glass is an element upon which significant the Vitrine das formas: a suspended, elongated glass box,
characteristics are founded, characteristics like the Casa de Vidro23, internally peopled by objects from
representative of our time [...] Today, glass is one of various time periods, from pharmacy flasks from the 19th
the prominent elements of Modern Architecture: it has century, roots and even an Olivetti typewriter.
a dominant role [...] and the conquest of air and light The House and the Vitrine were configured as devices
achieved in our age – by way of the new architecture – capable of setting different objects together floating in
is mainly [its] merit [...] but being that light is the first space, united by wonderment like in the metaphysical
necessity of life, only the present can – and should – paintings. This was a feature unique to Italian art during the
be the age of glass, a triumph of mystery in the most interwar and postwar periods, developed by such architects
scientific age of the human race (L’industrial del vetro in as Franco Albini and Ignazio Gardella and inspired by
Italia, 1940 apud TENTORI, 2000, p. 150 and 153). the lessons of the art critic and author of design projects
Edoardo Persico. The use of the tubes in Lina’s exhibit design
From the late 1930s to the early 1940s, Pietro also had and in the Casa de Vidro had already appeared, for instance,
a fundamental role in the editorial office at the magazine in Edoardo Persico and Marcello Nizzoli’s 1934 project for
“Il Vetro,” using it to address one of his favorite subjects: the Parker stationary shop at Largo Santa Margherita, in
modern Italian architecture and an ideal selection of its which the items for sale were suspended in glass boxes24.
protagonists. It’s worth noting that while still in Italy, Pietro Also in 1934, Albini suspended off the ground, through
had the opportunity to work as architect on projects that the use of tubes, the exhibitive panels at the INA Pavilion
were heavy on experimentation with glass. As such, his in Bari and the project for the Aerodynamics Hall inside the
investment in transparency appeared in a study for the art Aeronautical Exhibit. This procedure was put into practice at
gallery20, capable of exposing and mediating the relationship the same exhibition, inside the Hall of Raids and Records by
with forms and images, building one of the themes dearest Giancarlo Palanti, then Albini’s partner. Not coincidentally,
to him, that is, the design of machines to allow people to see Lina’s sketches of the interiors of the Casa de Vidro featured
and experience art, much like his own house, to a certain unattached tubes in the space, in the form of thin lines,
extent. suspending paintings and sculptures. The same procedure
Figure 16 It does not seem coincidental that in December of 1949 Figure 17 was utilized by her in the first project for MASP’s exhibit
Cover of the magazine Il Vetro, Showcase of the forms and
n. 10, Oct. 1938. Direction,
he wrote to the Industrial Society of Insulating Glass in Santo Pinacoteca in the extension of
design in 1947, by Gardella ten years earlier in his project for
composition and pagination by André asking for information on their products, as indicated Masp, Lina Bo Bardi, 1950. Source: the Piazza Aquileia apartment and by Albini in apartments on
Pietro Maria Bardi. Source: IB. by documents found in Masp’s archives. There, I also found IB. Via Alessandri in 1938.
correspondence dated from 1949 and 1950 (precisely the At the moment when Lina began designing the house,
time when the House was being planned), between Pietro she had initiated her partnership with the aforementioned
and the Centro Informazioni e Studi per le Applicazioni architect Palanti, a representative of that same Italian
del Vetro nell’edilizia e nell’arredamento [“The Center for culture of exhibit design and co-author of projects with
information and studies on the application of glass in
construction and decoration”] - Cisav. The museum’s director
sent photos and provided explanations on the use of glass
in its interiors21, as was the case in Exposições didáticas22,
exhibitions dedicated to exploring a number of artistic

70 71
Figure 18 Figure 20 Figure 21
Panels suspended in space in Sketch for the interior of the Casa Sketch for the interior of the Casa
the Gold Medal Room of the de Vidro living room, drawing by de Vidro room with the couple in
Italian Aeronautics Exhibition, Lina Bo Bardi, 1950 c. Sketch, the foreground, drawing by Lina Bo
designed by Edoardo Persico and crayons, ink on offset paper. Bardi, 1950 c. Sketch, crayons, ink
Marcello Nizzoli, 1934, in Casabella Source: IB. on offset paper. Source: IB.
magazine, n. 141, 1939 p. 41.
Source: IB. Photo: Lucas Corato

Figure 19
Internal perspective of exhibition
at Masp - April 7th Street, Lina Bo
Bardi, 1947. Technique: Sketch with
watercolor, graphite on cardboard.
Source: IB.

Figure 22
Sketches of plans and sections of
the Casa de Vidro project, drawings
by Lina Bo Bardi. 1950 c. Graphite
on offset paper. Source: IB.

72 73
 Persico, Albini and Gardella. Just eight years her senior, he The house’s curved roof was another element pursued
had enjoyed a career decorated with awards, victories in by Lina in various sketches. The architect had previously
competitions and vital projects. He had been a professor at tried out the same type of roof to demarcate the space
the Polytechnic University of Milan at the time he emigrated of the MASP auditorium in 1947, and it would reappear
to Brazil, like Lina and Pietro, in 1946. With Palanti, Lina in a number of studies from those years, such as those
attempted to further elevate the design and mass production for the popular housing units designed in 1951. In one
of modern furniture in the so-called Studio de Arte Palma, of the study sketches for the Casa de Vidro, drawn on
founded in São Paulo in 1948. As with the Casa de Vidro, museum letterhead, the architect tested out a double roof
they employed both industrial materials like plywood and and made written notes in Italian on her material choices:
metallic tubes, as well as those with artisanal and folk-art “iron structure,” “crystal,” “Eternit or aluminum to cover,”
origins, such as atanado leather and sisal fibers25. “isolating material.” In another sketch she expressed her
At Studio Palma, the duo also executed a number of idea of architecture in a note: “brick house and industrial
residential projects, including one for Guilherme Kraus roof,” that is, artisanal technique and technology for mass
in 1949. It was a one-story house with three patios and production. She also added that the roof was to comprise a
an exposed-brick façade, and the choices they made volume with plasticity and should appear curved from inside
demonstrated a world of materials very similar to that of the main room and flat in the bedrooms.
the Casa de Vidro: iron columns and common brick and In addition to the sketches, the Bardi Institute collection
exposed brick masonry in the structure, slabs of reinforced also features preliminary technical drafts and drawings of the
concrete with pierced bricks throughout the entire building, executive project. The drafts contain indications of finishings,
waterproofed at some points and covered with a structure even before final decisions were made, suggesting wood
made of peroba timber and “Eternit” (a brand of asbestos floors made of pau-marfim timber, black São Caetano
cement) roofing tiles at others, as well as large, sliding glass ceramics in the bathrooms, painting and molding directly
doors, presented in a descriptive memorandum prepared by upon the bricks, as seen in the aforementioned Kraus house.
engineer Jorge da Conceição Gomes as transparent, double Lina’s handwriting can be recognized on some of
glass doors produced in Brazil. the executive drawings, especially those that refer to the
Palanti also collaborated with Lina on Masp’s expansion interiors, namely the details of the kitchen, bathrooms,
project, inaugurated in 195126, when again they employed closets, furniture, bookshelves, fireplace, doors and rails.
tubes to suspend the panels supporting the works of art. To There are complementary presentation boards for the
suspend the Casa de Vidro in space, the architect ultimately plumbing, storm-water pipes and electrical installations, as
decided to utilize Mannesman tubes — seamless steel tubes well as special details executed by the company “Estudos
produced by the German company, previously employed in Técnicos 2R-E,” designated for the casements, the guard
Italy’s aforementioned exhibit design culture. Such choice rail frame of the large glass planes for the main room (not
of metallic tubes suggests still Lina’s admiration for the executed), the iron and granite access staircase, produced
works by Mies van der Rohe27 and Albert Frey, whose Kocher between May of 1951 and March of 1952, that is, when the
Canvas Weekend House from 1934 she published in Domus House was already under construction, thus demonstrating
in 1944 (in an article about houses featuring pilotis) as an the continuity of the project’s process along with the
example of how by using steel structure one could achieve development of the worksite.
maximum visual lightness28. Also, the furniture designed for
the house’s interior were constituted of iron tube structures
(as she had previously used in some armchairs at Studio
Palma), including the library bookcases with glass shelves,
just like the structure of her most famous chair, Bardi’s Bowl,
from 1951, designed when construction began on the Casa
de Vidro.

Figures 23, 24 Figures 25

Casa de Vidro project development Casa de Vidro project development
sketches, drawing by Lina Bo Bardi, sketches, drawing by Lina Bo Bardi,
1950 c. Graphite on offset paper. 1950 c. Graphite on offset paper.
Source: IB. Source: IB.

Figure 26
Preliminary Design for the main
floor, Casa de Vidro, 1950c.
Graphite, on paper. Source: IB.

74 75
 Pier Luigi Nervi’s structural project

The structure with the Mannesman tubes and their

modulation had already been introduced in Lina’s previously-
mentioned sketches and drawings. It was necessary to
embark on the project and structural calculations, which
Pietro and Lina initially solicited to Italian engineer Pier Luigi
Nervi, the author of bold works with long span structures in
reinforced concrete and also responsible for developing and
patenting the ferrocemento system. Pietro was an admirer
of his, having formerly realized a project with him in the
competition for the Palace of Italian Civilization at the E42
Exhibition in Rome in 1937.
In a letter to Pietro dated November 25, 1950, now
stored in the archives of MaXXI in Rome as well as at Masp,
the engineer shared news of his arrival in Italy and thanked
the Bardis for the hospitality they had showed him Brazil.
He asked Pietro to tell Lina that he would begin his study for
their house the next day and that he hoped to send them the
executives in five or six days29.
We know that Nervi had been in South America to
administer two courses that year: one in Buenos Aires and
another at Masp in São Paulo, where he taught 12 classes
on various aspects of Reinforced Concrete, from calculation
to execution, and managed to get 248 enrollments for
the museum. The theme of his first class, “Construction
technique considered architectural language,” indicated
the general pitch of the course and the manner in which he
addressed structures.
The executive drawings were sent by Nervi in early
December with the following explanations:

In order to reduce the thickness of the flooring/ceiling

and abolish the exposed beams, I adapted, after
Figure 27 some attempts at other paths, a mixed solution with Figure 28
Pier Luigi Nervi study for the Pier Luigi Nervi’s study of the
structure of the Glass House,
iron beams immersed in the conglomerate and slab. arrangement of steel profile beams
“Villa Bo - Bardi a San Paolo”, 1950 This is also the best way to obtain a good connection for the Glass House structure, “Villa
c, Source: Fondo Nervi, between the Mannesmann tube columns and the slabs, Bo - Bardi a San Paolo”, 1950 c,
Pier Luigi, Biblioteca delle Arti Source: Fondo Nervi,
and Spettacolo, Centro Studi and
a connection which would be delicate and difficult with Pier Luigi, Biblioteca delle Arti
Archivio della Comunicazione CSAC an exclusively concrete solution. I also believe that it and Spettacolo, Centro Studi and
Università di Parma - Fondo Pier could have advantages from a constructive point of view, Archivio della Comunicazione CSAC
Luigi Nervi Università di Parma - Fondo Pier
given that you can assemble the skeleton of columns Luigi Nervi
and beams, and complete the slabs after. If, however,
the system faces difficulties in finding materials and local
execution, do not hesitate to tell me so it can replaced by
another solution30.

The project sent by the engineer is missing from the

Bardi Institute’s archives, but the original drawings are
found in the Nervi fund at the Centri Studi e Archivio della
Comunicazione - Csac 31 in Parma, and are very insightful.
Comprised of five boards, they involve 1) the plans for the
slabs in 1:50; 2) foundations and slabs for the main room (a
sample of the pilotis throughout the entire extension in 1:5);
3) slabs of the main room (a detail in 1:5 of the perimeter
beams and part of the slab); 4) detail of the joining of the
tubes and the beams of the slabs in 1:2; 5) slabs of the
service area, 1:10. The collection also includes sketches
that feature a small sample of the house and a study of the
moments, envisaging a hyperstatic structure32, as well as
various drawings with annotated corrections.

76 77
 As the basis for his structural project, Nervi utilized
a drawing of the residence’s first floor layout, probably
delivered to him by Lina when the engineer was in Brazil.
The study of the distribution of the pilotis in the layout,
according to the drawings that belong to the Csac, show
that the final configuration of the house as we know it was
already established. As such, though Lina’s drawings of the
Casa de Vidro are not dated, we can place them based on
the intersection of these documents, when the project was
relatively complete in November of 1950. The only alteration
in terms of what was constructed appears in the absence
of the separate fireplace (in the drawing it is attached to
the structure in the corner of the internal patio), in the door
separating the pantry from the kitchen (which would later
disappear) and in the design of a cupboard. The module was
one with which we were already familiar: 5x5 m between
pilotis, with the exception of the extremities, indented from
the windows, enabling the balance of the slabs.
For his project, Nervi indicated the use of Mannesman
tubes with an external diameter no less than 17 centimeters,
filled in with a high-quality conglomerate and mixed with
care. A single tube should support the floor and the roof.
The tubes and steel beams in profile C are to be soldered
together, a process for which he recommended the utmost
care, including regarding local executive modalities. The I
Beams are thus to be bolted to the C Beams, composing,
together with the pilotis, the structural skeleton. For the
connection between the tubes and the foundations, a cage
was planned positioned at the lower part of the tube, which
opens up in the foundation footing like an umbrella, binding
the two parts. The 13-centimeter thick concrete slab should
be bound to the beams and tubes with steel and should also
anticipate holes drilled into the metallic structure which is,
in turn, immersed in the conglomerate of the slabs, with an
inverted chapiter, like an upside down mushroom slab.
On January 15, 1951, Lina thanked Nervi for his project
and praised his calculations, affirming that there would be
no difficulties with the execution, since they were going
to call on a company organized for the construction rather
than an empirical “master.” In effect, they would soon hire a
construction company that was quite familiar with reinforced
concrete.

Figure 29 Paolo”, 1950 c, Source: Fondo

Pier Luigi Nervi study for the Nervi, Pier Luigi, Biblioteca delle
system of columns and metal Arti and Spettacolo, Centro Studi
beams with foundation and and Archivio della Comunicazione
reinforced concrete slab. Glass CSAC Università di Parma - Fondo
House, “Villa Bo - Bardi a San Pier Luigi Nervi

78 79
 Stucchi’s solution, responding to the regulations of the News from the worksite 43
on the worksite, per month, in the period of the structure’s
pioneering Brazilian concrete norms of 1941 (Freitas, 2011 assembly and finishings. They were: Herminio Apolinario,
and Contier, 2014), addressed the difficulties that Nervi had Construction on the Casa de Vidro must have been initiated Adão Schalathaner, Amadeu Pegoraro, Ananias Assumpção
pointed out in his letter concerning the delicate solution after the Permit of July, 1951 and the finalization of the Netto, Antonio Adelino da Silva, Antonio Barranco Cruz,
of connecting the metallic tubes filled with concrete and structural project. In the Bardi Institute’s archives, there is a Antonio José Ayres, Aristides Oliveira, Augusto Barrocal
the slabs made exclusively of concrete, proposing a slab receipt of referral of the contract dating from early August. Martins, Celio de Souza, Cesario F. Oliveira; Cesario O. Preto,
that was like a coffered slab for the ground floor of the first After a few months, the construction work faced its Dorgival Monteiro; Durvalino de Souza; Durvalino Soares,
level that avoided, as Nervi had, having exposed beams, first great challenge: the cement crisis plaguing Brazil and Floriano Bedotti, Francisco Sanches, Giovani de Oliveira,
guaranteeing the formal cleanliness of the platform that Lina which made the execution of the structure difficult (up Gualberto Raimundo, Honorato Camargo, Isaias S. Paiva,
had imagined. Due to the loss of the presentation board from until halfway through the 1950s, Brazil’s domestic market, João C. Souza, João de Lima Bonfim, João G. de Souza,
the archives, we don’t know exactly how the connection despite national production, still depended on imports of João Zanfolini, José Barros dos Santos, José F. Trindade,
between the pilotis and the slab was resolved. Curiously, the product, according to Santos (2011)). The result of this José Ribeiro Nascimento, Levino Soares Cruz, Lourival S.
in Lina’s sketches, there is a drawing of a kind of inverted crisis was that the cement used in the House, according to da Silva, Luiz Bonfim, Onofre Raimundo, Onofri Pettinatti,
umbrella in the beam’s interior formed out of iron coming bills of purchase over several months, came from different Osvaldo Gonçalves, Salvador Rossani, Sebastião José
out of the interior of the pilotis, constructing a chapiter in origins – Portland cement from Germany, Portland cement Ribeiro, Ubirajara Vieira and Vespasiano Bocchi.
the beam’s interior. In a statement, Suzuki explained that Cormim from England and Portland cement Votorantim The large quantity of bricks purchased between late
Lina talked about the structure of the house and said that he and Perus from Brazil-, at times, bought on the “cement March of 1952, as listed in the documents in the Institute’s
remembered an umbrella42. black market,” as stated in one of Lina’s letters44. Both in archives, seems to indicate the initiation of construction on
For the roofing slab, Stucchi proposed another system Stucchi’s project as well as the notes, there are no further the masonry. In the project’s documents, the reference to
with reinforced concrete haunches supported by the pipes. specifications concerning the concrete, being something Lina’s name is always larger than Pietro’s.
Figure 35 The studies carried out by task groups 2 and 3 of this project inherent to the construction culture at the time. The price of A letter from Construtora informed of the finalization of
Detail of the Gutter, Roof and
Platband of the Casa de Vidro,
showed that the pipes are not continuous, as Nervi intended. the special structure, at the time of its finalization, was nearly work on the structure on May 14, 195247. That same month,
1952c. Blueprint. Source: Bardi The fact that they are different tubes is proven in the service double of what had been planned in the budget45. Still, the Lina also solicited the sub-prefecture of Santo Amaro for
Institute. proposal sent to “prof. Pietro Maria Bardi”, dated 1951, services provided by Sociedade Comercial Construtora must the construction of the Caretaker’s House, with a project of
mentioned above, in which the use of Mannesmann pipes have been convenient for the Bardis, who also hired them to her design, but signed by the engineer Portugal, owner of
with reinforced concrete filling and the use of “Brasilit” handle the execution and administration of the masonry and the construction company. It was approved in June and the
(brand of fiber cement) pipes, also with reinforced concrete finishings on the work in late 1951. building permit was issued in July. This project for a compact
filling, on the first floor. When Lina demanded the declaration In the Bardi Institute archive, there is an undated list bedroom and sitting room proposed a semi-buried volume in
of heritage for the House in 1986, she would mention in the for the “Casa Morumby,” as the couple used to call it, with order to camouflage it in the ground and, as such, stipulated
documents sent to Condephaat the use of these different a sum of prices that synthesizes the phases, materials and a support wall with a small air cushion which, however, was
tubes: Mannesman and Eternit, information confirmed by the work necessary for the house’s construction, highlighting unable to solve the serious humidity problems that continued
recollections of her collaborators. the difficulties in choices and possibilities for the windows to plague that house.
In both his and Nervi’s projects, the design of the in the following terms: “concrete structure with indication In September of 1952, an inspection of the construction
perimeter beam and the gutter imbedded in the slab are ‘according to the budget from Comercial Construtora,’ was solicited to the sub-prefecture. The inspection and
distinct. Ultimately, Stucchi also realized the structural Brasilit roof; manpower for the roof; dividing brick walls official ready-for-habitation decree was signed on October
project for the Caretaker’s House, planned from that point with common brickwork; waterproofing service on the walls 28th. The results were ultimately communicated by the
on. on the ground floor; finishing on the brick walls; internal construction company to Lina on November 19th.
Nervi and Stucchi’s projects reveal that part of the finishings with two layers, heavy and fine; coating on the At the beginning of this month, an invoice from the
best concrete engineering talents from that era in Italy panels over the slab; oil painting and plaster, tempera in the company Vitrais Conrado Sorgenicht S.A. indicates the
and in Brazil had been mobilized, going to great lengths service area; glass mosaic living room floor; glass mosaic removal and replacement of six pieces of glass, without
to make viable the particular modern aesthetic planned kitchen and bathroom floors; bedroom floors of Brazilian informing which area of the house they were destined for.
by Lina, turning the worksite for the house into a place for ivory wood parquet; peroba timber parquet service area Based on the values, they could have been used on the
experimentation and certain boldness. bedroom floors; ceramic service area hallway floors; large windows in the bedrooms, bathrooms and service areas, or
It’s worth observing that Sociedade Comercial and small doors with installation and painting; casements perhaps for the finishings on the kitchen cupboards or even
Construtora was also responsible for the complementary and casement painting; mosquito net staircase; staircase the library shelves, also designed to be glass, in pursuit of an
projects for the installations of cold and hot water, sewers, (steps and granite); service for plumbing, heating; septic ideal of transparency and dematerialization, substituted after
storm water drains, electricity and respective memorandums tank; water tank; electricity installation; windows ‘tripled they broke, by formica cupboards and simple commercial
envisaging pumps, an oil tank, boilers, radiator, clay difference of Cr$25,5000.00’; various expenses for finishings iron stands painted blue.
shackles, cast iron columns and galvanized pipes, among (baseboards, chimney, range hood for kitchen); bathrooms On this point, it is important to remember that Vitrais
others, recognizing that the concrete structure should be appliances and various pieces; cement tank, kitchen sinks, Conrado Sorgenicht was a pioneering company in their
accompanied by these systems due to its complexity. stove,” Then, subsequently in handwriting: “without oil area in Brazil. Founded in 1874 with the arrival of German
painting and without crystal savings of 100,00046.” More artisan Conrado Sorgenicht, it became “Casa Conrado” in
efficient in terms of thermal comfort, the triple glass was 188948. Pietro was a friend of the family and called upon
ultimately defeated in execution by the economy of the the company, as related by Regina Lara Silveira de Mello, to
simple glass used. build the stained glass windows for the Armando Alvares
The salary slips for the work, dated from 1952, feature Penteado Foundation building49.
the names of important figures in the building process: the
construction workers who were employed from January to
May, a total of over 35 men, divided into about 15 or 20 men

86 87
 The City’s authorization of the project and Gregori
Warchavchik’s signature

The day after this letter was mailed, the authorization

for the project of the Casa de Vidro was solicited to the
Sub-Prefecture of Santo Amaro by the Morumbi Real
Estate Company, signed by the architect Warchavchik,
as attested by documents currently stored in the General
Archive of Processes at São Paulo Municipal City Hall. Being
a foreigner, Lina could not officially sign her work in Brazil
according to the legislation in place at the time, unless she
were to take a complicated exam or manage to get a degree
from an architecture college in Brazil. Another alternative
was for her to become a naturalized citizen, a process she
would complete only in 1953. Warchavchik was already
naturalized and legally registered with the council that
regulated the profession.
The presentation board submitted for approval featured a
project with a structural solution unlike the one suggested by
Nervi: the pilotis had a rectangular section and were made of
reinforced concrete, contradicting the notions of suspension
proposed by Lina. The reason for this change was perhaps
due to the fact that the designs had been prepared before
the arrival of Nervi’s solution for the unusual mixed
structures with Mannesman tube pilotis (quite uncommon
in Brazilian architectural production) or possibly for fear that
the solution wouldn’t be approved. Furthermore, there were
other small variations: the fireplace did not appear, the layout
of the glass wall casements was different, there was no
curve in the roof. Where the library now stands was a closet
and an L-shaped access staircase.
The descriptive memorandum of this approved project
is also insightful in that it details the proposed finishing
materials: tiles, parquet and ceramics for the floors, tiles
for the walls of the pantry and bathroom, mortar made of
limestone sand at a 1:3 ratio, in two layers on the interior and
exterior of the remaining spaces.
After some corrections regarding the property lines, the
Building Permit for the Casa de Vidro was issued in June 5,
1951.
Figure 30 Figure 31
Gregori Warchavchik’s signature Detail of the Glass House Project
and stamp as project author and prepared for City Hall approval,
responsible for the Casa de Vidro showing the rectangular reinforced
Project prepared for approval by concrete pillars in the living room.
the Santo Amaro Sub-Prefecture, 1951. Source: IB.
1951. Source: General Archive of
Processes of the São Paulo City
Hall.

80 81
The hiring of Sociedade Comercial Construtora S. A.
and Tullio Stucchi’s structural plan.

As promised in the letter to Nervi, Lina and Pietro hired an

organized company to handle the construction of the house:
Sociedade Comercial Construtora S.A., one of the most
important in the city at the time, responsible for large works
of reinforced concrete, an area where Brazilian engineering
had made major advances.
At the time, the company was owned by engineer
Heitor Portugal and his partners included Luiz Fernando
do Amaral, Ruy Prado de Mendonça and Jorge Alves de
Lima33. According to Sylvia Ficher (2005) in her study on
the engineer-architects from the Polytechnic School, this
construction company maintained a complete technical
staff, with an architecture department initially headed by
Elisário Bahiana and Ferrucio Julio Pinotti that also executed
projects for other professionals. A scholar of the history
of the technique and technology in Brazil, Milton Vargas
emphasized Sociedade Comercial e Construtora’s role
among those “responsible for the outbreak in the design
and construction of large, reinforced concrete structures”
in the country, and the emergence of “calculation offices,”
run by engineers who had considerable knowledge of
applied mathematics in the stability of the structures, but
some difficulty in controlling the behavior of the constructed
works. (Vargas, 1994, p. 228).
When they were hired, Construtora was to execute the
house’s structure and support walls under a construction
management contract, as written in the proposal letter
sent to “Prof. Pietro Maria Bardi” in March of 1951. In
this document, the company stated that it used its own
calculations in the structural design, given the difficulty
in acquiring the special laminated beams “specified by
Professor Nervi’s plan.”34 The proposal was then approved on
May 28, 1951 and the contract was signed.
The author of the new calculations and the new
structural design was engineer Tullio Stucchi, whose
initials appear on the definitive executive drawings sent Figure 32
First Slab Shapes and Frame,
to Lina between June 7 and 26, 1951, with the following Structural Design for the Glass
presentation boards: 1) Location of Pilotis, 2) Footing Blocks House, Sheet 04, Engineer Tullio
and Grade Beams; 3) Scaffolding of Wall, Grade Beams Stucchi, June 1951. Blueprint.
Source: IB.
and Spread Footing; 4) Scaffolding of Foundations and
Pilotis up to the Ceiling, 5) Forms and scaffolding of 1st
slab; 6) Scaffolding of nervature; 7) Forms and scaffolding
of the roof slab; 8) Gatehouse, slab scaffolding, gutter,
beams and location of the Foundation. Added to them later
were drawings of the beams and gutters in concrete, the
scaffolding of the purlins, wall bracing. Unfortunately, the
presentation board that refers to the scaffolding of the pilotis
has vanished from the Bardi Institute’s archives, making it
difficult to gain a complete understanding of this structure.

82 83
 Born in Monte Azul Paulista, rural São Paulo in 1914, the
engineer Stucchi35 graduated from the Polytechnic School
of the University of São Paulo in 1937. From 1944 on, he
worked as a calculations engineer of reinforced concrete at
Sociedade Comercial Construtora36. Before that, he was an
engineer at the Division of Public Roadways and Works for
São Paulo City Hall. Up until the realization of the project for
the Casa de Vidro, he had accumulated experience on some
important works such as the installations for the São Paulo
Aeronautical Park, the industrial buildings for Santa Maria
Glassworks, the San Martinho buildings at Praça Roosevelt
and the structural project for the CBI Esplanada in 1946, a
work executed by Companhia Comercial Construtora based
on Lucjan Korngold’s and Stucchi’s structural project37.
The building was recognized, at the time, as the largest
reinforced concrete structure in the world38, as the engineer
himself explained on his resume, adding that he’d received
countless letters from various countries, especially Australia,
soliciting information on the structural calculations. This
past experience left no doubt as to his competence in
solving the difficulties of the project for the Casa de Vidro
39
, something that would also prove useful in subsequent
situations: Edifício Califórnia, designed by architect Oscar
Niemeyer, the Unibanco Building at Praça do Patriarca -
Ed. Barão de Iguape, with architecture by the American
firm Som - Skidmore, Owings and Merrill)with Jacques
Pilon and Giancarlo Gasperini; the Itaú Building on Avenida
Paulista, with architecture by Rino Levi and the Ginásio
Paulistano, with architecture by Paulo Mendes da Rocha40.
From Stucchi’s trajectory and the history of Construtora
it’s possible to ascertain that it was a kind of hothouse for
various professionals experimenting with technologies that
allowed for the solution and production of vital works of
modern architecture in the city.
The communication between Lina and Construtora
regarding the structural project demonstrates how she
sought to best adjust it to her idea of architecture. In
the letters sent to the engineers João de Albuquerque
and Stucchi, she mentioned decisions about the
Figure 33 Figure 34 accommodations of the quotas of Mannesman tubes in
Northeast view of the Glass House Project of the Casa de Vidro
Draft, Lina Bo Bardi. Graphite on Caretaker’s House prepared for
relation to the garden and the boundary, and, especially,
paper. Source: IB. City Hall approval, signed by Heitor asked for corrections regarding the central curvature of
de Portugal as project author and the roof of the slab that hadn’t been accounted for in the
responsible, 1952. Source: General
Archive of Processes of the São
structural project and which, as demonstrated by her
Paulo City Hall. diligence in the sketches, was fundamentally important to
the architect. For Lina, the curve could not been created
afterwards, in the plaster coating, something which would:

(...) seriously impair the exterior look of the structure, in

addition to rendering impossible the placements of the
framework that would come at the center, to support
against a coating 6 or 7 centimeters thick, something
impossible and anti-constructive. Dr. João Albuquerque
[finds himself] in agreement and is possession of the
drawings, including those with the central curvature of
the slab of the roof, a very small curvature but one which
needs to be considered41.

84 85
 Figure 37
Picture of the room without
curtains and with furniture in
the process of organization.
Unidentified photographer, s / d.
Source: IB.

Figure 36 It wasn’t possible to identify the origin of the flat Figure 38

Advertising from Morumby Real Oven and Barbecue in the Garden
Estate Company that includes
glass in the Casa de Vidro’s facades. According to Raquel of the Casa de Vidro. Photo by
photography of the Casa de Vidro Schenkman Contier (2014), an expert on the use of glass in Chico Albuquerque, 1953. Source:
under construction. Source: IB. Brazil, only after the war did Brazil produce flat glass for civil IB.
construction. Suzuki mentions that Lina had commented
that the glass used in the house was imported from Belgium,
a fact also confirmed by architect Marcelo Ferraz, a former
collaborator of Lina’s50. The only photograph of the worksite
I was able to find, a photo used in an advertisement for the
Morumby Real Estate Company, shows the house with the
recently-installed windows.
Once it was newly completed, the house was thoroughly
photographed by professionals Peter Scheier and Chico
Albuquerque. Their images were then published in the
magazines “Domus,” “Habitat,” “Casa e Jardim,” “The
architect and building news” and “Interiors” in issues
published from February to May. Soon after, the house
would be featured in other international magazines thanks
to Pietro’s efforts in sending texts and photos to editors. The
text distributed by the Bardis placed an emphasis on the
technical efforts mobilized for the house and its relationship
with nature. It also explicitly mentioned the Mannesman tube Figure 39
Photo of the inner courtyard of
structure that supported the extremely light platform made the rooms, known as the Patio
of reinforced concrete, emphasizing the glass consistency das Rosas, allows you to see the
of the three facades, highlighting the “very thin” concrete garden over the kitchen slab, the
plant species and the chimney.
roof with Eternit isolated with glass wool, the double iron Casa de Vidro, 1953. Photo: Chico
plate with also the same isolation for the finishing, the Albuquerque. Source: IB.
aluminum plating on the roof of the kitchen where tropical
plants grew, the protection from the sun provided by Plavinil
plastic curtains which did away with the need for blinds
and brise-soleils. In the captions of the photos sent, the two
ovens built at the back of the house were described as “the
moment that popular architecture enters an accord with
contemporary architecture.” In one of the images we can see
the first garage built in the garden with tubes and a thatched
roof, underlining the same accord mentioned above. Suzuki
explained that Lina had said that this garage had been blown
away in a storm one day.

88 89
 Figure 40.
Side view of the Casa de Vidro
accentuating the light and shadow
contrasts in the laundry area and
access to the Patio das Rosas.
1953. Photo: Chico Albuquerque.
Source: IB.
Figure 43
View from the room to the still
green landscape of Morumby. In
the foreground you can see the
unprotected opening of the window
from floor to ceiling. Below, the old
garage. Photo: Peter Scheier 1953.
Source: IB.

Figure 41
Kitchen with glass doors in
cabinets. 1953. Unidentified
photographer. Source: IB.

Figure 44
Access to the house with retaining
wall and old gate. Photo: PMB.
Source: IB.

Figure 45
Panoramic view from the Pilotis,
seeing the city in the distance, the
closest plan allotment, the “vasca”,
access ramp and stairs in the
foreground. Photo: Peter Sheier.
Source: IB.

Figure 42
Library with glass shelves in
the room of the Glass House.
Unidentified photographer.
Source: IB.

90 91
 Inhabiting the Casa de Vidro, inhabiting an
experimental project of modernity

The documents in the Bardi Institute archive provide clues

as to the satisfactions and difficulties in occupying that
modern, experimental project, whose promises of well-being
and efficiency were not always kept. In the early years after
its construction, the Bardis paid off the bills for the house’s
construction, attempted to exchange the stove that didn’t
work – one of the modern appliances in the kitchen and
service area, often imported51 - bought plants to comprise
the garden and organized the pavement of its pathways
in arenite stone52. Notes from the employees illustrate the
daily routine in the house: the cleaning of the windows, the
installation of the curtains and everyone’s hope for rain to
improve the look of the plants.
There were also difficulties in inhabiting that modern
development: it had been necessary to build a well due to
the lack of potable water in Morumbi, whose connections
would only begin in October of 1955. In a letter to the
director of the Morumby Real Estate Company, written by
Lina in January of 1954:
I don’t know if it’s due to technical deficiency, error, a
mistake or some other reason, there is no light, no power,
no potable water and the pavement is not finished. Such is
the case that I can’t stay in my own home at that locale, the
reason why I am residing in the Hotel Claridge53.
Figure 46 Anna Carboncini, a former collaborator of Pietro’s at Figure 47 All of these unforeseen occurrences seemed to make
Glass purchase invoice with CVB Living room of the Casa de Vidro.
Vitrais Franco. Source: IB.
Masp and now a member of the Administrative Council at Unidentified photographer.
Lina reexamine her ideas. For instance, in April of 1956, she
the Bardi Institute, researched the Bardis correspondence in Source: IB. wrote to Pietro:
1956 and found various pieces of news regarding the house.
While Pietro was abroad at the moment (Pietro and Lina took Our house is very beautiful, the garden is marvelous, but
several trips starting in 1953 to exhibit the works in the Masp today I would never think of making such a house, it is
collection in Europe), Lina reported on the garden and her the residuals of my convictions regarding “undefined
contentment with it was evident. In the letters, they each progress.“ Today I would make a house with a wood-
referenced the construction of a possible wall to surround burning stove made of stone, with no windows and
the house, which Lina avoided due to the high cost and also surrounded by a large park, full of forest, the seeds I’d
because the air of “untamed nature” offered by the “ravine” throw to the wind in the middle of the woods and the
was pleasing to her. servants would be big primitive blacks; schools, schools,
In February, Lina also told of the need to replace a broken before machines there need to be schools; at our home
window in the main room. The documents in the archive today there’s a stove that wastes gas, tomorrow it will be
show the payment of a rather high bill to Vitrais Franco, a toilet that doesn’t flush55.
Companhia Comercial de Vidros do Brasil (CVB)54. According
to Contier, this company was founded in 1940 with the In 1957, it was the defective boiler that needed
objective of buying all the companies in the glass sector in maintenance, and they began to solicit estimates from
the Brazilian market, including Casa Conrado in 1942, when, specialized companies in order to replace the house’s
in 1943, Conrado III (Conrado Adalberto Sorgenicht) and electrical installations, with a new power input panel and
his partners opened the aforementioned Vitrais Conrado new three-phase lines, to upgrade from the former two-
Sorgenicht S.A. It is possible that the cracking of this glass phase system that did not allow for the use of modern
resulted from the movements of the structure, which was electrical appliances. In 1958, the water pump presented
still settling, according to the diagnostics realized by the problems and the Real Estate Company requested that the
technical staff of the project’s research team, financed by the architect construct a water tank with a motorized pump.
Keeping It Modern program. It was that year that the couple purchased the third lot,
expanding the garden and providing respiration at the back
of the house.

92 93
Figure 48. Figure 49
Dining room and fireplace of Living room of the Casa de Vidro.
the Casa de Vidro. Unidentified Unidentified photographer. Source
photographer. Source: IB. IB.

Also in 1957, Lina initiated the project for Valeria Cirell to direct the state’s Museum of Modern Art. In Salvador,
Piacentini’s residence, the interiors of the Felloni Mattos she was responsible for the renovation of the Conjunto do
medical office and the new headquarters of Masp. The Unhão in 1963, designated for the museum, also creating
very first sketches for the museum envisioned a large glass there a Museum of Folk Art with a design school and what
pyramid. Like the interiors of the doctor’s office, they too she called the Center of Studies of Artisanal Work57. Zollinger
relied on this materiality. But soon enough, new sketches for (2007) demonstrates that, for the project of the Conjunto
the museum proposed opaque facades, just like the facades do Unhão’s administrator’s home, Lina planned a house
of Casa Cirell and the house that Lina would design for the that was entirely surrounded by stone, with a ceiling garden
neighborhood of Chame Chame in Salvador, Bahia in 1958. and the following annotation on the sketches: Niente Vetri,
Oliveira (2006) and Campello’s (1997) readings of these last meaning “No Glass.”
two houses interpret Lina’s option for material expression While in Bahia, and after the ill-fated transfer of the
that abdicated the expression of glass in favor of popular collection and schools of Masp to Faap, Lina continued
materials such as thatched roofs and plain stone walls with the project for Masp’s new headquarters. In August of
few openings. These walls presented river pebbles, tiles and 1964, she resigned from the museum’s administration
objects encrusted in the plaster coating, apparently inspired due to a number of internal reasons and confronted with
by the work of Gaudí, who Lina admired and visited on a trip the country’s new political situation after the military coup
to Barcelona in 195756. Concerning the differences between Figure 50 d’état. The years she spent in Bahia remain as an important
Lina Bo Bardi at the living room
the Casa de Vidro and Casa Cirell, architect Carla Zollinger of the Casa de Vidro. Unidentified
moment in the formation and encounter with Brazil. Lina
(2007) identified the former as a glass pavilion and the latter photographer. Source IB. returned to São Paulo58 and gradually to the daily routine
as a compound enclosed by opaque walls. Both Oliveira and at the Casa de Vidro. The architect’s light workload at that
Zollinger saw this change in the choice of materials as not time is demonstrated by Lima (2013) who highlights that,
necessarily indicative of a reversal of procedures in Lina’s during the period, her main activity consisted in creating
work: an opaque wall and transparent skin are elements executive drawings that would inform the construction of
that alternate in these projects in necessary equilibrium. the new Masp. In the mid-1960s, with the building already
The choice of material for the walls of the Casa Cirell was under construction, for a number of reasons, she opted for
the same as in the new garage built on the grounds of the the solution of a skin of glass, unlike the opaque facades in
Casa de Vidro and the retaining walls in the garden, and they the studies, formed out of sheets six meters tall, “the first of
remain so to this day-- though it hasn’t been possible to find these dimensions manufactured in the country,” as Contier
a document signaling the exact date of construction. reminds us (2014).
Starting in 1958, after a period teaching at Fau-Usp Lina was in her fifties and Pietro had reached age 74.
and after an attempt to become a permanent faculty In the meantime, the trees in the gardens of the house had
member, Lina accepted the invitation to give lectures and, continued to grow, altering the microclimate and humidity
subsequently, to teach in the architecture department at the on the grounds. The documents from this period reveal just
University of Bahia School of Fine Arts. She was later invited minor maintenance, some problems with the water bills and

94 95
 Figure 51 repairs to the water meter and the exhaust fan. Exceptionally,
Floor plan, elevation, and detail of
the porch thatch, ruff, and porch
there was the need to cut down trees that were interfering
pillar. Valeria Cirell House, Lina Bo with the Light Electric Company’s power lines.
Bardi, Sao Paulo, 1958. Source: IB. In 1968, Lina asked for her lawyer to cancel her
participatory shares in the construction of the club that was
set to be installed in the old Morumby Farmhouse, since,
in her opinion, it contradicted the ideas of the “Companhia
City” which, though not responsible for the development of
the neighborhood, had perhaps inspired the idea of public,
outdoor recreation areas.
Before the inauguration of Masp’s new headquarters
in late 1968, with the famous glass easels designed by the
architect, Pietro opened his own private art gallery called
Mirante das Artes, which also featured exhibit design created
by Lina. The following year he released a magazine of the
same name, for which the architect provided the graphic
design. Also in late 1968, the decree known as AI-5 (literally
“Institutional Act Number 5”) was issued, giving immense
Figure 52 powers to the presidency of the republic and resulting in
Lina sitting on the floor of the Casa
de Vidro living room, Unidentified
an intensification of censorship and the use of torture. In
photographer, s / d. Source: IB. 1969, the exhibition A Mão do Povo Brasileiro [“The Hand of
the Brazilian People”], organized by Lina, opened at Masp’s
temporary exhibition gallery, displaying ideas developed
during her time in Bahia and a representation of the country
that placed value on folk art while simultaneously intending
to expose people’s harsh living conditions59. The exhibition
countered the vainglorious patriotic visions of Brazilian
technological production promoted by the regime. Right
away, Lina took a position, in her own way, of resistance
Figure 53. Figure 54 against the dictatorship, which investigated and prosecuted
Front elevation with precast panels Studies for the expography of the
and ingrown vegetation / Precast exhibition The Hand of the Brazilian her in 197260.
panel plan. Sao Paulo Museum of People at MASP, Lina Bo Bardi, At the recently opened Masp, a series of exhibitions
Art, Lina Bo Bardi, Sao Paulo, 1957- 1969. Source: IB would follow on varied themes in an active cultural
1968. Source: IB
season. Among them were shows on Candido Portinari,

96 97
Scandinavian Industrial Design, History in Comics and
Mass Communication, all in 1970. These were followed by
Claudia Andujar, Brazilian Furniture, Lasar Segall, Gregori
Warchavchik, in 1971; Paul Klee and Wesley Duke Lee,
Kengo Tange and the Piolim Circus, in 1972; African-Brazilian
artists, Four Contemporary Masters: Bacon, Giacometti,
Dubuffet and De Kooning, in 1973. In 1974, an exhibition
was held on the work of Roberto Sambonet, a friend of
the Bardis and former collaborator of the museum61. The
following year, Lina organized the exhibit Repassos, along
with painter Edmar de Almeida, about the work of women
weavers in the region of Minas Gerais known as the
“Triângulo Mineiro.” In 1976, after a long period of nearly
10 years with very few projects, she designed a church, the
Igreja Espírito Santo do Cerrado, in collaboration with the
young architects André Vainer and Marcelo Ferraz, beginning
a longstanding partnership, marked by the initiation, the
following year, of the projects for the SESC Center Leisure
at the Pompéia Factory, one of her most important works.
Thus a new phase began in the architect’s career, with
architecture that leaned more towards glorifying simple,
readily available materials capable of highlighting tectonics
and the production process-materials that were generally
opaque and without large sections of glass. In 1978, she
designed the Santa Maria dos Anjos Chapel (also with
Vainer and Ferraz), following this same line of architecture,
and traveled to Japan, which would also influence her
substantially. Figure 56
In 1970, payment on the loans for the Casa de Vidro’s Front elevation of Santa Maria dos
Anjos Chapel, Ibiúna, SP, 1978. Lina
land was finally completed and its deed was issued. Before Bo Bardi, with the collaboration of
1978, when a new phase of construction work began on the André Vainer and Marcelo Ferraz.
Casa de Vidro, the archive’s documents only testify to the Source: IB.
renovation of the stove and the replacement of a few pieces
of equipment.

Figure 55
Perspective of the Espírito Santo do
Cerrado Church project, Uberlândia,
MG, 1976. Lina Bo Bardi with the
collaboration of André Vainer and
Marcelo Ferraz. Source: IB.

Figure 57 Figure 58
External wall of the Casa de Vidro, Wall of the SESC Pompeia
Lina Bo Bardi, 1978. Photo Renato Workshops, Lina Bo Bardi with the
Anelli, 2019. collaboration of André Vainer and
Marcelo Ferraz, 1978. Foto Renato
Anelli, 2015.

98 99
A new season of experimentation at the Casa The walls that were built follow a material idea similar In 1983, there are indications of new maintenance
de Vidro: maintenance, new constructions and to the one employed by the walls that Lina and her interventions concerning what is referred to as a general
landmarking collaborators had been creating for the workshops at Sesc- revision of the casements, with indications of replacements
Pompéia, where construction began in 1978, demonstrating of the profiles (of folded sheet for “iron frameworks,” as
In 1978, the house once again became a place for contemporary experimentation in the two worksites. listed on a budget estimate realized by Serralheria Aicaz62).
experimentation. This phase coincided with an important Interested in the acts of construction, they supported The same year, the wood parquet flooring was scraped and
period in the architect’s career, characterized by the projects themselves on the idea of making the mortar used to reformed and piping was installed to drain the septic tank.
inaugurated in 1986, enjoying great success and bringing connect the blocks overflow, avoiding waste through the In 1984, there are indications that work was done on doors
about new work demands. In these years, the house was bricklayer’s gesture of collecting excess mortar with their (probably the garage doors) and the caretaker’s house.
a venue both for interventions in the existing structures, as trowels and making a groove between the pieces. This Between 1985 and ‘86, when Pietro had turned 85 and
well as new constructions that followed the architectural choice was able to effect a look of “poor architecture,” as Lina 71, the Bardis enjoyed some well-deserved fruits of
concept pursued by Lina in her recent works (as also Lima christened it (2014), an architecture that strives for their labor: Pietro was celebrated in a special issue of “Casa
happened years earlier, with the garage structure and the architectural simplicity, not one of “economic privation,” Vogue,” having collaborated with the magazine’s editor since
retaining walls), as well as the development of the Bardis’ but one that employs accessible means and those within the late 1970s, and Lina received increased attention due
request to landmark the Casa de Vidro. In this period, reach, in addition to an emphasis on the evidence the to the success of Sesc-Pompéia, which was featured in a
major interventions were documented in the house’s roof, work done by humans employed in the construction. growing number of publications.
windows and frames, points where great hopes had been This was an idea of architecture that rejected any sort of
placed in terms of performance in the original project. It is commitment to an image of high technology or an ideal of
worth noting that this new season coincides with the slow bourgeois sophistication, something very particular to that
reopening process under the military regime and, followed elite neighborhood, in favor of modest materials. The layout
by the difficult and controversial restoration of democracy in of the final filaments gave the wall the figurative look of a
the country fortification or citadel.
The first project of this phase began in March of 1978 Three years later, the first major renovation was executed
and lasted until October of that year. It consisted in the on the roof. Its technical excellence, praised in Lina’s writings
creation of sidewalks and a wall of cement blocks along shortly after the construction, proved to be less efficient
the property line. This wall had already been proposed and than expected, or else it had aged worse than calculated.
rejected in the Bardis’ discussions of 1956, as verified by Almost 30 years after it had been built, the growth of the
their aforementioned correspondence. It was also kept at trees in the garden contributed to its deterioration, with
a low height under the rules of the Morumby Real Estate fallen leaves clogging the gutters and branches breaking roof
Company, according to the contract from the 1950s. tiles, thus necessitating constant upkeep. Infiltrations in the
However, Suzuki gave a statement in which he mentioned main room’s ceiling were the ultimate consequence of these
that the city used to fine residents for not having a walled problems. As such, in August of 1981, the roof was the
enclosure on their property. subject of an inspection from Brasilit S.A. Brasilit Sociedade
Anônima, indicating the number of corrugated sheets and
ridges that needed to be replaced. The company stated
that all of the roof’s existing material had been produced
by one of their competitors, Eternit, and that, having been
manufactured long ago, the dimensions of the pieces were
not coincidental. Ultimately, they referred the Bardis to the
firm Telhados Paiva to execute the work described as a
restoration of the roof. This firm thus supplied the specialized
workforce to remove the corrugated sheets and replace the
same roof, reassembled in the opposite direction, according
to the manufacturer’s norms. In addition to this work,
Telhados Paiva subsequently endeavored to renovate all
of the copper metalwork (including the exhaust chimneys
and their caps). The work on the roof was completed
in November, when the company conducted another
inspection of the house and identified the cause of new
infiltrations in the concrete gutters, suggesting arrangements Figure 59
for repair. Taking advantage of the renovation process, the Vogue magazine, cover of the
special issue on Pietro Maria Bardi.
following year, a “Franklin” type lightning rod was installed. Feb. 1985. Source: ECA-USP
Collection.

100 101
 With the new projects that she came to receive and, Ferraz and Vainer were the authors of the project’s
according to Suzuki, due to the loss of places to set up details. With the help of some construction workers from
onsite offices (as was the case with Sesc-Pompéia), she SESC, they built the “little house” in around 20 days (with
decided to realize a novel building in the house’s gardens: no time for photographic documentation) using materials
a work office for the architect and her collaborators, a small bought at the neighborhood construction store, given its
pavilion formed of dozens of wooden pillars that supported simplicity, rationalizing popular procedures and putting
the elevated pinewood floor. Covered by a pitched roof, it Lina’s ideas into practice, in a manner very different from the
also features an attached brick block for the kitchen and efforts employed to execute the Casa de Vidro.
bathroom, with a ceiling garden. Lina would rarely go down to see the work in
A sketch dating from June 10th depicts the idea of construction, more often her collaborators went up to
architecture based on the choice of materials and in the have meetings inside the Casa de Vidro, as Suzuki also
simplicity of the construction process that ideologically recalls. Inside the little house, the projects were planned for
carried out the quest for “poor architecture” which Lina Salvador’s Historic Center and, after Lina’s death, it was used
undertook. The sketch features canal ceramic tiles, a few temporarily as the Institute’s headquarters.
glass tiles, a eucalyptus structure, Madeirit walls, Japanese The proportions of this small pavilion with no glass (1:2)
sliding doors with dual nylon screens, wood floors. Without and the bracing through the doors’ slats are striking aspects
no gutters, the water from the roofs should be stowed on of the structure’s composition. When open, the doors allow,
the ground through a draining process of rolling pebbles, in precisely the same way as the Casa de Vidro, for a direct
allowing for a curtain of water on rainy days and avoiding relationship with the surrounding greenery, with that nature
accumulation that would lead to infiltrations. A drawing constructed over the years.
on letterhead paper by Roberto Rochlitz, an engineer who At the same time of the planning of the “little house,” on
worked on the Masp project as part of the firm Figueiredo request from the architect herself and supported by Pietro,
Ferraz, shows the details of the iron prongs in the concrete the process soliciting the landmarking of the Casa de Vidro
foundations. and its interior collections to the Council for the Defense of
Marcelo Ferraz, who also authored the project for the Historic, Archaeological, Artistic and Touristic Heritage of the
“little house” along with Vainer and Lina, highlights the State of São Paulo - Condephaat was initiated. In September,
extent to which it was the fruit of the architect’s mature the process was approved by the Council and its inscription
work63. Throughout the 15 years in which he knew her, she was recorded in the book of Historical Heritage in 1987.
used to always say that if she were to make the Morumby Also in 1986, Lina’s jewelry was stolen from the Casa de
House all over again, she would do it completely different, Vidro. The following year, she designed a new project for the
with other materials, with eaves. He personally witnessed, gate, planning for red paint and a structure with a top guide,
while she was still alive, at least two repairs on the windows evocative of the image of a great work of engineering. Suzuki
(always substituted with the use of simple glass) and recalls recalls that before the current one, there was a low gate
that it was common to see cracked glass in the corner of the which opened outwardly.
main room, sustained by adhesive tape64. The new gate was constructed by locksmith Durval
Figure 60 Ferraz recalls that Lina asked her collaborators to find Figure 61 Alijarte, who was also responsible for the rails on the garden
Lina Bo Bardi at the Casa de Vidro Sketch for the studio – Casinha
wearing a dress made by Flávio
a place in the garden with a clearing for the office and (little house) design. Lina Bo Bardi,
walkways, in an artisanal manner, molding them in loco with
Império, 1984, Photo: Vic Parisi. suggested that they build a little house with a roof like the 1986. Source: IB. a kiln to adjust the design to the curves. Alijarte’s services
Source: IB. Santa Maria dos Anjos Chapel. The structure, built in a also extended to the house’s framework, which he repaired,
matter of days, used concrete footings made out of large cleaning off the rust and painting it.
paint cans, a popular practice on construction sites. In
this can, the pilotis of treated eucalyptus were encased,
and followed by the assembly of beams and rafters in
commercial dimensions. The purpose of the stand with
simply fastened shelves, central to the project, served to
provide structure and aimed to reduce strain, being that
the pilotis were initially only planned for the sides. As
such, it served to simplify the construction and unified the
architecture and the furnishings.

102 103
 Figures 62, 63, 64
Studio on the grounds of the Casa
de Vidro, 1986. Lina Bo Bardi with
the collaboration of André Vainer,
Marcelo Ferraz. Photo Marcelo
Ferraz. Source: IB

The receipt for the purchase of four 10-millimeter crystals

from Casa Santos Colocadora de Vidro S/C Ltda and the
receipt for the payment of 30 installations and labor indicate
new glass replacements that year, a recurring problem which
was also registered in documents from 1993, 2003, 2007,
2010, 2011, 2012 and 2015.
With the maintenance work on the windows, the Bardis
took advantage to realize the manufacture and installation
of new linen curtains in the main room, unlike the original
plastic, as well as the pleated “lonita” curtains in the
bedrooms65.
The documents related to these years marked by the
Bardis’ dedication to the house also reveal a mobilization for
the maintenance of the characteristics that they intended for
the neighborhood: also in 1987, in virtue of the news that
the little square in front of the house was being considered
to be the locale for a police station, they strove to collectively
prevent this from happening, sending a letter to Cláudio
Lembo, then Secretary of Extraordinary Business at City
Hall. A commission was then formed out of local residents
to tackle the issue and Pietro was part of it. Among the
justifications, they stated that this was an area maintained by
residents, that it was a rare example of original forest and a
bird sanctuary. In a text written by the residents, they listed
the species of birds, mammals and trees and highlighted
the Chapel of São Sebastião, maintained by the Austrian
Consulate and located in front of the Casa de Vidro.
When the locals went to deliver the letter to the
Secretary, they were informed that, due to the amount
of phone calls, phone calls from elites, no less, he had
received regarding the issue, that he had decided, along
with the mayor, to take the square off the list of locales
being considered for the police stations, asking only that
the residents come up with a name for it in order to register
it with the city. They then organized a competition, whose Figure 65
Elevation of the Casa de Vidro’s
committee was comprised of Pietro, Roberto Duailibi, Flávio Gate, 1987. Lina Bo Bardi,
Pécora, Conrado Balducini and Mário Ágaci66. This is the Watercolor, ballpoint, graphite, on
last document on the subject, stored in the Bardi Institute offset paper. Source: IB
archive. A decree from September of 1987 finally officialized
the name of the square as Praça Poeta Carlos Drummond de
Andrade.

104 105
 Just as the request to landmark the house represented
an initiative to preserve the project for posterity, in 1990
the Bardis founded the Quadrante Institute, designated
to uphold the memory of their cultural project. According
to the minutes of the general assembly of the Institute’s
constitution, held on May 3rd of that year, those present were
Pietro, Lina, Graziella Valentinetti, Lina’s sister, Fábio Luiz
Pereira Magalhães, Modesto Souza Barros Carvalhosa, José
Mindlin, Renato Requixa and Renato Magalhães Gouveia.
The Institute’s objectives were to develop cultural activities
and studies related to the history of art and architecture, with
the house as its headquarters.
In the 1980s, the Bardis also entrusted Suzuki with
the construction of the new water tank (which exists to
this days), executed in a hurry over the course of a single
weekend, to replace another one whose wooden structure
had collapsed.
The last document in Lina’s archive, stored at the
Bardi Institute, describes new repairs on the house’s roof,
executed in 1991. The same year, the house was landmarked
by the Municipal Council for the Preservation of the Historic,
Cultural and Environmental Heritage of the City of São Paulo
- Conpresp.
On March 20, 1992, Lina Bo Bardi passed away inside
the Casa de Vidro.
The following year, then renamed the Lina Bo and Pietro
Maria Bardi Institute (substituting the former Quadrante
Institute), they began discussions and actions to solve the
physical problems of the residence (which always included
Suzuki’s collaboration), at the same time initiating a major
campaign to promote Lina’s work, led by Ferraz, who
through exhibitions and publications contributed to her fame
all over the world.
Also that year, Suzuki coordinated a sweeping, complex
renovation as Pietro was ill, still living in the house.
Several windows were replaced, and the casements were
disassembled, sanded, painted and reassembled. The
support walls were reformed, as was the flooring in the
gardens. The outside and inside were both repainted, and
the broken roof tiles were replaced.
In 1995, Pietro formalized the donation of the House to
the Institute in his will. He passed away on October 10, 1999.
His and Lina’s ashes were entombed in the House’s walls.

Figure 66 Figure 67
Lina Bo Bardi and Pietro Maria Interior of the Casa de Vidro living
Bardi at the Casa de Vidro, 1989. room in 1998. Photo: Arnaldo
Photo: Marcelo Ferraz. Source: IB Pappalardo

106 107
The Casa de Vidro and the Lina Bo and P. M. Bardi of the book collection was also disinfested at the Institute Aiming to preserve the house’s archive and allow for
Institute: experimentation for preservation of Nuclear Energy Research at the University of São Paulo – the public to consult it, the Institute executed two projects
Ipen – Usp ), in a chamber bombarding them with low doses financed by the State of São Paulo Research Support
With the Bardis dead and the house donated to the Institute, of nuclear energy. Foundation – Fapesp and coordinated by Professor Renato
which also assumed the maintenance and recuperation of The trees in the garden were surveyed, diagnosed Anelli, as part of a research aid program designated for the
the cultural heritage site, it became necessary to envision and treated, including those at risk of falling (with a report infrastructure and archives70. The resources were utilized
the adaptations that the new use would begin to solicit, little presented in 2009). Insect baits were installed, tree trunks to carry out a complete renovation of the Casa de Vidro’s
by little, anticipating public visitation, safety measures and were painted and procedures for managing and monitoring electrical installations, purchase furniture and systematize
accessibility. It was also necessary to recognize, organize them were implemented, with regular removals of fallen or the archive. The process of cataloging the latter was also
and protect the virtually intact archive, stored inside the rotten plant material, mainly branches and leaves. At the first supported by Petrobrás and Caixa Econômica Federal
house. of these removal sessions, four dump trucks were filled with through the cultural incentives law, which, along with the
In 2003, Suzuki executed a project to renovate the debris. Fapesp project, promoted the renovation of the archives,
residence and adapt it to serve as headquarters for the The mobilization of technology from the Ipt laboratories optimizing the occupied area with sliding cabinets, and the
Lina Bo and P.M. Bardi Institute. The proposal stipulated turned the house into a hotbed for applying advanced development of the databank and website71.
the full maintenance of the complex, the reconstitution of methods of heritage site maintenance and preservation. The The project of renovating the electrical installations
the library and the kitchen in glass, the modification of the termite extermination efforts and the need to send pieces sought to respect the House’s characteristics, having
use of the dormitory and service area blocks, including to the Ipt, along with the resulting clearing of the closets, realized two visible alterations, with the date of its execution
wheelchair access, the installation of a small auditorium in shelves, drawers and entire rooms67, allowed the Institute to registered: the power input set-up, comprised of a post
the storage area on the ground floor, identical to the volume become more familiar with its own archives and reorganize and a standard Eletropaulo meter, installed under Suzuki’s
in the garage, the construction of a new water tank, the them, as demonstrated by statements from Anna Carboncini supervision, and the packaging tubes for the power supply
transformation of the “little house” into a teahouse-bar and and Mallu Villas Boas, both of whom participated extensively wiring that had to cross the garden, running along the
the construction of a guard booth and bathroom for the in the process. surface of the terrain in order to avoid interfering with the
security guards in the garage. It also provided for upkeep Between 2007 and 2008, another maintenance project existing roots and support walls. The new circuit breaker
and necessary renovations of the plumbing and electrical was executed, headed by Suzuki, which once again included panels were necessary due to the Institute’s new equipment
installations, termite extermination, replacement of the the replacement of the glass, treatment of the casements and they anticipate a future increase in activities. There
windows, metalwork, waterproofing, a conservation of the in the main room and metal sheet fencing, as well as the was some difficulty in passing the new wiring through the
forest and original pathways. Suzuki proposed a walkway execution of a new casement in the kitchen68. There is existing tubes imbedded in the house’s interior due to the
on the rose patio to avoid the public passing through the documentation concerning the restoration of the metalwork thicker gauge, which required some removal efforts. It was
kitchen, even while envisioning it as part of the visitation in the slab’s reinforced concrete structure and the conditions possible to utilize all the existing electrical socket boxes and
area. The project received positive evaluations from of the steel pilotis were verified, according to an inspection light switches, even those originals made of tin located on
preservation agencies, a favorable report from Conpresp, conducted by the engineer Rochlitz69. the living room floor.
approval from the Municipal Department of Historical Also in 2007, the Cultural Heritage Consulting Council In 2016, with the project financed by the Getty
Heritage and Condephaat and was submitted to the Ministry for the Institute of National Artistic and Historic Heritage - Foundation as part of their Keeping It Modern Program, a
of Culture to obtain sponsorship through the cultural Iphan declared the Casa de Vidro to be a national cultural perspective of the house as a place for conservation research
incentive legislation known as the Rouanet Law. It then went landmark, including its exterior gardens and works of emerged.
on to the fundraising phase, but proved unsuccessful in this art, furniture, design and objects. In 2013, there was a The maintenance of the garden and the difficulty in
attempt and could not be implemented. notification that the provisional landmark status was to be dealing with its dynamics, the constant breaking of the
Another previously mentioned serious problem that expanded to the collection of works of art, furniture, design glass, infiltration problems in the roof showed that the
had to be confronted was the existence of termites that and objects and, in 2014, the isolated landmark status of the points upon which the project placed emphasis, whether
had damaged the house’s furniture and trees in the garden. edification was ratified by the sectorial chamber, along with or not they are connected to the promises of modernism,
Since 1993, there have been documented actions taken the grounds upon which it stands. brought unforeseen problems, and they deteriorated faster
by the Institute to tackle this issue, involving, for example, The glass tile floors were restored in 2009, sponsored or were less efficient than expected. At the same time, the
evaluations by Robert Klestler, who specializes in methods by Vidrotil, the São Paulo-based manufacturer of artisanal reinforced concrete structure remained in good conditions.
of exterminating insects in wood, and Brazilian technicians tiles and mosaics which has been in business since 1947, The purpose of the study of the reasons behind the choice
such as Antonio Tadeu de Lelis, a professor from the responsible for various modern murals in the city, and known of materials and their performance over time based on
Institute of Technological Research of the State of São Paulo for having developed its own techniques. the documentary archives hopes to provide meaning and
- Ipt, and restoration professional Yacy-Ara Froner Gonçalves. From 2009 to 2015, some minor maintenance work was guide the future actions of intervention. The projects,
But Pietro’s hospitalization at the time led to a suspension of done on the house’s plumbing (exchanging the fastened constructions and maintenance work executed at the
communication on the matter. pipes), while constant repairs took place on the roofs, mainly House over the years demonstrated the extent to which
New efforts to combat the termite infestation reappeared replacing broken tiles, in addition to the annual painting and it has been a laboratory for the creation and conservation
in documents in 1998, in Suzuki’s aforementioned proposal the maintenance protocols of disinfestation that includes of modern architecture. The history of the complex’s
in 2003, as well as in 2005 and 2006. In 2007, this arduous checking the insect baits and cleaning the gardens. The transformations during the Bardis’ lives shows how Lina
work was undertaken, a process that lasted two years, furniture was also restored, including the Florence double revised some of her positions without giving up a modern
carried out in collaboration with the Ipt. It involved termite vanity and the Venetian arch, the bureau, the six chairs in the attitude. Furthermore, its hybrid character and the dilemma
extermination in the attached furniture, shutters, closet main room, the shelves in the library, the prototype of the between confidence in technological progress and the use
structures, books and publications, small pieces and acrylic for the chair that became known as Bardi’s Bowl, the of traditional techniques characterized the place’s trajectory,
furnishings made of wood, frames and supporting structures finger of the white marble sculpture Diana (whose date and reinforcing the complexity of the modern experience itself.
for works of art. Objects were sent to the Ipt to be fumigated authorship differ depending on the source), and the 1949 Ultimately, it reveals the Casa de Vidro’s vocation in terms of
inside gas and sanitation chambers. Additionally, anoxic Sambonet painting Black with mug. Additionally, the studio’s experimentation, and its coherence and dialogue with Lina
atmosphere (i.e. low oxygen) chambers were built in the wood doors were restored, as was the support wall of the and Pietro’s way of thinking, being that they emphatically
Bardi Institute’s storage area in order to exterminate termites Caretaker’s House, forever hampered by the humidity. controlled the project, its maintenance work and the destiny
in gilded and polychrome pieces of antique furniture. Part of its modern legacy.

108 109
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Paulo : Museu da Casa Brasileira, 2014, p. 63- Acesso em 16 out. 2018. Daniele Calabi Architetture E Progetti 1932-1964. Campinas, 1996. cimento no Brasil: origens, consolidação
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______, Renato Luiz Sobral. Mediterráneo en los arquitetura e urbanismo moderno na constituição DORFLES, Gillo. L’Architettura Moderna. Milão: in Brazil. Amsterdam/Rio De Janeiro: Colibris, Disponível em <http://www.scielo.br/
trópicos. Block, Buenos Aires, n. 4, p. 96-103, de uma cultura de intervenção no Brasil, 1930- Garzanti, 1954. 1956. scielo.php?script=sci_arttext&pid=S1982-
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FALBEL, Anat e OHNO, Celso Eduardo. CBI MORAIS, Fernando. Chatô O Rei Do Brasil, a Vida Acesso em 16 out 2018.
______, Renato Luiz Sobral. Relatório Científico CONTIER, Raquel Furtado Schenkman. Do vitral ao Esplanada: memória e futuro de um edifício De Assis Chateaubriand. São Paulo: Companhia
Período 01/04/2011 a 31/03/2013, Apoio a pano de vidro. O processo de modernização da moderno em São Paulo. In: 6° Seminário Das Letras, 1994 SUMMERSON, John. “What Is the History of
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Acervo do Instituto Lina Bo e Pietro Maria Bardi, (1903-1969). 2014. Dissertação (Mestrado eletrônicos... Niterói: UFF. Disponível em < MORTEO, Enrico. CAMESASCA, Elisa. Roberto 1Ð2. 1985, Disponível em <www.jstor.org/
Projeto 2012/50291-9, 2013. em História e Fundamentos da Arquitetura e http://www.docomomo.org.br/seminario%20 Sambonet: designer, grafico, artista : (1924- stable/41613599>. Acesso em out 2018.
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______, Renato. Interlocuções com a arquitetura Urbanismo, Universidade de São Paulo, São SUZUKI, Marcelo. Lina e Lucio. 2010. Tese de
italiana na constituição da arquitetura moderna Paulo, 2014. FEDERAZIONE NAZIONALE FASCISTA DEGLI MORUMBI. Habitat, São Paulo, n. 5, p.66, 1951. Doutorado Ð Escola de Engenharia de São
em São Paulo. 2001. Tese (Livre docência) INDUSTRIALI DEL VETRO E DELLA Carlos, Universidade de São Paulo, São Carlos.
Ð Escola de Engenharia de São Carlos, CORATO, Aline Coelho Sanches. Além do CERAMICA, L’industria del vetro in Italia. Roma: OLIVEIRA, Olivia de. Sutis substâncias da arquitetura Disponível em: <http://www.teses.usp.br/teses/
Universidade de São Paulo, São Carlos, 2001. “silêncio de um oceano”. Ideias de Brasil nas Usila, 1939-1940. de Lina Bo Bardi. São Paulo/ Barcelona: disponiveis/18/18142/tde-05012011-151425/
Representações de um crítico e de artistas e Romano Guerra/GG, 2006. es.php>. Acesso em: mar. 2017.
ARRUDA, Maria Arminda Do Nascimento. arquitetos italianos depois da Segunda Guerra FERRAZ, Marcelo (Org.). Lina Bo Bardi. São Paulo:
Empreendedores culturais imigrantes em São Mundial. Anais Do Museu Paulista, v.24, n. 2, p. Instituto Lina Bo e P. M. Bardi, 1993. PEREIRA, Juliano Aparecido. Lina Bo Bardi: Bahia, TENTORI, Francesco, P. M. Bardi Com as Crônicas
Paulo de 1950. Tempo Social, n.17, 2005, p. 187-215, 2016. 1958-1964. Uberlândia: EDUFU, 2008. Artísticas Do “L’Ambrosiano” 1930-1933. Trad.
135-158 FERRAZ, Marcelo (textos e Org.) e BARDI, Lina Bo Eugênia Gorini Esmeraldo. São Paulo: Instituto
______, Aline Coelho Sanches. Italia e Brasile oltre (textos). Casa de vidro, São Paulo, Brasil, 1950- POLITANO, Stela. Exposição didática e vitrine das Lina Bo E P.M. Bardi Imesp, 2000.
BARDI, Lina Bo. Residência no Morumbí. Habitat, il. «silenzio di un oceano». Intrecci tra arte 1951. Lisboa/ São Paulo: Editorial Blau, Instituto formas: a didática do Museu de Arte de São
São Paulo, n. 10, p. 31-40, jan. /fev. /mar. 1953. e architettura nel Novecento. 2012. Tese Lina Bo e P. M. Bardi, 1999. Paulo. 2010. Dissertação (Mestrado) Ð Instituto TENTORI, Francesco. Pietro Maria Bardi : primo attore
(Doutorado). Dottorato in Composizione de Filosofia e Ciências Humanas, Universidade del razionalismo. Torino: Testo & immagine,
______, Lina Bo. House in Sao Paulo. The architect architettonica, Politecnico di Milano, Milano, FICHER, Sylvia. Os arquitetos da Poli : ensino e Estadual de Campinas, Campinas, 2010. 2002.
and building news, Londres, n. 17, p. 488-494, 2012. profissão em São Paulo. São Paulo: EDUSP,
23 abr. 1953. FAPESP, 2005. PONTI, Gio. La “Casa de Vidro”. Domus, Milão, n. VARGAS, Milton. A tecnologia na engenharia civil.
______, Aline Coelho Sanches. Art, Architecture and 279, p. 19-26, fev. 1953. In. ______ (org.). História da Técnica e da
______, Lina Bo Manuscrito, Condephaat - Processo Life the Interior of Casa De Vidro, the House of FREITAS, Maria Luiza de. Modernidade concreta: Tecnologia no Brasil. São Paulo: Unesp, CEETPS,
24938, Tombamento da Casa de Vidro, 1986, Lina Bo Bardi and Pietro Maria Bardi. New York: as grandes construtoras e o concreto armado POZZOLI, Viviana. Lo Studio D’Arte Palma: Storia Di 1994, p. 225-245.
disponível em www.arquicultura.fau.usp.br. Ashgate, 2013. In: MASSEY, Anne; SPARKE, no Brasil, 1920 a 1940. 2011. Tese (Doutorado Un’impresa per Il Commercio Artistico Nell’Italia
Penny (org.). Biography, identity and the modern em História e Fundamentos da Arquitetura e Del Dopoguerra. ACME 69, n. 2, p. 145-74, ZOLLINGER, Carla. Lina Bo Bardi. 1951: Casa de
BARDI, Pietro Maria. Rivoluzione del Vetro. interior. Farnham: Ashgate, 2013, p. 145-158. do Urbanismo) - Faculdade de Arquitetura e 2016. Vidro, 1964: “Niente Vetri” (Pavilhão e recinto:
Quadrante, n. 14-15, p. 11-17, 1934. Urbanismo, Universidade de São Paulo, São o desenvolvimento de dois tipos). Arquitextos,
______, Aline Coelho Sanches. Exhibiting and Paulo, 2011. Acesso em: 16 out 2018. RUSCONI, Paolo. La divulgazione dell’arte São Paulo, ano 07, n. 082.06, Vitruvius, mar.
______, Pietro Maria. História Do MASP. Pontos demonstrating through architecture : two case contemporânea nelle riviste popolari illustrate 2007 <http://www.vitruvius.com.br/revistas/
Sobre O Brasil 2. São Paulo: Instituto studies of an experience between Italy and J. F. M. Built in Brazil: a light glass casa in the air. di Rizzoli (1931-1934). In: DE BERTI, Raffaele; read/arquitextos/07.082/265>. Acesso em 12
Quadrante, 1992. Brazil. In: Dufrêne, Bernadette; Glicenstein, Interiors, Nova York, n. 10, p.74-83, mai. 1953. PIAZZONI, Irene. Quaderni di Acme, v. 115. out 2018.
Jérôme, orgs. Histoires d´expositions exhibitions Milão: Università degli studi di Milano, Facoltà
BIERRENBACH, Ana Carolina de Souza. Como um stories, Paris : Hermann, 2016, p. 103-117. LATORRACA, Giancarlo (org.) Maneiras de expor: i Lettere e Filosofia, Cisalpino Istituto Editoriale Interviews cited
lagarto sobre as pedras ao sol: As arquiteturas arquitetura expositiva de Lina Bo Bardi. São Universitario, 2009, p. 527-573.
de Lina Bo Bardi e Antoni Gaudí. Arquitextos, Paulo, Museu da Casa Brasileira, 2014. Interview with Marcelo Ferraz, conducted in person
São Paulo, ano 04, n. 044.00, Vitruvius, jan. SABATINO, Michelangelo. Pride in Modesty with Aline Coelho Sanches, July of 2018, São
2003 <http://www.vitruvius.com.br/revistas/ LEJEUNE, Jean-François, SABATINO, Modernist Architecture and the Vernacular Paulo.
read/arquitextos/04.044/620>. Acesso em 12 Michelangelo. Modern Architecture and the Tradition in Italy. Toronto: University of Toronto
out 2018. Mediterranean Vernacular Dialogues and Press, 2010. Interview with Marcelo Suzuki, conducted in person
Contested Identities. London, New York: with Aline Coelho Sanches, November of 2017,
CAMESASCA, Elisa. Roberto Sambonet, i luoghi, Routledge, 2010. São Carlos.
il tempo e il percorso di una ricerca tra arte e
design. 2005-2006. Tese (Graduação) Ð Facoltà LEON, Ethel. IAC Primeira Escola de Design do Brasil. Interview with Anna Carboncini, conducted in person
di Lettere e Filosofia, Corso di Laurea in Lettere São Paulo: Blucher, 2014. with Aline Coelho Sanches, February of 2018,
Moderne, Università degli Studi di Pavia, 2006. São Paulo.
LIMA, Zeuler Rocha Mello De Almeida. Lina Bo Bardi.
CAMPELLO, Maria de Fátima de Mello Barreto. New Haven: Yale Books, 2013.
Lina Bo Bardi: as moradas da alma. 1997.
Dissertação de Mestrado Ð Escola de ______, Zeuler. Lina Bo Bardi: Em busca de uma
Engenharia de São Carlos, Universidade de arquitetura pobre. AU, São Paulo, n. 249,
São Paulo, São Carlos. Disponível em: <http:// dezembro, p. 68-71, 2014.
www.teses.usp.br/teses/disponiveis/18/18131/
tde-30052016-104837/pt-br.php>. Acesso em: ______,Zeuler. Verso un’architettura semplice. Roma:
jan. 2017. Fondazione Bruno Zevi, 2007.

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Notes

1 The nickname Casa de Vidro [Glass House] 5 As a result of the research, I am also writing 23 Oliveira (2006) also illustrates the relationship 39 Tullio Stucchi did not include the Casa de Vidro 49 According to Mello (1996), the panel was 66 Lina Bo Bardi Archive, Bardi Institute, Casa de
given to the Bardis’ home in Morumbi was new texts about the House’s critical success between the two devices. on his resume, perhaps because of its small imagined as a didactic work, developed by Vidro Documents, 01.0196.02.
utilized publicly, as far as we have been to along with Amanda Basso, as well as an dimensions, or maybe because it was adapted several Brazilian architects. Lina had created
verify, for the first time by Gio Ponti in his article attempted reconstruction of the uses and 24 Anelli (2014) and Corato (2012 and 2013) have from Nervi’s project. the panel in the background and Pietro had 67 According to reports from 2008, the process
on the work published in the February, 1953 everyday life in the interior of the structure over written about their allegiances to Italy’s exhibit received support from Claudia Andujar. included documentation of the conditions of
issue of “Domus”. In the text, he declared time. design culture. 40 It’s worth noting that Stucchi was also the the house and its objects through photos and
that this was the name which residents of author of the calculations for the Casa Verde 50 Statement made by Marcelo Ferraz to Aline surveys.
the nearby neighborhood used to refer to 6 For more information on these immigrants in 25 For more on this, see Sanches (2003) and Bridge in Freguesia do Ó. Coelho on July 25, 2018. It is worth adding that,
the house that he had personally visited the São Paulo, see Arruda (2005). Carboncini (2018). according to Contier (2014, p. 234), at MASP, 68 Lina Bo Bardi Archive, Bardi Institute, Notes
previous year. International circulation of the 7 For more on Studio d’Arte Palma in Rome, see 41 Lina Bo Bardi Archive, Bardi Institute, Casa de they had planned to use glass imported from from the Institute’s “Livro Razão,” October of
magazine resulted in the name’s use in other Pozzoli (2016). 26 See Corato (2012). Vidro Documents 01.0104.1-3. the United States by CVB, but the glass actually 2017.
publications, as well as its adoption by the used ended up being from the Brazilian-based
Bardis themselves, who had initially called it the 8 I’m referring to Lima (2013), Tentori (2000) and 27 See Oliveira (2006). 42 Marcelo Suzuki’s statement to Aline Coelho. Companhia Produtora de Vidro (ProVidro), a fact 69 According to Anelli (2013).
Morumbi House. Morais (1994). This information appears in the in which Lina had taken pride.
presentation of the history of MASP realized by 28 See Campello (1997). 43 The Bardi Institute’s archives do not contain 70 The first project was christened “Support for
2 There is an important bibliography regarding Pietro in Bardi (1992). photos of the construction of the House, 51 Lina Bo Bardi Archive, Bardi Institute, Casa de the institutional infrastructure for the research
modern Italian architecture’s relationship with 29 Letter from Pier Luigi Nervi to Pietro Maria just as no Daily Register of the construction Vidro Documents, 01.0105.05/1.209.12. of the Lina Bo and Pietro Maria Bardi Institute
rural architecture. Recommended reading 9 I addressed Pietro’s relationship with the past, Bardi, 11/25/1950. Document archived at the has been found thus far. Marcelo Suzuki, a archive” and the second, “The Lina Bo and
includes Sabatino (2010), Lejeune and Sabatino in terms of the defense of modern art in Corato Fondo Nervi-4.DID serie Ricerca e Didattica collaborator of Lina’s, said in a statement 52 Lina Bo Bardi Archive, Bardi Institute, Casa de P. M. Bardi Institute Archive: Cataloging,
(2010). This relationship is addressed in sections (2013) and Corato (2016). 1958 - 1965 R05/01 Corrispondenze, indirizzi, that the architect always made sure to have a Vidro Documents, 01.0144.03-04. This is an digitalization and the assembly of the online
of Corato (2016). Sao Paulo, Archivio Nervi MaXXI di Roma Register of this sort, as verified in the project invoice to Mr. Pietro Maria Bardi that indicates databank.”
10 For more on Lina’s biography and an (research of Gaetano de Francesco). A copy of for SESC-Pompéia. According to him, this the “Supply of three trips of granite rock and
3 I would like to take the opportunity to thank interpretation of her activities in Italy, see Lima’s the same card is archived at the MASP Library register of the Casa de Vidro must have gone 408 ml of arenite slabs made in roads in your 71 These works were concluded in March of
those interviewed for their openness. First of all, writings, op. cit. and Center of Documentation, 1950, Course on missing. To remedy this absence, I constructed garden, with the respective manpower.” 2013, when the Lina archive databank and a
Lina’s former collaborators who frequented the Reinforced Concrete Pl Nervi Box 1, Folder 4. a chronological synthesis of the main facts digital reproduction of a substantial part of the
house and had knowledge of its daily routine, 11 For more information on Pietro’s life in Italy, concerning the construction of the house 53 Lina Bo Bardi Archive, Bardi Institute, Casa de iconographic material became available for
Marcelo Suzuki and Marcelo Ferraz. Pietro’s see the work of Tentori, op. cit. and (2002); 30 Letter from Pier Luigi Nervi to Pietro Maria based on the Lina Bo Bardi Archive, which Vidro Documents, 01.0104.09. This is a letter consultation online.
former collaborator at MASP, Anna Carboncini. Rusconi (2009). Bardi, 12/13/1950, Rome, Document archived is not originally organized by date or theme, from Achilina Bo Bardi to Luiz Oliveira de Barros
Employees and ex-employees at the Institute, at Nervi-4.DID serie Ricerca e Didattica 1958 - and the so-called post-mortem archive stored Ð Director superintendent of the Morumby Real
including Malu Villas-Boas, Julia Paccola, José 12 I addressed this argument in Corato (2016). 1965 R05/01 Corrispondenze, MaXXI, Rome, at the Institute and still yet to be catalogued Estate Company - São Paulo, January 13, 1954.
Ribamar dos Anjos Santos, Marcella Carvalho research Gaetano De Francesco, my translation. or organized. The objective of this work
and Célia Arroio da Silva, who worked for 13 For more, see Daniele Calabi (1992) and Anelli was to provide subsidies for new historical 54 Lina Bo Bardi Archive, Bardi Institute, Casa de
Pietro. (1999). 31 Fondo: Nervi, Pier Luigi./“Villa Bo - Bardi a interpretations, but overall, to bring important Vidro Documents, 01.0133.13 and 01.0133.14.
San Paolo / P. L. Nervi [s.d.] (1 progetto (1 information to light concerning the work of
4 To the thousands of documents of the most 14 Lina Bo Bardi Collection, Bardi Institute, Casa cartella) : 13 lucidi, 8 copie eliografiche, 11 identifying pathologies and the preventative 55 Bardi Institute Archive. Letter from Lina to
varied nature that I studied at the Lina Bo de Vidro Documents 01.0107.1. copie eliografiche con interventi manoscritti)/. maintenance of the building and its complex Pietro, 04/03/1956. Consultation, research and
and P.M. Bardi Institute, I add others from the Location: Biblioteca delle Arti e dello realized by other teams on this research project translation from the Italian by Anna Carboncini,
archives of the Centro Studi and Archivio della 15 For more on the neighborhood and Bratke’s Spettacolo, Centro Studi e Archivio della for the House’s conservation, financed by the kindly made available for this project.
Comunicazione – C SAC in Parma (Fondo Pier house, I recommend reading Dall’Alba’s Comunicazione (CSAC), Parma. Getty Foundation’s Keeping It Modern project.
Luigi Nervi); from the project archives at the dissertation (2017). The construction of this “Daily Construction” 56 For more on the importance on her trip to
Library of the University of São Paulo College 32 I got the chance to discuss the project with register thus organizes part of the memory Barcelona, see Bierrenbach, (2003).
of Architecture and Urbanism – FAU-USP - 16 For more information on the architect Gregori engineers on the team of the Casa de Vidro of the complex based on the collection of
the Gregori Warchavchik Archive - , from the Warchavchik, see Lira (2010) and Anelli (2001). project, at Icon of Modern ARchitecture, documents contained inside the actual house, 57 For more on Lina’s time in Bahia, see Pereira
Historical Archive of the Museum of Art of São especially Prof. Marcio Minto Fabricio and PhD to be subsequently made available by the Bardi (2008) and Lima (2013). About the project for
Paulo Ð Masp, from the archives of the heir 17 For more on the history of the IAC, see Leon candidate Júlio Cesar Franco Júnior, whom I Institute. Unhão and its restoration, see Suzuki (2010)
to Engineer Tullio Stucchi, from the personal (2014). would like to thank. and Ceravolo (2013).
archives of architect Marcelo Suzuki (an active 44 Lina Bo Bardi Archive, Bardi Institute, Casa de
collaborator on this research project and a 18 Here, I refer to Campello (1997) and Lima 33 I was able to trace the continuity of Construtora Vidro Documents, 01.0104.5 58 After a short period in Rio de Janeiro,
former collaborator of Lina’s), from the General (2013). down to recent times, as well as the sequence according to Lima (2013).
Archives of Processes at São Paulo City Hall of its owners, thanks to generous contributions 45 Lina Bo Bardi’s letter to Sociedade Comercial
and, finally, from the archives of periodicals 19 I am referring to Campello, op. cit; Oliveira, op. from a number of engineers who worked there. Construtora, São Paulo, January 28, 1952. Lina 59 For more on the exhibition, see Latorraca
at the Libraries of the University of São Paulo cit and Carrilho (2005). Unfortunately, despite the efforts, I was unable Bo Bardi Archive, Bardi Institute, Casa de Vidro (2014) and Corato (2016).
São Carlos School of Engineering – EESC-USP, to access their archives, which certainly would Documents, 01.0104.4.
the College of Architecture and Urbanism - 20 I’m referring particularly to Progetto dÐum offer new important documents to this work. 60 For more on this period and these occurrences,
FAU-USP, the School of Communications and edifício dÐespozione, created with engineer 46 Acervo Lina Bo Bardi, Instituto Bardi, see Lima (2013).
Arts - ECA-USP and the Mario de Andrade Guido Fiorini in 1935. 34 The Lina Bo Bardi Archive, Bardi Institute, Casa Documentos Casa de Vidro, 01.118.4
Library. I also was able to access documents de Vidro Documents 01.0143-8. 61 For info on Roberto Sambonet and MASP, see
found or systematized by other researchers, 21 The CISAV, in turn, would send Pietro a copy of 47 Lina Bo Bardi Archive, Bardi Institute, Casa de Corato (2012), Camesasca (2006) and Morteo
like the correspondence between Pietro a magazine advertising the material, “Lastre di 35 Thanks to engineer Fernando Stucchi for his Vidro Documents, 01.0101.07 (2008).
and Nervi included in the archives at MaXXI Vetro e Cristallo,” and requested his opinion on assistance in this study and the material sent.
(Museo Nazionale delle arti del XXI secolo) it. 48 For more information on Casa Conrado 62 Lina Bo Bardi Archive, Bardi Institute, Casa de
in Rome, studied by Gaetano de Francesco, 36 In 1952, Tullio Stucchi was promoted chief of Sorgenicht, see Mello (1996). Vidro Documents, 01.0192.4
the correspondence between Pietro and Lina 22 For more on the Mostras Didáticas, see Politano the technical office and chief general supervisor
included in the Bardi Institute’s Archives, (2010). of projects, a position he would hold until 1969. 63 Statement by Marcelo Ferraz to the author
researched by Anna Carboncini, and the realized in July of 2018.
documents concerning the landmarking of the 37 The engineer’s resume lists him as the author
house from Iphan and Condephaat, researched of the project. In Falbel and Ohno (2003), 64 In his statement, Ferraz also says that he was
by Ana Lucia Ceravolo. In developing my it is stated that the structural project was responsible, on request from Lina and Pietro,
studies on the historic documentation of studied in collaboration with Czech national for the small project of installing the little shards
the Casa de Vidro, I received help from two Walter Neumann, head engineer at Sociedade on the access ramp to the house, using a box of
undergraduate research fellows at IAU USP, Comercial e Construtora S. A. tiles that Lina had brought home from her time
Amanda Basso Morelli, who for over a year in Bahia, from the late 1950s to the early ‘60s.
undertook the task of carefully systematizing 38 As listed on the engineer’s resume, kindly sent
published primary and secondary sources, to me by his son. 65 According to the estimate from July and
and Laura Freitas Pinheiro, who systematized August of 1987. Lina Bo Bardi Archive, Bardi
with precision some of the primary sources Institute, Casa de Vidro documents, 01.0196.04
I had collected. Lastly, I benefitted from the and 01.0196.05.
brief, voluntary and attentive collaboration of
Leticia Becker, then an architecture student at
Mackenzie.

112 113
2.4 The Casa de Vidro: architecture,
art and nature1

Renato Anelli The Casa de Vidro [Glass House] and its garden form an The Mediterranean in the tropics
essential set for the analysis of the relation between archi-
tecture and nature in the work of Lina Bo Bardi. When giving When presenting the first house of Warchavchik (1927) in
a lecture in 1958, the architect reveals the parameters that the Domus magazine, Gio Ponti pointed out that the “forms
guide her in this relation, establishing two categories – “nat- of rational architecture [...] demonstrate their great quality
ural architecture” and “unnatural architecture”: of adaptation to hot countries and fit neatly into the tropical
vegetation” (PONTI 1933). He points out to the contrast
An unnatural architecture [...] architecture that “frames” between figure (house) and background (garden), which
nature, such as [...] an object on a table, an architecture can be identified in the photos but not confirmed in space,
that “observes” nature but gives it no confidence and where the continuity between architecture and vegetation
can be both here and over there. was intended. The following houses by Warchavchik, from
the Max Graf house (1928-1929) to the modernist houses
A natural architecture [...] not limited a priori, an “open” of Itápolis Street (1929-1930) and Bahia Street (1930), show
architecture that accepts nature, which approaches with the search for interior-exterior continuity, made possible
caution, which seeks to mimic itself with it, as a living by the hot climate in the tropics. It was Bernard Rudofsky
organism, an architecture that comes to assume some- who associated the frank interior-exterior continuity with
times forms of almost mimicry, such as an iguana on the typology of patio houses, common in Mediterranean
stones in the sun. (BARDI, 1958) architecture. His house in Procida, southern Italy, was
designed as a manifesto of a healthy, solar and sensual life
While recognizing certain interactions with the topog- in the article “Non ci vuole un nuovo modo di costruire, ci
raphy and tree clumps existing on the ground when it was vuole un nuovo modo di vivere”2 (RODOFSKY, 1938). Having
conceived, the Casa de Vidro fits into the first definition. On immigrated to Brazil because of the racial laws adopted by
the other hand, the garden, the paths and the new construc- the fascist regime in 1938, Rudofsky designed the Frontini 012 5 10m
tions made in the following years define themselves like an and Arnstein houses, which applied this proposal of open
architecture that mimics the nature. The relationship be- spaces for the gardens, adapted to the environment and
tween architecture and nature goes through the understand- tropical vegetation. Figure 1
House Arnstein, plan of
ing of its positioning between the two categories, addressed The advance in the creation of spaces that integrated ground floor, São Paulo,
in texts still in Italy (BARDI, 1953), and was transformed the gardens to the interior of the houses had two important 1940, Bernard Rudofsky
during the forty years the architect lived in the construction. contributions in the following decade: Rino Levi, Italo-Brazil- architect.
Main house, garden and annex buildings express such trans- ian schooled in Rome in 1926, and Daniele Calabi, Italian of
formations, offering the possibility of being interpreted as a Hebrew origin who took refuge in Brazil between 1939 and
historical narrative. 1949. Levi built his first house in which the room extends to
the garden in 1944, although without using the typology of
patio houses. The garden consisted of specimens brought
by Levi from exploratory journeys made with his friend, the
landscape architect Roberto Burle Marx. But, unlike the
pictorial gardens of the latter, Levi produced a set with the
character of a forest, which invaded the room with its colors,
textures and odors. The integration between interior and ex-
terior was made by sensory experience.

114 115
Figure 2. Figure 3. More faithful to the classical parameters, Calabi built his Art and nature: between the sublime and the
Interior garden of Castor Photo of the Casa de
Delgado Perez’s house, Vidro in 1952, without
own house using the typology of the patio house in 1945, metaphysics
architect Rino Levi, São curtains, with garden taking advantage of the posterior slope to the Pacaembu
Paulo, 1959. Photo: RA. with seedlings planted valley to open a porticoed porch face. While living in this Lina defined her house as a manifesto built in the effort
and arrangements of
stones near the pilotis.
house after Calabi returned to Italy, Lina designed the Casa to position herself in the midst of the debate on modern
Source: IB. Photo:Peter de Vidro. Brazilian architecture. The construction echoed her criticisms
Scheier The Bardi’s house sets a new benchmark for this rela- of what she identified as excessive formalisms of the new
tionship. The transparent room is configured as a platform architecture – among them, the excessive use of brises-
in reinforced concrete and glass panels, on cylindrical steel soleils, to which she expressed her disapproval in an article
pillars, and that opens onto the landscape. Contrary to what published during the design phase of the house (BARDI,
is suggested today by the dense forest in which the house Lina, 1951). Without sun protection, not even curtains (at
is located, it was not an existing forest, but a piece of land least in the first year), and without parapets in the floor-to-
that had only a few concentrations of vegetation. The current ceiling window openings, the house deliberately exposes its
dense tree garden is therefore an intentional construction, occupant to the physical environment.
like the house, and not a natural pre-existence, and has been “The idea was to have a house that sheltered physically
planted and cared for by the architect since the beginning of from wind and rain, but participating in poetry and ethics,
the work. which can be found even in the storm” (BARDI, 1953). The
The floor-to-ceiling opening made by the movement of notion of the storm as a spectacle offered to the residents,
glazed frames draws back the glass mediation, which is al- who would be solemnly seated on the chairs with brass-ball
ready minimal for its transparency, and allows complete inte- in their arms, is clearly a reference to Kant and his “descrip-
gration with the surrounding forest vegetation. tion of a furious storm,” which illustrates the feeling of the
sublime (KANT, 1764 ).3 The vertigo arising from the edges of
the raised slab, without any guardrail, corroborates this in-
terpretation. Art and, in this case, architecture, which causes

116 117
Figure 4. Figure 5. astonishment and intensity, are the opposite that counteracts Chirico is governed by the reconstruction of a hierarchy of Building the garden: from terror to love for the tropical
Armchairs with brass Engraving Quarto do
balls on their arms, arquiteto [The architect’s
the soft fruition of the beautiful. The tranquility of the man the past. In a third interpretation, Corato (2012, p.186) pro- nature
design by Lina Bo Bardi, room], Lina Bo Bardi, designed by Le Corbusier, sitting in an armchair at the Minis- poses that, for architecture, the “atmosphere of alienation of
1951. Source: IB. Photo: 1943. Source: IB. try of Education and Health, contemplating the landscape of objects and emptiness around them”, present in metaphys- The photos of the Casa de Vidro of this time also show
Peter Scheier.
the hills of Rio de Janeiro, is opposed to the intensity intend- ical painting, would be an interpretation of the “forms and the seedlings planted in front of the house, in an effort to
ed by Lina in her dizzying plunge into tropical nature. atmosphere of Italian cities.” cover the slopes. Arrangements of stones, carefully laid
Some balance to interpose this telluric nature would be The first lay-outs of the Casa de Vidro living room are out around the house, try to confer some aesthetic quality
obtained by arranging the works of art and design within strategies to create an atmosphere that conditions the en- to outer space. The curve of the access ramp of the cars
the transparent room. In addition to the friendship of the joyment of the work of art. However, transparency for the and the small reflecting pool, the “Vasca”, under the drop
Bardi couple with the painter De Chirico (already mentioned surrounding tropical vegetation replaces the metaphysical line of the pluvial water drain pipes, full of aquatic species,
in the previous texts), the mosaic at the top of the entrance scenarios inspired by the Italian cities, constituting the ar- complete the first landscaping at the time of the occupation
staircase of the Casa de Vidro 4 confirms the harmony with chitect’s first consistent confrontation with the country. The of the house. The living in the metaphysical house was
his aesthetics. Although this relation is noted by several tranquility and balance of the paintings of De Chirico begin still at its beginning, without registering the marks of the
authors, the meaning of the metaphysical art for the Bardi to be replaced by the vertigo of diving into nature. profound transformations through which its inhabitants
is little explored. Oliveira (1997) compares Lina’s Quarto do Lina posing, looking at the nature around her, refers to would pass in the following years.
arquiteto [The architect’s room] (1943) with De Chirico’s The the sublime, especially to the painting by Caspar David Fried- As the couple lives in their home, which was very inhos-
Archaeologists (1927), understanding that, while the latter rich,5 where the European traveler contemplates the immen- pitable in its early years, the first adjustments, such as the
places his objects in the past in a contemplative way, the ar- sity of the mountain tops in a sea of clouds – here, the still curtains, which had not been originally planned, appear. The
chitect brings them to the present, as instruments of action. green slopes in the outskirts of São Paulo. lack of infrastructure in the neighborhood lasts for years, as
Zollinger (2007) interprets it in another way, comparing Lina’s can be noted with the incinerator, which attempts to com-
work with surrealist collages, insofar as the association be- pensate for the absence of public garbage collection. The
tween the represented objects is entirely free, whereas De telephone was only installed in 1956, a reason for celebration
in a letter to Pietro, when she also gives account of her work
in the garden with an assistant named Arnaldo and accom-
panied by her dog Victor.6

118 119
 Figure 6. Figure 7.
Lina Bo Bardi in the liv- Enrico Galassi’s mosaic,
ing room of the Casa de from Giorgio De Chiri-
Vidro. Source: IB. Photo: co’s drawing, located at
Chico Albuquerque. the top of the entrance
ladder of the Casa de
Vidro. Photo: Chico
Albuquerque.

The approach to tropical nature occurs in trips to regions Like a special envoy, I tried to pass an idea of this city by
of Atlantic forest, such as the beaches in Caraguatatuba the ocean, whose cross-roads to the coast end against
and Ubatuba, on the coast of São Paulo. The first trips were the forest full of “quaresmeiras” [Tibouchina granulosa]
made with Roberto Sambonet and recorded by the artist in and violet and yellow acacia, philodendrons and brome-
the paintings of the Massaguaçu show exhibited at the Masp liads and all the plants that in Europe are only in flower
in 1949 (CORATO, 2012, p.35-46). She met Burle Marx on shop windows.
the occasion of the 1950’s Masp exhibition (BARDI, 1951),
but remained eager to construct her identity with some in- [...] The old terror against the forest is replaced by a more
dependence. Her choice could not follow the same line as serene view, and where the forest was not destroyed to
of Burle Marx’s pictorial landscaping, although she accom- give way to plantations, terror turned into love. (BARDI,
panied her husband in acknowledging the importance of the 1956)
Brazilian landscape artist.
The theme of nature and landscape has a strong pres- The initial sublime sentiment, where the intensity stems
ence in the article she writes for Bruno Zevi’s magazine in from “danger” and “terror”, is expressed by the fascination
1956: developed from real intimacy with the surrounding nature,
flora and fauna, expressed in the letters to Pietro. The day-
to-day report, the difficulties with plagues, the satisfaction of
planting with her own hands, the flowering of orchids, the
beauty of the sweet potato foliage.
The fascination makes her want a “natural architecture”.
The interlocution with Bruno Zevi, through frequent corre-
spondence, made it clear that the “unnatural architecture” of
the Casa de Vidro would not be repeated.

120 121
Figure 8.
View of the landscape
from the pilotis of the
Casa de Vidro. “Vasca”
with aquatic plants
in the reflecting pool
and plateau on the car
access ramp. Source:
IB. Photo: Chico Albu-
querque.

Figure 9. Organicism: architecture that mimics nature Figure 10.

Drawing by Lina Bo Record of visit made
Bardi in a letter to Pietro by Lina Bo Bardi to the
Bardi, 1956. Source: IB. In October, 1956, when returning from a trip to Italy, where Park Güell, work of the
she went to meet Pietro, Lina visits the work of Gaudí architect Antoni Gaudí in
Barcelona (1900-1914).
in Barcelona. Photographs of the Park Güell register the Source: IB. Photo: PMB.
coverings and the organic forms that are mixed to the
ground. The interest in the work of the Catalan artist, which
had arisen through Bruno Zevi (1950), becomes a turning
point in her own work, which then becomes orientated by
organicism.
Lina continues to travel through Brazil, with expeditions,
in 1958, to the countryside of Paraná, where, accompanied
by Luiz Hossaka, she visits the rock formations of Vila Velha
Park. In the Northeast region of the country, she visits the
rock formations of Sete Cidades, in Piauí, photographing the
erosions caused by the wind in the rocks.
Between 1957 and 1958, the first moments of the in-
flection of organicism, not only in the landscape made as
of seeds “scatteredly thrown in the wind,”7 but also in the
construction of paths and small retaining walls that dialogue
with the Gaudí’s architecture and with the surfaces of erod-
ed rocks. The sinuosity of its trace allows the paths to have
smooth slopes, while the necessary retaining walls have a
low height. They are mostly brick walls on simple founda-
tions, lined with rolled pebbles, with details on shards of
sandstone slabs and ceramic shards to form delicate decora-
tive themes. The discontinuous floor, with irregular slabs of
sandstone, widens in some places, like small standing spots
in the middle of the garden.
Lina also builds the new garage, which replaces the pre-
vious one. The volume is a regular parallelepiped that repeats
the covering of the external walls to contrast with the white
walls of the Casa de Vidro. The garden roof and the draining
pipes, also covered with rolled pebbles, inaugurate a project
line that would be applied soon after in the houses of Valeria
Cirell in Morumbi and of the Chame-Chame in Salvador.

122 123
 Figure 13.
Working desk of Pietro
Maria Bardi in the room
of the Casa de Vidro.
Source: IB.

Figure 11. Figure 12. Its architecture is transformed towards a “natural archi- Popular culture and nature On the grounds of the house we find the records of both
Sketches for the Valeria Pictures of fishermen’s
Cirell’s house, architect houses on Lake Maggio-
tecture”. Among the projects that she develops in the follow- sorts of art, that of popular instinct and that one advanced.
Lina Bo Bardi, 1958. re, Italy. Source: “Case ing years, the new headquarters of the Masp is the one that The last intervention in the area of the Casa de Vidro was The house, its annexes and garden offer a description of the
Source: IB. sui trampoli”, Domus, would express the still uncertain steps of this transformation. the construction of Lina’s studio in 1986. The need for intellectual transformations of the architect. Annotations of a
Milan, #194, p.272-4,
Feb. 1944
The project was elaborated between 1957 and 1960, a space to support the development of the projects was life in search of the essentiality, found in her plunge into the
initially without the glass facades, which only emerged at the due to the consolidation of the collaboration with young Brazilian popular culture and nature.
end of 1965 (LIMA, 2013, p.126-9). Until the adoption of fully architects who supported her since Sesc Pompeia and the The uncontrolled growth of trees, which continued after
transparent facades, the museum as a whole moved away church in Uberlândia.9 Implemented near the street, which the couple’s death in the 1990s, created an unusual situa-
from the architecture of the Casa de Vidro and the Museum allowed easy access for the staff and suppliers, the studio tion. The “unnatural” house, which observes nature, has lost
of São Vicente. The high volume, illuminated zenitally on the became known as “the little house”, because it was built its prospects for the landscape, which in turn has become a
upper floor of the gallery’s hall, would have opaque facades with popular techniques. Structure of trunks and planks of city of vertical buildings, mansions and favelas. The density
and, on the lower floor, a long horizontal window. wood, two-ply cover of unshod ceramic tiles, wooden slabs of the woods enveloped the house in an enclosed environ-
In a letter to Bruno Zevi dated June 1st, 1965, Lina de- of sliding panels painted in green and mosquito netting ment for the urban landscape, protecting it from its aggres-
scribes the project and defends her positions for the Italian: create a small volume that touches the ground to allow siveness. The proximity between the trees and the glazed
access, moving away from it according to the terrain falls room platform established a condition of tactile vision, as
A smooth volume that I will make full of tropical plants toward the street. opposed to the original distance vision, thus altering the
between the interstices of the rough concrete, like be- The analogies with the Casa de Vidro itself are clear, conditions of its aesthetic enjoyment. The set of buildings of
tween stones of an old cathedral. Every time I go to accentuated by the absence of protection parapets on the house/annexes/garden acquires a symbiosis that suggests
the flowerbed, I remember your criticism of elemental windows, in the floor-to-ceiling opening of the sliding panels. new directions for the relationship between architecture and
volumes, the controversy of shoe boxes. Gaudí said that But the constructive systems adopted are those of construc- nature. Post-mortem unfolding of the author’s work becomes
the plan does not exist in nature and therefore he, who tions without architects, of the popular culture deeply stud- a contribution to contemporary culture, made possible by
believed in God, did not either. But the sublime is that ied by the architect. the preservation of its whole and by its availability for public
man make the plan that does not exist in nature, with all Surrounded by trees and bamboo, the “little house” visitation.
the courage and melancholy of things “that man does affirms the analogy between the modern forms and the ver-
alone”, with no one’s help.8 nacular constructions defended in the article “Case sui Tram-
poli” [Stilt houses] in the pages of Domus in 1944, which can
Had it been built according to the original design, Masp be attributed to it.
would be an organic and opaque version of the Casa de
Vidro and the Museu à Beira do Oceano [Museum on Instinct sometimes builds parallel to the forms and ten-
the Waterfront], with its rock-like concrete facades inter- dencies of a progressed art; this wooden house built by a
spersed with tropical plants. fisherman on the shores of Lake Maggiore presents, in the
essentiality of its forms, the aesthetic characteristics of the
most modern architecture. (DOMUS, 1944, p.272-4)
124 125
Bibliography Notes

BARDI, Lina B. Architettura e Natura: la casa nel 1 This article develops the arguments of ANELLI,
paesaggio. Domus, Milão, n. 191, p.464- Renato L. S. “Casa de Vidro: architecture, art
471, nov. 1943. and nature”. In: SANCHEZ, Mara Llorens; FON-
BARDI, Lina B. Bela Criança. Habitat, São Paulo, TÁN, Manuel del Junco; TOLEDO, Maria Gutiér-
n. 2, p. 3, jan./mar. 1951.. rez (Orgs.). Lina Bo Bardi. Tupi or not tupí. Brasil,
BARDI, Lina B. Residência no Morumbi”, 1946-1992. Madrid: Fundación Juan March,
Habitat, São Paulo, n. 10, p.31-40, jan./mar. 2018, v.1, p.60-71. The topic “Mediterrâneo nos
1953. trópicos” [Mediterranean in the tropics] sum-
BARDI, Lina B. Lettera del Brasile. Architettura marizes the main arguments of the chapter with
Cronache e Storia, Roma, n. 9, p. 182-187, the same name as ANELLI, R. L. S .; GUERRA,
jul. 1956. A .; KON, N. Rino Levi, arquitetura e cidade. São
BARDI, Lina B. Arquitetura e natureza ou Paulo: Romano Guerra Editora, 2001, p.89-101.
natureza e arquitetura (manuscrito de
conferência). II Semana de Arquitetura na 2 “We do not need a new way of building, we
Casa da França. Salvador, 1958. (Acervo need a new way of living”.
Instituto Bardi).
BARDI, Pietro M. Os Jardins de Burle Marx. 3 The first identification of the sublime in Lina Bo
Habitat, São Paulo, n. 3, p. 7, abr./jun. 1951. Bardi’s work was suggested by Campello (1998)
CAMPELLO, Maria F. M. B. Lina Bo Bardi – As in his master’s thesis.
Moradas da Alma. Dissertação (Mestrado).
EESC-USP, 1998. 4 The mosaic was made by the Italian artist Enri-
_Case sui Trampoli. Domus, Milão, n. 194, p. co Galassi from a drawing by De Chirico given
272-274, fev. 1944. to the couple as a gift.
KANT, Immanuel. Observações sobre o
sentimento do belo e do sublime – Ensaios 5 Painting Der Wanderer über dem Nebelmeer
sobre as doenças mentais (1a. ed. 1764). (1818), by Caspar David Friedrich. Collection of
Trad. Vinicius de Figueiredo. Campinas: the Kunsthalle Hamburg.
Papirus, 1993, p. 21.
OLIVEIRA, Olivia de. Quarto do arquiteto: Lina 6 Pietro spent the year of 1956 in Italy preparing
Bo Bardi e a história. Óculum, n. 5/7, the book The Arts in Brazil – A new museum
Campinas, 1997. at São Paulo, Edizioni de Il Milione, Typografia
PONTI, Gio. Architettura moderna al Brasile. Esperia (Milan, 1956), and a catalog for the
Domus, Milão, n. 64, abr. 1933. Kress Foundation. Lina’s letters to him are part
RUDOFSKY, Bernard. Non ci vuole un nuovo of the Bardi Institute collection and are being
modo di costruire, ci vuole un nuovo modo organized by Anna Carboncini.
di vivere. Domus, Milão, n. 123, mar. 1938.
ZEVI, Bruno. Un Genio Catalano: Antonio Gaudí. 7 Letter to Bardi, op. cit.
Metron, Roma, n. 38, p. 27-53, 1950.
ZOLLINGER, Carla. Lina Bo Bardi. 1951: Casa 8 Letter from Lina Bo Bardi to Bruno Zevi dated
de Vidro, 1964: “Niente Vetri” (Pavilhão e september 1st, 1965. Bardi Institute Collection.
recinto: o desenvolvimento de dois tipos). [The highlights are ours.]
Arquitextos, São Paulo, ano 07, n. 082.06,
Vitruvius, mar. 2007. Disponível em: 9 Marcelo Ferraz and André Vainer collaborated
<http://www.vitruvius.com.br/revistas/read/ with Lina since 1976; Marcelo Suzuki started
arquitextos/07.082/265>. Acesso em: 12 his collaboration in 1980.
out 2018.

126 127
2.5 The Instituto Bardi and the Casa de Vidro

Ana Lucia Ceravolo Landmarking (...) Allow me to complement my wife Lina’s idea in of Art of São Paulo (MASP) was the most successful of
Renato Anelli terms of the possibility of designating our house and them all. Though its origins can be traced back to the plan
The conservation of the Casa de Vidro [Glass House] art objects for a foundation capable of transforming it to build a headquarters for the Institute of Contemporary
imposes upon us an understanding of the space that the into a curious example of a dwelling of immigrants, who Art on land acquired by MASP in the vicinity of the
Institute occupies within it, being that both constitute the contributed to the promotion of the arts in Brazil in the house, this institution had a much different objective. The
legacy of the Bardis equally. The preservation of the Casa de sectors of architecture (the habitation of Morumby, the foundation cited in the landmarking process was to be
Vidro is associated with the creation of a cultural institution, MASP building on Avenida Paulista, the restoration of central for the survival of the Bardis’ legacy beyond their
as attested to by the justifications expressed by the Bardis the Pompéia Factory, the restoration of the Politeama old age and death. The preservation of the house, garden,
in the initiation of the landmarking process with the Council Theater in Jundiaí), the museographical sector (creation the works of art and their museography provide continuity
for the Defense of Historical, Archaeological, Artistic and of MASP and notable donations), in the field of to the educational activities in which they were engaged
Touristic Heritage – Condephaat, the agency responsible for journalism (the magazine ‘Habitat,’ ‘Mirante das Artes,’ throughout their lives. The Casa de Vidro, expanded with
public preservation policies in the state of São Paulo. In a ‘Vogue Arte’) and publishing (an ample bibliography). the installations of this institution, will be the last museum
letter to the Council’s president, Modesto Carvalhosa, dated of their creation, dedicated to their own intellectual history,
June 23, 1986, Lina Bo Bardi writes: I think that the Morumby House, once restored at our created and directed by them in the few years leading up to
expense, with its forest-garden, could be adapted with their deaths. A museum aligned with those they created and
I am sending the documentation of our house in a series of works of art of a certain value, to one day be administered in life-- in other words, active in the formation
Morumby: the deed, blueprints and photos of the house, visited by a public interested in experiencing a portion of of artists and the art-viewing public.
my curriculum. (...). I would like it very much for the the history of the renovation of national museography. In the final opinion, authored by architect Marco Antonio
house to be landmarked: and by you, Sir. And in terms (...) Tabet1, the singularities of the Casa de Vidro’s architecture
of the foundation, I thought more about the Mindlin are highlighted, with a rationale that compares it to
foundation (...). Also enclosed here is a letter from In practical terms: the Foundation’s responsibility will be residences in São Paulo, alongside arguments that highlight
Figure 1. Figure 2. Pietro, written a few days ago. (CONDEPHAAT, 1986, the conservation, custodianship of a collection of works the Bardis’ contributions to modern culture. It ends by
Sketch indicating the Study of a building
location and shape occupying the pilotis of
pp. 1-2) of art (…) The entire project should be studied by a positing the need for a more careful study of the collection,
of a new building for Casa de Vidro Lina Bo representative of the foundation and the undersigned. also justifying its preservation.
the art collection and Bardi, no date. Source: Bardi’s letter, (dated October 25, 1985), also addressed The decision to landmark, which came on September 1,
library, attached to the IB
Glass House, site of the
to Modesto Carvalhosa, is even more detail-oriented and Bardi envisages the creation of an institution, which he 1986, mentions the need for a future building to house the
current studio. Pietro emphatic in terms of how the house and the foundation denominates as foundation, that should preserve the house, institution proposed by the Bardis, explicitly stating that the
Maria Bardi in letter should function: their collection and the way of exhibiting it, presenting it to decision to landmark was approved unanimously, “(...) also
to Ettore Camesasca,
February 2nd 1976.
the public in the future. foreseeing the construction of an area for the library and
Source: Archivio Ettore Ever since the years he lived in Italy, Bardi’s career auditorium.2”
Camesasca, Milano. was driven by the administration of magazines and cultural
institutions focused on the formation of artists. The Museum

128 129
 On different occasions, both Lina and Pietro created The Institute Bardi’s death, his sister-in-law should move out of the house
sketches for the project. Years before the landmarking, in in 120 days, with the Institute continuing to pay her the
a letter written to Ettore Camesasca in 1976, he presents The current Bardi Institute was founded on May 3, same sum, corrected monthly, for the remainder of her life.
his friend in Italy with a sketch of its possible implantation 1990, initially denominated as the Quadrante Institute, a It further determines that she should be elected president of
on the Casa de Vidro’s land. The drawing resembles Lina’s reference to the Italian magazine run by Bardi and Massimo the Institute at the first assembly following Bardi’s death.
studies for an addition below and to the side of the house, Bontempelli (1933-1936). Its founding members were With no residents, the house would become “the
with no identification or date in the collection, published by Pietro Maria Bardi (president) and Lina Bo Bardi (vice- ‘headquarters’ of the recipient Institute, with its residential
Oliveira (2006) as “studies for the expansion of the Casa de president), who constituted the institution’s executive board, characteristics maintained according to the wishes of
Vidro” realized in the 1970s, proposing a pavilion at the foot and six members, comprising the Board of Trustees: Mrs. Archillina Bo Bardi.”
of the residence, in the area beneath the pilotis. Graziella Bo Valentinetti, Lina’s sister, who stayed on at the The Institute was given its new denomination, the Lina
Lina and Pietro Bardi’s sketches for the project for the institute until her death in 2008, the painter, illustrator and Bo and P.M. Bardi Institute in 1993, the year after Lina’s
Institute’s headquarters on the Casa de Vidro’s land present museologist Fábio Luiz Pereira de Magalhães, the lawyer death, connecting it “definitively to the names of their
great freedom in the formal conception and occupation of and professor at the University of São Paulo Law School benefactors.”5 With Lina’s death, thus began a period in
the area full of trees. Nonetheless, in subsequent years, Modesto Carvalhosa, the lawyer, businessman, writer and which she became the center of the Institute’s activities.
the only construction realized was the studio, a formally bibliophile José Ephim Mindlin, the lawyer and director In her former office, the “casinha” [literally “little house”],
contained project, where the structure and the wood walls of SESC Renato Antônio Quadros de Souza Requixa and a staff directed by Marcelo Ferraz and the architect’s past
are covered by a discreet roof of ceramic mission tiles. the lawyer who had been part-owner of the art gallery collaborators kept the Institute active, initiating the first
Mirante das Artes alonside Pietro Maria Bardi and one of systemization of the Bardis’ collection. It was there, in
the most renowned art dealers and art connoisseurs of the the space where they developed their projects, that the
day, Renato Magalhães Gouvêa. The institution’s area of MASP exhibition was organized, opening at the museum in
operations and mission were defined in the official record of 1993 accompanied by the complete catalog of their work
its founding: (FERRAZ, 1993) and the documentary directed by Aurélio
The objectives of the INSTITUTE [sic] are exclusively Michilles and Isa Grinspum Ferraz.
cultural and artistic, and also related to the history of art and
architecture, capable both of promoting and practicing any
activity and inherent to their ends3.
For these objectives, the Bardis provided the institution
with funds they acquired by selling the painting Portrait
of Don Sebastien Marie Gabriel de Bourbon and Braganza
(1820) by Spanish artist Francisco Goya, which had been
part of the Bardis’ collection since 1955. The amount
obtained from the sale was US$3.6 million and constituted
the endowment utilized to preserve the Casa de Vidro,
its collection of art and architecture, as well as to provide
support for its mission.
It is important to emphasize that the first statute
established that, in the event of the Institute’s dissolution,
the house, along with the entire collections and works,
should be donated to the Museum of Art of São Paulo –
MASP, demonstrating their trust and proximity regarding the
institution they helped create and consolidate.
Between 1990 and 1991, shortly after its creation, the
Institute dedicated itself to establishing a line of operations
focused on financially supporting cultural projects. In
addition to supporting other institutions, the institute defined
its editorial line.
In 1995, Bardi, already quite ill and no longer working
at MASP, transferred the right of ownership of the Casa de
Figure 3. Vidro back to the Institute by way of a deed of donation4. Figure 4.
Casa de Vidro adaptation Lina Bo Bardi, book
proposal to the venue
The donation established that the Institute should organized by the
of an institute or assume extra burdens in return. The first was to authorize Instituto Lina Bo e P.M.
foundation, Lina Bo that Bardi and his sister-in-law, Graziella Bo Valentineti, Bardi (Marcelo Ferraz)
Bardi at the opening to be the catalog of
of the landmarking
continue living in the house for the remainder of his life, the exhibition of the
process. Project made receiving a monthly sum of R$10,000, designated for architect’s work in 1993,
with the collaboration of the property’s maintenance and the residents’ healthcare at Masp.
Marcelo Suzuki, 1986.
Source: Casa de Vidro
expenses. The deed of donation also established that, after
Landmarking Process at
CONDEPHAAT.

130 131
 The success of this ensemble of Lina Bo Bardi’s work Figure 10.
Jotabê Medeiros article
in Brazil fueled its itinerancy around the world. Translated “Stagnant institution,
into English and Italian, the catalog and versions of the tradition of the city”,
exhibition are circulated in several countries. The initiative O Estado de São Paulo
newspaper, March 21st,
represented a thorough promotion of her work around 2007.
the world to a public previously unaware of her existence
and thus conferring upon her international recognition.
Various aspects of her career, accentuated by the way it
was interpreted in the narrative assembled by the exhibition,
catalog and video, were very well received in Brazil and
abroad: the attention to the popular without contrasting
with the modern, at a moment of post-modern burnout,
the politically combative character, the transiting between
multiple art forms – cinema, theater, the visual arts, applied
art and, not the least important of which, the female
gender at a moment when men still dominated the field of
architecture. It should be noted that one involuntary result of
Lina Bo Bardi’s success was the subsequent overshadowing
of her husband. A biography of Bardi, written by Francesco
Tentori in 1990 and formerly only available in Italy, was
published in Portuguese in 2000.
igure 9.
Figure 5. Figure 7.
Biography of Pietro
In this way, the editorial line of the Bardi Institute was
Video documentary Lina Avant-garde na Bahia
Bo Bardi, directed by book, by Antonio Maria Bardi, by granted continuity, focusing on promoting studies of the
Aurélio Michilis and Isa Risério, Instituto Lina Bo Francesco Tentori, work of Brazilian architects with relevant careers, but who
published in 1990 in
Grinspum Ferraz, 1993. and P. M. Bardi edition,
Milan by the Mazzota
had yet to have their architectural work circulated in the
1995.
editor. The Instituto form of books with high graphic production value and
Lina Bo e P. M. iconographic information on their projects. Through these
Bardi published the
Portuguese version in
books, the work of Lina Bo Bardi, Afonso Eduardo Reidy,
2000. Vilanova Artigas and João Filgueiras Lima (Lelé) have gone
on to inform new generations of architects, able to learn
to design by studying the project drawings and photos of
the works. The publications thus attend the Bardi Institute’s
mission of acting “with the history of art and architecture,”
making an important contribution to the new history of
Figure 6. Brazilian architecture and establishing a new editorial
Vilanova Artigas Book,
organized by the
standard in the area.
Instituto Lina Bo e P.M. Pietro Maria Bardi died in 1999, resulting in major
Bardi in collaboration alterations in the institution’s operations. Up until then, he
with the Vilanova Artigas
Foundation, 1997.
had occupied the presidency, in spite of his advanced age,
and the vice-presidency was held by Graziela Bo Valentinetti,
who took the position in 1992 after Lina’s death. As
specified in the deed of endowment of the Casa de Vidro
to the Institute, with Bardi’s passing, Graziela assumed
the presidency. Shortly after, Marcelo Ferraz and his team
departed from the Institute’ administration, closing a period
of the Institute’s history marked by the continuance of the
founding couple’s activities and plans.
Also in the wake of Bardi’s passing came claims to his
estate from heirs from his first marriage who reside in Italy.
As a result of the division of assets, the Casa de Vidro lost
Figure 8. some of its most valuable pieces of furniture and works of
Casa de Vidro book,
published by Instituto
art, irreversibly disfiguring the internal assembly of the living
Lina Bo e P. M. Bardi in room. Nonetheless, the division preserved the ownership of
collaboration with the the Casa de Vidro and the vast majority of its collection in
Editorial Blau, Lisbon.
the hands of the Institute.

132 133
 The years under Graziela Bo Valentinetti’s administration, Financial sustainability and institutional arrangement
from 1999 to 2008, were characterized by the Institute’s
difficulties in keeping up its former pace of operations. The period that began with the D’Anna administration
On March 21, 2007, the newspaper Estado de São was characterized by the challenge of the Bardi Institute’s
Paulo published an article entitled “Institution stagnated, financial sustainability and the search for institutional
tradition of the city,” reporting that visitation to the house arrangements appropriate for the institution’s reality. The
had been suspended. Indeed, the building’s conditions fund generated by the Bardis’ sale of the Goya painting
were precarious and the detachment of the lining on the remained an anchor of stability for the Institute until it ran
underside of the slab above the entrance compromised out in early 2014.
the safety of visitors. And the end of the funds from the At the time, the institution managed to survive on
endowment were already within view, being that the funds raised from the commercialization of copyrights
revenue from financial support was insufficient to maintain and projects in support of culture and research. The
the institution. collection of architectural drawings, photos of projects
In 2006, the Institute counted on support from FIAT to under construction, films and other registers of Lina
bring the exhibition “Lina Bo Bardi Architect” to MASP, Bo Bardi’s career were requested for publications and
curated by Italian professors from Iuav University in Venice exhibitions, accompanying the progression of the architect’s
and originally presented at the 2004 Venice Biennale international prestige.
(GALO, 2004). The exhibition drew approximately 83,000 After the initial phase, sustained by its own resources,
visitors. But the Bardi Institute would not enjoy the same the collection was organized with support from grants from
success in its requests to obtain further support, not for the institutions like Caixa Econômica Federal, Petrobras and the
maintenance of the buildings, nor for the organization of the State of São Paulo Research Support Foundation (Fapesp)7.
collection. This support allowed to the Institute to rise to a level of
All the same, the Institute initiated the most pressing professionalism rarely seen in private architecture collections
maintenance operations using its own funds. The operations in Brazil, a factor that was fundamental in the collection’s
were directed by Marcelo Suzuki, a former collaborator of capability in providing support to exhibitions held in São
Lina Bo Bardi’s and the architect responsible for the 1993 Paulo, Munich, Rome, New York, Zurich and other world
maintenance project. The termite control efforts, initiated in cities in commemoration of Lina Bo Bardi’s 100th birthday in
2007 under the guidance of technicians from the Institute of December of 2014.
Technological Studies (Ipt), were followed by maintenance A contract with the Italian furniture firm Arper to
on the finishings and casements, hydraulic installations and produce a limited series of Bardi Bowl chairs, released
roofs, interventions that would last until 20096. in January of 2014, ushered in the commercialization of
After the president’s death in 2008, Mr. Giuseppe the copyrights to the furniture that Lina designed, which
D’Anna was chosen to replace her. For the first time, the extended into a contract with the Brazilian company Etel.
Institute’s presidency was held by someone who was not a In 2014, Sonia Guarita do Amaral was elected president
relative of the Bardis. D’Anna’s administration concentrated of the Bardi Institute. Her administration began with an
on institutional organization and the execution of projects to agreement by Petrobras to provide financial support for the
raise funds in support of culture and research. consolidation of the institution. A new institutional design
began which in 2016 effected the transformation of the
non-profit Cultural Association into to a Social Organization
(SO) in the area of culture. To expand fundraising, the
Society of Friends of the Bardi Institute was created, holding
an auction of works of art in order to raise money necessary
to maintain the organization.
The institution’s new SO format is regulated in Brazil by
Federal Law no. 9.637/1998, and in the State of São Paulo
by Complementary Law no. 1.243/2014, and its purpose is
to allow the Public Administration to appoint a non-profit
association to realize actions in the area of culture with
Figure 11. Figure 13. Figure 15. Figure 17. direct sponsorship from the public budget. Despite this
Lina Bo Bardi’s room As a result of infiltrations Restoration of the Anti-termite treatment
oxidation of the metal and lack of proper Vidrotil tile floor. 2007. of works of art and
possibility, the Institute was not successful in getting this
sheet casement, 2006. maintenance, cracks, Source: IB. Photography: historical furniture. sort of appointment, having thus far participated in only one
Source: IB. Photography: loosening of the plaster MCB 2007. Source: IB. competition promoted by the State Secretary of Culture to
MCB and paint on the Photography: MCB
underside of the upper Figure 16.
manage the Museum of the Brazilian Home in the second
Figure 12. slab, under the gutter, Changing of the half of 2016.
South façade of the appeared. 2006. Source: particle wood, of the
house, with damage to IB. Photography: MCB wall cupboard doors.
the exterior cladding 2007. Source: IB.
and oxidation of the Figure 14. Photography: MCB
casement, 2006. Source: Degradation of the
IB. Photography: MCB kitchen casement
by intense oxidation.
2006. Source: IB.
Photography: MCB

134 135
 The OS format altered the method of operations in The Casa de Vidro as house-museum An educational proposal that is committed to man in
effect. Up until 2016, the Institute was structured with a transformation, utilizing the diverse means at its disposal,
Presidency, Board of Directors, Council and Assembly of The present moment is an opportune one for us to once but which have the objective of enabling the participant
Associates. The presidency participated in the board of again reflect on the character of the ensemble comprised (Man/subject) to reflect in a critical and participative
directors, which was composed of five members with no of the Bardi Institute and the Casa de Vidro 8 and the best manner on the message received. And the best way for
specific attributes, forming a sort of collegial management, institutional design for preserving it. Since the beginning this is through wonderment, questioning, inquiry. And not
in which each member assumed an executive responsibility. of Sonia Amaral’s administration, the institution has moved answering (CABRAL, 1988).
There were few meetings of the board and the assembly, closer to the museum typology of a historical house, House-museums provide a slice of reality, avoiding
held in accordance with the statute. according to the concept designed by the International sweeping generalizations and offering a more intimate,
The SO is structured by a Board of Directors, Council of Museums – Historical Houses (DEMHIST/ICOM)9. subjective vision of history. They open up the possibility
Administrative Council, Supervisory Board and Assembly The Management and Conservation Plan should be rooted in of more direct and less abstract relationship between the
of Partners. It is now a more specialized organization than a reflection on whether this typology is coherent with Bardi’s public and the museum, allowing for the creation of bolder
the previous one, with separation and hierarchy between intention in “designating our house and art objects for a projects.
the Administrative Council and the Board of Directors. The foundation capable of transforming it into a curious example The house is the space of shelter, of protection and the
directors are chosen by the council, who are prohibited from of a dwelling of immigrants”, bringing in visitors to learn the place from which personalities express their relationship
serving on the board. Unlike in the non-profit association, life and story of the husband and wife who contributed to with the world. The greatest heritage of a house-museum
the directors are allowed to receive salaries. promoting the arts in Brazil. is the very professional activity of the individual whose
The political changes in the country in 2016 resulted Lina and Pietro Bardi were pioneers of museology and memory we want to preserve. It is fundamental to create
in the interruption of support from Petrobras, once again museography in Brazil, in restoration and in the cultural conditions so that their ideal is kept alive through correlative
putting the Institute in a situation of financial imbalance. projects they developed. By assuming a house-museum activities (DOCTORS, 2010).
To ensure its survival, a drastic reduction in personnel was typology, the Bardi Institute is aligned with the Bardis’ avant- This combination of ideas allows us to envisage a house-
made and a search began for new types of resources. The garde posture, also considering their expectations regarding museum of two personalities central to the history of the
economic recession that followed made it very difficult to the institution’s mission. arts and architecture in Brazil from the 1940s to the 1990s.
procure new financial support through cultural incentive As the conservation of the Casa de Vidro presupposes With Lina’s actions in mind, the Casa de Vidro should be a
projects. a change in use and it is important to keep in mind that the gateway to her work. With Bardi’s contributions in mind, the
The Institute survived this crisis thanks to four types theme of adjustment or adaptation of cultural assets to the Casa de Vidro is a possibility of experiencing a collection of
of resources: admission tickets, the sale of books and incorporation of new functions often comes up in debates a broad historical spectrum. Yet, it is also a connection to
souvenirs to visitors, the commercialization of the copyrights on preservation and restoration. As established by the their greatest work: the Museum of Art of São Paulo.
of Lina’s furniture, images and payments for loaning works Venice Letter, preservation presupposes use, as long as it is The Casa de Vidro safeguards the memory of its patrons,
of art, location rental for photo shoots and social events compatible with the property’s characteristics. but it is through the Institute that it becomes a living
related to culture, support and donations through cultural building that is active in the cultural construction of the
projects providing tax breaks, which essentially maintained The conservation of the monuments is always favored present. As such, the Management and Conservation Plan
the cultural activities promoted by the Institute. by its designation as having a useful function for society. structures policies, actions and goals that allow the Bardi
Today, the Directors act in accordance with the work This designation is, however, desirable, but it cannot nor Institute the possibility of achieving the objectives for which
plan approved by the Board, to which they must report. The should it alter the disposition or decoration of the buildings. it was created and maintaining the assets in its custody.
brief experiment in the SO format demonstrates overlaps in It is only within these limits that modifications required by
the positions of the Director President and Board President, the evolution of uses and customs should be conceived and
which need to be better defined. The other directorial authorized. (VENICE CHARTER, 1964, article 5)
position is Technical. The current administration, which The typology of a historical house-museum is the most
began in the first half of 2018, informally expanded the pertinent alternative use to enable the Casa de Vidro to
denomination of the Technical Directorship to Technical and maintain its characteristics while also adequately receiving
Cultural Directorship, thus specifying its curatorial role. In the Institute’s installations, promoting visitation and
turn, the task of fundraising is shared by both Directors as culturally educational activities.
well as by members of the Administrative Council. In a house-museum, as currently conceived of by
DEMHIST/ICOM, the cultural asset is the actual building,
collection and owner. These three points of reference are
not disconnected and, as such, the relationships established
between them favor communication, allow for greater
interaction with the space visited and the possibility of
perceiving the historical period and society embodied in
it, establishing connections with the present in a critical
manner.

136 137
 The OS format altered the method of operations in The Casa de Vidro as house-museum An educational proposal that is committed to man in
effect. Up until 2016, the Institute was structured with a transformation, utilizing the diverse means at its disposal,
Presidency, Board of Directors, Council and Assembly of The present moment is an opportune one for us to once but which have the objective of enabling the participant
Associates. The presidency participated in the board of again reflect on the character of the ensemble comprised (Man/subject) to reflect in a critical and participative
directors, which was composed of five members with no of the Bardi Institute and the Casa de Vidro 8 and the best manner on the message received. And the best way for
specific attributes, forming a sort of collegial management, institutional design for preserving it. Since the beginning this is through wonderment, questioning, inquiry. And not
in which each member assumed an executive responsibility. of Sonia Amaral’s administration, the institution has moved answering (CABRAL, 1988).
There were few meetings of the board and the assembly, closer to the museum typology of a historical house, House-museums provide a slice of reality, avoiding
held in accordance with the statute. according to the concept designed by the International sweeping generalizations and offering a more intimate,
The SO is structured by a Board of Directors, Council of Museums – Historical Houses (DEMHIST/ICOM)9. subjective vision of history. They open up the possibility
Administrative Council, Supervisory Board and Assembly The Management and Conservation Plan should be rooted in of more direct and less abstract relationship between the
of Partners. It is now a more specialized organization than a reflection on whether this typology is coherent with Bardi’s public and the museum, allowing for the creation of bolder
the previous one, with separation and hierarchy between intention in “designating our house and art objects for a projects.
the Administrative Council and the Board of Directors. The foundation capable of transforming it into a curious example The house is the space of shelter, of protection and the
directors are chosen by the council, who are prohibited from of a dwelling of immigrants”, bringing in visitors to learn the place from which personalities express their relationship
serving on the board. Unlike in the non-profit association, life and story of the husband and wife who contributed to with the world. The greatest heritage of a house-museum
the directors are allowed to receive salaries. promoting the arts in Brazil. is the very professional activity of the individual whose
The political changes in the country in 2016 resulted Lina and Pietro Bardi were pioneers of museology and memory we want to preserve. It is fundamental to create
in the interruption of support from Petrobras, once again museography in Brazil, in restoration and in the cultural conditions so that their ideal is kept alive through correlative
putting the Institute in a situation of financial imbalance. projects they developed. By assuming a house-museum activities (DOCTORS, 2010).
To ensure its survival, a drastic reduction in personnel was typology, the Bardi Institute is aligned with the Bardis’ avant- This combination of ideas allows us to envisage a house-
made and a search began for new types of resources. The garde posture, also considering their expectations regarding museum of two personalities central to the history of the
economic recession that followed made it very difficult to the institution’s mission. arts and architecture in Brazil from the 1940s to the 1990s.
procure new financial support through cultural incentive As the conservation of the Casa de Vidro presupposes With Lina’s actions in mind, the Casa de Vidro should be a
projects. a change in use and it is important to keep in mind that the gateway to her work. With Bardi’s contributions in mind, the
The Institute survived this crisis thanks to four types theme of adjustment or adaptation of cultural assets to the Casa de Vidro is a possibility of experiencing a collection of
of resources: admission tickets, the sale of books and incorporation of new functions often comes up in debates a broad historical spectrum. Yet, it is also a connection to
souvenirs to visitors, the commercialization of the copyrights on preservation and restoration. As established by the their greatest work: the Museum of Art of São Paulo.
of Lina’s furniture, images and payments for loaning works Venice Letter, preservation presupposes use, as long as it is The Casa de Vidro safeguards the memory of its patrons,
of art, location rental for photo shoots and social events, compatible with the property’s characteristics. but it is through the Institute that it becomes a living
support and donations through cultural projects providing building that is active in the cultural construction of the
tax breaks, which essentially maintained the cultural The conservation of the monuments is always favored present. As such, the Management and Conservation Plan
activities promoted by the Institute. by its designation as having a useful function for society. structures policies, actions and goals that allow the Bardi
Today, the Directors act in accordance with the work This designation is, however, desirable, but it cannot nor Institute the possibility of achieving the objectives for which
plan approved by the Board, to which they must report. The should it alter the disposition or decoration of the buildings. it was created and maintaining the assets in its custody.
brief experiment in the SO format demonstrates overlaps in It is only within these limits that modifications required by
the positions of the Director President and Board President, the evolution of uses and customs should be conceived and
which need to be better defined. The other directorial authorized. (VENICE CHARTER, 1964, article 5)
position is Technical. The current administration, which The typology of a historical house-museum is the most
began in the first half of 2018, informally expanded the pertinent alternative use to enable the Casa de Vidro to
denomination of the Technical Directorship to Technical and maintain its characteristics while also adequately receiving
Cultural Directorship, thus specifying its curatorial role. In the Institute’s installations, promoting visitation and
turn, the task of fundraising is shared by both Directors as culturally educational activities.
well as by members of the Administrative Council. In a house-museum, as currently conceived of by
DEMHIST/ICOM, the cultural asset is the actual building,
collection and owner. These three points of reference are
not disconnected and, as such, the relationships established
between them favor communication, allow for greater
interaction with the space visited and the possibility of
perceiving the historical period and society embodied in
it, establishing connections with the present in a critical
manner.

136 137
Bibliography Notes

ANELLI, Renato L. S.. Lina Bo and P. M. Bardi 1 TABET, Marco A. A respeito de uma vistoria na
Institute: balance and perspectives. Anais... 9th residência de Lina e Pietro Maria Bardi, realizada
DOCOMOMO Seminar Brazil, Brasília, 2011. em 27 de agosto de 1986. Landmarking
CABRAL, Magaly. Educação em Museus Casas process, p. 53 a 58
Históricas. Available at: <http://www.
casaruibarbosa.gov.br/paracriancas/arquivos/ 2 CARVALHOSA, Modesto S. B. Síntese de
file/arq_textos/Educacao_em_Museus.pdf>. decisão do egrégio colegiado sessão ordinária de
Accessed on: May 14, 2019. 1o. de setembro de 1986. Landmarking process,
THE VENICE CHARTER, Italy, 1964. Available at: p. 59.
http://portal.iphan.gov.br/uploads/ckfinder/
arquivos/Carta%20de%20Veneza%201964.pdf. 3 Minutes of the general meeting of May, 3rd
Accessed on: May 14, 2019. 1990, in which the Institute Quadrante was
CONDEPHAAT. Landmarking process no. 24.938, created.
01/07/1986. São Paulo, 1986.
3rd NOTARY OFFICE. Endowment deed. São Paulo,
4 Donation deed, 3rd notary’s office, São Paulo-
29 jun. 1995.
SP, July 29th 1995.
FERRAZ, Marcelo (org.). Lina Bo Bardi. São Paulo:
Lina Bo and P. M. Bardi Institute, 1993.
DOCTORS, Márcio. Casa Museu como projeto de 5 Minutes of the general meeting of Instituto
diversidade. In: I Encontro Luso-Brasileiro de Quadrante Administrative Council, São Paulo-
Museus Casas. Rio de Janeiro: Fundação Casa SP, March, 19th 1993.
de Rui Barbosa, 2010.
GALO, Antonella. Lina Bo Bardi architetto. Venezia: 6 The text by Aline C. Sanches, part of this
La Biennale di Venezia / DPA / Marsilio / volume, deepens the activities carried out in the
ILBPMB, 2004. maintenance works.
BARDI INSTITUTE (IB). Minutes of general assembly.
São Paulo, May 3, 1990. 7 The project “Collection of the Lina Bo and P.
BARDI INSTITUTE (IB). Minutes of annual Council M. Bardi Institute: cataloging, digitization and
meeting. São Paulo, March 19, 1993. assembly of online database” 2009/54901-3
OLIVEIRA, Olivia de. Sutis substâncias da arquitetura e 2012/50291-9) was implemented between
de Lina Bo Bardi. São Paulo/ Barcelona: 2011 and 2013. In addition to the funds in the
Romano Guerra/GG, 2006. amount of R $ 318,160.15 provided by FAPESP
TENTORI, Francesco. Pietro Maria Bardi. São Paulo: to equip and organize the collection with
mapotecas, gradients, sliding wardrobes, tables
IOESP/ILBPMB, 2000.
and computers, were allocated an additional
$ 44,995 for works to adapt the electrical
network.

8 The abbreviated denomination of the original

Lina Bo and P. M. Bardi Institute was associated
with the Casa de Vidro at the proposal of
architect Sol Camacho in early 2017, when the
logo was changed.

9 DEMHIST is short for French “demeures

historiques”, historic houses and names the
ICOM International Committee for Historic
Homes. For more information, visit the
website:http://demhist.icom.museum/shop/
shop.php?detail=1255432617

138 139
3 Casa de Vidro
Inventory and recommendations for conservation

140 141
3.1 Introduction 3.2 The complex of buildings and the garden

The inventory consists of organizing surveys to guide The Casa de Vidro complex consists of four buildings The fourth building of the complex is the studio, situated
conservation and restoration interventions. distributed in three unified lots, totaling 6,713.16 m2 of at the southeast end of the plot of land, 17 meters below
As the research form of this project was structured in land area. Situated on a side of the Morumbi neighborhood, the main floor of the Casa de Vidro. A simple construction,
four specialized teams, the inventory had the function of near the watershed, the Casa de Vidro was designed to mad of wood and covered with a ceramic roof and with
integrating its surveys, diagnoses and recommendations. take advantage of the promontory position, opening to the a hydraulic module of masonry, it is interconnected with
Even though there was interaction between the teams during landscape of the Pinheiros River valley. the access ramp of vehicles through a path of sandstone
the development of their work, it was only in the inventory The main house and the house of the housekeeper slabs, which is flanked by masonry walls and is supported
production that their products merged. were designed and built together, between 1949 and 1952. by a handrail of cast iron. To assist suppliers and facilitate
The effort of synthesis and review allowed the Later, probably in 1957 (the date was estimated due to lack the access for employees, the studio has an independent
consolidation of the surveys, analyses, diagnoses and of records), the garage was built, along with the paths and entrance on the Bandeirante Sampaio Soares Street.
recommendations in the following structure: walls in the garden. The last building was that of the studio, The arboreal mass of the garden was planned by the
where its collaborators would develop the projects from architect, since the plot of land had few trees when the
• Main House (CV) 1986. Despite the pre-existence of some trees in the highest house was built. Several built elements make up the garden.
• Studio (ES) part of the land, the garden was planted by the architect in On the concrete floor level at the back of the main house,
• Garage (GA) the rest of the plot. an oven and a barbecue repeat the white of the architecture
• Caretaker’s House (CC) The house has its main floor leveled to one of the highest and suggest the outdoor extension of the kitchen activities.
• Landscaping (PA) parts of the land, 803 meters above sea level. It detaches Sinuous paths of stone slabs and masonry walls, lined in
from the ground as it advances towards the landscape, the same way as the garage, meander through the plot,
Each item is organized in the following sort order of creating a platform supported by thin cylindrical pillars. configuring some areas with large, flat floors as possible
component systems: Three of its faces are completely glazed, from floor to ceiling, seating places in the garden.
forming the living room. The back of the room is a masonry The whole plot was surrounded by a masonry wall of
• Structural wall, which divides the social area from the private area of apparent blocks, built by determination of the Municipality
• Sealing the residence: bedrooms, bathrooms, closet and hallway. late in 1978, along with the sidewalks. Until then, a faint wire
• Architecture Perpendicular to this wall, the kitchen/dining room extends fence separated the property from public space – records of
Finishings to the ground level in the back, communicating with the other times of the city and of the Morumbi neighborhood.
Roofs service sector and servants dormitories.
Frames The caretaker’s house is located on the eastern slope of
Staircases the plot, next to Seguidilha street, whose access, despite
Casements it being a public road, is restricted. The level is 14 meters
Lighting below the main floor of the Casa de Vidro. To implant it, the
Interior archtecture ground was cut and grounded so as to make the garden on
• Hidraulic instalations the roof slab intersect the sloping ground, giving continuity
• Electrical Installations to the vegetation cover. Windows and door open onto a
small terrace, structured by a retaining wall of large granite
Landscaping, due to its specific characteristics, had stones. It guarantees, therefore, that it is not seen from the
a more flexible organization in order to incorporate tree interior of the main house, disguising itself between the
management plans, services organization, proposals of shrub vegetation.
thematic paths of special trees, etc. The current garage was built to replace a light,
The analysis of the accessibility conditions of stairs and aluminum-framed roof, which was initially built. It already
ramps is also part of Landscaping. This analysis resulted in represents the architect’s inflection towards a “natural
guidelines for the design of an accessible auxiliary circulation architecture”, which mimics the terrain and vegetation.
system, in accordance with Brazilian standards. For this, it was constructed as a parallelepiped of structural
Lastly, the inventory presents diagnosis and masonry, with few openings besides the main gate, which
recommendation concerning the urban and municipal opens a whole face of the volume. As in the caretaker’s
insertion of the Casa de Vidro. house, a garden roof on a reinforced concrete slab covers
the volume, disguising it among the vegetation. The rustic
external coating, with rolled pebbles and inlaid ceramic
blocks, accentuates the weight of the volume and makes the
building part of the ground, like the garden walls. Although
located on the other slope of the plot, near the General
Almério de Moura street, the garage and the caretaker’s
house are almost on the same level.

142 143
Plan site

5 2

3
2

6 6

1 Main House
2 Caretaker’s House
3 Garage
4 Studio
5 Main entrance
6 Access ramp

144 145
Casa de Vidro (Main House)

11 14 15
2 3
5 6
3 4 12
8 16

5 7 9 4
1 5 2 15
1
8
15

10
3 4 17 1 1 1
1 6
9 A A
14

2 8 13 18
0 1 2 5 10

1 Garden Plan of main floor Roof

2 Parking space
3 Stair 1 Stair 10 Dressing room 1 Roofling corrugated tiles
4 Veranda 2 Living room 11 Pantry 2 Rooftop garden
5 Storage 3 Fireplace/internal chimney 12 Kitchen 3 Water tank
6 Machine room 4 Dining room 13 Garden 4 Open space
5 Open space 14 Pantry
6 Lavatory 15 Maid’s room
7 Corridor 16 Bathroom
8 Bedroom 17 Laundry room
9 Bathroom 18 Veranda / Service

View 1 View 2

Section AA

146 147
Caretaker’s House Garage

B B
3

1 2 3 4 1
A A
7 4 3 2
4 2
1 A 1 A
6 5 2

2
2
B

Plan of ground floor Plan of roof 1

1 Living room 1 Rooftop garden slab B
2 Kitchen 2 Roofling corrugated tiles
3 Bathroom 3 Water tank
4 Bedroom 4 Chimney Plan of roof Plan of ground floor
5 Balcony
6 Porch 1 Rooftop garden slab 1 Room
7 Services 2 Gate

Section AA Section BB

Section AA View 1

View 1 View 2

Section BB View 2 View 3 View 4

148 149
Studio

B
3

A A
1 2 3 1 2

Plan of Ground Floor B Plan of roof 1

1 Working room 1 Roof of ceramic tiles
2 Kitchen 2 Rooftop garden slab
3 Lavatory

Section BB View 1

Section AA View 2

150 151
3.3 Main House
CV

152 153
Structural System Description
CV.01

Components Description In the sections of ground above Support The ground slab’s main metalwork The ground slab is ribbed in reinforced
structural system, mixed structure Isolated footings under the pillars in the retaining wall with a shallow Masonry retaining walls seated upon a rises out of the internal concrete up to concrete and alveolar with the lower
the area of the pilotis and footings foundation of reinforced concrete strip structure of reinforced concrete beams the pillars, “looking like an umbrella,” alveolar lined in reinforced mortar. Roof
interconnected by wedge-shaped footing under the load-bearing masonry and pillars. Slats (belts of reinforced according to Lina Bo Bardi. Stretching slab with system of ceramic flagstones,
grade beams in the technical area wall. concrete) every 25 centimeters up to the living room ceiling, the (pre-slab) joists re-clad in situ and
and storage areas. Inspections of throughout the entire height of cylindrical pillars of reinforced concrete inverted reinforced concrete beams. In
the pillars’ bases in the pilotis area the retaining wall interconnect the are enclosed in tubes of asbestos the block of the laundry/service area
with excavations down to where they embedded pillars, coated together with cement and from them comes the the roof slab is supported directly by
connect to the footings demonstrated the masonry. metalwork set into the beams of the masonry.
the solid state of the steel pillar, the rooftop slab. In the other areas
even while buried in a very humid Cylindrical steel-tube pillars were filled – kitchen and laundry/service areas
environment. in with concrete in the pilotis. – the reinforced concrete pillars are
embedded and coated in mortar, and in
the laundry/service area there is load-
bearing masonry.

Gutter beam and Roof slab with Cylindrical pillars of Wall cross-bracing Pillars of reinforced
platband pre-molded ceramics asbestos cement with with reinforced concrete set in
and reinforced reinforced concrete concrete girders set non-load bearing
concrete structure into the masonry masonry

Strip footing Load bearing masonry

foundation walls

Alveolar-style ground Metal cylindrical pillars Isolated footing Foundation footings Retaining wall with
slab of reinforced filled in with concrete foundation made of interconnected by reinforced concrete
concrete reinforced concrete wedge-shaped grade pillars and slats
beams

154 155
Structural System Description
CV.01

Gutter beam and Roof slab with Cylindrical pillars of Garden slab Wall cross-bracing
platband pre-molded ceramics asbestos cement with with reinforced
and reinforced reinforced concrete concrete girders set
concrete structure into the masonry

Alveolar-style ground Metal cylindrical pillars Isolated footing Foundation footings Retaining wall with
slab of reinforced filled in with concrete foundation made of interconnected by reinforced concrete
concrete reinforced concrete wedge-shaped grade pillars and slats
beams

156 157
Structural System Components
CV.01

CV.01.09
Rooftop slab

CV.01.03 CV.01.05 CV.01.07

Reinforced concrete pillars in Reinforced concrete pillars Load bearing
tubes of asbestos cement. and wall bracing masonry wall

CV.01.08
Ground slab between levels
CV.01.06
Strip footing

CV.01.02 CV.01.04
Cylindrical pillars in steel Retaining wall
tube

CV.01.01
Isolated footing foundations
158 159
Structural System Components CV.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.01.01 Isolated footing foundations Isolated footings under pillars in Surveys of the pillars’ bases in the area
the area of the pilotis and footings of the pilotis with excavations down to
interconnected by wedge-shaped where they connect with the footings
grade beams in the technical area and demonstrate that the pillar steel is in
storage deposits. good condition, despite being buried in
a very humid environment.

CV.01.02 cylindrical pillars in steel tube Cylindrical pillars in steel tube, 18.3 The metalwork in the two types of The metallic pillars present oxidation It is necessary to remove the points
cm in diameter and 10 mm thick, filled cylindrical pillars is unknown due to limited to the sacrificial layer and of oxidation in order to prevent
with concrete in the lower slab of the fact that this page is missing from degradation in the coat of paint. The continuous structural damage. Conduct
pilotis. the structural project. According to general conditions are very good and a cleaning process, chemically
statements made by Lina Bo Bardi, the prospections into the bases of removing the oxidized particles and
the main metalwork in the beams and the pillars in the area of the pilotis, scraping the paint down to the base
ground slab stretch from inside the with excavations down to where they of the pillars where they connect with
concrete of the upstairs floor down to connect with the footings demonstrate the foundation footings, removing
the cylindrical pillars below, where the that the pillar’s steel is in fine shape, the old paint and applying a base of
CV.01.03 Reinforced concrete pillars in tubes of Reinforced concrete pillars enclosed metalwork from the upper pillars are even though buried in a humid antioxidant protection with epoxy paint
asbestos cement in tubes of asbestos cement with a set, stretching up to the beams of the environment. in original color.
diameter of 14.6 cm on the upstairs rooftop slab.
floor. The pillars were painted bluish-gray
(cor 5415 M, Pantone system).

An evaluation of the existing tubular

pillars of mixed steel-concrete
subjected to solicitations of structural
modeling confirmed the structural
safety of the components. The
surveying of a pillar demonstrated wall
thickness of 9.84 mm, compatible with
the specification, which is 10 mm.

The digital surveying conducted by

laser identified that the pillars on top
of the main floor are not exactly of the
same, original plumb in the pilotis-- in
other words, they are not concentric,
but the displacements are not severe
enough to generate risk.

Pillars with oxidation pushing out the layer of Excavations down to the foundation footing
paint

160 161
Structural System Components CV.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.01.04 Retaining wall Retaining walls of masonry based on a

structure of reinforced concrete beans
and pillars. Slats (belts of reinforced
concrete) every 25 cm all throughout
the height of the retaining walls
interconnect the embedded pillars,
coated together with the masonry.

CV.01.05 reinforced concrete pillars and wall Reinforced concrete pillars embedded Tests realized with a sample of the
cross-bracing in the masonry of the lower floor concrete removed in situ show that
(technical area and veranda) and in the phenomenon of carbonation did
the area of the bedrooms, bathrooms not reach the reinforcing steel, which
and kitchen on the upper floor. Wall allows us to conclude that the steel
cross-bracing constituted of reinforced remains preserved and the structure is
concrete beams situated between intact. Two of the three wall bracings
pillars on the upper floor. are situated at the breaks in the slab –
the staircase and open patio.

CV.01.06 Strip footing In the ground sections in back, a

shallow foundation of reinforced
concrete strip footings under a load
bearing masonry wall.

CV.01.07 Load bearing masonry wall The two longitudinal walls of the The walls show no signs of structural
posterior volume, designated for pathology.
laundry and cleaning, constitute
load bearing masonry walls of solid
“brick,” 30 cm thick, supported on the
foundation of reinforced concrete strip
footing.

162 163
Structural System Components CV.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.01.08 ground slab between levels Reinforced concrete alveolar slab lined Survey realized confirmed the slab’s Observe for the appearance of signs of
in reinforced mortar which conceals measurements and good state of oxidation, correcting them according to
the beams/ribbing. Ground slab 5 cm preservation, including the shape of the the item Finishings.
thick and lined slab 2 cm thick. Slabs wood alveolar, conserved on the inside.
lowered for the installation of sewage
drains in the kitchen and bathrooms
filled up to the level of the floor.

Cylindrical pillar of asbestos cement Sublayer and floor

tube filled with reinforced concrete
Reinforced concrete slab

Reinforced concrete beam

Reinforced mortar lining

System of beams inside alveolar slab, revealed in

perspective without the ground floor slab.
Cylindrical pillars in steel tube

Eccentricity in the pillars

identified in survey. The beam
accommodates the misalignment.

164 165
Structural System Components CV.01...

Conclusions of the official appraisal The structure is in a satisfactory Non-linear grid analysis of the
of structural capacity issued by civil state of conservation, given the ground slab: bars of the grids.
engineer Ricardo Couceiro Bento. age of the construction, and the
carbonation process has not yet
Based on studies executed with the reached the reinforcement of the
use of structural analysis software, concrete structure.
verification of the structure in situ
(visual and extraction of specimens) With regard to the Ultimate Limit State
and existing blueprints, the following (ULS), obtained by comparing the
conclusions were drawn: current analysis with the original
structural design, according to the
details and hypotheses adopted
in the evaluation, the structure
is considered safe for vertical
accidental overload in the floor of
3 kN/m² (300 kg/m²), which equals
an occupancy of 42 people in 10
m². Regarding the detailing of the
reinforcement, some variations
were verified, as expected, which
are not significant to the point of
non-approval of the structure.

Based on the observances made in

the foundations and the structure
of the house, together with the
data of the original projects and
these, compared to the results of
the loads of the current structural Deformations in the slabs (without
project, the conclusion is that, with fluency).
regard to foundations, these are
safe in what concerns the requests
for the intended use.

The assessment of the existing

composite steel and concrete
tubular columns, submitted to the
structural modeling requirements,
presented results that confirmed
the structural safety.

By evaluating the results of the

structural modeling of the columns
in reinforced concrete, the
supporting columns of the floor
slab of the upper floor are all in
accordance with their dimensions
and slenderness.

With respect to the State Service

Limit (SSL), values of structure
displacements and deformations
of the beams and slabs (through
non-linear grid analysis) were found
within the limits of the current
standardization.

166 167
Structural System Components CV.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.01.09 rooftop slab Rooftop slab with system of ceramic The structure of the rooftop slab Observe for the emergence of signs of
flagstones and (pre-slab) joists re-clad appears intact, with no points of oxidation, correcting them according to
in situ, supported by inverted girders compromise. the item Finishings.
of reinforced concrete, which, on
the exterior sides, serve as border
girders that form the platbands. On the
inclined lateral beams and at the top
of the structure designated for laundry
and cleaning, the beam opens into a C
to function as casings for the tiles. The
lower lateral beams contain the gutters.

Lateral platband beam C beam pre-molded in

reinforced concrete
Longitudinal beam Gutter beam and platband

Gutter beam and platband

Isometric perspective
of the structure

168 169
Sealing Components CV.02...

Code Component Description Diagnosis Identified pathology Orientations

CV.02.01 half brick masonry walls Solid brick walls 15 cm thick, finished The walls show no signs of pathology.
(see item Architecture Finishings).

170 171
Sealing Components CV.02...

Code Component Description Diagnosis Identified pathology Orientations

CV.02.01 one brick walls Walls of solid brick, 30 cm thick, with The external walls display problems
or without set pillars, finished (See item only in their finishings.
Architecture Finishing).

Fungi, stains and cracks. Displacement of

mortar, efflorescence, fissures and detachment
of finishing.

172 173
Architecture Finishing: walls CV.03.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.01.01 whitewashed external walls Walls clad in roughcast, dash and wall Fungi, stains and cracks. Displacement Damage caused by the humidity in Annual maintenance with manual
plaster finishing, painted with lime. of mortar, efflorescence, fissures and the atmosphere and lack of eaves to sanding of the mortar and posterior
detachment of finishing. impede the entrance of rainwater. washing using water jets with
chlorine, removal of loose material and
replacement of missing mortar. Paint
over with lime.

Fungi, stains, cracks and detachment of the

finishing and peeling paint on the external walls

174 175
Architecture Finishing: walls CV.03.01...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.01.02 finishing on internal walls in the Walls clad in roughcast, dash and wall Fungi, stains and cracks. Displacement Annual maintenance with manual
technical area. Retaining wall and plaster finishing, painted with lime. of mortar, efflorescence, fissures and cleaning of mortar (sanding), and
water tank detachment of finishings. posterior washing using water jets with
chlorine, removal of the loose material
and replacement of missing mortar.
Repaint the veranda area with lime and
the technical area with latex.

CV.03.01.03 finishing on internal walls plastered Internal surfaces with original fine Good state of maintenance. Regular cleaning.
and painted grained mortar with sand of unverified
origin. Portions already recomposed
with mortar of similar grain on previous
occasions. Paint with latex in white
color.

CV.03.01.04 finishing of 15 x 15-cm smooth white Generally good conditions with small Tiles loose from the base mortar and Avoid altering the set as much as
tiles cracks that should be maintained. cracked tiles. Tiles have already come possible, only where it is strictly
Curved accessories for change in loose, some pieces missing. necessary, remove loose pieces with
direction of the same quality. complete reutilization of tiles and reset
them in the original position. Look for
identical pieces to replace those that
are missing.

CV.03.01.05 walls finished with Vidrotil tiles Walls of the half bathroom and the After maintenance completed by Replace the missing pieces and
suite bathroom finished in green supplier in 2008, the floor displays once again re-grout according to the
Vidrotil tiles in a good state of a solid state of conservation. Some material’s specifications. Cleaning
conservation. pieces were reset poorly. should be executed with water and
neutral detergent. Utilize a clean,
moistened soft sponge and finalize
the process with a dry cloth. Do
not use a piassava straw broom or
any other product that has steel in
its composition as it could scratch,
damage or remove the shine of the
finishing. Due to the recent closure
of the only company supplying this
material, any pieces to come loose
should be kept whenever possible, as
there are no other similar pieces on the
market to replace them.

176 177
Architecture Finishing: Floor CV.03.02...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.02.01 Vidrotil tile floor Floors in living room areas, bathrooms After maintenance conducted by Replace the missing pieces and
and kitchens done in Vidrotil tiles in supplier in 2008, the flooring displays once again re-grout according to the
good state of conservation. a good state of conservation. Some material’s specifications. Cleaning
Living room area: azure pieces were reinstalled poorly. should be executed with water and
Kitchen: black neutral detergent. Utilize a clean,
Shared bathroom: white moistened soft sponge and finalize
In-suite bathroom: dark blue the process with a dry cloth. Do
not use a piassava straw broom or
any other product that has steel in
its composition as it could scratch,
damage or remove the shine of the
finishing. Due to the recent closure
of the only company supplying this
material, any pieces to come loose
should be kept whenever possible, as
there are no other similar pieces on the
market to replace them.

CV.03.02.02 ceramic flooring Red ceramic flooring, 7 x 7 cm tiles Occasional bulges and broken or Possible thermal dilation in sublayer Replace missing pieces, preserving
in laundry/cleaning area. Ceramic loose pieces. and impact caused by fallen objects. the original flooring, including broken
threshold on the external door with sill. pieces. Conserve the original flooring
as much as possible, as there are no
other similar pieces on the market to
replace them.

CV.03.02.03 wood blocks Blocks of white peroba (paratecoma Good state of conservation, but some Inspect and fix any infiltrations. Avoid
peroba), 5 x 15 cm in size, in the appearance of moisture stains in parts, any action aside from the resetting of
bedrooms, corridor and closet. as well as loose pieces. loose pieces. In the future, in the event
Checkered pattern with smooth wood of wear on the wood’s protective layer,
baseboards. Blocks protected with hire specialized service to sand and
Synteko and baseboards painted white. recompose the layer of Synteko.

CV.03.02.04 external flooring on pilotis Flooring of pink sandstone with mortar Well conserved, some blocks are loose Reset the blocks with mortar. Clean
grouting and encrusted with tumbled and others stained with motor oil. the motor oil with the chlorine-based
pebbles. “Limpa Pedras.”

178 179
Architecture Finishing of walls
and floors

Code Component

Wall External whitewashed walls Floor of pink

sandstone blocks
CV.03.01.01 with mortar joints
and encrusted with
tumbled pebbles.
Floor External flooring on pilotis
CV.03.02.04

Wall Finishing on internal walls in the Red ceramic flooring

with broken portions
CV.03.01.02 technical area. Retaining wall and in the technical area
water tank

Floor Ceramic flooring

CV.03.02.02

Wall Finishing on internal walls plastered Floor of azure Vidrotil

tiles in the living room
CV.03.01.03 and painted

Floor Vidrotil tile flooring

CV.03.02.01

180 181
Architecture Finishing of walls
and floors

Code Component

Wall Finishing on internal walls plastered Blocks of white

peroba (paratecoma
CV.03.01.03 and painted peroba)

Floor Wood blocks

CV.03.02.03

Wall Finishing on internal walls plastered

CV.03.01.03 and painted

Floor Ceramic flooring

CV.03.02.02

Wall Finishing of 15 x 15-cm smooth Section of floor where Finishing of 15 x

the azure Vidrotil tiles 15-cm smooth white
CV.03.01.04 white tiles of the living room tiles
meet the black tiles of
the pantry
Floor Vidrotil tile flooring
CV.03.02.01

182 183
Architecture Finishing of walls
and floors

Code Component

Wall Walls finished with Master bathroom and

half bath with flooring
CV.03.01.05 Vidrotil tiles. and walls finished
with Vidrotil

Floor Vidrotil tile flooring

CV.03.02.01

Wall Finishing of 15 x 15-cm smooth

CV.03.01.04 white tiles

Floor Ceramic flooring

CV.03.02.02

Tile finishing, also

including the ceiling

184 185
Architecture Finishing: Floor CV.03.02...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.02.05 external walkway Concrete flooring on the staircases and Undermining and erosion of the land Undermining is a consequence of Correct the points of undermining by
external walkways around the house. between the house and the sidewalk runoff from the soil. removing the concrete flagstones, once
that cause cracks that increase again refilling the base and replacing
infiltration and moisture in the walls. the flagstones. It is necessary to
The spontaneous vegetation that distance the concrete flagstones from
appears in these cracks contributes the walls in order to allow external
to the entrance of rainwater and drainage to take place around the
facilitates the accumulation of moisture entire perimeter of the residence.
underground and in the baseboards of Drainage will decrease moisture and
the walls. bring facilitated evaporation to the
foundation as a result of the material
employed in the subsystem. Previous
attempts to rejoint the gaps failed.
Should the drainage have an effect
and the undermining be stemmed, the
joints should be redone using mortar
with additives that cause expansion
and waterproofing.

Concrete flooring on
the staircases and
external walkways

186 187
Architecture Finishings: linings CV.03.03...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.03.01 finishing on the ground slab underside Smooth plaster finishing on the Efflorescence, fissures, detachment of This area is susceptible to such Removal of loose material and
(soffit) underside of the ground slab in the the plaster finishing and peeling paint. pathologies due to the moisture in the reconstitution of the mortar, with
pilotis area. The slab is made of atmosphere. posterior painting with lime.
reinforced mortar. The finishing has Maintenance should be executed every
ledges on the lateral extremities, 10 years.
functioning as a sill.

Situation reached Stains on the slab’s Situation of the piloti Typical detachment of
in 2006 with underside viewed from lining in 2006, with the mortar layer at the
displacement of layers the pilotis several spots of edges of the slab
of mortar at the slab’s bulging and stains.
edges . Source: IB. Source: IB. Photo:
Photo: MVB Nelson Kon

CV.03.03.01 finishing on the roof slab lining The internal surfaces of the roof slab Good state of conservation, despite Appearance of moisture and fungi in Cleaning and painting after the removal
display original fine-grained mortar infiltrations. areas where there are infiltrations. of points of infiltration indicated by the
with sand of undetected origin. roof items.

Infiltration in the Infiltration in the living Infiltration in the

vestibule ceiling room ceiling resulting kitchen ceiling
resulting from clogs from the faulty resulting from the
in the tube for falling connection between failing waterproofing
rainwater the gargoyle and the of the roof garden slab
concrete gutter beam

188 189
Arquitetura Telhados CV.03.04...

CV.04.02 CV.03.04.03
Sistema de água fria e água Gutters, casings and vertical
quente por gravidade. Caixa drainpipes. Posterior with
d’água de PVC e boiler. embedded vertical gutters
CV.03.04.01
Roof slab’s roofing tiles and
CV.03.04.01 thermal isolation
Telhado e isolamento
térmico da laje de cobertura

CV.03.04.03
Gutters, casings and
vertical drainpipes. Frontal
beam with rainwater falling
from gargoyle

CV.03.04.08
Chaminé da lareira.

190 191
Architecture Roof CV.03.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.04.01 roof slab’s roofing tiles and thermal Roof made of corrugated tiles of Roofing tiles in good state of Tiles of asbestos cement with asbestos The roof is the most fragile part of the
isolation asbestos cement screwed to metallic conservation, with only some broken in the composition. The layer of house. It is recommended that it be
clips attached to the roof’s inverted tiles and wear and tear on thermal thermal isolation between the slab and completely redone, the slab cleaned
beams. Thermal isolation with blankets insulator. the tiles is worn. Some of the screws and the tiles, casings and gutters
of glass wool placed directly upon the that serve to fasten are missing and replaced.
slab. there is detachment of tiles from the Complete replacement of all asbestos
rooftop causing infiltrations. tiles due to their toxic characteristics.
Removal of glass wool and cleaning of
upper part of the slab throughout the
roof’s entire extension.
The recommendation is to use next-
generation fiber-cement roofing tiles,
with no asbestos, which contain layers
of thermal protection with technology
of multifunctional layer (pigmentation
of external layer of fiber-cement with
white cement and titanium dioxide,
also white), 8 mm thick.

Asbestos cement
roofing tile removed
for inspection. Notice
the load-bearing
beams and glass
wool for thermal
insulation are worn
and scattered about
the slab, mixing with
dried leaves.

192 193
Architecture Roof CV.03.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.04.02 rooftop garden above the kitchen Waterproof slab with drainage into Hydraulic installations were added The rooftop garden’s distinct Removal of water tank, the metallic
loose stones, covered with soil, where to the rooftop garden which were characteristics were muddled with structure that supports it, the boiler
the vegetation grows. not foreseen by the original project-- the installation of the water tank. The and the pipes, with the objective of
a water tank, boiler and support opening in the old chimney from the reconstituting the garden on top of
structure, which caused interferences. stove became a point of infiltration the roof, associated with the design
Two chimneys that release exhaust with the appearance of fungi on the of new hydraulic installations. Redo
from the stove cut through the slab. roof slab in the kitchen and the area of waterproofing in order to prevent the
The one in the corner is deactivated the corner cupboard. infiltration of rainwater in the kitchen’s
and shows signs of moisture infiltration internal area. The use of the same
and the invasion of plant roots. The system is recommended for all rooftop
other, located above the functioning garden slabs (see Garage, Studio and
stove’s range hood, is covered by an Caretaker’s House). The protrusion over
electric exhauster the old opening of the range hood duct
should be newly waterproofed.

Rooftop garden over Rooftop garden over

the kitchen. PVC the kitchen: Original
water tank, boiler Mandacarú and survey
and external piping of the layer of soil on
(CV.04.02) installed the roof slab
in 1989 to replace
the original system.
Though they function
well, the installations
had made a strong
aesthetic impact on
the architecture

194 195
Architecture Roof CV.03.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.04.03 gutters, casings and vertical Concrete gutters molded in situ in There are leaks in the system of gutters The front gutter is set atop the Internally refinish the gutters with an
drainpipes overhang covering beneath the tread of and casings, resulting in infiltration, waterproof concrete, resulting in a spot auto-adhesive aluminized asphaltic
water falling from the roof; casings along drips and moisture in the lining of the of constant infiltration. sheet in roll, in order to cover the
the entire perimeter. In the roof’s posterior rooftop slab. In the two lines of posterior gutters, encasement of the gargoyle in the
planes (axises 4 and 6), rainwater flows the tubes that empty the rainwater frontal gutter and expand the slab’s
down in tubes embedded in the masonry. have nothing to protect against the waterproofed area in the proximities of
In front (axis 1), the water pours down entrance of leaves, giving way to clogs the posterior gutters.
through a gargoyle of galvanized sheet and diminishing drainage capacity. Install semi-spherical cast iron covers
metal attached to the red painted The casings are in good condition. on the drain holes of the vertical tubes
concrete gutter. for rainwater.
Rainwater also reaches on the ground in The gutters should be cleaned
other ways. The front gutter at the corner periodically, mainly during periods of
of axises A and 1 pours water in a free fall heavy leaf fall.
onto the ground covered with shavings The casings should be periodically
of pink Paulista sandstone. At the corner maintenanced and checked to identify
of axises E and 1, the rainwater is poured any ruptures.
into an open reservoir denominated as
vasca (“bath” in Italian).
The water from the gutter above the
bedrooms and bathrooms runs down in
embedded vertical tubes that empty into
inspection boxes in the elevated garden.
The water from the gutter in the laundry/
cleaning area runs down in vertical
embedded tubes, but it is poured out
onto the external sidewalk. Drainpipes run
through the platband beams to aid in the
draining of the rainwater from the gutters
situated at the posterior axises.
The detail conceived for the original
slab had the roof tiles fitting into the
platbands, which gave way to the
casings. The current metal casings were
installed as part of the roof’s renovation
in 1981.

Casings covering the The front gutter is set

lateral and frontal atop the concrete.
platband beam for
protection

196 197
Architecture Roof CV.03.04...

1
5
2

4
3

1
Platband beam with
system to fit with the
roofing tile

2
C-shaped beam
of prefabricated
reinforced

3
Pre-molded ceramic
Casings covering flagstone Posterior concrete
the lateral platband gutter beam. Drain
beam along the entire 4 hole of the embedded
perimeter Reinforced concrete vertical gutter. Notice
covering the interference of
the external hydraulic
5 installation.
Roofing tile

The posterior gutter’s Inspection box of Drainpipe exit that

drainpipe outflowing rainwater empties directly onto
on the garden patio. the sidewalk from
Notice the presence the vertical rainwater
of leaves that have gutter in the laundry/
flowed down through service area
the duct.

198 199
Architecture Roof CV.03.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.04.04 building exhaust systems The half bathroom exhaust fan. Due to its location, the half bathroom Periodic inspections of the casings are
does not have natural ventilation. As recommended, as well as verifications
such, ventilation is handled by a ceiling as to whether the “Chinese hat” does
exhaust vent which protrudes on the not obstruct the opening.
rooftop above. The chimney for this
exhaust vent is protected by a casing
at the point where it intersects with the
tiles and covered by a “Chinese hat”
cover to prevent rainwater from falling
in.

Chimney for the Chimney for the Internal view of the

half bath’s exhaust half bath’s exhaust half bath exhaust vent.
vent and ventilation vent, with “Chinese
terminal for the hat” removed for
sewage. inspection

CV.03.04.05 ventilation caps Ventilation caps for the sewage system. Located at the top of the bathroom Periodic inspections of the casings are
walls, the ventilation caps for the recommended.
sewage system are in a good state of
conservation. There are no points of
infiltration, despite the fact that the
sealing casings are quite old.

Caps on sewage
ventilation tubes
protected by ample
collar to prevent
infiltration. In the back,
view of the cold water
pipes installed in the
platband’s internal
facade.

200 201
Architecture Roof CV.03.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.04.06 deactivated kitchen chimney Deactivated kitchen chimney covered The deactivated kitchen chimney Sealing is not sufficient to impede the Remove the cover on top of the
with a slab of reinforced concrete. suffered from rainwater infiltration and invasion of roots and moisture. chimney. Remove the soil from
the invasion of roots from the rooftop the rooftop garden in the vicinity
garden. of the chimney’s facades. Redo
the mechanical protection and
waterproofing. Reinstall the soil and
the green roof.

Deactivated kitchen Invasion of plant roots

chimney. Makeshift lid.

CV.03.04.07 working kitchen chimney Working kitchen chimney The chimney for the kitchen exhaust Conduct regular maintenance, observe
system is in good condition, with no for the appearance of water infiltration.
points of infiltration in its vicinity.

Boiler

Kitchen exhaust
system

CV.03.04.08 fireplace chimney Fireplace chimney pokes through the The fireplace chimney is in good conduct regular maintenance, observe
roof over the main room. It is endowed condition, with no points of infiltration. for the appearance of any water
with a protective collar that is sufficient infiltration.
to prevent infiltrations.

202 203
Architecture Roof CV.03.04...

Ventilation caps for the sewage The half bathroom exhaust fan
system

Posterior with embedded vertical Ventilation caps for Casings covering the platband
gutters the sewage system

External hydraulic pipes

204 205
Architecture Frames: Wood doors CV.03.05...

CV.03.05.01
Solid wood doors in the
passageways in the laundry/
service area

CV.03.05.02
Internal doors of
semi-hollow wood
CV.03.07.07
Wire screen in the laundry /
service area

CV.03.05.02
Internal doors of semi-
hollow wood

CV.03.07.08
Main entrance metal door
CV.03.07.04 frame.
Jalousie frames in
kitchen

CV.03.07.01
CCV.03.07.02 Fixed frames and moving
Mixed panels of jalousie (sliding) frames with glass
frame and metal sheet panel, from floor to ceiling
sealing in kitchen

CV.03.09.01
Fireplace and (internal)
chimney

CV.03.05.03
Internal door of semi-
hollow wood with laminate
finishing.
206 207
Architecture Frames: Wood doors CV.03.05...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.05.01 Solid wood doors in the passageways Mexican-style doors of solid wood with Damaged doors with fissures and Scrape, sand and paint manually, paste
in the laundry/service area juxtaposed boards. The two internal cracks. Doorknobs function poorly. over (paste of sawdust and glue).
doors, positioned in the laundry/service Repaint with synthetic enamel in the
corridor, are painted white. The external original color. Conduct a thorough
door is painted green (color 348 M, inspection, repairing doorknobs and
Pantone system), with permanent locks.
ventilation grid in artistic wavy screen.

Solid wood doors in

the passageways in
the service area

CV.03.05.02 internal doors of semi-hollow wood Solid peroba wood door jambs with no Damaged doors with fissures and The fissures in the doors may result Scrape, sand and paint manually,
trimming, with indent detail to conceal cracks. Door handles function poorly. from the excessive drying out of paste over (paste of sawdust and
any cracks in the wall’s plaster. Corner the atmosphere from the use of a glue). Repaint with synthetic enamel
exposed in the plastic with embedded dehumidifier. in original color. Some doors can
metal L-shaped cross section. Semi- be replaced. Conduct a thorough
hollow boards with solid wood frames inspection, repairing door handles and
and plywood surfaces painted in locks.
synthetic enamel. Locks with direct Control use of the dehumidifier.
keyholes and no plate covers and cast
bronze door handles with rosettes,
designed by Lina Bo Bardi.

Internal doors of semi-

hollow wood

208 209
Architecture Frames: Wood doors CV.03.05...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.05.03 internal door of semi-hollow wood Solid peroba wood jambs with no The door only opens one way, from Dislodging in the hinge. Adjust hunge and regularly clean the
with laminate finishing. trimming and semi-hollow board with kitchen toward living room, not laminate.
solid wood frame and plywood facades surpassing the jamb when opening
finished with melamine laminate of from room-to-kitchen.
black formica. Ordinary pull handles
on cupboard doors and drawers and
not on passageway doors. Doors open
both directions, coming or going.

Internal door of semi-

hollow wood with
laminate finishing.

CV.03.05.04 solid wood sliding doors in the Mexican-style solid wood sliding doors Damaged door with fissures and Scrape, sand and paint manually,
technical area in juxtaposed boards. cracks. paste over (paste of sawdust and
glue). Repaint with synthetic enamel
in the original color. Conduct a general
inspection, fixing door handles and
locks.

210 211
Architecture Staircases CV.03.06...

CV.04.01
System of cold water and
hot water under pressure
(deactivated).

CV.03.09.03
Garbage incineration system
in the technical area

CV.03.05.04
Solid wood sliding doors in
the technical area

CV.03.06.01
Main staircase

CV.03.05.01
Solid wood doors in the
passageways in the technical
area

212 213
Architecture Staircases CV.03.06...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.06.01 main staircase Two staircase sections, in asymmetrical Sparse points of oxidation. Laser Cleaning, chemical removal of the
U-shape and overlook landing. survey identified a 7-cm bend at the oxidized particulars and manual
Structure of composite metal, center of the double metal beams in scraping of the paint. Paint over with
assembled out of rivets, supported on the larger section. antioxidant base and epoxy paint in
small pillars of the same profile atop the original color. For the time being,
a special foundation of reinforced do nothing to alter the structure, but
concrete footing. The upper part is accompany the development of the
supported on the beam of the ground bend in the larger beams, informing
slab. Treads in slabs of gray granite, the specialized engineer if necessary.
with open risers on the structure.

Staircase reaching the Detail of the rivets and

ground sheet of granite on the
landing

View from below of

the landing fitting with
the structure

General view

Load-bearing metal
posts set into the
concrete footing

Granite landing
supported on the
structure by metal
bracket

7-cm bend at the

center of the double
beams

214 215
Architecture Staircases CV.03.06...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.06.02 boat boarding ladders 1 and 2 Metal boat boarding ladder. The rungs Well conserved Verify if there is oxidation or
are cylindrical steel bars set directly displacement of the setting in the
into the masonry, with no joining bar masonry. In the event of oxidation,
between them. Handle/railing on the clean, chemically remove the oxidized
upper part with metal bar identical to particles and manually scrape the
the rungs. paint. Paint over with antioxidant base
and epoxy paint in the original color. In
the event of displacement, remove and
reset into the masonry.

Boat boarding ladders 1 Boat boarding ladders 2

216 217
Architecture Casements CV.03.07...

CV.03.07.05
Jalousie frames in the
CV.03.07.04 bathrooms, corridor and
Jalousie frames in technical area
kitchen

CV.03.07.06
CCV.03.07.02 CV.03.06.02 Guillotine frame with
Mixed panels of jalousie Boat boarding ladders2 counterweight and Venetian
frame and metal sheet shutters
sealing in kitchen

CV.03.07.07
Wire screen in the laundry /
service area

CV.03.06.02
Boat boarding ladders 1
CV.03.07.08
Main entrance metal door
frame.

CV.03.07.03
Combined sliding and sealed
metal sheet casement in
master bedroom

CV.03.07.01
Fixed frames and moving
(sliding) frames with glass
panel, from floor to ceiling

CV.03.07.01
Fixed frames and moving
(sliding) frames with glass
panel, from floor to ceiling 218 219
Architecture Casements CV.03.07...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.07.01 Fixed casements and moving (sliding) Fixed and sliding frames with steel The windows have broken frequently Horizontal dilation of the roof slab Two stages are required: the substitu-
casements with glass panel from floor profiles encasing 8-mm glass windows, since the house was first built. The relative to the ground slab causes tion of the glass for a laminated, more
to ceiling with the use of metal tracks and putty. entirely open nature of the casements, shearing force, which is then resistant model, and the placement of
Rolling bearings and accessories for with no parapets for protection, transmitted to the glass due to the elastomer between the glass and the
movement. presents a risk of accidental falls and absence of elastomer in the casement casement.
compromises the safety of users. and between the casement and the Should the glass continue to break, it
10 movable sheets were soldered to concrete slabs. will be necessary to remove all the case-
the volumes and their “trucks” were Oxidation of the tracks, casement ments and lay in a thin film of polyure-
removed and other components. Expansion of thane to separate the casement from
the oxidized material corresponding to the reinforced concrete of the roof slab.
up to ten times its volume by the iron Oxidation: general cleaning of the case-
hydroxide, which contributes to the ments, which should be scraped and
compression of the glass. painted with a primer base for metal
Impact of tree branches from the structures and epoxy paint. Replace-
garden. ment of damaged parts and applica-
Casements identified as lacking tion “sacrificial” zinc tiles to minimizing
support, pulley and other elements that the corrosion of the actual metal of the
impede functioning and opening. Glass casement.
Red moving material damaged. Glass: substitute with planibel clearlite
casements
The current glass, 5 mm thick and glass, comprised of two 4-mm sheets,
not the original type, was most likely involving a clear PVB sunnergy film,
Blue moving casement imported and polished. In 1962, Casa produced by the manufacturer AGC.
set into the structure
Conrado substituted all of the glass, In addition to mechanical protection,
8 mm thick and not very resistant to this glass offers 91% transparency and
impact, in addition to not protecting 89% protection against ultraviolet rays,
from sun rays. Subsequent exchanges allowing for the curtains to be opened
utilized plain 8-mm glass and tempered without compromising the integrity of
10-mm glass. the institute’s collection.
Fall prevention: install component to
limit the opening in the casement to a
maximum of 15 cm.

Pin as device serving

to block the opening

“Truck” for movement

in the casements

View of the casements View of the casement

closed half-opened

220 221
Architecture Casements CV.03.07...

Orientations

CV.03.07.01 Two stages are required: the Oxidation Glass Fall prevention
substitution of the glass for a General cleaning of the casements, Substitute with planibel clearlite glass, Install component to limit the opening
laminated, more resistant model, and which should be scraped and painted comprised of two 4-mm sheets, in the casement to a maximum of 15
the placement of elastomer between with a primer base for metal structures involving a clear PVB sunnergy film, cm.
the glass and the casement. and epoxy paint. Replacement of produced by the manufacturer AGC.
Should the glass continue to break, damaged parts and application In addition to mechanical protection,
it will be necessary to remove all the “sacrificial” zinc tiles anodo to this glass offers 91% transparency and
casements and lay in a thin film of minimizing the corrosion of the actual 89% protection against ultraviolet rays,
polyurethane to separate the casement metal of the casement. allowing for the curtains to be opened
from the reinforced concrete of the without compromising the integrity of
roof slab. the institute’s collection.

Current situation 1st phase

8-mm plain glass. Substitute the current

Original and current glass for laminated
glass to ensure safety
and UV protection

Installation of gasket
– elastomer between
the glass and the
casement
3rd phase
Fixation with metal
strips and putty Installation of
neoprene between
2nd phase casement and slab
Direct fixing of the
casement to the slab Maintenance of
the casement
and installation of
“sacrificial” zinc
anode

222 223
Architecture Casements CV.03.07...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.07.02 Mixed panels of jalousie frame and Panels from floor to ceiling comprised General good state of conservation Cleaning, chemical removal of
metal sheet sealing in kitchen of metal profiles, sealed by double with occasional oxidation in the boards the oxidized particles and manual
sheets, on the inside and the outside and jambs. Glass material damaged. scraping of the painting. Repaint with
with internal glass wool insulation. antioxidant base and epoxy paint in the
The sealing sheets are painted red original color.
(color 200 M, Pantone system) on the
external facade and green (color 348
M, Pantone system) on the internal
facade.
Steel windows in the kitchen with chair
rails encasing glass, asymmetrical
bascule activated by chain, roll-forming
jambs.

External view of the Combined panel

kitchen and main casement, kitchen
room windows interior

Combined panel,
kitchen interior.
Bascule pull.

CV.03.07.03 Combined sliding and sealed metal Panels from floor to ceiling comprised General good state of conservation Cleaning, chemical removal of oxidized
sheet casement in master bedroom of metallic profiles, sealed with double with occasional oxidation in the sheets particles and manual scraping of the
sheets, on the inside and outside, and jambs. Glass material damaged. paint. Repaint with antioxidant base
with internal isolation in glass wool. Casement oxidized and in poor working and epoxy paint in the original color.
The sealing sheets are painted red conditions.
(color 200 M, Pantone system) on the
external facade and blue (2945 M,
Pantone system) on the internal facade.
The volumes form sliding frames with
rollers below the sheet.

External view Internal view Window track and Meeting corner of

locking system wood block floor,
metal panel and
Internal view of masonry wall.
window Oxidation onset.

224 225
Architecture Casements CV.03.07...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.07.04 Jalousie frames in kitchen Steel kitchen windows with chair General good state of conservation Cleaning, chemical removal of oxidized
rails encasing glass, chain-activated with occasional oxidation in the sheets particles and manual scraping of the
asymmetrical bascule, roll-forming and jambs. Glass material damaged. painting. Repaint with antioxidant base
jambs set into masonry finished with and epoxy paint in the original color.
tiles.

Internal view of
jalousie frames in
kitchen

External view of
jalousie frames in
kitchen

Jalousie frames in
kitchen. Bascule pull.

CV.03.07.05 jalousie frames in the bathrooms, Vertical windows with no frame, Oxidized frames functioning poorly. Cleaning, chemical removal of oxidized
corridor and technical area structured in U profiles in horizontal particles and manual scraping of the
facades, with pivoting movement paint. Repaint with antioxidant base
activated by lever on the lower rod. and epoxy paint in the original color.
Recuperation of the pivots’ movement.

jalousie frames in the jalousie frames on the

social bathrooms. bathroom

Detail of the opening

mechanism and
fixation of the glass

Jalousie frames in the Jalousie frames in the

technical area and service bathrooms
corridor

226 227
Architecture Casements CV.03.07...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.07.06 guillotine frame with counterweight Metal L profiles encasing glass with General good state of conservation Cleaning, chemical removal of oxidized
and Venetian shutters moving shutters with counterweight with occasional oxidation in the particles and manual scraping of the
interconnected by steel cable and shutters and jambs. Guillotines and painting. Repaint with antioxidant base
pulleys, set shutter in the upper counterweights also in good condition. and epoxy paint in the original color.
section. “U” profile jambs on the lateral
(guillotine tracks) and upper sides,
and inverted U below the windowsill.
Double-plated Venetian shutters in
frame with chair rails.

Internal view of
bedroom guillotine
frame

Backyard view of
guillotine frame,
Venetian shutters and
solid wood doors

CV.03.07.07 wire screen in the laundry / service Frame of tubes and artistic, waved Little oxidation in the metallic screen Chemical cleaning and manual
area metal screen facade, with 4 x 4 and peeling of aluminized paint. scraping of paint, application of
mm netting and 14 wire painted in anticorrosive primer. Paint over in
aluminized paint. aluminum paint.

Wire screen in the

service area

228 229
Architecture Casements CV.03.07...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.07.08 Main entrance metal door frame. L-profile door, encasing glass and General good state of conservation Cleaning, chemical removal of oxidized
horizontal, internal steel bars, with no with occasional oxidation in the door particles and manual scraping of the
pull or doorknob, the ironwork consists and jamb. paint. Repaint with antioxidant base
of simple lock with latch and hinges. and epoxy paint in the original color.

230 231
Architecture Lighting CV.03.08...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.08.01 Composite kitchen lights Composite lights hanging from same Good state of conservation. Regular cleaning.
pendant and oriented for direct and
indirect lighting in the pantry.

CV.03.08.02 simple indirect light Industrial spotlight on the wall, Good state of conservation. Regular cleaning.
activated by joints or flexible hinge.

232 233
Architecture Lighting CV.03.08...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.08.03 Column light Industrial spotlight supported on a Good state of conservation. Regular cleaning
metallic tube column with a pyramid
base. Designed by André Vainer.

CV.03.08.04 Industrial style hanging light with Industrial style lights with silver Good state of conservation. Regular cleaning.
reflector reflector hanging rigidly in conduits
or flexible PP cables (cables with two
layers of PVC).

CV.03.08.05 External lighting Wall lights with industrial style reflector Good state of conservation. Regular cleaning.
for outdoor illumination.

234 235
Architecture Interior architecture CV.03.09...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.09.01 fireplace and (internal) chimney Fireplace box constructed out of No pathologies identified. Regular cleaning.
brickwork, finished on the outside
with granite and on the inside with
refracting bricks. Chimney finished with
mortar, intentionally stained with lime
paint, like a fresco.

CV.03.09.02 range hood in kitchen Frames with sheets of glass form three No pathologies identified. Regular cleaning.
faces of a parallelepiped stone.

236 237
Architecture Interior architecture CV.03.09...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.09.03 kitchen garbage chute Metal cylindrical duct that runs through No pathologies identified. Regular cleaning.
the ground slab to dispense the
garbage into a recipient in the technical
area of the lower level, where there is
an incineration system. Moving metal
lid with hinge.

CV.03.09.04 folding table in the pantry. Plywood table covered in a layer of The system functions well. The side The damages on the sides do not
green formica with subtle square-shape edges of the board that forms the impede the functioning of the system,
pattern. It is installed vertically in a table are damaged, likely by termites, but they can be corrected with a new
frame on the wall made of the same eliminated in the maintenance of 2007- finish.
material, but white-colored, activated 2008.
two hinges that allow it to open into
a horizontal position. A foldout foot
consisting of a metal tube painted dark
green stabilizes the table when open.

238 239
Architecture Interior architecture CV.03.09...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.09.05 cupboards below the counters in Low cupboards in the kitchen, with No major pathologies identified, Regular cleaning, paint when
pantry and kitchen drawers and cabinets with sliding original pull handles. necessary.
doors and shelves of plywood painted
in synthetic enamel. Countertops and
sinks in stainless steel on the upper
part.

CV.03.09.06 corner cupboard in kitchen Plywood painted in synthetic polish, The cupboard is situated beneath the After correcting the upper part of the
curtain enclosure. old chimney flue, which shows signs of old chimney flue, install an enclosure
infiltration and invasion of plant roots with frame and metallic sheet treated
from the rooftop garden. Movable with antioxidant base and epoxy paint.
enclosure over the flue with sheet of
styrofoam covered in plastic.

240 241
Architecture Interior architecture CV.03.09...

Code Component Description Diagnosis Identified pathology Orientations

CV.03.09.07 wall cupboards in the pantry and The doors of particle wood, framed and The doors are old, but do not present
kitchen covered in a layer of green formica, any major pathologies. Similarly, no
have a subtle square-shaped pattern. major problems were identified in
The original glass doors were replaced the internal part of the cupboards.
in the 1980s. The internal plywood Recommended replacement of the
doors covered in formica were replaced current doors with glass doors,
in 2007. corresponding to the images of the
original cupboards. Store the removed
doors because decorative laminates in
this pattern and color no longer exist
on the market, or maintain the lower
row as a register from the period.

CV.03.09.08 bedroom closets Doors of plywood and solid wood Well conserved with no apparent Regular cleaning.
painted in synthetic white enamel. damage.

242 243
Hydraulic installations CV.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.04.01 system of cold water and hot water The house’s hydraulic system was The system was deactivated in the Maintain as is, inspecting for any
under pressure (deactivated). originally constructed based on a 1970s due to its poor functioning. The occasional points of moisture or
water tank and boiler situated on the original installations are preserved in infiltration.
lower level of the technical area. It was the technical area and inside the walls.
operated by an electric pump which
maintained the water pressure in the
upstairs pipes.

Water tank on the

ground floor in the
technical area

CV.04.02 system of hot and cold water by Installed in the 1970s to substitute The combination of the water tank and Design a new hydraulic network,
gravity. the original system which had been exposed installations have an impact positioning the water tank on a tower
been working poorly, it is located on the look of the house, altering its at the higher, back part of the garden.
on the rooftop garden above the profile. The pipes set into the platbands This reservoir should supply the
kitchen supported on a structure of affect the draining of the gutters. main residence and all outbuildings
steel profiles. The first water tank, of (caretaker’s house, studio and garage)
reinforced mortar, collapsed in 1989 and eliminate the existing tanks. It is
and was replaced by the current PVC necessary that the dimensions of this
model. The boiler is attached to the reservoir be large enough to adequately
system. supply the fire fighting system in the
To transport the water to the points of entire garden area.
consumption, a new network of pipes,
positioned externally to the walls and
internally to the platbands and gutters.

Water tank on top of

the rooftop garden
above the kitchen

244 245
Hydraulic installations CV.04...

Code Component Description Diagnosis Identified pathology Orientations

CV.04.03 septic tank Due to the absence of a sewer system The characteristics of the septic tank Maintain the cover intact and closed,
in the development, the system of present risks of accidents. and show employees where it is
domestic sewage is connected to a located, informing them of the risks of
septic tank, situated in the lowest accidents.
part of the lot, next to the present-day
studio.

cover of the deactivated

septic tank

246 247
Electrical installations CV.05...

Code Component Description Diagnosis Identified pathology Orientations

CV.05.01 SPDA – System of Protection against System of protective screening, similar Well conserved, it should be removed
Atmospheric Discharges to the Faraday cage, installed over the and reinstalled in the event that the
casings in the platband girders. The casings are replaced. Verify whether
grounding stretches down the walls. it is possible to install an Individual
Protection System (IPS) of set cables in
the platbands-- a requirement to insure
safety during the cleaning of the roof
and gutters.

CV.05.02 tubes and frames of electrical The renovation of electrical installations Recent installation, in good state of
installation 2013 (2013) gave way to new installations conservation
with external tubes and frames

New installations with Photos of the existing

external tubes for wiring system before
electricity, telephone it was substituted by
and data cables external tubes

248 249
Electrical installations CV.05...

Code Component Description Diagnosis Identified pathology Orientations

CV.05.03 cables and wires on the rooftop Telephone and data cables are The cable and wires make cleaning the Remove the deactivated wires and
positioned at certain points on the roof. roofing tiles more difficult. install the telephone and data network
There are deactivated electrical wires in specific ducts.
in the platband of the rooftop garden
above the kitchen.

Telephone and logical

system wire on the
roof

CV.05.04 ground floor electrical outlets Ground floor electrical outlets The cover and protective plate was Recuperate the covers and reinstall
inserted into cylindrical bronze pieces removed, exposing the outlets to them.
embedded in the living room floor, potential accidents. The wiring and
refinished with Vidrotil. electrical outlets were substituted in
the maintenance efforts of 2011 and
2012.

Electrical outlets in
the living room floor.

250 251
3.4 Studio
ES

ES.01.05
Rooftop garden

ES.01.04
Hydraulic unit load-bearing
ES.02.01 masonry walls.
Roof comprised of
missionary tiles made of
ceramic

ES.01.03
Hardwood flooring

ES.02.04
Wood panels

ES.01.01
Wood structure on pillars
/ reinforced concrete
foundations.

252 253
Structural System Structure ES.01...

Code Component Description Diagnosis Identified pathology Orientations

ES.01.01 wood structure on pillars / reinforced Wooden structure supported by Good state of conservation. Periodically inspect the conservation of
concrete foundations. reinforced concrete pillars on footing the components.
with bored piles. The pillars support
the 6 x 16 cm longitudinal Peroba
wood beams which, in turn, support
6 x 12 cm transversal beams, also
made of Peroba wood. The flooring
of juxtaposed pinewood boards is
supported by these transversal beams,
elevating the body of the house off the
ground. The concrete pillars give way
to unrigged eucalyptus pillars. There
are also 6 x 16 cm rafter ties and a
pair of 6 x 16 cm ridge joists. 6 x 6 cm
rafters supported on the joists sustain
the gable roof, covered by ceramic
mission tiles.

Section AA

Plan of the ground B

floor

Section BB

A A

B
254 255
Structural System Structure ES.01...

Code Component Description Diagnosis Identified pathology Orientations

ES.01.02 reinforced concrete pillars Reinforced concrete pillars on bored Good state of conservation, with dirt The green stains on the pillars/
pile footing. stains discovered, apparently the result foundation blocks do not cause any
of proximity to the soil. damage to the structure at all. Washing
them with chlorine is all that is needed
to remove them.

ES.01.03 hardwood flooring Pinewood floor, supported on 6 x 12 The wood’s protective film is worn and The boards should be sanded and
cm transversal beams of Peroba wood. boards are exposed. The gaps between treated with wax periodically in order
There are gaps between the boards the boards allow wind to enter causing to maintain their natural characteristics
due to the absence of joints. discomfort on cold days. and protect the wood. To reduce
discomfort caused by the entrance
of cold air, the gaps between boards
should be sealed.

ES.01.04 hydraulic unit load-bearing masonry Volume of load bearing masonry, 1 Good state of conservation, with no Periodic inspections.
walls brick thick (20 cm, with no external apparent cracks.
finishing), set atop grade beam footing.

256 257
Structural System Structure ES.01... ES.02..

Code Component Description Diagnosis Identified pathology Orientations

ES.01.05 rooftop garden Garden atop reinforced concrete slab, Well conserved slab with no points of Maintenance with normal cleaning and
set on load-bearing masonry walls. infiltration. check for infiltration.
Waterproofed and covered with layers
of stone, sand and soil from the
garden.

ES.02.01 roof Roof comprised of missionary tiles Tiles well conserved, with no moisture Sweep the roof clean with a broom
made of ceramic and glass atop a on the internal surface. Some tiles and replace tiles whenever necessary.
conventional wood structure: joists, occasionally break due to falling trees Stock up for future repositioning,
rafters and laths. “Free tile” with no and branches. regular maintenance.
lining on bottom side.

258 259
Structural System Structure ES.01... ES.02..

Code Component Description Diagnosis Identified pathology Orientations

ES.02.02 refinishing of masonry walls Masonry walls finished in burnt cement Excellent state of conservation. There Wash the walls with clean water and a
on the inside facade and whitewashed are small whitish stains, which indicate soft cloth to remove whitened stains.
on the exterior facade. superficial calcifications.

ES.02.03 boat boarding ladder Metal boat boarding ladder to access Good state of conservation. Verify if there is oxidation and any
the hydraulic unit’s rooftop garden. Flat detachment where the structure is
profile, vertical structure consisting of embedded in the masonry. For the
soldered cylindrical steel bars, vertical oxidation, cleaning, chemical removal
volumes and handrail embedded in of the oxidized particles and manual
the masonry. Painted blue (2945 M, scraping of the paint. Repaint with
Pantone system). antioxidant base and epoxy paint in
the original color. For the detachment,
remove and re-embed in the masonry.

Boat boarding ladder Masonry walls

embedded in the finished in burnt
stonework cement on the
inside facade and
whitewashed on the
exterior facade.

ES.02.04 wood panels External sealing in plywood panels Some panels are slightly warped, Regular maintenance to protect the
mounted on clapboards, from floor to compromising their movement. Natural wooden elements, mandatory sanding
ceiling, part of them sliding on tracks. wearing of paint. and subsequent repainting in green
paint (color 348 M, Pantone system)
specifically designed for wood.

Wood panels external

view

260 261
3.5 Garage
GA

B
3

4 2
A A

1
B

Plan of the roof Plan of ground floor

GA.01.02
Rooftop garden slab

GA.02.05
Boat boarding ladder

GA.02.03
Casement with screen

GA.02.04 GA.01.01
Esquadria portão Structural system of ceramic
brick walls, 30 cm thick

262 263
Structural System Structure GA.01...

Code Component Description Diagnosis Identified pathology Orientations

GA.01.01 structural system Concrete slab for the roof garden Cracks in the finishing of the platbands
supported on ceramic brick walls, 30 and walls, but they do not compromise
cm thick, erected atop shallow strip the structure.
footing or slab-on-grade foundation.
There is no information about the
structural system in the Bardi Institute’s
archives. Dimensions obtained through
surveying.

View 1 View 2

View 3 View 4

264 265
Structural System Structure GA.01...

Code Component Description Diagnosis Identified pathology Orientations

GA.01.02 rooftop garden slab Slab covered in greenery over layers of Large quantity of vegetation, including Aggression of plant roots to layer of Remove the layer of vegetation
soil, gravel and waterproof protection. small and medium-sized trees on top waterproof protection. and redo the waterproof protection
of the waterproofed slab. Infiltration of wherever necessary.
water with appearance of fungi on the
roof slab.

Survey of the layer of

soil and gravel that
precedes the layer of GA.01.02
waterproof protection. Rooftop garden slab

Grass and vegetation Inverted beam of

reinforced concrete
Soil

Drain with gravel

GA.02.02
Waterproofing and Gargoyle
mechanical protection.
Reinforced concrete
slab

Side view of the

garage. Vegetation on
the rooftop slab and
finishing camouflage
GA.01.02 the construction of
the garden.
Rooftop garden slab
Grass and vegetation

GA.02.02
Gargoyle GA.01.02
Rooftop garden slab

GA.02.02
Gargoyle
Large quantity of
small and medium-
sized vegetation
on top of the
waterproofed slab.

Section AA

266 267
Architecture Finishings GA.02.01...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.01.01 finishing on the lower face of the slab Finishing of the wall plaster on the After the recent renovation, the linings Area susceptible to such pathologies Monitor the finishing’s behavior. In the
lower face of the rooftop garden slab, are in a good state of conservation. due to the exposure to moisture event of a resurgence, remove loose
in roughcast, dash and smooth plaster, Before this, there were stains in the environment and occasional material and reconstitute the mortar,
painted with lime. and cracks with detached mortar, infiltrations resulting from wear on subsequently painting with lime.
efflorescence, fissures and peeling in the slab’s waterproof protection. The
the paint and refinishing. fact that these pathologies have not
resurged after a recent renovation
which corrected the internal refinishing
without intervening in the waterproof
protection, reinforces the hypothesis
that the cause was the moisture in the
environment.

Situation before the Visitor reception area

renovation: Stains and installed in the garage
detachment of the in 2018. Note that
plaster finishing under the infiltrations in the
the slab. ceiling plasterwork did
not return after the
cleaning and painting.

GA.02.01.02 finishing of external walls Mortar of the external finishing with Cracks and bulges in certain parts of Strive to maintain the integrity of the
incrustations of tumbled pebbles and the finishing on the platbands and original finishing as well as possible,
ceramic shards. walls, but nothing to compromise the considering the difficulty in attempting
structure. to recreate the original composition.
An evaluation should be conducted
regarding the option of recreating it as
accurately as possible or maintaining
it in its ruined state. In the platband’s
internal facades, where the areas with
the most damage are concentrated,
remove the material and recompose
the finishing.

Finishing of external Finishing of external Finishing of external

walls. Details walls. Upper view walls, General view of
from the platband. the wall

268 269
Architecture Finishings GA.02.01...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.01.03 finishing on the internal walls Walls clad in roughcast, dash and wall After recent renovation, the walls Annually inspect the conditions of the
plaster finishing, painted with lime. are in a good state of conservation. plasterwork. Should the pathologies
Before, there were stains and cracks return, manually sand the mortar, wash
with detachment of the mortar, with water and chlorine, remove the
efflorescence, fissures and peeling of loose material and replace the missing
the plasterwork. mortar. Repaint with lime.

Finishing on the
internal walls junction
with the gate
framework

GA.02.01.04 internal floor finishing Black ceramic flooring. Good state of conservation, with a few Leave as is.
broken pieces.

Internal floor broken

pieces junction with
the metal drain grill
cover

270 271
Architecture Finishings GA.02.01...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.01.05 external floor finishing Sidewalks around the garage, with Good state of conservation.
flooring in blocks of pink sandstone
with mortar grouting and incrusted
tumbled pebbles.

Lateral sidewalk
in pink sandstone,
with gutter in the
foreground.

272 273
Architecture GA.02...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.02 gargoyle Gargoyles of rainwater outflow, clad Good state of conservation.

in mortar with encrusted tumbled
pebbles.

GA.02.03 Casement with screen Metal screen fastened to metal Good state of conservation.
profile casement to protect ventilation
passages.

Casement with
screen and finishings.
Internal and external
view

274 275
Architecture GA.02...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.04 Gate framework Wooden gate that opens through Oxidized hinges. Installation of Substitution of the hinges with a
complete vertical fold, whose additional pieces in order to seal over similar model currently available on
movement is activated by a system of rotten sections in the lower part of the the market. Scrape the paint, fill in
counterweights located at the back of gate. The gate’s wide span generates with sawdust and put on a final layer
the garage. force at the center, which necessitated of plaster. Sand and repaint. Substitute
the installation of a supplementary the damaged wood pieces on the
support structure, a wire-rope type of lower section.
tightened steel cable.

3-cm bend at the

GA.028.04 center of the gate,
Gate when opened, despite
the supplementary
“wagon”-style support
structure.

GA.02.06
Gutter
Corte BB

Gate framework.
Internal view, gate
closed

Cable with Gate framework.

counterweight Detail of the hinge
mechanism between the gate’s
boards, highlight on
the oxidation in the
hinge.

Gate’s counterweight
mechanism (photo
before the renovation)

276 277
Architecture GA.02...

Code Component Description Diagnosis Identified pathology Orientations

GA.02.05 boat boarding ladder Metal boat boarding ladder to access There is rust in the section where For the oxidation, cleaning, chemical
the rooftop garden. Flat profile, vertical the vertical structure is set into the removal of oxidized particles and
structure consisting of soldered masonry. manual scraping of the paint. The flat
cylindrical steel bars embedded in profile of the lateral structure can be
the masonry. Painted green (348 M, entirely substituted by another, similar
Pantone system). one. Repaint with antioxidant base and
epoxy paint in the original color.

Boat boarding ladder Arrival at the rooftop

embedded in the
masonry. Inferior
view

GA.02.06 gutter with metal drain grill cover Gutter of masonry and concrete on Good state of conservation and For the oxidation, cleaning, chemical
the driveway to the garage, intending cleanliness. Some points of oxidation in removal of the oxidized particles and
to prevent the entrance of rainwater the drain grill cover. manual scraping of the paint. Simple
coming from the ramp. Metal gutter, cleaning of the gutter.
removable for cleaning. Gravity-driven
outflow in the garden.

Gutter with metal

drain cover. View with
the drain open.

278 279
3.6 Caretaker’s House
CC

A A

Section BB Plan of the ground

Section AA Plan of the roof

280 281
Structural System Structure CC.01...

Code Component Description Diagnosis Identified pathology Orientations

CC.01.01 structural system There is no information on the

structural system in the Bardi Institute
archives. Based on the approval
drawings at City Hall and in situ
inspections, it is presumed the system
is constituted of a reinforced concrete
slab supported on load-bearing brick
masonry, with shallow strip footing or
slab-on-grade foundation.

Caretaker’s house
viewed from the main
house

CC.01.02 external retaining wall of granite Retaining wall made of dry-installed Good state of conservation. No
granite stone built according to apparent signs of pathology.
the opus incertum technique (with
irregularly shaped, uncut pieces).
Thickness up to 80 cm in some
places, with dirt and sand on the
internal facade. These are the walls
that structure the embankment for the
ramp, the caretaker’s house and the
sharpest slope of the grounds next to
the main house.

282 283
Structural System Structure CC.01...

Code Component Description Diagnosis Identified pathology Orientations

CC.01.03 rooftop garden slab Waterproofed slab with draining and Infiltration of water and moisture with Waterproof sealing worn by roots and Redo the bottom layer in order to direct
garden soil. appearance of fungi on the slab’s other interventions. Occurrence of toward drains and points of rainwater
internal facade. fungi aggravated by lack of ventilation. outflow. New waterproof seal with layer
of mechanical protection and anti-root
protection. Fill in with soil with layer
of gravel for draining and geo-textile
screen at the exit points for rainwater
outflow. Remove the water tank during
the construction of a new centralized
reservoir at the top of the grounds.

Rooftop garden. View

of the slab with the
soil cover partially
removed to allow
maintenance work
on the waterproof
sealing.

Point where slab

meets the soil

Pipes from the cold-

water hydraulic Water tank
system

284 285
Architecture Sealing CC.02...

Code Component Description Diagnosis Identified pathology Orientations

CC.02.01 Sealing internal half brick walls Half brick walls divide the internal On the whole, well-conserved walls, Crack resulting from settling of Verify the length of the crack in
settings. with crack in the retaining wall in the embankment upon which the house the embankment wall during the
part above the lintel of the door. stands. waterproofing process.

Crack in the retaining

wall, advancing into
the internal half
brick wall, resulting
from settling of
embankment upon
which the house
stands.

CC.02.02 retaining wall sealing Two half brick walls, each of which Walls present moisture and infiltrations Cracks resulting from the settling of Remove the soil against the wall and
are 15 cm thick, and 20-cm layer of on the internal facade with light, embankment upon which the house remove the waterproof sealing. Sand
air between them. Waterproof seal on continuous cracks that extend stands. Moisture and infiltrations the walls clean and allow them to dry.
the facades of the two walls facing the diagonally. caused by wear in the waterproof Check for any structural damage. In
grounds. sealing. the event that there is, evaluate the
possibility of building a new wall with
a reinforced concrete structure. Build a
draining layer of gravel along the wall’s
entire height with a perforated PVC
tube for outflow at the base. Refill with
dirt, protecting the layer of gravel and
the tube’s opening with a geo-textile
sheet. Plant grass and bushes in the
refilled area.

286 287
Architecture Sealing CC.02... CC.03...
Finishings

Code Component Description Diagnosis Identified pathology Orientations

CC.02.03 external one brick wall sealing External one brick walls 25 cm thick on Walls show no signs of structural
the three exposed facades damage.

CC.03.01 finishing on the exposed external walls Walls clad in roughcast, dash and wall Presence of fungi, stains and cracks. Damage caused by moisture in the Identical to the main house: annual
plaster finishing, painted with lime. Detachment of mortar, efflorescence, environment and lack of eaves to maintenance with manual scraping
fissures and peeling of finishing. protect from direct rain. of mortar, wash using water jets with
chlorine, removal of loose material and
replacement of missing mortar. Repaint
with lime.

288 289
Architecture Finishings CC.03...

Code Component Description Diagnosis Identified pathology Orientations

CC.03.02 internal walls finishing Internal surfaces with original Moisture stains on the internal facades Moisture from the atmosphere and lack Periodic cleaning and repainting. Study
fine-grained mortar with sand of of the external walls. of adequate ventilation. the opening on the opposite side of the
undetected origin. Painting with latex in windows to allow for cross ventilation.
white color.

CC.03.03 finishing on internal tile walls Finishing of 15 x 15 cm white tiles. Good state of conservation. Regular cleaning.
L-shaped cross sections and tiles form
a single ensemble. Height of 1.5 m
half-beam in the bathroom and 2.10 m
in the niche of the countertop sink and
stove.

290 291
Architecture Finishings CC.03...

Code Component Description Diagnosis Identified pathology Orientations

CC.03.04 ceiling lining Lower face of the rooftop garden Good state of conservation due to Damages caused by infiltration in the After new waterproof sealing is applied
finished in roughcast, dash and wall recent cleaning and paint job. There are slab and the moisture resulting from to the slab, manually sand the mortar
plaster and painted with lime. occasional instances of fungi, stains, insufficient ventilation. and wash with chlorine, remove the
displaced mortar, efflorescence and loose material and replace the missing
fissures. mortar. Repaint with lime.

View of the ceiling

lining, with irregular in
the finishing mortar

CC.03.05 hardwood floor finishing Bedroom flooring of waxed Peroba Well conserved material, simply in Regular cleaning and waxing.
wood (paratecoma peroba), blocks of 5 need of regular cleaning and waxing.
x 15 cm.

Peroba wood floor at

bedroom

292 293
Architecture Finishings CC.03...

Code Component Description Diagnosis Identified pathology Orientations

CC.03.06 red ceramic tile floor finishing 7 x 7 cm red ceramic tile in the main Occasional bulges and broken or Damage caused by undermining in Secure loose pieces and preserve
room and kitchen. Hexagonal red loose pieces. Broken thresholds in the the embankment and/or infiltration of original flooring, including broken
ceramic tile in the bathroom. Ceramic internal part and filled in with cement. moisture. pieces. Preserve the original flooring
threshold on external door with sill as much as possible, since there are
no similar pieces on the market to
replace it.

7 x 7 cm red ceramic Hexagonal red

tile ceramic tile

294 295
Architecture Casements CC.03...

Code Component Description Diagnosis Identified pathology Orientations

CC.03.07 bascule casements and metal door Jalousie window frames in the Oxidized casement functioning poorly. Cleaning, chemical removal of oxidized
bedroom, bathroom, main room and Door in good state of conservation, particles and manual scraping of
kitchen (associated with the metal occasional oxidation in the doors and the paint. Repaint with antioxidant
door). Metal L profiles encasing jambs. base and epoxy paint in the original
glass form three pivoting horizontal blue (2945 M, Pantone system).
windows, opened and closed by rod Recuperation of the bascules’
and vertical lever. Door in subdivided movement.
L profiles, with the lower part in sheet
metal and the upper part with frames
encasing windows lined up with
bascule windows, comprising a single
set of metal frames.

Exterior view of the

bascule casements
and metal door,
mosquito screen and
porch

Internal view of the Internal view of the

bascule casement of bascule casement and
the bedroom door of the kitchen

296 297
Architecture Doors CC.03...
Kitchen counter

Code Component Description Diagnosis Identified pathology Orientations

CC.03.08 solid wood doors Mexican style doors with juxtaposed Good state of conservation and Scrape, sand and paint manually,
boards made of solid wood painted operation. paste over (paste of sawdust and
white (color 348 M, Pantone system) glue). Repaint with synthetic enamel
in original color. Conduct a thorough
inspection, repairing door handles and
locks.

CC.03.09 range hood, counter and niche sink in Sink counter in synthetic marble, Original range hood and kitchen sink Normal cleaning.
the kitchen stonework cupboard, plywood shelf, cupboard. Sink and shelves are not
metal range hood. original.

298 299
Architecture Gargoyles CC.03...

Code Component Description Diagnosis Identified pathology Orientations

CC.03.10 Gargoyles for draining rainwater Concrete gargoyles, one with a

complement of galvanized sheet
metal painted green (348 M, Pantone
system), with the objective of diverting
the falling water from the path that
leads to the house’s entrance.

Gargoyle complement Gargoyle above the

in galvanized sheet service area.
metal painted green.

300 301
Architecture Chimney CC.03... CC.04...
Water tank

Code Component Description Diagnosis Identified pathology Orientations

CC.03.11 kitchen chimney Kitchen chimney consisting of sheet Though it runs through the garden Monitor the conservation of the
metal tube with “Chinese hat” cap. slab, there are no points of infiltration. waterproof seal on the chimney’s
collar.

CC.04.01 external water tank Blue PVC water tank upon stone base Functions adequately. It should be removed in order to
of the garden slab. recuperate the aesthetic integrity
Component that alters the architect’s which the architect conceived for
aesthetic vision, which did not intend the ensemble, but only after the
for the caretaker’s house to be visible construction of a new centralized
from the main house storage tank, proposed for the highest
part of the grounds.

External water tank

Kitchen chimney

302 303
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.05 leisure floors Horizontal surfaces with pink Good state of conservation, but the Reattach the stones with cement
sandstone flooring set upon a sublayer possibility exists of the slabs becoming mortar whenever dislodging occurs.
of reinforced concrete. They represent dislodged.
areas for leisure and rest in the middle
of the course through the garden.

PA.02.06 Cat Cat drawn by Lina Bo Bardi in the wet No pathology detected. Regular cleaning for maintenance.
concrete of the ground blocks in the
oven area.

320 321
3.7 Landscaping
PA

304 305
The construction of the landscape:
the buildings and the garden.

Viewed from 50 meters above its roof, The work of the team responsible for Due to the format of the original A1
the Glass House practically disappears the landscaping was structured into project boards, its content was spe-
amidst the covering of vegetation. three approaches: cially adjusted for the format of this
Planted by Lina Bo Bardi throughout report. We opted to present the surveys
her time living in the house, trees now 1 along with our evaluations and propo-
swallow up the structures, as seen in Investigative, seeking to observe and sed actions. As such, the sections are
the photo that opens this section. Des- elaborate based on the historical and organized in the following manner:
pite the beauty of this desired immer- temporal construction process of this
sion in nature, there is a clear need to landscape, after a survey of the docu- 1
establish balance. mentation and references in the Bardi Inventory of built components including
Institute’s archives. They discovered floors, walls both low and high, ground
A central point in this Conservation Lina Bo Bardi’s knowledge of and design, gates, in short, the various ar-
Management Plan, the relationship interest in botany, with specialized chitectural elements distributed throu-
between the buildings and the garden publications in the library that indicate ghout the garden.
constitute the main identity of the Glass the continental dimensions of Brazilian
House’s architecture. It is the construc- landscaping, with its various geographi- 2
tion of the landscape, encompassing cal contexts. In the document archive, Set of boards with indications of the
everything from the way it is perceived they discovered notes on plants pur- interventions made in the built com-
from the house, with varying degrees chased from nurseries and the qualities ponents in the garden and based on
of spatial continuity between interior of herbs for the garden. They revealed the orientations for cutting or pruning
and exterior, to the retaining walls that her daily activities of planting trees and the trees. By combining the two orien-
maintain the soil where it is able to nurturing their growth. tations, it was possible to visualize
support the planted vegetation and the the relationship between trees and
flooring of the winding walkways. 2 built structures in a single presentation
Exploratory, contemplating the expe- board.
rience and description of the current
state of the Garden, surveying and 3
specifying its plant species, as well as Management Plan justification report
e many qualities present at the loca- and tables, with general identification
le. This work started from the survey of the species and explanation of the
conducted in 2009 by the Institute of adopted criteria.
Technological Studies, expanding the
identification of plant species, updating 4
and correcting it. Conflicts between Set indicating the conditions of the
the vegetation and the buildings were current routes of circulation on the
detected, identifying damages already grounds, in particular the existing stair-
inflicted and potential threats. cases and ramps, the proposed routes
for visitation and their relationship to
3 relevant trees. It includes the proposal
Proactive, constituted through proposi- to determine storage areas for the orga-
tions and the vegetation management nic material produced from pruning and
plan, revealing potentials perceived garden upkeep and areas for compos-
from the gathered information and ad- ting activities.
justments for future developments. Pro-
posals included the definition of visita- 5
tion routes on the grounds’ walkways, Indication of options for the location of
an area for the disposal of waste mate- ramps and other apparatuses for uni-
rials resulting from garden maintenance versal accessibility.
and alternatives for the installation of
ramps and other devices to address the
land’s intense declivity.

306 307
Landscaping

Image of the Glass

House obtained with
the use of a drone
situated at 756 meters
above sea level, 50
meters above the roof
of the main house.
Overlapping with the
plan for implementing
structures and
pathways. Photo: Júlio
Cesar Franco.

308 309
 Landscaping

Studio

Caretaker’s
House

Main House

Garage

310 311
 Landscaping

PA.02.07 PA.03.01 PA.02.04 PA.02.10

PA. 01.01 Wood-burning oven Power box Ramp for vehicles External wall
Retaining walls of and grill
granite PA.02.11 Not1 1
Main gate
See plan for arboreal
PA.02.02 management and
Handrail details of damages to
walls, staircases and
pathways.

PA.02.05
Leisure floors

PA.02.12
Gate at caretaker’s
house

PA.02.03
Staircases

PA.02.08
Vasca 1 (front)

PA.02.08
Vasca 2 (back)

PA.02.06
Cat

PA.01.02
Retaining walls of
reinforced concrete
under the ovens

PA. 01.03
Low retaining walls in
the garden

PA.02.01
External flooring on
the garden walkways

312 313
Landscaping Structure PA.01...

Code Component Description Diagnosis Identified pathology Orientations

PA. 01.01 retaining walls of granite Retaining wall made of dry-installed No signs of pathology.
granite stone built according to
the opus incertum technique (with
irregularly shaped, uncut pieces).
Thickness up to 80 cm in some
places, with dirt and sand on the
internal facade. These are the walls
that structure the embankment for the
ramp, the caretaker’s house and the
sharpest slope of the grounds next to
the main house.

PA.01.02 retaining wall of reinforced concrete Retaining wall under platform at the Cracks and partial decay in the Remove the bushes and dirt against
under the ovens back of the house, where the oven and retaining walls. Contention previously the wall in order to evaluate the
grill are located. Back-up reinforced achieved with the fastening of stay structure’s integrity. If necessary,
concrete structure implemented after cables to the wall which does not construct a new internal contention
the original construction with the entirely impede the continuing risk of wall, thus relieving the pressure on the
objective of preventing it from ruin. ruin. The inclination of the wall warns original inclined wall.
of the risk of collapse.

Obs: see the arboreal management

plan and details of damage to walls,
staircases and walkways

314 315
Paisagismo Structure PA.01... PA.02...
Architecture

Code Component Description Diagnosis Identified pathology Orientations

PA.01.03 low retaining walls in the garden Low retaining walls of brick, Damages ranging from light cracks to Trees at risk of falling should be
stonework, mortar finishing on the the partial decay of the retaining walls removed according to the diagnosis
exterior with incrusted pebbles, shards in some sections. Inclined trees and of the landscapers in the general
of ceramic and sandstone. exposed roots overburden the walls. plan. Reassess the situation after
their removal. In some cases, new
retaining walls should be constructed
within the existing wall to interrupt the
degradation. In others, it is necessary
to choose between interrupting the
ruin or erecting a new wall, appearing
clearly as not an original construction.

Obs: see the arboreal management

plan and details of damage to walls,
staircases and walkways.

PA.02.01 external flooring on the garden Flooring comprised of irregular Displacement of walkway slabs Reattach the stones with cement
walkways sandstone slabs, laid directly in the generates instability. mortar. Those that happen to be in
ground or on a small base of mortar. direct contact with the dirt should be
removed. Excavate the dirt and reset
the stone.

Obs: see the arboreal management

plan and details of damage to walls,
staircases and walkways.

PA.02.02 handrail Handrail with flat steel profile and

vertical tube volumes in the square
section, painted with green enamel
(color 348 M, Pantone system). The
handrails were molded in situ by a
metalworker to accompany the curves
of the walkways.

Handrail On the path to the Staircase handrail Handrail along the

accompanying studio along with vehicle walkway to the
staircase (PA.02.03) ramp. Recomposition caretaker’s house.
and curvature of the after damages due to
low, retaining wall automobile crash.
(PA.01.03) along
with leisure landing
(PA.02.05).

316 317
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.03 staircases Staircase with irregular sandstone slab Subject to displacement of slabs, they Reattach the stones with cement
flooring laid on top of a mortar base. require constant maintenance. mortar.

PA.02.04 ramp for vehicles Vehicle ramp consisting of two Well preserved, despite the fact that Avoid automobile traffic, regular
sections with 18% declivity and a it is subject to constant wear and maintenance. Grout and reset loose
smoother, circular landing used for tear due to the traffic of vehicles. stones.
parking. It grants pedestrians access to Occasional motor oil stains.
the main house. Ground surface of pink
sandstone slabs set upon a sublayer
of reinforced concrete and structured
on the side by a retaining walls of
large granite blocks. Mortar incrusted
with ceramic shards in colorful enamel
separate the two tracks for automobile
tires on the ramp’s first section.

Incrusted ceramic Curvature of the

shards in colorful ground surface
enamel between between the ramp’s
the two tracks for two sections.
automobile tires
on the ramp’s first
section.

Access ramp for Vehicle access Stones on the ramp Curve between the
vehicles to the garage ramp arriving at the surface damaged by ramp’s entrance
threshold with curve the excessive weight section and access to
alongside the house. of vehicles. the house. Notice the
damages in the slabs
in the ground.

318 319
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.07 wood-burning oven and grill Oven and grill built out of stone and No pathologies detected in the Maintenance with regular cleaning
masonry according to the tradition stonework. Oxidation in the metalwork and a yearly coat of limewash paint,
in rural São Paulo state. Both are slab appearing on the bottom facade. as already conducted by the Institute.
supported on slabs of reinforced For the rust on the ironwork, manually
concrete, which stand distanced sand and wash with water and chlorine
from the ground on pillars of exposed and replace missing mortar. Repaint
masonry. The grill is topped by a with lime.
cylindrical asbestos cement chimney
with a “Chinese hat” lid.

PA.02.08 vasca 1 (front) Amoeba shaped tank made of Despite the integrity of its base and Install an aerator to enable the water
reinforced concrete to collect rainwater side walls, the tank is empty due to the to once again rise to an elevated level
that pours directly from the front epidemic of dengue fever in the region. and therefore receive the plants from
gargoyle. For many years, the water Still water serves to proliferate the the original landscape without any risk
level remained high and it was used as mosquito that transmits the disease. of disease.
a reflecting pool with aquatic plants.

Rainwater falling from Tank kept dry due to

the gargoyle into the the risk of disease
tank, exemplifying the
operation planned by
the architect.

322 323
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.09 vasca 2 (back) Amoeba-shaped tank made of The tank is abandoned, at the back of Regular cleaning. Could possibly serve
reinforced concrete with edges covered the grounds, but conserved without as receptacle for plant beds.
in mortar with tumbled pebbles. apparent damage.

View of empty Edges of the tank

water tank, but covered in mortar
accumulating debris with tumbled pebbles.
and tree leaves.

PA.02.10 external wall Enclosure walls made of exposed Good state of conservation despite Regular maintenance to avoid
concrete blocks, built in 1978. exposure to the elements. Portions increases in the area covered by
covered in vines and climbing plants. vegetation.

external wall of Part of the wall near

exposed concrete the gate using the
blocks in a good same finishing as on
state of conservation the retaining walls
despite exposure to and the garage walls.
the elements and Identification of the
being covered in vines house number and
and climbing plants. the mailbox in cast
iron.

324 325
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.11 main gate The property’s main entrance gate, The motor presents recurring damages
built in 1981. Running on a track, it attributed to the weight of the gate.
has a metal screen structured in folded
metal sheets and tubes. Activated by
electrical motor and gears. Painted
green.

Internal view of Internal view of the

the gate where the ramp, gate and power
damaged metal box.
screen, rack, electric
motor and gear can
be observed.

PA.02.12 gate at caretaker’s house The gate at the caretaker’s house leads Good working state. Poorly executed Regular maintenance and painting in
to Rua Seguidilha and, from there, Rua maintenance paint job, left half in the the original green color.
Bandeirante Sampaio Soares. Metal original green, half blue.
sheet structured in steel profile frame.

326 327
Paisagismo Arquitetura PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.03.01 power box Power box constructed during the Good state of conservation. Regular maintenance.
renovation of the power grid in 2012.
Though made of new materials, the
intention was for it to mimic the mortar
finishing with pebbles on the other
walls and retaining walls.

PA.03.02 external elevated tubes tubes for electrical, data, telephone Interference in circulation at certain The tubes can be lowered only in the
wires and water installed on volumes, points. passages along the walkways, thus
elevated from the ground to avoid remaining at ground level, without
damage to the garden’s vegetation and being burying. Points 30, 32, 35, 81,
architectural components. 82, 83 (arboreal management plan and
details of damages to walls, staircases
and walkways. Sheets 1, 2 and 3)

PA.03.03 lamp post Lamp post for urban lighting, common Good state of conservation. Regular maintenance
at the time of construction, distributed
alongs the main access ramp.

328 329
Landscaping Management Plan of the Tree Vegetation and low
retaining walls, stairs and ramps damages. Key map.

1
Management Plan of the
Tree Vegetation

Interference between tree

vegetation and boundary
walls
Folha 4 Folha 3
Interference between tree
vegetation and garden
infrastructure

Interference between tree

vegetation and garden
environments

Interference between tree

vegetation and buildings

The environmental relevance

of tree species vs. its
phytosanitary status and
potential for biological
invasion

Tree to be suppressed by
shallow felling

Tree to be pruned for crown

rebalancing

2
Low retaining walls, stairs
and ramps damages

43 see numbered photos as

indicated

3
External elevated tubes

Folha 1 Folha 2

330 331
Management Plan of the Tree
Vegetation

Interference between tree vegeta- Interference between tree vegeta- Interference between tree vegeta- Interference between tree The environmental relevance of
tion and boundary walls: tion and garden infrastructure: tion and garden environments: vegetation and buildings: tree species vs. its phytosanitary
status and potential for biological
invasion:

Along the perimeter of the limiting The garden infrastructure assessment Throughout the process of evaluating Along the perimeter of the main In some cases, it is clear that some tree
walls it was registered 56 trees that team pointed out the total number of the potentialities of the Glass House building, 21 trees were identified as species are in senescence, that is, in
pose risks both to the walls and, mainly, 39 trees that interfered with the paths, garden, it was defined that some envi- posing risks to the architecture, 20 terminal phase, offering a potential risk
to the external electrical network, since retaining walls, floors and the electrical ronments should be recovered, recreat- with imminent risk of fall that should of fall of branches or of the whole indi-
they are under the aerial cables or inter- and hydraulic networks internal to the ed or reused for educational purposes, be removed immediately, and 1 that vidual, as well as being considered vec-
spersed to them. These are situations in property. Evaluated individually, the following the logic of “intentionality” should be observed in a more attentive tors of pests such as termites, parasites
which prudence demands the removal following situations were found in the verified in the correspondences be- way, coordinated with other actions that can harm the newer, healthier trees
of those plants, since pruning would field, according to the view of the tree tween Lina and Pietro, aiming to re- in the garden, in addition to the on the property. It is also noticed the
only postpone the potential problem management team: constitute situations that would have pruning for balancing and clearing in presence of exotic species considered
to future times. In this sense, since no brought joy to both the visitors and all other trees near the residence, as a invasive in the city of São Paulo, in the
plants of environmental or landscape • 39 Situations (37 removals and the institution, such as the Vegetable precaution. case of the Seafórtias (Archontophoe-
relevance among those selected for 2 prunings) in which trees are destroy- Garden, the Vasca and some Platforms nix cunninghamii) constituting a risk of
removal were identified at these sites, ing or presenting an immediate risk to in the garden, which have educational In the Garage area, 12 trees located unbridled proliferation and imbalance in
it is suggested that all plants should be some garden infrastructure and should and cultural potential, within the line in their direct surroundings should the garden, as observed in the woods
properly suppressed. be suppressed immediately. of visitation intended for the garden. be removed, of which 11 are located of USP, in the Park Tenente Siqueira
In this way, 19 trees have been iden- on the cover slab, posing the risk of Campos (Trianon), among other places
• Situations where trees no tified that must be removed, and 4 structural collapse. in the capital. Finally, some trees are
longer pose a risk of destruction of in- trees must have their crowns pruned, located very close to nobler individuals,
frastructure, being such structures de- either for their growing or for opening In the surroundings of the Studio there representing a risk to these environ-
teriorated or in need of repairs which, and balancing, so that it is possible are 6 trees that must be removed to mentally more relevant plants, since
in order to be carried out, should meet to have a higher incidence of light in prevent future damages, besides a they are more susceptible to have their
specific technical criteria and/or stan- these environments, in order to allow large individual that demands pruning branches fallen.
dards and, therefore, it will be more the suggested uses to be materialized. and the other pruning actions for
advantageous to rebuild the infrastruc- The main case of this modality is the balance of the nearby trees and In some situations, the tree vegeta-
ture and maintain the vegetation as it environment of the Vegetable Garden. bamboo clumps. One individual tree tion presented excessive cracks in the
presently is, preserved with pruning Since it was established by the land- must be kept in observation. trunks, broken branches and some-
actions aiming balance. scaping team that this environment, times even the crowns destroyed by the
properly recovered, should be the In the region of the Caretaker’s fall of some nearby tree, victims of high
object of a visitation route, it was indis- House, 3 trees that are close around winds and rains, being classified in the
pensable that it could count on greater it, especially in areas higher than the Vegetation Register Table as “Dead”,
luminosity for the production of the building, not forgetting to carry out the phasing out even their botanical iden-
vegetables. pruning for balance and conduction in tification. For these cases, it was sug-
other nearby trees. gested to remove the remaining parts,
be they trunks, branches or laps, so
In total, as can be seen in the Table the soil could be released for eventual
of Tree Management due to Conflict adjustments of topography, shrubs or
with the Buildings, 40 trees will be infrastructure, always accompanied by
immediately removed for posing risks photos to prove the truth of the existing
to the integrity of the buildings, as well situation.
as 2 individual trees that should receive
balance and conduction pruning as a
form of prevention of future accidents,
and 2 others that should be monitored
constantly.

332 333
Management Plan of the Tree
Vegetation

Nº da Nome Família Nome Altura ∑ Do diâmetro Estado Manejo Categoria de manejo/

Nº Item plaqueta popular botânica científico Origem total DAP1 DAP2 DAP3 DAP4 quadrático fitossanitário pretendido interferência

1 137 Abacateiro Lauraceae Persia gratíssima Exótica 8,5 37,00 0,00 0,00 0,00 37,00 Remoção 2.01-Edificação
2 138 Figueira Moraceae Ficus sp. Nativa 8,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.01-Edificação
3 140 Figueira Moraceae Ficus sp. Nativa 6,5 15,00 0,00 0,00 0,00 15,00 Remoção 2.01-Edificação
4 141 Jaqueira Moraceae Artocarpus integrifolia Exótica 11,0 37,00 0,00 0,00 0,00 37,00 Remoção 2.01-Edificação
5 142 NI NI Não identificada NI 8,0 12,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
6 143 Pau-incenso Pittosporaceae Pitosporum undulatum Exótica 8,0 12,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
7 144 Pimentinha Erythroxylum Erythroxylaceae Erythroxylum sp. Nativa 7,0 8,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
8 145 Pau-óleo Euphorbiaceae Alchornea sp. Nativa 6,0 14,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
9 146 Mangueira Anacardiaceae Mangifera indica Exótica 7,0 10,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
10 147 Pau-de-leite Sapium biglandulosus Sapium biglandulosus Nativa 8,0 12,00 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
11 148 Falsa-seringueira Moraceae Ficus elastica var. decora Exótica 14,0 1,50 0,00 0,00 0,00 0,00 Remoção 2.01-Edificação
12 149 Falsa-seringueira Moraceae Ficus elastica var. decora Exótica 10,0 70,00 0,00 0,00 0,00 70,71 Remoção 2.01-Edificação
13 150 Falsa-seringueira Moraceae Ficus elastica var. decora Exótica 6,0 17,00 0,00 0,00 0,00 17,00 Remoção 2.01-Edificação
14 155 Jerivá Arecaceae Syagrus romanzoffiana Nativa 10,0 18,00 0,00 0,00 0,00 18,00 Remoção 2.01-Edificação
15 159 Jaqueira Moraceae Artocarpus heterophyllus Exótica 8,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.01-Edificação
16 162 Canela Vermelha Lauraceae Ocotea sp. Nativa 12,0 32,00 0,00 0,00 0,00 32,00 Remoção 2.01-Edificação
17 445 Almecegueira Burseraceae Protium heptaphyllum Nativa 7,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.01-Edificação
18 452 NI NI Não identificada (não coletada) NI 5,0 16,00 0,00 0,00 0,00 16,00 Remoção 2.01-Edificação
19 463 Casuarina Casuarinaceae Casuarina equisetifolia Exótica 15,0 55,00 0,00 0,00 0,00 55,00 Remoção 2.01-Edificação
20 477 Sibipiruna Fabaceae Caesalpinia pluviosa Nativa 12,0 38,00 0,00 0,00 0,00 38,00 Observar 2.01-Edificação
21 556 Painera-rosa Bombacaceae Chorisia speciosa Nativa 3,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.01-Edificação
22 559 NI NI Não identificada (não coletada) NI 3,0 4,00 0,00 0,00 0,00 4,00 Remoção 2.01-Edificação
23 560 Machaerium Fabaceae Machaerium sp. Nativa 7,0 11,00 5,00 0,00 0,00 12,08 Remoção 2.01-Edificação
24 561 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 6,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.01-Edificação
25 562 Sibipiruna Fabaceae Caesalpinia pluviosa Nativa 11,0 22,00 0,00 0,00 0,00 22,00 Remoção 2.01-Edificação
26 563 Machaerium Fabaceae Machaerium sp. Nativa 8,0 11,00 0,00 0,00 0,00 11,00 Remoção 2.01-Edificação
27 564 Machaerium Fabaceae Machaerium sp. Nativa 3,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.01-Edificação
28 565 Nespereira Rosaceae Eriobotrya japonica Exótica 3,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.01-Edificação
29 566 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 6,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.01-Edificação
30 744 NI NI Não identificada (não coletada) 10,0 24,00 0,00 0,00 0,00 24,00 Remoção 2.01-Edificação
31 768 Canafístula Fabaceae Peltophorum dubium Nativa 10,0 50,00 0,00 0,00 0,00 50,00 Poda 2.01-Edificação
32 772 Tipuana Fabaceae Tipuana tipu Exótica 15,0 50,00 0,00 0,00 0,00 50,00 Remoção 2.01-Edificação
33 797 Almecegueira Burseraceae Protium heptaphyllum Nativa 7,0 18,00 20,00 0,00 0,00 26,91 Remoção 2.01-Edificação
34 801 NI NI Não identificada (não coletada) 5,0 28,00 0,00 0,00 0,00 28,00 Remoção 2.01-Edificação
35 807 Abacateiro Lauraceae Persea gratissima Exótica 8,0 23,00 0,00 0,00 0,00 23,00 Remoção 2.01-Edificação
36 818 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 12,0 40,00 35,00 0,00 0,00 53,15 Remoção 2.01-Edificação
37 824 NI NI Não identificada 9,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.01-Edificação
38 825 Almecegueira Burseraceae Protium heptaphyllum Nativa 7,0 11,00 0,00 0,00 0,00 11,00 Remoção 2.01-Edificação
39 826 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 12,0 18,00 0,00 0,00 0,00 18,00 Observar 2.01-Edificação
40 827 NI NI Não identificada 8,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.01-Edificação
41 24 Almecegueira Burseraceae Protium heptaphyllum Nativa 8,0 23,00 23,00 0,00 0,00 32,53 Poda 2.02- Ambientes
42 31 NI NI Não identificada 6,5 9,00 0,00 0,00 0,00 9,00 Remoção 2.02- Ambientes
43 32 Uvaieira Myrtaceae Eugenia pyriformis Nativa 7,5 12,00 0,00 0,00 0,00 12,00 Remoção 2.02- Ambientes
44 35 Pimentinha-do-mato Erythroxylaceae Erythroxylum sp. Nativa 8,0 34,00 0,00 0,00 0,00 34,00 Remoção 2.02- Ambientes
45 38 Abacateiro Lauraceae Persea gratissima Exótica 8,0 25,00 0,00 0,00 0,00 25,00 Remoção 2.02- Ambientes

334 335
 Nº da Nome Família Nome Altura ∑ do diâmetro Estado Manejo Categoria de manejo/
Nº Item plaqueta popular botânica científico Origem total DAP1 DAP2 DAP3 DAP4 quadrático fitossanitário pretendido interferência

46 39 Abacateiro Lauraceae Persea gratissima Exótica 12,0 22,00 0,00 0,00 0,00 22,00 Remoção 2.02- Ambientes
47 51 Figueira Moraceae Ficus sp. Nativa 9,0 34,00 0,00 0,00 0,00 34,00 Remoção 2.02- Ambientes
48 52 NI Myrtaceae Não identificada (não coletada) Nativa 6,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.02- Ambientes
49 83 Kauri Araucariaceae Agathis australis Exótica 7,0 16,00 0,00 0,00 0,00 16,00 Poda 2.02- Ambientes
50 84 NI NI Não identificada 8,0 24,00 0,00 0,00 0,00 24,00 Remoção 2.02- Ambientes
51 85 NI Myrtaceae Não identificada (não coletada) 8,0 15,00 14,00 28,00 0,00 34,71 Poda 2.02- Ambientes
52 91 Jerivá Arecaceae Syagrus romanzoffiana Nativa 8,0 13,00 0,00 0,00 0,00 13,00 Remoção 2.02- Ambientes
53 92 Jerivá Arecaceae Syagrus romanzoffiana Nativa 19,0 18,00 0,00 0,00 0,00 18,00 Remoção 2.02- Ambientes
54 96 Pau-óleo Euphorbiaceae Alchornea sp. Nativa 8,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.02- Ambientes
55 122 NI Myrtaceae Não identificada (não coletada) Nativa 3,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.02- Ambientes
56 124 Sapindaceae Cupania sp. Nativa 7,0 8,00 10,00 26,00 0,00 28,98 Remoção 2.02- Ambientes
57 126 NI NI Não identificada 12,0 26,00 0,00 0,00 0,00 26,00 Remoção 2.02- Ambientes
58 130 Figueira Moraceae Ficus sp. Nativa 8,0 35,00 0,00 0,00 0,00 35,00 Remoção 2.02- Ambientes
59 135 Abacateiro Lauraceae Persea gratissima Exótica 8,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.02- Ambientes
60 230 Cafezinho-do-mato Celastraceae Maytenus floribunda Nativa 9,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.02- Ambientes
61 64 NI NI Não identificada 8,0 33,00 0,00 0,00 0,00 Poda 2.02- Ambientes
62 736 Angelim Fabaceae Andira surinamensis Nativa 5,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.02- Ambientes
63 737 NI NI Não identificada (não coletada) 8,0 11,00 11,00 0,00 0,00 15,56 Remoção 2.02- Ambientes
64 267 NI NI Não identificada 6,0 5,00 22,00 17,00 0,00 6,00 Remoção 2.03- Muros de divisa
65 279 NI NI Não identificada (não coletada) 4,0 6,00 0,00 0,00 0,00 6,00 Remoção 2.03- Muros de divisa
66 304 Camboatá-vermelho Sapindaceae Cupania vernalis Nativa 10,0 35,00 0,00 0,00 0,00 35,00 Remoção 2.03- Muros de divisa
67 316 NI NI Não identificada (não coletada) 3,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.03- Muros de divisa
68 317 Açoita cavalo Luehea Luehea sp Nativa 10,0 36,00 30,00 0,00 0,00 46,86 Remoção 2.03- Muros de divisa
69 322 NI NI Não identificada 8,0 21,00 0,00 0,00 0,00 21,00 Remoção 2.03- Muros de divisa
70 324 Pixirica Melastomataceae Miconia pusiliiflora Nativa 8,0 25,00 25,00 0,00 0,00 35,36 Remoção 2.03- Muros de divisa
71 327 Açoita cavalo Luehea Luehea sp Nativa 9,0 40,00 0,00 0,00 0,00 40,00 Remoção 2.03- Muros de divisa
72 351 Camboatá-vermelho Sapindaceae Cupania vernalis Nativa 3,0 4,00 7,00 0,00 0,00 8,06 Remoção 2.03- Muros de divisa
73 361 Aroeira Anacardiaceae Não identificada (não coletada) Nativa 15,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.03- Muros de divisa
74 365 Açoita cavalo Luehea Luehea sp Nativa 4,0 18,00 0,00 0,00 0,00 18,00 Remoção 2.03- Muros de divisa
75 417 NI Não identificada 5,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.03- Muros de divisa
76 443 NI Lauraceae Não identificada (não coletada) 6,0 5,00 7,00 7,00 10,00 14,93 Remoção 2.03- Muros de divisa
77 468 Figueira Moraceae Ficus sp. 1 Nativa 4,0 7,00 0,00 0,00 0,00 7,00 Remoção 2.03- Muros de divisa
78 493 Pau-incenso Pittosporaceae Pittosporum undulatum Exótica 6,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.03- Muros de divisa
79 495 Eucalipto Myrtaceae Eucalyptus sp. Exótica 16,0 65,00 0,00 0,00 0,00 65,00 Poda 2.03- Muros de divisa
80 496 NI NI Não identificada (não coletada) 7,0 12,00 0,00 0,00 0,00 65,00 Remoção 2.03- Muros de divisa
81 497 Pau-incenso Pittosporaceae Pittosporum undulatum Exótica 5,00 10,00 0,00 0,00 0,00 10,00 Remoção 2.03- Muros de divisa
82 504 Pixirica Melastomataceae Miconia selloviana Nativa 10,0 33,00 0,00 0,00 0,00 33,00 Remoção 2.03- Muros de divisa
83 506 Figueira Moraceae Ficus sp. Nativa 2,0 15,00 0,00 0,00 0,00 8,00 Remoção 2.03- Muros de divisa
84 507 Camboatá-vermelho Sapindaceae Cupania vernalis Nativa 3,0 8,00 0,00 0,00 0,00 8,00 Remoção 2.03- Muros de divisa
85 508 Pau-marfim Rutaceae Balfourodendron riedellianum Nativa 6,0 8,00 0,00 0,00 0,00 8,00 Remoção 2.03- Muros de divisa
86 510 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 5,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.03- Muros de divisa
87 511 Tapi Euphorbiaceae Alchornea triplinervia Nativa 8,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.03- Muros de divisa
88 513 Nespereira Rosaceae Eriobotrya japonica Exótica 7,0 15,00 0,00 0,00 0,00 15,00 Remoção 2.03- Muros de divisa
89 519 Machaerium Fabaceae Machaerium sp. Nativa 6,0 16,00 0,00 0,00 0,00 16,00 Remoção 2.03- Muros de divisa
90 525 Guaçatonga Fabaceae Casearia sylvestris Nativa 2,5 12,00 0,00 0,00 0,00 12,00 Remoção 2.03- Muros de divisa

336 337
 Nº da Nome Família Nome Altura ∑ Do diâmetro Estado Manejo Categoria de manejo/
Nº Item plaqueta popular botânica científico Origem total DAP1 DAP2 DAP3 DAP4 quadrático fitossanitário pretendido interferência

91 548 Machaerium Fabaceae Machaerium sp. Nativa 5,0 10,00 10,00 0,00 0,00 14,14 Remoção 2.03- Muros de divisa
92 549 Machaerium Fabaceae Machaerium sp. Nativa 15,0 47,00 24,00 22,00 43,00 71,54 Remoção 2.03- Muros de divisa
93 551 Machaerium Fabaceae Machaerium sp. Nativa 15,0 30,00 14,00 30,00 0,00 44,68 Remoção 2.03- Muros de divisa
94 555 Pau-incenso Pittosporaceae Pittosporum undulatum Exótica 7,0 40,00 0,00 0,00 0,00 40,00 Remoção 2.03- Muros de divisa
95 671 Capororoca Primulaceae Rapanea umbellata Nativa 3,5 5,00 0,00 0,00 0,00 5,00 Remoção 2.03- Muros de divisa
96 673 Capororoca Branco Myrsinaceae Não identificada (não coletada) Nativa 5,5 14,00 0,00 0,00 0,00 14,00 Remoção 2.03- Muros de divisa
97 674 Bico-de-pato Fabaceae Machaerium nictitans Nativa 7,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.03- Muros de divisa
98 675 Vassourão Clethraceae Clethea scabra Nativa 6,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.03- Muros de divisa
99 678 Capororoca Branco Myrsinaceae Não identificada (não coletada) Nativa 4,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.03- Muros de divisa
100 679 NI NI Não identificada (não coletada) 5,0 26,00 0,00 0,00 0,00 26,00 Remoção 2.03- Muros de divisa
101 692 Pau-incenso Pittosporaceae Pittosporum undulatum Exótica 5,0 11,00 0,00 0,00 0,00 11,00 Remoção 2.03- Muros de divisa
102 696 Gongonha Cardiopteridaceae Citronella gongonha Nativa 7,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.03- Muros de divisa
103 697 Sibipiruna Fabaceae Caesalpinia pluviosa Exótica 9,0 27,00 0,00 0,00 0,00 27,00 Remoção 2.03- Muros de divisa
104 698 NI NI Não identificada (não coletada) 10,0 19,00 0,00 0,00 0,00 19,00 Remoção 2.03- Muros de divisa
105 700 Almecegueira Burseraceae Protium spruceanum Nativa 7,0 11,00 0,00 0,00 0,00 11,00 Remoção 2.03- Muros de divisa
106 721 Açoita cavalo Luehea Luehea sp Nativa 7,0 14,00 0,00 0,00 0,00 14,00 Remoção 2.03- Muros de divisa
107 724 Açoita cavalo Luehea Luehea sp Nativa 8,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.03- Muros de divisa
108 725 Açoita cavalo Luehea Luehea sp Nativa 10,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.03- Muros de divisa
109 726 NI NI Não identificada (não coletada) 10,0 23,00 0,00 0,00 0,00 23,00 Remoção 2.03- Muros de divisa
110 727 NI NI Não identificada (não coletada) 10,0 23,00 0,00 0,00 0,00 23,00 Remoção 2.03- Muros de divisa
111 733 Macucurana-cinzeiro Chrysobalanaceae Hirtella hebeclada Nativa 5,0 12,00 11,00 11,00 0,00 19,65 Remoção 2.03- Muros de divisa
112 743 NI NI Não identificada 9,0 9,00 0,00 0,00 0,00 9,00 Remoção 2.03- Muros de divisa
113 753 Porangaba Boraginaceae Cordia ecalyculata Nativa 9,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.03- Muros de divisa
114 754 Cafezinho-do-mato Celastraceae Maytenus floribunda Nativa 8,0 9,00 0,00 0,00 0,00 9,00 Poda 2.03- Muros de divisa
115 808 Falsa-seringueira Moraceae Ficus elastica var. decora Exótica 10,0 80,00 0,00 0,00 0,00 80,00 Observar 2.03- Muros de divisa
116 809 NI NI Não identificada 5,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.03- Muros de divisa
117 814 Abacateiro Lauraceae Persea gratissima Exótica 12,0 14,00 0,00 0,00 0,00 14,00 Observar 2.03- Muros de divisa
118 816 Abacateiro Lauraceae Persea gratissima Exótica 8,0 16,00 0,00 0,00 0,00 16,00 Remoção 2.03- Muros de divisa
119 375 NI NI Não identificada (não coletada) 7,0 16,00 0,00 0,00 0,00 16,00 Remoção 2.04- Infra estrutura
120 6 Pau Jacaré Fabaceae Piptadenia gonoacantha Nativa 9,0 38,00 0,00 0,00 0,00 38,00 Poda 2.04- Infraestrutura
121 56 Abacateiro Lauraceae Persea gratissima Exótica 8,5 20,00 0,00 0,00 0,00 20,00 Remoção 2.04- Infraestrutura
122 57 Jambeiro Myrtaceae Syzygium jambos Exótica 6,5 14,00 0,00 0,00 0,00 14,00 Remoção 2.04- Infraestrutura
123 70 NI NI Não identificada (não coletada) 1,5 10,00 0,00 0,00 0,00 10,00 Remoção 2.04- Infraestrutura
124 106 Abacateiro Lauraceae Persea gratissima Exótica 8,0 31,00 0,00 0,00 0,00 31,00 Remoção 2.04- Infraestrutura
125 107 Guaçatonga Flacourtiaceae Casearia sylvestris Nativa 7,5 30,00 0,00 0,00 0,00 31,00 Remoção 2.04- Infraestrutura
126 119 Almecegueira Burseraceae Protium heptaphyllum Nativa 7,0 14,00 7,00 0,00 0,00 15,65 Remoção 2.04- Infraestrutura
127 151 Tipuana Fabaceae Tipuana tipu Exótica 12,0 46,00 70,00 0,00 0,00 83,76 Remoção 2.04- Infraestrutura
128 156 Abacateiro Lauraceae Persea gratissima Exótica 9,0 23,00 0,00 0,00 0,00 23,00 Remoção 2.04- Infraestrutura
129 158 Pau-ferro Fabaceae Caesalpinia leiostachya Nativa 9,0 9,00 0,00 0,00 0,00 9,00 Remoção 2.04- Infraestrutura
130 166 Mangueira Anacardiaceae Mangifera indica Exótica 6,0 22,00 0,00 0,00 0,00 22,00 Remoção 2.04- Infraestrutura
131 199 Camboatá-vermelho Sapindaceae Cupania vernalis Nativa 3,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.04- Infraestrutura
132 203 Almecegueira Burseraceae Protium heptaphyllum Nativa 20,0 7,50 0,00 0,00 0,00 7,50 Remoção 2.04- Infraestrutura
133 204 Almecegueira Burseraceae Protium heptaphyllum Nativa 17,0 7,50 0,00 0,00 0,00 7,50 Remoção 2.04- Infraestrutura
134 218 NI NI Não identificada 8,0 18,00 18,00 0,00 0,00 25,46 Remoção 2.04- Infraestrutura
135 254 Morta 5,0 35,00 0,00 0,00 0,00 35,00 Remoção 2.04- Infraestrutura

338 339
 Nº da Nome Família Nome Altura ∑ Do diâmetro Estado Manejo Categoria de manejo/
Nº Item plaqueta popular botânica científico Origem total DAP1 DAP2 DAP3 DAP4 quadrático fitossanitário pretendido interferência

136 332 Não identificada (não coletada) 8,0 23,00 0,00 0,00 0,00 23,00 Remoção 2.04- Infraestrutura
137 340 Maytenus Celastraceae Maytenus robusta Nativa 11,0 42,00 0,00 0,00 0,00 42,00 Remoção 2.04- Infraestrutura
138 344 Figueira Moraceae Ficus aff. Guaranitica Nativa 6,0 17,00 0,00 0,00 0,00 17,00 Remoção 2.04- Infraestrutura
139 347 NI NI Não identificada (não coletada) 8,0 15,00 0,00 0,00 0,00 15,00 Remoção 2.04- Infraestrutura
140 350 Amaioua Rubiaceae Amaioua Guianensis Nativa 6,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.04- Infraestrutura
141 377 Arvore Seca 2,0 32,00 0,00 0,00 0,00 32,00 Remoção 2.04- Infraestrutura
142 392 Capororoca Primulaceae Rapanea umbellata Nativa 8,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.04- Infraestrutura
143 460 NI NI Não identificada (não coletada) 15,0 55,00 0,00 0,00 0,00 55,00 Remoção 2.04- Infraestrutura
144 462 Abacateiro Lauraceae Persea gratissima Exótica 10,0 30,00 0,00 0,00 0,00 30,00 Remoção 2.04- Infraestrutura
145 464 Jerivá Arecaceae Syagrus romanzoffiana Nativa 10,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.04- Infraestrutura
146 533 Fabaceae Andira sp. Nativa 12,0 43,00 0,00 0,00 0,00 43,00 Remoção 2.04- Infraestrutura
147 534 Pera-glabrata Peraceae Pera glabrata Nativa 6,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.04- Infraestrutura
148 541 Myrtaceae Não identificada (não coletada) Nativa 8,0 8,00 0,00 0,00 0,00 8,00 Remoção 2.04- Infraestrutura
149 633 Jerivá Arecaceae Syagrus romanzoffiana Nativa 15,0 36,00 0,00 0,00 0,00 36,00 Poda 2.04- Infraestrutura
150 705 Almecegueira Burseraceae Protium heptaphyllum Nativa 8,0 17,00 0,00 0,00 0,00 17,00 Remoção 2.04- Infraestrutura
151 707 Pau-incenso Pittosporaceae Pittosporum undulatum Exótica 8,0 16,00 0,00 0,00 0,00 16,00 Remoção 2.04- Infraestrutura
152 709 NI NI Não identificada 8,0 20,00 0,00 0,00 0,00 20,00 Remoção 2.04- Infraestrutura
153 719 NI NI Não identificada (não coletada) 4,0 11,00 0,00 0,00 0,00 11,00 Remoção 2.04- Infraestrutura
154 788 Almecegueira Burseraceae Protium heptaphyllum Nativa 9,0 30,00 10,00 10,00 0,00 33,17 Remoção 2.04- Infraestrutura
155 792 Painera-rosa Bombacaceae Chorisia speciosa Nativa 12,0 53,00 0,00 0,00 0,00 53,00 Remoção 2.04- Infraestrutura
156 796 Cafezinho-do-mato Celastraceae Maytenus robusta Nativa 6,0 12,00 0,00 0,00 0,00 12,00 Remoção 2.04- Infraestrutura
157 490 Seafórtia Arecaceae Archontophoenix cunninghamiana Nativa 8,0 22,00 0,00 0,00 0,00 22,00 Remoção 2.05- Relev. Ambiental/ invasora
158 575 Seafórtia Arecaceae Archontophoenix cunninghamiana Nativa 21,0 10,00 0,00 0,00 0,00 10,00 Remoção 2.05- Relev. Ambiental/ invasora
159 639 Seafórtia Arecaceae Archontophoenix cunninghamiana Nativa 6,0 8,00 0,00 0,00 0,00 36,00 Remoção 2.05- Relev. Ambiental/ invasora

340 341
Landscaping Management Plan of the Tree Vegetation and low
retaining walls, stairs and ramps damages. Sheet 1

1
Management Plan of the
Tree Vegetation

Interference between tree

vegetation and boundary
walls

Interference between tree

vegetation and garden
infrastructure

Interference between tree

vegetation and garden
environments

Interference between tree

vegetation and buildings

The environmental relevance

of tree species vs. its
phytosanitary status and
potential for biological
invasion

Tree to be suppressed by
shallow felling

Tree to be pruned for crown

rebalancing

2
Low retaining walls, stairs
and ramps damages

43 see numbered photos as

indicated

3
External elevated tubes

342 343
Landscaping Architecture PA.01...

Code Component Description Diagnosis Identified pathology Orientations

PA. 01.03 low retaining walls in the garden Low retaining walls of brick, Damages ranging from light cracks to Trees at risk of falling should be
stonework, mortar finishing on the the partial decay of the retaining walls removed according to the diagnosis
exterior with incrusted pebbles, shards in some sections. Inclined trees and of the landscapers in the general
of ceramic and sandstone. exposed roots overburden the walls. plan. Reassess the situation after
their removal. In some cases, new
retaining walls should be constructed
within the existing wall to interrupt the
degradation. In others, it is necessary
to choose between interrupting the
ruin or erecting a new wall, appearing
clearly as not an original construction.

1 6
Light crack in the stair Light crack in the low
wall retaining wall

2 10
Interference of Light crack in low
external elevated retaining wall due to
water tubes over the tree growth
vegetable gardens.

3,4,5
Damages in the
vegetable garden
walls

344 345
Landscaping Architecture PA.01...

Code Component Description Diagnosis Identified pathology Orientations

PA. 01.02 retaining wall of reinforced concrete Retaining wall under platform at the Cracks and partial decay in the Remove the bushes and dirt against
under the ovens back of the house, where the oven and retaining walls. Contention previously the wall in order to evaluate the
grill are located. Back-up reinforced achieved with the fastening of stay structure’s integrity. If necessary,
concrete structure implemented after cables to the wall which does not construct a new internal contention
the original construction with the entirely impede the continuing risk of wall, thus relieving the pressure on the
objective of preventing it from ruin. ruin. The inclination of the wall warns original inclined wall.
of the risk of collapse.

13 14 15
Assembly view of View that allows us Concrete top of the
retaining wall and to understand the stay cables
landing where the relationship between
wood-burning oven the retaining wall
and grill are placed. and the oven on the
landing

17, 18
Water installation
passes through the
gap between the
inclined retaining wall
and the granite stone
structure, indicating
a stabilization of
movement.

346 347
Landscaping Architecture PA.02...

Code Component Description Diagnosis Identified pathology Orientations

PA.02.01 external flooring on the garden Flooring comprised of irregular Displacement of walkway slabs Reattach the stones with cement
walkways sandstone slabs, laid directly in the generates instability. mortar. Those that happen to be in
ground or on a small base of mortar. direct contact with the dirt should be
removed. Excavate the dirt and reset
the stone.

22 29 36
A stretch of wall View of the section of Wall cracked by the
with tree trunk and broken wall due to growth of the tree
roots raising the red to tree growth on the trunk.
sandstone stones of edge (live tree)
the path

24 30 37
Destabilized route Wall in the rupture Roots of the elastic
due to breakage process path Ficus tree forcing
and displacement of interrupted by the stone floor of the
retaining wall and installation tubes of pilotis area.
settlement of the electricity, telephony
stepping stones. and logic.

26 33 e 34 41
Retaining wall broken Ruined wal Crack in the edge of
due to tree growth at the retaining wall.
the edge (dead tree) Waterproof section to
receive rainwater fall
from the gargoyle

35
Cold water pipe
interrupting path.
Floor
stone loose and
shifted from its
original position.

348 349
Landscaping Management Plan of the Tree Vegetation and low
retaining walls, stairs and ramps damages. Sheet 2

1
Management Plan of the
Tree Vegetation

Interference between tree

vegetation and boundary
walls

Interference between tree

vegetation and garden
infrastructure

Interference between tree

vegetation and garden
environments

Interference between tree

vegetation and buildings

The environmental relevance

of tree species vs. its
phytosanitary status and
potential for biological
invasion

Tree to be suppressed by
shallow felling

Tree to be pruned for crown

rebalancing

2
Low retaining walls, stairs
and ramps damages

43 see numbered photos as

indicated

3
External elevated tubes

350 351
Landscaping Architecture PA.02...

Trees over the garage,

grown spontaneously. 44
Proposed complete
cut by interference Light crack in the low
with the building. 556, garden wall
557, 558, 559, 560,
561, 562, 563, 564,
565, 566.

48 49
Roots raising path Fall of a tree,
floors and damaging producing damage
walls to the path, low wall,
external enclosure
wall and public power
grid. August 2017.

50
Trunk growth makes
it difficult to pass
through the path.

352 353
Landscaping Management Plan of the Tree Vegetation and low
retaining walls, stairs and ramps damages. Sheet 3

1
Management Plan of the
Tree Vegetation

Interference between tree

vegetation and boundary
walls

Interference between tree

vegetation and garden
infrastructure

Interference between tree

vegetation and garden
environments

Interference between tree

vegetation and buildings

The environmental relevance

of tree species vs. its
phytosanitary status and
potential for biological
invasion

Tree to be suppressed by
shallow felling

Tree to be pruned for crown

rebalancing

2
Low retaining walls, stairs
and ramps damages

43 see numbered photos as

indicated

3
External elevated tubes

354 355
Landscaping Architecture PA.02...

59 Tree (expected for

complete pruning) fall
over the studio.
Trunk dislocation still
not damaging the low
garden wall.

67
Root threatening the
path.

62, 63, 64 Trees with

interference in the
boundary wall,
Bamboo clump next provided for cutting.
to a low wall. 723, 724, 725.

66 A 827
Damaged low wall. Wall damaged by
the fall of tree 827,
expected for complete
pruning.

A 824
Tree 827, scheduled
for complete removal,
supported on the
eaves of the Studio.

356 357
Landscaping Architecture PA.02...

74 Trees in the region

near the border wall
with Rua Seguidilha,
Slightly damaged proposed for removal.
flooring and retaining
wall

69, 70, 71
Stairway with isolated
stones with the
protection wall of the
Vasca (front), tree 151
intended for complete
cut.

68 e 75
Interference of the
cold water tube on
path.

79, 81, 82, 83

Destroyed paths and
walls, interference
from elevated tubes
for electricity and
telephone lines.
By the house one
can evaluate the
dimensions of the tree
84 148, proposed for full
removal, conflict area
79 .
Tree 788, proposed
for removal, interrupts
path.

358 359
Landscaping Management Plan of the Tree Vegetation and low
retaining walls, stairs and ramps damages. Sheet 4

1
Management Plan of the
Tree Vegetation

Interference between tree

vegetation and boundary
walls

Interference between tree

vegetation and garden
infrastructure

Interference between tree

vegetation and garden
environments

Interference between tree

vegetation and buildings

The environmental relevance

of tree species vs. its
phytosanitary status and
potential for biological
invasion

Tree to be suppressed by
shallow felling

Tree to be pruned for crown

rebalancing

2
Low retaining walls, stairs
and ramps damages

43 see numbered photos as

indicated

3
External elevated tubes

360 361
Landscaping Architecture PA.02...

93
Long extension of
destroyed retaining
wall. Tree 254
proposed for removal
due its interference
with the infrastructure
of the garden.

89
View from the trees
above the caretaker’s
house on steep slope.
Proposed complete
cutting of trees 797
and 801.

97, 98 94
Area at the back of Tree 127 (Persea
the land, with great americana - avocado)
slope and several supported on the
trees about to fall. service area platband.
Proposed removal
by conflict with the
building.

84 Tree 132 fall over the

house service area,
breaking tiles. Notice
Tree 788, proposed that the whole tree
for removal, interrupts (with roots) has fallen
path.

362 363
Landscaping Garden visitation paths
and support areas

Garden visitation paths

Captions of the difficulty
degree of the paths

Blue path
Low difficulty

Yellow path
Medium difficulty

Purple path
High difficulty

Red path
High difficulty and
obstructions

Areas selected for the

green waste disposal
system – composting and
storage

Storage

Composting

Position of selected tree

specimens for visual
communication
See numbering indication in
species identification table

364 365
Selected tree specimens
Educative signs

Item Nº da plaqueta Nome científico Nome popular Família botânica Origem Altura DAP1 DAP2
1 5 Cupania vernalis Camboatá-vermelho Sapindaceae nativa 6,00 8,00 10,00
2 7 Amaloua guinensis Canela-de-veado Rubiaceae nativa 7,00 14,00 0,00
3 26 Cupania vernalis Camboatá-vermelho Sapindaceae nativa 8,00 34,00 0,00
4 41 Alchoenea sp. Pau-óleo Euphobiaceae nativa 7,50 18,00 0,00
5 45 Plinia cauliflora Jaboticabeira Myrtaceae nativa 6,00 10,00 5,00
6 47 Schizolobium parahyba Pixiricuçu Fabaceae nativa 12,00 30,00 0,00
7 55 Aspidosperma polyneuron Peroba-rosa Apocynaceae nativa 9,50 21,00 0,00
8 60 Casearia decandra Pau-de-espeto Salicaceae nativa 9,00 30,00 0,00
9 82 Hymenaea courbaril Jatobá Fabaceae nativa 6,00 6,00 0,00
10 96 Alchoenea sp. Pau-óleo Euphobiaceae nativa 8,00 20,00 0,00
11 107 Casearia sylvestris Guaçatonga Salicaceae nativa 7,50 30,00 0,00
12 114 Maytenus floribunda Cafezinho-do-mato Celastraceae nativa 7,00 10,00 0,00
13 120 Calyptranthes sp. Guamirim-chorão Myrtaceae nativa 6,00 8,00 0,00
14 129 Maytenus sp. - Celastraceae nativa 8,00 20,00 0,00
15 160 Caesalpinia pluviosa Sibipiruna Fabaceae nativa 12,00 22,00 0,00
16 163 Andira legalis Angelim doce Fabaceae nativa 7,00 13,00 0,00
17 169 Pera glabrata Sapateiro Peraceae nativa 9,00 27,00 0,00
18 170 Guatteria nigrescens Pindaiba-preta Annonaceae nativa 6,00 11,00 0,00
19 227 Handroanthus ochraceus Ipê-do-cerrado Bignniaceae nativa 4,50 11,00 0,00
20 256 Syagrus romanzoffiana Jerivá Arecaceae nativa 15,00 9,00 0,00
21 258 Schizolobium parahyba Guapuruvu Fabaceae nativa 12,00 110,00 0,00
22 275 Copaifera langsdorffii Copaiba Caesalpiniaceae nativa 8,00 12,00 0,00
23 283 Hyeronima alchorneoides Licurana Phyllanthaceae nativa 7,00 15,00 5,00
24 481 Eriobotrya japonica Nespera Rosaceae exótica 4,00 5,00 0,00
25 484 Eugenia uniflora Pitanga Myrtaceae nativa 6,00 13,00 0,00
26 517 Ceiba speciosa Paineira-rosa Malvaceae nativa 15,00 75,00 0,00
27 527 Balfourodendron riedellianum Pau-marfim Rutaceae nativa 8,00 19,00 0,00
28 528 Ceiba speciosa Paineira-rosa Malvaceae nativa 15,00 60,00 0,00
29 535 Luehea speciosa Açoita-cavalo Malvaceae nativa 15,00 64,00 0,00
30 585 Caesalpinia leiostachya Pau-ferro Fabaceae nativa 15,00 40,00 0,00
31 603 Eugenia brasiliensis Grumixameia Myrtaceae nativa 7,00 7,00 0,00
32 609 Syzygium malaccense Jambo Myrtaceae nativa 6,00 15,00 15,00

366 367
Item Nº da plaqueta Nome científico Nome popular Família botânica Origem Altura DAP1 DAP2
33 631 Caesalpinia leiostachya Pau-ferro Myrtaceae nativa 17,00 38,00 0,00
34 632 Artocarpus heterophyllus Jaqueira Moraceae exótica 17,00 35,00 0,00
35 655 Caesalpinia pluviosa Sibipiruna Fabaceae exótica 12,00 27,00 0,00
36 687 Ficus sp. Figueira Moraceae nativa 7,00 19,00 0,00
37 735 Syagrus romanzoffiana Jerivá Arecaceae nativa 9,00 21,00 0,00
38 751 Archontophoenix cunninghamiana Seafórtia Arecaceae exótica 6,00 11,00 0,00
39 759 Guarea kunthiana Peloteira Mellaceae nativa 6,00 23,00 0,00
40 764 Hirtella hebeciada Macucurana-cinzeiro Chrysobalanaceae nativa 10,00 20,00 9,00
41 769 Peltophorum dubium Cafístula Fabaceae nativa 7,50 20,00 0,00
42 771 Machaerium nyctitans Jaracandá-com-espinho Fabaceae nativa 12,00 19,00 0,00
43 789 Syagrus romanzoffiana Jerivá Arecaceae nativa 11,00 26,00 0,00

368 369
Landscaping Location of stairs and ramps

See descriptive table

on next page

Stairs

Ramps

10

11

13
15

12

14

1
2
16

17

4
6 1 18
5
8
7
9

370 371
Table of stairs and ramps

Item Denominação Cota Inclinação Classificação Corrimão Sinalização visual Sinalização podotátil Recomendações

Código Base Topo Desnível Compr (%) graus

Escada 1 Escada passeio externo da Casa 112,4 115,4 3 15,36 20 10,5 Caminho com degraus Não apresenta Não apresenta Não apresenta Corrigir pontos de solapamento e refazer
CV.03.02.05 de Vidro rejuntes

Escada 2 Escada caminho de pedra 115,8 118,3 2,5 5 50 27 Dentro do intervalo Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos,
PA.02.01 para escada realizar drenagem ao longo do trecho e instalar
corrimão

Escada 3 Escada 116 117,2 1,2 1,95 62 33,2 Dentro do intervalo Não apresenta Não apresenta Não apresenta Apesar da recomendação, a instalação de
PA.02.03 para escada corrimão descaracteriza o bem tombado

Escada 4 Escada caminho de pedra 114,9 117 2,1 7,6 28 14,9 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degrausde pedra soltos,
PA.02.01 realizar drenagem ao longo do trecho e instalar
corrimão

Escada 5 Escada caminho de pedra 114,9 115,7 1,1 2,2 50 27 Dentro do intervalo Não apresenta Não apresenta Não apresenta Apesar da recomendação, a instalação de
PA.02.01 para escada corrimão descaracteriza o bem tombado

Escada 6 Escada passeio externo da Casa 114,3 116 1,7 5,5 31 16,7 Caminho com degraus Não apresenta Não apresenta Não apresenta Corrigir pontos de solapamento e refazer
CV.03.02.05 de Vidro rejuntes

Escada 7 Escada caminho de pedra 112,3 114,3 2 5,5 36 19,6 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 8 Escada caminho de pedra 108,7 110,1 1,4 3,4 41 22,2 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 9 Escada caminho de pedra 103,5 112,2 8,7 22,45 39 20,9 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 10 Escada entrada do estúdio 95,8 97,5 1,7 3,3 52 27,8 Dentro do intervalo Não apresenta Não apresenta Não apresenta Instalação de corrimão de seção cilíndrica
para escada dentro do padrão de altura (90cm 72 cm)

Escada 11 Escada caminho do estúdio 97,5 103,7 6,2 26,54 23 12,6 Caminho com degraus Apresenta Não apresenta Não apresenta Apesar da recomendação, a instalação de
PA.02.01 e PA.02.02 corrimãocilídrico descaracteriza o bem tombado

Escada 12 Escada caminho do estúdio 103,9 108,6 4,7 12,85 37 19,8 Caminho com degraus Apresenta Não apresenta Não apresenta Apesar da recomendação, a instalação de
PA.02.01 e PA.02.02 corrimãocilídrico descaracteriza o bem tombado

Escada 13 Escada caminho da casa do caseiro 101 105,5 4,5 6,5 69 37,4 Dentro do intervalo Não apresenta Não apresenta Não apresenta Apesar da recomendação, a instalação de
PA.02.01 e PA.02.02 para escada corrimãocilídrico descaracteriza o bem tombado

Escada 14 Escada caminho da casa do caseiro 99,75 102,8 3,05 8,05 38 20,5 Caminho com degraus Apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 15 Escada caminho de pedra 102,2 108,9 6,7 23,9 28 15,1 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 16 Escada caminho de pedra 97,7 100,48 2,78 12,6 22 11,9 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 17 Escada caminho de pedra 99,16 100,2 1,04 7,1 15 7,9 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

Escada 18 Escada caminho de pedra 99,2 102,64 3,44 17,1 20 10,9 Caminho com degraus Não apresenta Não apresenta Não apresenta Reassentamento dos degraus de pedra soltos
PA.02.01

RAMPA 1 Rampa para veículos 100,2 108,1 7,9 44,45 18 9,6 Rampa muito Não apresenta Não apresenta Não apresenta Elemento original da casa, não pode ser
PA.02.04 íngreme, fora do alterado. Alternativas: uso de veículo elétrico,
recomendado autorizar acesso do veículo do visitante,
construír sistema em outra posição.

372 373
4 Conservation Management Plan

374 375
4.1 Declaration of Cultural Significance

The main importance of the Casa de Vidro [Glass House] The Casa de Vidro has the historical importance of having
is its modern aesthetic conception, which guides all its been the home of the Italian couple Lina Bo and Pietro
design decisions. Representing the modern architecture Maria Bardi, who arrived in Brazil in 1946. It contains their
produced in Brazil in the 1950s, the work stands out for contributions to the Brazilian intellectual formation, in
the spatial continuity between interior and exterior, which particular to art, architecture, design and to museology. It
provides spatial integration with the surrounding tropical keeps the couple’s main collection of documents, as well
garden. The absence of brises soleil protection highlights as their collection of objects of art, popular culture and
the transparency of floor-to-ceiling glass frames, while design. Thus, it is the shelter of a collection of international
the structure and floor colors of sky-blue glass inserts importance for research in the area of art history and
accentuate spatial continuity. architecture, and its structure and equipment must be
constantly updated.
The room is a platform raised from the ground which is
supported by thin cylindrical pillars. In it, the arrangement Preserved at the municipal (Conpresp), state (Condephaat)
of the collection of works of art and furniture, from different and federal (Iphan) levels as an initiative of the Bardi couple,
origins and times, is a record of an expographic experiment the Casa de Vidro and its collection have relevant cultural
that would feed the project of the second headquarters value for contemporary times. Concomitantly with their
of the Museum of Art of São Paulo (Masp). The contrast preservation, the couple created the Quadrante Institute,
between the high transparent room and the opaque volumes now known as the Bardi Institute. Its main mission is
of ground-based white masonry is another relevant feature to manage the conservation of the house and make its
of the architectural ensemble. architecture, collection and garden accessible to the public.
Since then, the Bardi Institute stands out as an example
The intense tropical garden sets it apart from other works of preservation of private cultural heritage in the country.
with glazed facades of the same period. Inexistent at the Position that allows it to share its experience with other
time of the project, the garden was conceived along with institutions, aiming at the production of preservationist and
the architecture, planted and worked by the couple in their educational policies in this area.
daily lives. The garden situates the abstract and international
architecture of the Casa de Vidro in tropical Brazil. In addition to preserving the Casa de Vidro, the Bardi
Institute has cultural and artistic goals and can promote
The three existing annexes, as well as the retaining walls, exhibitions, courses, conferences and even grants for the
garden walls, stone pathways and staircases were built production of artists, architects and art and architecture
on different principles from those of the main house. They historians. The Casa de Vidro, its garden and collection
note the transformations the architect has gone through attract the interest of a wide audience, which demands
in her life: from an international architecture, in the main that it be equipped accordingly in order to welcome them
house and in the caretaker’s house, she approached the without conflicts with its preservation and with the research
organicism in the garage, reaching an interpretation of and training activities promoted by the Bardi Institute. The
popular architecture in the studio. These constructions adaptation or construction of new areas to support these
carry different degrees of aesthetic importance, but all of activities must be done in a manner that is compatible with
them contribute to the historical narrative of the couple’s the preservation of the main features of architecture and
trajectory in Brazil. landscaping.

The preservation of the Casa de Vidro is inseparable from

the mission of the Bardi Institute, being both legacies of the
couple Lina and Pietro Maria Bardi.

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4.2 Significance Matrix

Aesthetic Historical Irreplaceability General

Value Value Authenticity Degree Significance

Main House Exceptional Exceptional High (underwent renovations that High Exceptional
maintained its set)

Living Room Exceptional Exceptional High High Exceptional

Bedrooms sector High Medium Medium Medium High

Kitchen High High High High High

Service Low Low Low Low Low

Pilotis Exceptional Exceptional (steel cylindrical Exceptional High Exceptional

pilotis did not exist in Brazilian
architecture)

Roof and Gutters High (curved cover Medium None (already replaced) None (with the exception of front Medium
profile) gargoyles)

Garden roof High High Medium Medium Medium

Glazing pockets of the living room Exceptional Exceptional Medium (various interventions due Medium Exceptional
to oxidation)

Glass on the living room Exceptional High None (already replaced) None Exceptional

Windows frames High High Medium Medium High

Vidrotil coating Exceptional Exceptional Exceptional Exceptional (no longer Exceptional

manufactured)

Studio High High High Medium High

External seal High High Medium (some panels have been Low (panels in production) High
replaced)

Wood structure High High High Medium High

Wood planks of the floor Medium Medium Medium Low High

Hydraulic module High High High Low Medium

Garden roof High Medium High Low High

Garage High Medium High Medium High

Garden roof High High Medium (mishandling) Low (needs management) High
(remarkable presence in the set)

External seal High High High High High

Gate Medium Medium Medium (has already suffered Low (as long as the external Medium
several interventions to make it appearance is maintained)
work)

Interior Low Low Low Low Low

Caretaker’s House Low Low Low Low Low

Garden roof High High Low (much maintenance) Low High (high exposure in the set)

External seal Medium Medium Low Low Low

Glazing pockets Low Low Low Low Low (do not interfere with the set)

Interior Low Low Low Low Low

378 379
 Aesthetic Historical Irreplaceability General
Value Value Authenticity Degree Significance

Garden High High Medium Medium High

Paths, stairs and ramps High Medium High Medium High

(needs maintenance)

Retaining walls High Medium High High High

Walls High Medium High High High

Living floors Medium Medium High Medium High

Vascas High High High High High

Oven and barbecue High High High High High

Tree vegetation High Medium Medium (unmanaged growth) Medium High

Undergrowth vegetation Medium Medium Low (many species disappeared Low Medium
with shade from growing trees)

Collection Exceptional Exceptional Exceptional Exceptional Exceptional

Fundo Lina Bo Bardi Writings, drawings, photos of works, videos Exceptional Exceptional Exceptional Exceptional Exceptional

Fundo Pietro Maria Bardi Writings, publications, collections Exceptional High (incomplete) Exceptional Exceptional High (part of the documents are in the Masp
Library, another part in the Trivulsiana Library
in Milan)

Collection of works of art Historical paintings, sculptures, artifacts and High High (incomplete) Exceptional High High (an important part of the works was
furniture removed by the heirs of Pietro M. Bardi)

Library Books purchased by the couple Bardi High High (incomplete) Exceptional (books with notes on Exceptional High (an important part of the books was
its margins) donated to the Masp Library)

380 381
4.3 Conservation Management Policy

Plan of Goals, Actions and Projects Goal 1

Goal 1 Preserve the modern aesthetic integrity Action 1 Action 2 Action 3

Preserve the modern aesthetic integrity of the Casa de Vidro as an example
of the Casa de Vidro as an example that stands out amidst the vast array of Ensure full transparency of floor-to-ceil- Ensure the integrity of the tubular col- Preserve the structural performance of
that stands out amidst the vast array of modern architecture produced in Brazil ing framed glass. umns. floor and roof slabs to maintain their
modern architecture produced in Brazil in the 1950s. slimness.
in the 1950s. Associated projects: Associated project:
Description: Associated project:
Goal 2 The exceptionality of the set of build- 1 Periodic maintenance of metal columns
Preserve the attached buildings (Care- ings is due to the spatial continuity Replace the room’s windows with safe- in order to eliminate surface corrosion. 1
taker’s House, Garage and Studio) as a between interior and exterior, consti- ty models that are impact resistant and – cleaning, with chemical removal Preservation of the side and bottom
testimony to the transformations in the tuted by the full transparency of the that ensure the protection of the works of oxidation; removal of the old coverings of the floor slab.
Bardi couple’s architectural and cultural room, raised from the ground, which of art. painting; application of antioxidant – observe the emergence of signs of
conceptions. integrates the domestic experience, the Urgency: selection and approval of protection background and epoxy oxidation;
collection of works of art and the trop- the type of glass to be adopted – paint in original color; – observe the appearance of
Goal 3 ical garden planted by the couple. The laminated, with protection against – evaluate every six months the efflorescence, cracks, detachment
Make the garden enjoyable for visitors, contrast between the transparency of ultraviolet rays; emergence of new oxidation of plaster and painting;
seeing it not just as a complement to the high glazed room and the opacity of – approval of such replacement from points. – correct pathologies, when they
architecture. the floor-mounted volumes is a striking the historical heritage preservation Urgency: short term occur, by removing loose material
feature of the ensemble. agencies: Conpresp, Condephaat and reconstituting the mortar;
Goal 4 and Iphan; – annual painting with whitewash.
Institutional: Consolidate its use as a The essential components to maintain – donation or discount agreement Urgency: recommendation
house museum, headquarters of the this aesthetic quality are: with the glass manufacturer;
Bardi Institute, with a significant col- – planning of the implementation 2
lection which consists of the personal 1 together with the adequacy of the Recovery of the watertightness of the
documents of the couple Lina and Pi- whole window frames from floor to frames; cover and its preservation.
etro Maria Bardi and their collection of ceiling; – preparation of the partial – replacement of all asbestos cement
works of art. 2 interdiction of the house during the tiles, due to their toxic character,
slimness of cylindrical pillars and floor works; with new generation fiber cement
Goal 5 and roof slabs in the living room area; – planning the transfer of the model (see Inventory CV.03.04.01);
Provide the Casa de Vidro with facili- 3 Institute’s activities to other areas – removal of glass wool and cleaning
ties, infrastructure and routines suitable lightness and transparency of the of the plot during the works; of the slab;
for its use as a cultural institution and access ladder; – development of specific – coat the rails internally with self-
as a listed historical heritage site. 4 educational activities during the adhesive aluminized asphalt blanket
lightness of the sky-blue floor used; works. (see Inventory CV.03.04.03);
Goal 6 5 Urgency: short term – install semi-spherical drains at the
Plan new buildings and expand the arrangement of furniture and artwork in inlets of rainwater pipe;
urban / social insertion of the Casa de the living room; 2 – carry out maintenance of channel
Vidro. 6 Maintenance of frames and glazing flashing and chimneys;
visual and spatial continuity with the pockets to prevent oxidation. – observe the appearance of moist
surrounding tropical garden. – maintenance of frames and glazing points.
pockets, removing oxidation and Urgency: emergency
installing anti-corrosion device (see
Inventory);
– project and install devices to
absorb the expansion of the
structure, avoiding transmission to
the glasses (see Inventory).
Urgency: short term

3
Elimination of risk of impact on glass.
– implement a tree management
plan for pruning and cutting
those closest to the frames (see
Landscape project);
– train employees to avoid impacts
during cleaning and house
maintenance.
Urgency: emergency

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Action 4 Action 5 Action 6 Action 7 Action 8

Recover the integrity of the garden roof Maintain the lightness and transparen- Maintenance of floors in Vidrotil tessel- Arrange furniture and artwork in the 2 In order to ensure visual and spatial
on the kitchen. cy of the main staircase. lation. living room to ensure the continuity of Establish expographic criteria to guide continuity with the surrounding tropical
the space. art and collection exhibitions in the garden, implement a tree management
Associated projects: Associated projects: Associated projects: living room, house and garden (see plan.
Associated projects: Addendum 1).
1 1 Careful maintenance of Vidrotil floors, Associated projects:
Removal of the water tank and boiler Maintenance of the ladder structure. ensuring the material replacement in 1 – set periodicity for exhibitions so
over the garden roof (linked to the con- – cleaning, paint and oxidation the future when necessary. Make graphic pieces that provide clear that the living room remains most Implement the tree management
struction of the new external water tank removal; – perform periodic cleaning; instructions for furniture layout and of the year in a configuration close plan in the area surrounding the Main
– Goal 6, Action 3). – painting with antioxidant layer; – redo grouts when damaged; artwork inside the house. to that existing at the time of Pietro House, eliminating risks to the integrity
– removal of water tank, boiler, – follow the development of the – avoid point charges; Maria Bardi’s death in 1999; of the architecture and of the users.
substructure and distribution structure’s arrow and develop new – locate and purchase product stock – living and dining room; – have an exhibition schedule – obtain approval of the
piping; studies if it increases. to ensure future replacement. – try to dispose the furniture in released 12 months in advance, in Management Plan from the City
– recomposition of the support Urgency: mid-term Urgency: recommendation accordance with the existing order to guide visitors; Hall and the historical heritage
points of the substructure removed arrangement shortly after Pietro – submit external exhibitions to the preservation bodies (Conpresp,
in the slab. 2 Maria Bardi’s death, saving preservation bodies of the historical Condephaat and Iphan);
Urgency: mid-term Study alternatives to the escape route room for furniture removed heritage: Conpresp, Condephaat – obtain, from Conpresp,
in the Fire Safety Plan (linked to the after the sharing. These spaces and Iphan; authorization to use the resources
Goal 6, Action 2). can be filled with replicas or – avoid obstructing the vision of of the transfer of the constructive
2 – request special procedures for the analogous volumes. the Casa de Vidro with artistic potential;
Recovering of the tightness of the gar- processes at the Fire Department – room – research area and library; interventions; – develop a communication plan to
den roof. and at the Municipal Permanent – restructure the library, – establish criteria for third party explain to society the reasons for
– remove grass and mandacaru and Commission of Accessibility, as separating the books in the exhibitions at the House. tree felling and pruning, avoiding
preserve it for replanting; what is at stake is a heritage site; collection from the titles later Urgency: recommendation negative repercussions;
– remove the soil and evaluate – elaborate a plan with another to the death of the Bardi – hiring landscaper to coordinate and
the conservation status of the escape route that dispenses with couple; specialized company to perform
waterproofing; the suitability of the ladder. – keep tables and chairs in the the cuts and pruning;
– redo the waterproofing with the Urgency: short term current arrangement; – establish order of progressive
same system for all garden roofs – improve lighting with floor and implementation of the plan;
(Caretaker’s House, Garage, table lamps; – carry out a new landscape
Studio); – after eventual annexes are built, evaluation of the Casa de Vidro
– redo the top of the disabled this function will be transferred, after management.
chimney and make new freeing up the area for the Urgency: emergency
waterproofing; reconstruction of the original
– reconstitution of the original library with glass shelves.
landscaping documented in the – pantry and kitchen – keep as they
period photos. are;
Urgency: mid-term – bedrooms – after the eventual
construction of annexes to the
collection, the bedrooms can
be reconstituted in their original
arrangement, with the beds;
– service rooms and laundry –
an area that can be adapted to
new uses, including the possible
demolition of non-structural walls
between the environments.
Urgency: recommendation

384 385
Goal 2

Preserve the attached buildings (Care- Action 1 Action 2 Action 3 Action 4

taker’s House, Garage and Studio) as
testimony of the transformations in the Recovery of the garden roofs of the ga- Garage adaptations in order for it to Adaptation of the Studio as a Multipur- Maintenance of the Caretaker’s House 3
architectural and cultural conception of rage and of the Caretaker’s House, redo become a Reception hall, preserving pose Room for lectures, debates, work- and study for new uses New interior distribution according to
Lina Bo Bardi. the waterproofing and consolidate veg- its external volume. External additions shops (already equipped with screen Due to its implantation character- the proposed uses.
etation of appropriate size. Preserve the must be made at a level and distance and projector). istic, with a wall in direct contact with – use as a temporary artistic
Description: tightness of the studio’s garden roof. that do not prevent the view of the the ground, the Caretaker’s House residence: maintain the distribution
Lina Bo Bardi designed each annex back wall from the street. Associated projects: requires special maintenance to ensure of the walls and improve the quality
according to her architectural concep- Associated projects: its habitability. of the environments and furniture;
tions of the moment. For this reason, Associated projects: 1 The use of the house to house a – use as a Reception for new access
the three annexes have quite different 1 Develop layout for each use situation. resident caretaker can be changed through Seguidilha Street;
forms, techniques and uses. The Care- Recovery of the tightness of Garage’s 1 study of maximum capacity for use as through other modes of operation. If – improve integration with the side
taker’s House was built along with the garden roof (item GA.01.02). Replacement of the gate. auditorium; we choose to keep a resident caretaker, gate and access conditions.
main house. The Garage represents – after tree management, which · make a project with a lighter – plan of folding tables for this function could be transferred to Urgency: recommendation.
her dialogue with Bruno Zevi and or- will exclude trees grown on top structural system with larger capacity workshops, with drawing activities; a new building or to part of the annex
ganicism. The Studio was designed of garden roof, remove existing that avoids the structural arrow when – Layout option plans for special that will house the Institute’s collection 4
according to her research on popular shrub vegetation and preserve for opened; event rentals. and research activities in the future. Universal Accessibility Plan.
architecture. replanting; – maintain the accordion opening Urgency: recommendation The internal division of the house is not – study of accessibility from the
Preservation should be guided by – remove the soil and evaluate system; structural, nor does it have significant street;
the degrees of importance and authen- the conservation status of the – maintain the external appearance, 2 historical value which would require its – study of accessibility from the Main
ticity proposed in the Declaration of waterproofing; ie the dimensions and orientation Improvement of environmental and preservation. Even openings – windows House;
Significance and the Matrix of Signifi- – redo the waterproofing with the of the exterior wood paneling; acoustic comfort conditions. and doors – can be changed without toilets adaptation project.
cance, adapting them to the needs of same system for all garden roofs – obtain authorization from historical – grouting the boards covering substantially interfering with the pre- Urgency: recommendation
use as a house museum. (Caretaker’s House, Garage, heritage preservation agencies: the cracks in the floor (ES.01.03 served set.
Studio); Conpresp, Condephaat and Iphan. Inventory); The proximity of the Caretaker’s
The guidelines for this goal are: – reconstitution of the original Urgency: mid-term – perform frequent cleaning of House with Seguidilha Street may give
landscaping. tiles, with maintenance to avoid it the function of a Reception in the
1 Urgency: mid-term 2 dislocations and gutters; event of creating a new access to the
maintain the external integrity of the Complete the Reception’s internal – check for the emergence of leaks set.
Garage’s architecture, adapting its in- 2 facilities. in the garden roof of the kitchen; The following projects should be
terior, through furniture and sanitary Restoration of watertightness of the – develop lighting design; – installation of microphone sound carried out after Action 1 of Project 2 of
facilities, to the welcome visitors; garden roof (item CC.01.03) and retain- – install panels and screens with equipment; this goal – the restoration of the garden
ing wall (item CC.02.02) of the Caretak- informational videos. specific lighting design. roof tightness and of the retaining wall.
2 er’s House. Urgency: recommendation Urgency: mid-term
maintain the Studio’s complete integrity – after construction of the centralized Associated projects:
by adapting its interior, through furni- water tank, remove the provisional 3 3
ture and facilities, to support course, PVC water tank from the slab; Complete the Reception’s external fa- Universal Accessibility Plan 1
seminar, workshop and conference – remove the soil and evaluate cilities. – study of accessibility from the Improvement of environmental comfort
activities; the conservation status of the – develop volume project attached street; conditions (besides waterproofing).
waterproofing; to the Garage for toilets, located – study of accessibility from the Main – create a project of ventilation
3 – redo waterproofing with the at the rear, at a level that does not House; system near the inner wall of the
maintain the volumetric integrity of the same system for all garden roofs obstruct the view of the volume – partial adaptation of the bathroom retaining wall. The system must
Caretaker’s House, especially the gar- (Caretaker’s House, Garage, from the street; with widening of the door and allow cross ventilation;
den roof, preserving its use until new Studio); – creation of external space with installation of bars. – selection of heating system of the
uses are defined and adaptations are – reconstitutions of the landscaping; benches for waiting. Urgency: recommendation interior of the house.
built; – remove soil near the retaining Urgency: short term Urgency: mid-term
wall and make inventory
4 recommendations. 2
include Garage, Studio and Caretaker’s Urgency: mid-term Removal of additions (besides water
House in the Universal Accessibility tank).
Plan. 3 – removal of the front cover of the
Preserve the tightness of the garden terrace;
roof of the Studio hydraulic module – removal of the lateral service area;
(item ES.01.05). – project of new service support
– check the appearance of moist system, inside the house.
points; Urgency: recommendation
– if moist occurs, apply the
procedures described for the
Garage.
Urgency: recommendation

386 387
Goal 3

Make the garden enjoyable for visitors, Action 1 Action 2 Action 3 Action 4
seeing it not just as a complement to
architecture. Manage the trees so that they remain in Floristic enrichment Recover the landscaped environments, 5 Design new traffic infrastructure within
dimensions that qualify the garden and of shrub and forage vegetation, bene- vegetables garden and aromatic gar- Reactivate the vasca 1, frontal universal accessibility standards.
Description: do not pose a risk to the physical integ- fited by the incidence of sunlight after den, and the existing constructions in (PA.02.08).
The garden was built by the couple, rity of buildings and people. management. the garden (walls, paths, stairs, “vasca” – install aerator for reserved water; Associated projects:
who selected tropical species from and living floors). – paint it internally;
Brazilian and exotic flora, personally Associated projects: Associated projects: – redo landscaping project of the 1
planting them and taking care of them. Associated projects: water mirror. After the implementation of
Uncontrolled growth must be reversed, Tree Management Plan. Develop specific landscape design and Urgency: short term the management plan, perform
and the garden can be maintained with – elaborate communication plan so implement it. The project should re- 1 topographic survey on previously
features that allow light to enter, flower, that the felling and pruning are cover the characteristics of the original Recovery of garden walls according to 6 selected sections.
and walks. understood as a positive action, garden, identified by research already Inventory recommendations (PA.01.02). Define use for vasca 2 (PA.02.09), Urgency: short term
consistent with the preservation carried out in this plan. – select the walls that need some associated with the rear living floor.
In order to achieve this goal it will be and enrichment of the garden; Urgency: mid-term kind of stabilization; Urgency: mid-term 2 Design side ramp to the house,
needed to: – hire a landscaper to assist in the – in severe cases, build internal wall, connecting the floor of the pilings to
process of approval of the plan at leaving the damage in the existing 7 the main floor.
1 public agencies; one; Adapt the old courtyard rose garden – create a project and submit it
manage the trees so that they remain in – bid for the execution of the plan; – in cases where there is no risk of (between bedrooms and service rooms) to the preservation bodies of
dimensions that qualify the garden and – develop products from cut trees for collapse, leave it as it is. to an aromatic garden. the historical patrimony and
do not pose a risk to the physical integ- selling in the store. Urgency: short term. – carry out the management plan the Permanent Commission of
rity of buildings and people; Urgency: emergency and remove trees that have Accessibility of the City Hall;
2 2 accidentally grown in this garden; – ask Conpresp to authorize the use
undertake landscape design for shrub Recovery of paths. – undertake landscape design for of funds obtained from the transfer
and forage vegetation; – Re-fix the stones according to cultivation of half-shadow species of constructive potential;
3 the Inventory recommendation such as camellias, shadow lilies, – bid and monitor the work.
recover the landscaped environments (PA.02.01). calatheas and marantas; Urgency: emergency
and existing constructions in the gar- Urgency: short term – insert the garden in the visiting
den; path. 3
4 3 Urgency: short term Design accessible path near the lower
design new circulation infrastructure Construction of new handrails wall, connecting the main gate to the
within universal accessibility standards; according to the stairs and ramps 8 Studio.
5 table. Recovery of vegetables garden. – create a project and submit it
implement didactic garden visitation – design new handrails on critical – hire technical assistance for the to the preservation bodies of
paths, with emphasis on the remark- sections that do not have this reactivation and maintenance of the historical patrimony and
able trees; equipment, so they are compatible the vegetables garden; the Permanent Commission of
6 with the preservation of the – cultivate aromatic and culinary Accessibility of the City Hall;
create service areas for pruning stor- heritage site. plants to support visitation. – ask Conpresp to authorize the use
age, composting and seedling nurser- Urgency: mid-term Urgency: mid-term of funds obtained from the transfer
ies; of constructive potential;
7 4 – bid and monitor the work.
create schedule of events in the gar- Elimination of interference from air Urgency: mid-term
den. infrastructure according to Inventory
(PA.03.02).
– lowering the pipe to ground level
between rocks when crossing the
path floor;
– lower the pipes vertically outside
the walls.
Urgency: short term

388 389
 Goal 4

Action 5 Action 6 Institutional: Deciding whether or not For this, it is necessary: 9

to assume the configuration of a house 1 Conduct periodic evaluations of the
4 Implement the didactic garden visita- Create service areas for pruning stor- museum, adapting it to the specific maintain the integrity of documentary Institute’s cultural policy, with the con-
Design accessible pathway linking the tion paths proposed by the landscaping age, composting and seedling nursery. characteristics of the Bardi Institute, collections; tribution of intellectuals well-known to
Studio to the Caretaker’s House. team. a work of relevant architecture, head- Brazilian culture;
– create a project and submit it Associated projects: quarters of a cultural institution with a 2
to the preservation bodies of Associated projects: program of activities and an exceptional ensure the integrity of the collection of 10
the historical patrimony and 1 collection, consisting of documents and works of art and design, including the build a communication policy that
the Permanent Commission of 1 Create areas for pruning storage as a collection of works of art of the cou- manner of presentation in the house reflects the vocation of space and its
Accessibility of the City Hall; Blue course – low difficulty. outlined in the Landscaping Plan. ple Lina and Pietro Bardi. itself; guidelines, serving different audiences;
– ask Conpresp to authorize the use – Short route connecting the ramp
of funds obtained from the transfer level to the Garage, crossing the 2 Description: 3 11
of constructive potential; garden. Create compost area for compost gen- The preservation of the Casa de Vidro increase the publicization of the col- strengthen institutional relations for
– bid and monitor the work. – resettlement of floor stones eration, as outlined in the Landscaping and the creation of the Bardi Institute lections, establishing agreements with strategic partnerships and relationships
Urgency: mid-term (PA.02.01); Plan. were conceived in an integrated way related institutions; with governments, organizations and
– handrail installation on critical by the Bardi couple. Institutional de- society;
5 sections (according to stairs and 3 velopment is essential for preservation 4
Design tower elevator connecting Main ramps table). Create seedling nursery for garden to occur satisfactorily. The Institute is offer adequate conditions and varied 12
House, Studio and Caretaker’s House management and sale in the reception responsible for the fulfillment of the programs for visitation; create an integrated management pol-
with use of walkways, if necessary. 2 shop. Recommended location in the intellectual mission established for it by icy, with clear guidelines for content /
– create a project and submit it Yellow course – medium difficulty. northern area of the land. the Bardi couple upon its founding. This 5 collection, administration, communica-
to the preservation bodies of – resettlement of floor stones Urgency: short term mission includes the preservation of the fulfill the mission of forming public and tion and disclosure;
the historical patrimony and (PA.02.01); collection, its use in research, educa- producers of art history and architec-
the Permanent Commission of – handrail installation on critical tion in the fields of art and architecture ture; 13
Accessibility of the City Hall; sections (according to stairs and Action 7 and the stimulation of modern Brazilian structure a project program for annual
– raise specific resources for the ramps table). culture. It is also responsible for obtain- 6 fundraising, with systematized sched-
construction of the set. Create structured educational program- ing the resources necessary to preserve build programs to stimulate research ule of actions, including all funding
Urgency: recommendation 3 ming for the courses, living floors, bar- the estate and remain active. in the history of art and architecture, mechanisms and potential sources of
Purple course – high difficulty. becue area and pizza oven, pilotis and themes defined in the Institute’s funds.
– resettlement of floor stones porch of the main ramp. founding minutes, in partnership with
(PA.02.01); Urgency: recommendation universities, research centers and re-
– handrail installation on critical searchers;
sections (according to stairs and
ramps table); 7
– elimination of air infrastructure plan program, project and construction
interference in accordance with the of specific spaces for the Bardi Institute
Inventory (PA.03.02). on the Casa de Vidro plot, as already
foreseen by the Condephaat declaration
4 of heritage site;
Red course – high difficulty, with
obstacles. 8
– resettlement of floor stones decide whether or not to affiliate the
(PA.02.01); Bardi Institute / Casa de Vidro in the
– handrail installation on critical ICOM Demhist;
sections (according to stairs and
ramps table);
– elimination of air infrastructure
interference in accordance with the
Inventory (PA.03.02).

5
Highlight the remarkable trees with
identification.
– prepare identification project with
visual communication;
– prepare QR code project to provide
more information on species.
Urgency: short term

390 391
Action 1 Action 2 Action 3 Action 4 Action 5 Action 6

Curatorial planning specific to the col- Increase collaboration with researchers Curatorial policy of the house as a Improvement of the action of the docu- Build a technical reserve for the exist- Adapt Reception in the Garage, provid-
lection – exhibitions at the house and at studying the collection. space for exhibitions of contemporary mentary collection through institutional ing collection of art and design in the ing it with toilets, storage space, media
other institutions, use of the website for art, architecture and design. cooperation and conservation equip- house, which can house it during the for introduction to the history of the
dissemination, publishing, promotion of Associated projects: ment update plan. Expand research emptying of the room to be used as an house and the Bardi couple, and other
courses, seminars and conferences. Associated projects: support capacity. exhibition space. facilities; develop and implement Uni-
1 versal Accessibility Infrastructure Plan.
Associated projects: selection of priority research projects, 1 Associated projects: Associated projects:
through a semiannual public call, which definition of strategic institutional part-
1 allows the planned use of the collection nerships (eg Masp, IAB, etc.); 1 1
exhibitions of life records of the Bardi facilities in a planned manner; establishment of cooperation with simi- review of the use of the lower technical
couple, works of art, design and archi- 2 lar collections networks; area and its adaptation to house all ob-
tecture from the collection; 2 definition of parameters for project se- jects and furniture in the room;
2 incentive to academic partnerships for lection; 2 2
development of the website to enhance submission to research funding proj- review of criteria for access to research, provide for technical reserves in future
the dissemination of projects of the ects (Fapesp and CNPq) for research 3 with the creation of programs to stimu- expansion.
Institute; support projects that help in the organi- definition of a calendar compatible with late research on topics elected as priori- Urgency: recommendation.
3 zation of the collection and its dissem- the Institute’s own programming in the ties for the Institute;
definition of medium term editorial ination; house.
policy; Urgency: recommendation 3
4 3 modernization of the Institute’s Infor- Action 7 Action 8
programming of courses, seminars and invite researchers who used the col- mation Technology;
conferences at the Casa de Vidro or at lection to hold lectures and seminars – acquisition of new computers and Create new specific thematic visitation Improve the educational service, align-
partner institutions. at the Casa de Vidro, presenting the server; programs, such as garden walks, plant ing it with the initiatives of formation
Urgency: recommendation research results; – network update; species identification, bird watching; and publicization of the collection;
– software update. periodically carry out opinion polls with develop educational plans in the areas
4 · visitors. of art history, design and architecture,
establish rules for the disclosure of 4 with regular courses and relevant con-
the Bardi Institute and Casa de Vidro review of the layout of the distribution tent for critical training.
names in the research that used the of the collection inside the house,
collection. aiming to optimize the use of physical
Urgency: recommendation space;

5
review of the service area for research-
ers.
Urgency: recommendation

392 393
Goal 5

Provide the Casa de Vidro with facili- Action 1 Action 2 Action 3 Action 4 Action 5
ties, infrastructure and routines suitable
for use as a cultural institution and as a Universal Accessibility Master Plan that Adapt buildings and gardens to fire Design of new hydraulic installations Enhance the routine and exceptional Assess the risks of using the property
listed historical heritage. increases the capacity for people with safety technical standards without from centralized water tank. maintenance work of the complex, and plan contingency situations.
limited motion conditions. compromising their historic characteris- buildings, garden and infrastructure.
Description: tics, protected by heritage. Associated projects: Associated projects:
The Bardi Institute’s headquarters use Associated projects: Associated projects:
adds to the Casa de Vidro new service Associated projects: 1 1
infrastructure needs and adaptations to 1 Project of the new complete network. 1 Preparation of risk management plan.
its operating routine. The restructuring Update the existing planialtimetric 1 – development of a specialized Preparation of Maintenance Manual Urgency: mid-term
of electrical installations in 2012 was survey, highlighting the areas likely to Project to obtain the Fire Department project for a new hydraulic network based on inventory recommendations,
a first step, but plumbing and lighting receive ramps. Inspection Report according to the and water tank; specifying in detail the interventions
need projects to upgrade. The circu- Urgency: emergency specifications for Historical Buildings – define design parameters that and their periodicity.
lation infrastructure does not comply (IT 40/2011). eliminate apparent installations Urgency: short term
with universal accessibility standards, 2 Urgency: emergency outside the walls of the Casa de
and needs to be adapted without com- Safety improvement plan for existing Vidro, in particular water tanks and
promising the main characteristics of stairs. pipelines that invade gutter spaces;
the heritage site. It is also important – evaluate the recommendations – definition of water tower location
to introduce new safety management presented by the landscapers in the directive;
routines from a risk management plan. plan and in the stairs and ramps – all guidelines should be submitted
All these plans and projects must be table; to the heritage preservation
submitted to the heritage preservation – elaborate a project of installation of agencies: Conpresp, Condephaat
agencies for approval. In the event of new handrails in stairs and external and Iphan.
incompatibilities between the standards paths; Urgency: mid-term
guidelines and the preservation of the – elaborate the floor and stairway
heritage site, specific negotiation with restoration project, expanding the
the institutions involved should be con- area when possible and necessary.
ducted. Urgency: short term

In order to do so, it is necessary to per- 3

form: Plan of accessible ramps, elevators and
paths in the garden.
1 – develop a project for ramp 1, next
Universal Accessibility Master Plan; to the Main House, which will link
the level of the ramps with the level
2 of the main floor;
Fire Fighting Plan; – develop accessible road project
surrounding the plot, near the
3 wall, along the streets General
project of new hydraulic installations Almério de Moura and Bandeirante
from centralized water tank; Sampaio Soares, from the Garage
to the Studio;
4 – develop an accessible pathway
planning and management of contin- project from the Studio to the
ued maintenance. Caretaker’s House;
– develop elevator project to connect
the Caretaker’s House level to Main
House level;
– all guidelines should be submitted
to the heritage preservation
agencies: Conpresp, Condephaat
and Iphan.
Urgency: emergency

394 395
Goal 6

Plan new buildings and expand the In order to achieve this goal, it will be Action 1 Action 2 Action 3 Action 4
urban / social insertion of the Casa de needed to:
Vidro. Consolidate a Master Plan for the phys- Establish joint activities with cultural Assist the preservation of Valéria Pia- Build physical access through Seguidil-
1 ical space from this Plan of Manage- institutions housed in relevant buildings centini Cirell House, designed by Lina ha Street to Morumbi Chapel, part of
Description: carry out a Master Plan of physical ment and Conservation. nearby. Bo Bardi (1958). the City Museum.
The creation of the Institute was al- space according to the programmatic Morumbi Chapel – City Museum, Oscar Urgency: recommendation Urgency: recommendation
ways associated, by the Bardi couple, needs; Associated projects: Americano Foundation, Artistic-Cultural
with the construction of new buildings 2 Collection of the Palaces of the Govern-
on the plot of the Casa de Vidro. The structure a network of cultural institu- · elaborate a program of activi- ment of the State of São Paulo.
process of declaring it a heritage site tions in the Morumbi region; ties for the expansion, deciding which Urgency: recommendation
already provided for the construction of 3 activities will be developed in the new
the Institute’s facilities. The Institute’s contribute to the preservation of mod- constructions;
expansion guidelines within the plot ern houses and buildings in the Mo- · define usage guidelines for the
may be articulated with strategies for rumbi region; project;
the insertion of the Casa de Vidro in the 4 · obtain resources and hire spe-
neighborhood, which is endowed with integrate the Casa de Vidro with the cialized architectural design staff;
important cultural facilities and another neighbors: Morumbi Chapel, Valeria P. · submit the draft to the approv-
house built by Lina Bo Bardi. The prox- Cirell House and Carlos Drummond de al of the preservation bodies of histori-
imity to one of the largest favelas in São Andrade Square. cal heritage, revising it if necessary;
Paulo offers the opportunity for partner- · executive project development.
ships in social responsibility projects. Urgency: recommendation
Action 5 Action 6 Action 7

Propose a program for Carlos Drum- Establish social responsibility project Contribute to the preservation of other
mond de Andrade Square, a green area with associations of residents of the modern buildings in the Morumbi re-
next to the Institute, preserved by the community of Paraisópolis. gion.
initiative of the residents of the neigh- Urgency: recommendation Urgency: recommendation
borhood and with the collaboration of
the couple Bardi.
Urgency: mid-term

396 397
4.4 Summary of projects and phases

Title Priority Situation Financial Referrals

resources
Tree Management Plan Emergency Ready Restoration Fund 1 - Make up the Restoration 2 - Submit to City Hall and 3 - Approve use of funds 4 - Hire company 5 - communication
(Goal 3) Plan for Conpresp Condephaat in Conpresp plan

Roof replacement Emergency Acquire detailing of Restoration Fund 1 - Make up the Restoration 2 - Submit to Conpresp, 3 - Donation Agreement 4 - Contract of 5 - Implement
and maintenance of the project Plan for Conpresp Condephaat and Iphan with Supplier complementary technical project
gutters. (Goal 1) services

Universal Accessibility Emergency Guidelines defined Restoration Fund 1 - Make up the Restoration 2 - Submit to Conpresp, 3 - Develop executive 4 - implement project in
Projetc: ramps, elevator, in PMC. Acquire Plan for Conpresp Condephaat and Iphan project phases
reforces, stairs, toilets project for approval
(Goal 6)

Fire Safety Project Emergency Guidelines defined Restoration Fund 1 - Make up the Restoration 2 - Submit to Conpresp, 3 - Submit to the Fire 4 - Implement project
(Goal 6) in PMC. Acquire Plan for Conpresp Condephaat and Iphan Department, special
project for approval commission for heritage
sites

Frame and Glass Main Room Short term Acquire detailing of Restoration Fund 1 - Make up the Restoration 2 - Submit to Conpresp, 3 - Supplier Donation 4 - Contract of 5 - Implement project
(Goal 1) the executive Plan for Conpresp Condephaat and Iphan Agreement complementary technical
services

Continued maintenance Short term Inventory Ready Restoration Fund 1 - hire specialized staff 2 - Submit to Conpresp,
plan from inventory Condephaat and Iphan
recommendations (Goals 1,
2, 3, and 6)

Hydraulic Design with Mid-term Guidelines defined Restoration Fund 1 - acquire project 2 - Submit to Conpresp, 3 - implement project
Centralized External Water in PMC. Acquire Condephaat and Iphan in phases
Tank (Goal 6) project for approval

Risk management Mid-term Hire specialized Not forecasted

project. (Goal 6) company

Landscape Design Mid-term Guidelines defined Not forecasted 1 - Get resources for 2 - Hire specialized 3 - Implement project
- Complementary - in PMC. Acquire deployment company
Floristic enrichment, project for approval
understory. (Goal 3)

IT project to modernize the Mid-term Preliminary Not forecasted 1 - Get resources for 2 - Hire specialized 3 - Implement project
Institute’s facilities (Goal 4) guidelines defined deployment company
in PMC

New layout project for Mid-term Preliminary guide- Not forecasted 1. Acquire specialized project
the Institute’s activities in lines defined in PMC
existing spaces (Goal 4)

Master Plan for Expansion of Mid-term Preliminary guide- Not forecasted 1 - Submit to Conpresp, 2 - Set priorities for project
Physical Space (Goal 5) lines defined in PMC Condephaat and Iphan development

Urban and Municipal Mid-term Preliminary Not forecasted 1 - Set priorities in the 2 - Establish dialogue with
Insertion Plan (Goal 5) guidelines defined in internal environment stakeholders
PMC

398 399
4.5 Financial Sustainability

Transformation of the garage into The Conservation Fund as a funding strategy for the Listed here:
a reception space for visitors and
store. Photo: IB
Conservation Management Plan and other fundraising
initiatives. Development of new logo and graphic project that
For the execution of this Plan of Goals, the Instituto associates Instituto Bardi with the Casa de Vidro.
Bardi has a new fund, the Conservation Fund for
preservation works. A Conservation Fund was created Temporary exhibitions presenting ‘The House as a Home’,
in 2017 with the resources obtained through the sale of presenting the Bardi residence as they lived it, thematic
Constructive Potential of the land where the Casa de Vidro is exhibitions and contemporary art exhibitions, which
located. The transfer is a legal instrument provided for in the establish different relationship with the space of the House,
City Statute (Law 10,257 of July 10, 2001, which regulates deepening an articulation between the work and the space
the “Urban Policy” chapter of the Brazilian Constitution). in which it operates. The exhibitions were discussed with
The purpose of the law is to transfer the construction intellectuals, artists and architects interested in historical
potential of a lot that is affected by restrictions imposed by heritage in February 2018 (transcribed in annex 5.1).
the Government, in this case, the property being listed by
heritage authorities. The Institute was successful in its call Adaptation of the studio to cultural training activities such
for the creation of a Special Cultural Preservation Zone of as lectures, workshops, technical meetings and welcoming
the city of São Paulo for the Casa Vidro site in 2016 when visitors. Old models that occupied this space were removed,
the new Land Use and Occupation Law draft. This was an and allocated 30 Frei Egydio chairs donated by Marcenaria
essential requirement for the construction potential transfer Baraúna (which produces them under license) were
to be approved. allocated. Datashow and retractable screen were installed.
The sale of this potential began in 2016. The value
obtained at this time corresponds to R$ 1,236,145 ($ Transformation of the garage into a space for visitors
327,022) reception and design store. The garage was used as a
The funds must be exclusively used for the restoration deposit and technical reserve of the Institute. Through
Temporary structure for Maria and maintenance of the property. The Institute understood sponsorship, it was emptied and now used to support
Bethania’s show for fundraising.
2018. Photo: IB
that the CMP would be the basis on which the restoration visitors, with information about the history of the house
and maintenance projects would be prepared. The technical and its founders, and sale of books and souvenirs. The
surveys, consisting of diagnostics and identification of interventions were made without fixed changes, using
pathologies of the state of the building and gardens, support only furniture and lighting. The plan also proposes the
recommendations for maintenance, intervention and construction of toilets and accessible route for wheelchair
restoration that are grouped into plans and projects to be users in the medium and long term stages.
developed, detailed and implemented in the coming years.
The financial sustainability of the preservation of Improvement of the donation model and organization of
historical heritage in the current Brazilian political framework fundraising events for the Institute. Considering the need
is restricted to what can be collected by the institution to preserve the objects of art and furniture in the living
itself directly, without the possibility of relying on public room, it is not recommended for audiences larger than 60
resources or supporting cultural projects of state-owned people simultaneously within the main house, even though
companies, historically the main source. In this context, with the structural calculation has estimated that the structure
the Conservation Fund the full implementation of the CMP can hold up to 500 people (according to report Annex
is not guaranteed. The urgent and some short-term actions 5.2). For fundraising events that attract a larger number of
listed in the Goals Plan and Project List may be able to be guests, the Bardi Institute’s cultural director, architect Sol
accomplished. Camacho, designed a temporary structure to be built with
During the elaboration of this plan, the interaction Cross-laminated timber CLT to form a partially covered
between Sol Camacho, Instituto Bardi Cultural Directorate platform for up to 200 people. Located over the circular
and the University (IAU USP) staff allowed some ideas to parking access to the house, the platform advances over the
become immediate actions. Proposals for exhibition themes, garden avoiding the tree trunks and studio access ladder.
activities with the public and temporary adaptation of some The structure was set up in December and January, usually
spaces already have had effects for raising resourses aiming with less visitation, allowing a program of activities such as
at the sustainability of the Glass House and the institution. shows, lectures and parties, aimed at raising funds for the
maintenance of the Institute.

400 401
4.6 Master Plan for Expansion
and Urban Integration

Master Plan
4
The interventions proposed by the Goals Plan for the area
outside the Casa de Vidro require the organization of a Mas-
ter Plan for the expansion of physical space (Goal 5) that
goes beyond the specifics of a landscape project.

The guidelines for the Master Plan are:

1
Stairs and Ramps to give universal accessibility conditions
to all buildings (Goal 6). Proposed location of new toilets and
water tank (Goal 6).

2
Plan of Urban Insertion into the immediate neighborhood:
Carlos Drummond de Andrade Square, Valeria P. Cirell House
1
and Morumbi Chapel (Goal 5).

3
Situation map of the Casa de Vidro in São Paulo. Reference
to the limits of the urban area when it was built and nowa-
days (Goal 5).

5 3

1 – Ramp 1 3 – Ramp 3
From pilotis level to main house From Studio to Caretaker’s house
ground level
4 – External water tower
2 – Ramp 2
From main entrance at Garage to the 5 – Toilets
new toilets and Studio

402 403
 Guidelines for New Construction on Casa de Vidro plot

The Bardi project for the constitution of the Institute is

contemporary to the construction of their house itself. As
Sanches noted (for a full analysis, see item 5.1 of the
report), there are in several documents references to the
Contemporary Art Institute (IAC), linked to the Masp, close
to the Casa de Vidro plot. Among the sets of plots listed,
one corresponds to the plots of the Casa de Vidro, while
the other to the “Land reserved for the ‘Art Institute of São
Paulo’”. The idea of the House as a cultural space is in its
own constitution.
In the 1970s, in a letter to Etore Camisasca of 1976,
Pietro takes up the subject, presenting to his friend in Italy
sketches of a possible implementation on the plot of the
Casa de Vidro. Figures 1 and 2.
This sketch resembles study drawings for the expansion
under and beside the house, without identification or date
in the collection, published by Oliveira as being “studies for
the expansion of the Casa de Vidro, carried out in the 1970s,
where Lina proposes a pavilion at the foot of her residence”.
Figures 3 and 4.
In the declaration of the Casa de Vidro as a heritage site,
as already mentioned, the couple begins to realize the in-
tention, cultivated for decades, of transforming the Casa de
Vidro into the headquarters of an institute.
Lina and Pietro’s sketches for the Institute’s headquar-
ters project on the Casa de Vidro plot show great freedom
in the formal design and occupation of the tree-filled area.
However, in the following years, the only construction carried
out was the Studio, a formally contained project, where the
structure and the wooden walls are covered by a discreet
gable ceramic roof.
To date, the only annex building project to house the Bar-
di Institute was undertaken by architects Roberto Loeb and
Luis Capote in 2015. Its design was based on respect for the
Figure 1. Figure 2 existing vegetation, looking for clearings between the trees Figure 3 Figure 4 Figure 5 Figure 6
Pietro Maria Bardi’s Pietro Maria Bardi Simulation of Lina Bo Project view of Lina Simulation preliminary View of the
sketch simulation for sketch for the
to build small high volumes of the ground and interconnect- Bardi’s sketch for the Bo Bardi for the project for the preliminary project for
the Institute’s venue at Institute’s venue at ed by elevated walkways. Figures 5 and 6. Institute at Casa de Institute’s venue at the expansion Institute the expansion Institute
the Casa de Vidro site, the Casa de Vidro, VIdro Casa de Vidro,. Source at the Casa de Vidro, at the Casa de Vidro,
1976 1976. Source: Pietro Instituto Bardi. Roberto Loeb and Luis Roberto Loeb and Luis
Maria Bardi letter to Capote architects, Capote architects,
Ettore Camesasca, 2015. 2015.
02/01/1976. Fonte:
Archivio Ettore
Camesasca, Milano.

404 405
Figures 7 and 8 The set was submitted to a BNDES culture support no- Area for expansion
Lina Bo Bardi sketches
for the Institute’s
tice, receiving a pre-approval, pending the approval of the Option A
headquarters in the intervention by the municipal (Conpresp), state (Condephaat) Rear area to the main house, with clearing opened by the
Casa de Vidro pilotis and federal (Iphan) historical heritage defense agencies. trees management plan. Ease for direct access to the back
area. Source: Instituto
Bardi
In July 2016, architect Marcos Carrilho, coordinator of of the house. Must respect a minimum distance of 11 me-
the Technical Division of the Iphan Superintendency in São ters and not exceed the height of the main house, 5 meters
Paulo, issued a technical opinion in which he requested the above the main floor. The volume can have lower floors, dig-
“review of the projects”, aiming at reducing the interference ging the ground, allowing direct access, lighting and ventila-
in the area. In his analysis, Carrilho considers that the as- tion from the sides. Small visual impact to the complex.
sumption of the proposal was the fragmentation of volume
to preserve the existing vegetation. However, it points out Option B
that its dispersion occupies an area that exceeds the dimen- Back and side area to the main house, located between Rua
sions of the main building, which leads to evaluate that the General Almério de Moura and the ridge of the land. It can
declaration of it as a heritage site defines as order of impor- allow independent access, direct from the street, offering lift
tance “three main elements, the residential building, the sur- system for people with reduced mobility and for cargo. Me-
rounding garden and, finally, the artistic collection”. dium visual impact to the complex.
As the garden is an almost spontaneous formation, Car-
rilho understands that its regeneration over time can absorb Option C
the new buildings, as long as they do not intend to compete Back and side area to the main house, located between Se-
with the main building for protagonism. Since the architect guidilha Street and the ridge of the land. To be considered in
did not change the proposal in this direction, the proposal case of activation of this street according to the guidelines
was not approved in a new analysis carried out in November of the Plan of Urban Insertion. It can also allow independent,
of that same year, awaiting eventual revision. direct access from the street, providing lift system for people
Carrilho’s analysis provides guidance for the definition of with reduced mobility and cargo, serving the main house,
areas that can be occupied by new buildings, making clear caretaker’s house and studio. Small visual impact to the
the importance of preserving the primacy of the house in complex.
relation to vegetation.
Studying the open areas, the locations and slopes, the External toilets
relationship of existing buildings with them, the new uni- Given the need to offer toilets to visitors, the best option is
versal accessibility infrastructure and the vegetation, two its construction next to the Reception, installed in the ga-
areas were defined that could receive buildings to house the rage. The smallness of internal space requires that they be
Institute’s uses, based on subtlety and discretion, because built externally, like a new volume. Its implementation should
the protagonist is the Glass House. Following the orientation be defined in such a way as to interfere as little as possible
of the architect Marcos Carrilho’s document, we sought the with the garage’s volume. For this reason, the guideline is to
least impact in relation to the main building and accommo- deploy them near the rear of the garage, away from the low-
dation in the topography. ered wall approximately 1.70 m below the internal level. Ac-
cess may be through the first stretch of the perimeter ramp
to the ground.

Centralized water tank

The centralized water tank shall be designed as a reinforced
concrete tower constructed of sliding or climbing forms. The
sizing will be predicted by the hydraulic project, specifying
reserve for firefighting in all terrain. The most appropriate
position is at the back, at least 24 m from the main house,
between the current garden and the “vasca” 2.

406 407
Master Plan
Guidelines for New Construction on
Casa de Vidro plot

Ramps and elevator for universal accessibility

The external universal accessibility system is divided into

three ramps and one elevator.
The ramps will occupy open spaces by the arboreal
management next to the house and the border wall with the
street.
98,30 98,70
Ramp 1
Between the floor of the pilotis and the main floor of the
99,00 98,30
100,40
99,70
98,40 house. The accessibility must be made with vehicle until
100,64 the ramp between the pilotis, where the first level of the
3
ramp will start. The maximum slope of 8% must be respect-
101,32 98,30 ed, with levels every 10 m of extension. The ramp will run
98,70 parallel to the side of the house for approximately 42 m
towards the back, returning for another 22 m until reaching
the rear sidewalk. The floor of this sidewalk should be cor-
102,00
rected to a level that allows direct access to the interior of
C the house through the doors of the service area and kitchen
98,00 (CV.03.05.01).
113,30
114,00 112,60
B Ramp 2
114,50
1 From the main entrance, next to the Garage, to the Studio,
111,90
serves the external toilets. This ramp will follow along the
115,40 property’s boundary wall with the public road, taking up
115,08
open spaces with tree management. The 4 m of unevenness
2 will be overcome by a gentle slope path of no more than 8%,
A which will follow the boundaries of the plot. The floor will
97,30 be supported by a retaining wall, regardless of the boundary
wall.

Ramp 3
From the Studio to the Caretaker’s House, the gate to Segui-
4 dilha Street and the elevator are served. In the first stretch,
98,00
between the Studio and the gate, 2.5 m will be done, with
8% inclination and interruptions every 10 m to levels. The
second section of the ramp, with two flights of 10 m and
8% inclination, will reach the level of the Caretaker’s House,
5 requiring the demolition of the roof used as a service area. At
98,70 this level is the first stop of the elevator.
B
C
99,40

100,80 100,10

1 – Ramp 1 4 – External water tower

A From pilotis level to main house
ground level 5 – Toilets

2 – Ramp 2 A, B and C
From main entrance at Garage to the Options for expansion
new toilets and Studio

3 – Ramp 3
From Studio to Caretaker’s house

408 409
Master Plan
Guidelines for New Construction on
Casa de Vidro plot

1 1

A 7
3 2
B

5
View from Rua General Almério de
Moura

Section B
ramp 1

1 1

A 3 4

B C
2

5
6

Section AA

Schematic sections indicating 4 External water tower Section C 1 Handle 5 Sidewalk

ramp 2
recommended position for expansion 5 Toilets 2 Retaining wall and sill in 6 Street
volumes - water tank, toilets and concrete block
Institute extension ((options) A, B and C 7 Retaining walls of granite
Options for expansion 3 Reinforced concrete flooring “opus incertus” by the side
with podotactile signaling of main house.

4 Border wall

410 411
Master Plan
Guidelines for urban integration in
the immediate neighborhood

Connection Casa de Vidro and 1 Casa de Vidro

Morumbi Chapel through Seguidilha 2 Morumbi Chapel
Street 3 Valeria Piacentini Cirell House
4 Carlos Drummond de
Connection Casa de Vidro, Morumbi Andrade Square
Chapel and Valeria P. Cirell House
through Gal Almério de Moura Street,
Morumbi Avenue and Brigadeiro
Armando Trompowsky Street

412 413
Master Plan
Guidelines for urban integration in
the immediate neighborhood

Morumbi Chapel – Fine arts exhi- Carlos Drummond de Andrade

bition hall. Owned to City Museum Squarel – view from Rua Bandeirante
Municipal Secretary of Culture. Brick Sampaio Soares, with the Casa de
masonry complementation of ancient Vidro’s border walls at the back. Photo:
pestle mud ruins. Project by Gregori Renato Anelli.
Warchavchik, 1949. Photo: Renato
Anelli

Internal and external view

414 415
Master Plan
Situation of the Casa de Vidro in
São Paulo Municipal area.

Urbanized Area Urbanized Area 1950

1950 to 1962 to 1962

Urban area in 1949

3
2

1 Prestes Maia Avenue Plan – First Exterior view of the newly built Glass
Perimeter Ring in the Center House in the newly deployed Morumbi
neighborhood. Photo: PMB. Source:
2 Masp, Sete de Abril Street IB.

3 Bardi‘s first residence – Traipú Associated Diaries Building at Sete de

Street Abril Street
1951 - São Paulo Art Museum on the
4 Bardi‘s second residence – Casa first floors
de Vidro Source: Bardii Institute
2018 - Current view with bank branch
at ground floor
Photo: Renato Anelli

The Casa de Vidro was built in the area

that was urbanized between 1950 and
1962. Therefore, in the first ten years
since its construction, it moves from
a rural situation to a refined suburb
neighborhood.

416 417
Master Plan
Situation of the Casa de Vidro in
São Paulo Municipal area.

Urbanized Area from 1963 Urban area in 1963

to 1974

3
5

1 Prestes Maia Avenue Plan – First

Perimeter Ring in the Center

2 Masp on Avenida Paulista

3 Bardi‘s second residence – Casa

de Vidro

4 Paraisópolis Favela

5 New Financial Center of São

Paulo – Berrini Avenue, 1990

The occupation of one of the Morumbi

Farm installments by low-income
migrants occurred simultaneously with
the construction of the Casa de Vidro,
creating the Paraisópolis favela.
The proximity between both is 1.4 km.

São Paulo Art Museum view from Paraisópolis: São Paulo’s second larg-
downtown. Photo: Renato Anelli est favela, with approximately 43,000
inhabitants. Giovanni Gronchi Avenue
buildings on the horizon. Photo: Rena-
to Anelli

418 419
5 Production process of the plan

420 421
5.1 Stakeholders for the preservation
of the Glass House

The preservation of the Glass House is a mission of the We present below the main occasions of dialogue, classified Kühl, Miriam Elwing (MASP), Silvio Oksman (FAU-USP and
Bardi Institute, a cultural institution founded by the couple according to the nature of the institutions and their MASP). The presentations of the four projects, at different
Lina and Pietro M. Bardi in 1990. For this reason, the Bardi objectives. stages of development, allowed the teams to share in a
Institute was the proposer of the Glass House project for detailed way the discussion about the methodology for
the Keeping It Modern program of The Getty Foundation in 1 elaborating the Management and Conservation Plans
2015, in partnership with the Institute of Architecture and Presentation of the project and of the progress of the inherent to the KIM program. The difficulties of adapting
Urbanism of the University of São Paulo (IAU-USP). Through research, with discussion in the format of a science this method to the Brazilian reality were discussed, as
this agreement it was created the team of specialists who event. The main institution is Docomomo, an international well as its advantages to a moment in which the public
developed this Management and Conservation Plan. association dedicated to the documentation and institutions of support to the preservation lose their capacity
Therefore, the Bardi Institute is the main stakeholder conservation of buildings and sites of modern architecture. of intervention. The MCP emerges as a process that clearly
in this process, and its Administrative Council is its deci- The Docomomo is well structured, has been operating since involves the institutions of society in the challenge of
sion-making body. 1993 and has several regional centers. The production of the preservation, aiming at its economic sustainability.
The Bardi Institute, through its technical and cultural di- Management and Conservation Plan (MCP) was carefully
rector Sol Camacho, and its Administrative Council, worked monitored by the institution. October 9 and 11, 2017 - Meeting of Glass Houses at
together with the IAU-USP team in the elaboration of the FAU-USP, São Paulo. The curators of the houses of Philip
main researches and debating the reports in workshops ev- May 10 to 13, 2017 - First ICOMOS Scientific Symposium Johnson (Hillary Lewis, Scott Drevinig), Farnsworth (Maurice
ery six months. Brazil, Belo Horizonte, MG. Parrish), Eames (Lucia Atwood) and Bardi (Sol Camacho)
The expansion of this field of interlocution was estab- participated; the researchers of the KIM project teams
lished with other categories of social agents, aiming at en- October 16-17, 2017 - Docomomo. São Paulo - Universidade from FAU-USP and from the Glass House. The meeting
riching the process of setting up the plan. They are: Presbiteriana Mackenzie, São Paulo, SP. aimed to share experiences in the management of the
houses, which have some points in common. There is a
1 21 to 24 November 2017 - Docomomo. Brazil - Federal huge difference between the preservation methods in the
Experts, non-governmental organizations, and institutions University of Uberlândia, MG. USA and in Brazil, from the institutional framework to the
for the preservation of historical heritage; Docomomo Brasil, conditions of economic sustainability. The examples of the
Conpresp, Condephaat, Iphan; March 21 to 24, 2018 - Docomomo. International Meeting two houses under the custody of the National Trust for
2 on Modern Heritage and Best Practices: Sustainability, Historic Preservation were quite useful for the development
teams from the other projects supported by KIM program in Conservation, Management, and Architectural Design. of the MCP of the Glass House. Preservation through the
Brazil - FAU-USP, Masp and Oswaldo Cruz Foundation; Santiago, Chile. promotion of resource-raising activities is the means of
3 survival to be sought by the Bardi Institute, in the face of
researchers and professors of art history and architecture; October 13 to 19, 2018 - National Meeting of the National the absence of public programs that support conservation.
4 Association of Research and Post-Graduation in Architecture The example of the Eames house is more complex, as
representative institutions of architects – Institute of and Urbanism - Federal University of Bahia, Salvador, BA. it involves the foundation and the Eames office, which
Architects of Brazil (IAB) - São Paulo Department; work cooperatively, within their specifics. The sharing of
5 December 7, 2018 - ICOMOS International Scientific experiences of technical conservation of the buildings was
those in charge of the management of other historic houses Symposium. Sustainability: Cultural Heritage and also very fulfilling, allowing to understand that leaks in
similar to the Glass House; Sustainable Development, La Plata, Argentina. waterproofing, rupture of planes of glasses, oxidation of
6 profiles are common in the architecture built in the postwar
representatives from the departments of culture, historical 2 period.
heritage and urban planning of the São Paulo City Hall; Work meetings with specialists at the University of São On October 11, a public panel was held in the auditorium
7 Paulo, at the City Hall of São Paulo and at Casa de Vidro. of MASP, with the same participants, attracting an audience
partner companies of the Bardi Institute that support cultural of 200 people. The debate was focused on the public promo-
projects (ABIVIDRO, AGC, etc.); April 24, 2017 - Seminar at the Glass House with Marcello tion of the houses and of the preservation works in progress.
8 Balzani and DIAPReM team (University of Ferrara). It was
scientific meetings of specialists in the area of preservation presented the point cloud of the Glass House, produced May 15 to 18, 2018 - The invitation from the international
of modern architecture, research in architecture, museums, from the survey conducted in January. The teams institution Iconic Houses to present the work in progress in
etc. responsible for the KIM projects of FAU-USP and MASP the Glass House allowed the participation of the coordinator
participated. The seminar and the training workshop of the of the KIM project in other activities of this meeting held in
IAU-USP’s team were held in São Carlos, SP, from April 25 New Canaan. The main one was the Expert Meetings, held
The contribution of these social agents was developed in to 28. on May 15, divided into two parts.
special meetings, workshops, reunions and public events, The first was the Alternatives to the House Museum
where the research in progress and the guidelines under August 15, 2017 – Heritage Days, Department of Historical Model, which presented experiences from the US, Denmark
development could be discussed and improved. Heritage (DPH) of the São Paulo City Hall. Technicians from and Japan of institutional arrangements for preservation.
DPH and those interested in preservation and restoration The second one was “The American Art of Fundraising”,
participated. The presentation of the project and the report presenting methods of economic sustainability from dona-
of its progress provide a reference example of new methods tions, successfully employed in American institutions.
for preservation in Brazil. Both sections provided important subsidies for the devel-
opment of new economic sustainability procedures for the
August 28, 2017 - Meeting of KIM Projects of The Getty Glass House MCP, some of them already implemented by
Foundation in Brazil - Getty Day. FAU-USP, São Paulo. With the current board of the Bardi Institute.
participation of Mônica Junqueira, Fernanda Fernandes,
Flávia Brito, Cláudia Carvalho (Casa Rui Barbosa), Beatriz

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 A space that “requires tweezers to cope with”: Ana Lúcia Cerávolo: Sonia Amaral:
conflicts between exhibition and preservation Discussions in the museology field have advanced a lot The issue of having a precious collection and gaps of other
in recent decades. It is relatively consensual that, if house pieces is not what will define what you have described.
The main public debate on the use of the Bardi Institute museums have a unique shape, they will bring in the public Whether we continue being a historical house, with all
building was promoted during the exhibition Casas de Vidro, only once, people won’t return. The house museum needs this fetish of trying to reconstitute this environment of
held on February 25, 2018, in its studio, and transmitted a cultural project. In the Glass House, the cultural project the couple who lived here, or we decide to be simply an
on Facebook.1 Intellectuals, professors, architects and was developed even before the Institute. The Bardi couple exhibition space for architecture. This has to be defined,
researchers gather together to discuss the role of the Glass had an idea of encouraging culture, the Institute was born even if we decide for a hybrid thing. It’s a matter of
House and the Institute’s as a producer of cultural activities with this mission. We can present the house as it was, but definition: yes, no, or both.
related to the field of architecture, including among such we need to promote more dynamic activities that bring
activities the exhibitions themselves. It was requested from new audiences. Activities that speak of architecture to an Marina Grinover:4
the participants an evaluation on the conflict between the audience that would not come here again just to see the The collection is rich for being extremely diverse. It
preservation of the room according to its original layout – as house. encompasses furniture, the house itself is a heritage, it
a historical token of the life of the Bardi couple – and its use has a collection of photographs, magazines, objects that
for the installation of temporary exhibitions. Sol Camacho: are not exactly objects of art, such as the collections of
The discussion with the other glass houses in 2017 was handicrafts, in short, a universe of collections and subjects
The main points expressed by the debaters were: interesting. With the other houses, the landscape changes that interested the couple in those years that they lived in
a lot according to the season – everything goes white Brazil. This wealth could be one of the Institute’s fronts of
“Glass Houses” – Lina, Mies, – The Glass House must be classified as a historical house when winter comes; in summer, green – but this house’s cultural action. It would be nice to hear from you which are
Eames and Philip Johnson”. MASP.
10/11/2017.
museum because of its collection, its architecture and landscape does not change. the institute’s fronts of cultural action.
Panel discussion in the MASP’s for being associated to relevant historical figures. Exhibiting architecture is a very legitimate front, one that
large auditorium with the curators – The experience of the Bardi Institute in preserving the Ana Lúcia Cerávolo: is needed in our city, in our contemporary culture. Architec-
and directors of the exhibited
houses – Hillary Lewis and Scott
Glass House may serve as a reference for other similar This happens today, because the idea of PGC is to once ture can link together the museum, the Institute and the ed-
Drevnig, Johnson Glass House, spaces, especially in São Paulo. more bring in the flowering with the opening of clearings ucational plans, in short, we could imagine it like a triad. The
Lucia Atwood, Eames House, – The exhibitions held in the Glass House must be heedful in the tree canopies and start a new landscape design at collection could be itinerant, as it is in the Whitney Museum,
Maurice Parrish. Farnsworth
House, Sol Camacho, Bardi’s
of the architecture of the house itself. Two statements ground level. which varies the exhibition of its own collection. This kind of
House - Casa de Vidro highlight this need, declaring that the exhibits must thing invites others to come.
negotiate with space and that it “requires tweezers to Renato Anelli: Some [other fronts of cultural action] require a greater
cope with”. It is impossible to restore the living room as it was, because depth of research, of formulation. Like this one, that was not
– It is necessary to develop strategies in order to avoid the when Pietro Maria Bardi passed away, the heirs of the first thought out of a collection list, but from a research project
trivialization of Lina Bo Bardi’s figure. marriage claimed the inheritance and took away lots of linked to the University of São Paulo [USP].
furniture and works of art. The pieces you see in the old The Institute would better explain what lines of cultural
We present below the transcriptions of the main excerpts photos are no longer with us. policy are being formulated. Or that’s what you want to dis-
from the debaters’ statements. With some exceptions, the cuss with us?
coordinators’ statements have been edited to be shortened, Anna Carboncini:
as they broadly reproduce the main ideas present in this They were sold. Part of it remained in São Paulo, with Mônica Junqueira de Camargo:5
plan. collectors, but some things were sold abroad. There were What really constitutes this house as a house museum is
precious things, a table from 1600, for example, sold at an that this sort of institution has to have its collection, which
Alvaro Puntoni:2 international auction. is a condition to be classified as such by the International
Fernando Tulio, at the middle, Ruth Sonia Guarita do Amaral and José The Institute’s and the Glass House’s importance is Council of Museums (ICOM).
Verde Zein and Sol Camacho Lira
consensual. The spaces dedicated to architecture exhibitions Renato Anelli: The Institute, with all its work of cataloging and preserv-
are very rare. This debate [on the conservation of such This table occupied the center of the room in all the pictures ing the collection, and now with this partnership with the
spaces] is very common, several colleagues question of that period. It will not come back. Getty Foundation, has become a very specific one in this
the fact that the Lina and Pietro’s living room, with its field. This enables it to become a national reference center,
original layout, is not seen here. I would call this a kind Marta Bogea:3 be it one for restoration of modern houses or for restoration
of fetishization of a space. But the space is modified, How is the collection registered, considering the books, of architectural heritage. A national reference center, either
now it holds an exhibition, which is beautiful. If we the library, the furniture that still remains, the works of art? for courses or for training professionals in the preservation of
consider other places, such as the NAI Rotterdam, the What kind of safeguard is used? Are they here or in some collections, which could be subsidized by the state, or ex-
Cité de l’Architecture in Paris, with that huge space in the museum? ploited for income. The Institute has already solved this ques-
Trocadéro, the MoMA itself, with its historical efforts to tion regarding itself. There are several houses that have this
divulge architecture, especially the modern one, the CCA, Anna Carboncini: problem, be it house museums or not. And you already have
the Casas da Arquitetura in Matosinhos, Portugal. In Lisbon It is all here, it is quite safe, in the sense of being that work here, and that would be a way of extroverting it.
there are private galleries of architecture, such as the Note. cataloged. All of Lina’s drawings have been cataloged and
It is fundamental that, in a city like São Paulo, there be such photographed, the photos are online and the originals in the Abílio Guerra:6
spaces. Even the Escola da Cidade has been discussing the map racks. They are shown only to specialist people, for the Following the thread of Mônica’s statement, we have
possibility of starting an architecture gallery on its ground sake of safety. Every year we check them to see if they are problems concerning conservation that are different from
floor. I think it’s amazing that the Glass House is open for in order. those faced by those American houses. When we launched
activities like this. This debate is great because it would be the book on Rino Levi, we were invited to discuss the
a mistake to freeze the house in time. If this happens, the vocation of Casa Olivo Gomes in São José dos Campos, a
house would be doomed to a gradual demise. concern that remains unresolved until today. We started a
book on Hans Bross, and there is the Casa Hans Bross in

424 425
 Morumbi, in an area with many slums nearby. Hans Bross thing that places very specific layers of fruition. When you Felipe Contier:9
declared in his will that this house was to become some sort bring this exhibition function to a building of this importance, Fernando Tulio and Abílio retrieved the idea of a network of
of cultural equipment focusing on the architecture field. It you must negotiate with this dimension of the space. It is not houses articulated by the IAB, with a mapping already done.
was sent to the Department of Historical Heritage, to USP an exhibition space whatsoever and it was not meant to be But it is necessary to highlight the different maturity of
and Mackenzie University, no one was interested and did an exhibition space. What kind of exhibition [will be held] in this project for each of these houses. This house, the Glass
not even start to discuss the issue. It is a wonderful house a space like this, that has this overload of memories. Of all House, is far ahead, it is the vanguard, for the role played
and has the contributions of Burle Marx, both in objects and these houses shown in the exhibition, this is the most deeply by the couple in having taken the initiative still in life. Part of
in landscaping. And we have the house of Oscar Americano inhabited and modified, with accumulation of life. Maybe his vocation is to articulate this network, to teach the other
near here, which for the sake of survival made adaptations only Eames’ might be comparable. houses how to preserve their collections, to structure what
that, to my understanding, greatly adulterate its architectural Perhaps [it would be possible] to alternate between dif- we have here as a living house with a collection and care
design. And we stand between the devil and the deep sea, ferent types of temporary exhibitions, of its own collection that we see here.
Anna Carboncini and Raquel José Lira the vital need is for the house to remain, but not at the or recomposing situations close to the original. It is neces- The second point is the architecture exhibitions. We are
Schenkman
cost of adulteration. There are other alternatives, such as sary to review the house in some way close to the one that experiencing the growing problem of documentation, custo-
the house on Bahia Street, by G. W. [Gregori Warchavchik], made it known. In a country that does not have this practice dy and research in architecture. The library of FAU/USP has
which has long been adapted for contemporary uses. It of preservation, this is one of the few successful modern refused many collections due to lack of physical capacity.
brings us to the theme that even a person’s home is never houses that functions as a space for research, storage, and Once in a while the idea of a reference center for the docu-
the same over time. The children grow up, they leave the exhibition. Take the case of the Casa Warchavichik, which mentation of Brazilian architecture comes up, withf collec-
house, the rooms become a library, they host other people, was listed. It was expropriated and is part of the collection of tions of national level made available for research.
the houses have life too and I see no reason for freezing it in houses of the city hall, but does not have a cultural project, Here in the Glass House we see a specialization of doc-
time. has no collection other than itself. The indigence of these umentation and research center. Even whilst closed for vis-
On the other hand, someone spoke of fetish, I do not see institutions gives a centrality to this institution that is funda- itation, it served as a support center for researchers. It had
any problem in it, it’s a lovely thing when you go to a place mental. great projects of financing the organization of the collections.
that has that aura too. I remember with special affection the The list could still include Casa Canoas, Casa Carmem It has a know-how in this field of projects that other institu-
visit to the house of Pablo Neruda in Chile, to see the objects Portinho. tions do not have. On the one hand, [there are] the number
contaminated by time, by the experience and the appropri- of collections that do not stop growing. On the other hand,
ation. And this should not be overlooked. The house has a Sonia Amaral: [there are] the houses that remain and could be used for this.
Ana Vaz Milheiros Student in audience exposing his vocation, today the house holds an exhibition that relates it Every time you have an exhibition, you see the house in a Training the next houses to receive these collections of
ideas
to other houses. I agree with Monica, the Glass House can different way. This purity impoverishes, prevents the issue projects. Forming a constellation of houses of architects that
be a reference center for discussing the vocation of these of the return of the house to what it was as well as that can receive collections and function as centers of support
modern houses that are aging. Some are being destroyed; of seeing the house from new angles. As it happened in for research, with its curatorships, perhaps articulated by the
others, such as the Casa Vilanova Artigas, which belongs to Bechara’s exhibition, where the panes of glasses created IAB.
the family, are paying very high IPTU [Brazilian tax on realty], prisms that had never existed before.
it is unknown how long they will resist. It is a topic to be Raquel Schenkman:10
discussed. There are issues regarding the environment, this Fernando Tulio: 8
This network of houses... Thinking as a representative of
place where the house is, this vegetation, which is a char- The Institute rescues the house as a vertex of the city. the Secretariat of Culture [of the São Paulo City Hall], they
acteristic of modern Brazilian architecture, this relationship In a debate put in terms of cultural policy, it is central to all have common problems, such as [paying its] IPTU,
of the constructions with the landscape. [It’s necessary] To devise the perspective of structuring a network. This power financing, accessibility approval. There are institutions that
think of a hybrid solution, between maintaining this fetish of will not come from an isolated cultural political project, are making plans in the long run. If networking happens,
the house where the couple lived, but at the same time [be- from a house, a school, the FAU [Faculty of Architecture along with the owners, the experience could be shared.
ing] plugged into contemporary issues. and Urbanism of USP] or the IAB [Institute of Architects We are completing the declaration of the heritages that
of Brazil]. We started the IAB thinking of it as a platform were waiting to be done in the DPH [Department of
José Tavares de Lira:7 for culture, public policy, teaching and extension, and Historic Heritage of São Paulo City Hall] and there will
I congratulate the Institute on the initiative, because, without professional. be a special meeting of the Conpresp [Municipal Council
discussions like this, the collection remains worthless, no There is no such network dimension for these institutions for the Preservation of Historic Heritage] to evaluate
matter how important it may be. to make such discussions. Think together initiatives such as several proposals for declaring constructions of Modern
Basically, I see the Institute with these two great forces, the Biennial, the routes through the city, which could be or- Architecture as historical heritage sites.
its architecture, its artistic heritage and memories that the ganized here, some others in the center, others in the periph- We have the examples of the clubs that act differently.
house brings together; and a cultural project, without which ery. Networking allows us to acquire power in this difficult The Paulistano Club had an interest in declaring its gymna-
this collection remains dormant. They must be faced with time for the city and for the profession. sium, designed by Paulo Mendes da Rocha, as a heritage
synergy, but recognizing that they have their own specifici- In what concerns culture, we have two perspectives. building, taking advantage of the incentives for such build-
ties and demands. One that is to structure the observatory with two axes: on ings. Meanwhile, the Pinheiros Club resists declaring its as-
The architectural exhibition, not specifically this beautiful the one hand, one focusing on architecture and, on the sembly room, designed by Warchavchik, as a heritage site.
and small architectural exhibition [held here now], which other, the laboratory, divided into a drawing workshop and The Modernist House has long been empty, with no col-
suggests different looks at the building – one sees the ex- public policies. And it has the prospect for 2020: with the lection, no money, no complete project. And the Secretariat
hibition and walks around the house –, despite this, the UIA, the PMR proposed to debate the territory from the in- has no capacity to formulate this project. Then one speaks of
architecture exhibition has very specific issues. There is no frastructure network, not only in local terms, but in terms of granting the house or even selling it.
better exhibition of an architecture work than visiting the a network of cities. How to create a practice in which each It could be the role of this network of houses to gather
building itself. No matter how much a drawing, writings of institution preserves its own policy, but at the same time more strength to preserve themselves as a whole. The net-
the architects or videos bring additional elements, it leaves joins the others in this network? work can even help demanding funds – the declaration of
the gap of the building, of the monument itself, it is some- heritage helps to get public resources and tax incentives. It
can give greater strength to publicize the site and obtain re-
sources for it.

426 427
 João Sodré:11 one who is in head of the curatorship for such a space must 1 The exhibition was sponsored 7 José Tavares de Lira: Architect
by the AGC glass company, by and urbanist from the Federal
I think of possible exhibitions in the Glass House, the have clear. Because sometimes exhibitions – no matter how means of a special program of University of Pernambuco with a
exhibition in the room, these exhibitions involving well-intentioned they might be – can be scandalous to the the Government of the State of doctorate degree from FAU/USP,
production, research. What are the restrictions on house. Any exhibition that takes place here has to be done São Paulo to support culture. where he is a professor of archi-
It gathered Philip Johnson’s tecture history. He was director of
exhibitions with objects kept in the collection? For example with care, with a degree of intentionality, with research, with glass house in New Canaan; the Center for Cultural Preserva-
an exhibition of Nervi’s structural design in relation to the a program. The space requires tweezers to cope with. [Oth- Farnsworth, by Mies Van Der tion at USP.
construction of the house. erwise] What we want to be a valid architectural experience Rohe; [the House] Eames and the
House Bardi. During the event 8 Fernando Tulio: Architect and
I think of three types of exhibitions. Those that require can become a failure. There is an expectation that today two debates were held: one with urbanist from FAU/USP. He is
more resources and use material from other collections, Lina brings in international terms, which those who visit this the curators of the houses, on president of the São Paulo De-
those made only with items from the collection itself, and the house expect to be reciprocated. When I arrived in Brazil October 10, 2017, and other in partment of the Institute of Archi-
the Glass House studio, on Febru- tects of Brazil.
exhibition of the room set up as a room. many years ago, there was a very strong and very heated ary 25, 2018. Available at: https://
An exhibition such as the one presently held here allows debate about the restoration of the integrity of the Masp www.facebook.com/projetomari- 9 Felipe Contier: Architect and
one to reach corners that were previously not accessible museum space. Now that the space has been recovered, it is eta/videos/1521041558024035/?- urbanist from FAU/USP, with a
fref=mentions doctorate degree from the Urban-
because they were occupied with furniture, allowing for new a great emotion to see what Masp can give us, besides the ism and Architecture Institute of
insights. Every visit to the house is a new experience. For ex- collection that is there, that project that Lina had of how to 2 Alvaro Puntoni: Architect and the University of São Paulo (IAU/
ample, only today I realized that its roof is not in two slopes, show art. urbanist with a doctorate degree USP) and a professor at Mack-
from FAU/USP, where he is a enzie University. Architect of the
but domed. No matter what is decided to be done here, we have to professor. He is also a professor Contier Architecture office.
think hard about what we would be sacrificing, because a at the Escola da Cidade, where
Exhibit Glass Houses Ruth Verde Zein:12 house is a house, a house is not an art gallery, a house is not he coordinates the Specialization 10 Raquel Schenkman: Architect
Displays by Marina Correia Course in America. He is na as- and urbanist from FAU/USP,
Instituto Bardi, 2017/2018
The House has always been our friend. It has always a museum. A house has to undergo transformations, but sociate of the architecture office where he also got his doctorate
Photo Marina D’Imperio accepted the proposals from Docomomo SP, as [occurred] it’s a house. And when people visit the house, they expect Grupo SP. degree. Director of the Depart-
in last year’s visit. The houses are pilgrimage sites. Visits to to find a house. Even if there are gaps. It is not important ment of Historic Patrimony of the
3 Marta Bogea: Architect and City of São Paulo.
modern houses in the world are different because they have that the old table is there or not. No house we visited has its urbanist from the Federal Univer-
a side of structured business, with expensive tickets and complete original collection, as keeping it would be crazy. I sity of Espírito Santo and with a 11 João Sodré: Architect and urban-
great demand. Here, the house does not have it yet, and it is wanted to thank you for this opportunity to be here and to doctorate degree from FAU/USP, ist from FAU/USP, where he got
where she is a professor and his doctorate degree. Professor
more friendly. say that you are sitting in a gold mine, it’s Lina’s house, it’s coordinator of the Architecture at FAAP and at Escola da Cida-
I want to reinforce the idea of bringing here events, not any house. That alone is already a starting point to which and Urbanism course. de. Architect of the architecture
courses, etc. which could be made pro bono by us and other anything else may follow but success. office Grupo SP.
4 Marina Mange Grinover: Archi-
colleagues. tect and urbanist with a doctorate 12 Ruth Verde Zein: Architect and
Docomomo SP would like to help organize these events, Sonia Amaral: degree from FAU/USP, professor urbanist from FAU/USP, with a
so that the house can earn some revenue. Do you mean the preservation of the aura of the house? of projecting at FAAP (Fundação doctorate degree in Theory, Histo-
Armando Alvares Penteado) and ry and Critique of Architecture
at Escola da Cidade. Na associate from the Federal University of
Ana Vaz Milheiro:13 Ana Vaz Milheiro: of the architecture office Base Rio Grande do Sul. Professor at
As a foreigner, although very much in love with Brazilian Yes, the aura of the house. It is essential that you get here Urbana. Visiting professor at MIT Mackenzie University.
(Massachusetts Institute of Tech-
things, I think there should be a recentralization of Lina’s and do not become disappointed. nology) (2018). 13 Ana Vaz Milheiro: Architect
figure, who is an internationally prominent person that There is a typology of house visitors who only go once. from the Technical University of
brings a brutal interest in her work and her speech. On There are people who only go once to a museum. We have 5 Mônica Junqueira de Camargo: Lisbon, with a doctorate degree
Architect and urbanist from from FAU/USP. Professor at the
the other hand, there is the reality that the architectural to create new audiences, but we cannot be too hostage to Mackenzie University with a University Institute of Lisbon.
production of Lina is not so vast as that of other architects this, we have to think about Lina’s architecture. What’s im- doctorate degree from FAU/USP,
from São Paulo. portant is Lina, that’s what it can show. where she is a professor. She
was director of the Center for
Exhibit House of Wind, Lucia Koch. Lina’s work is very important to the city of São Paulo, Cultural Preservation of USP and
Instituto Bardi, 2019, Photo Renato
Anelli
but it is scarce. Since it is scarce, the Glass House has a advisor to Conpresp.
greater responsibility in recentralizing the discourse in its
6 Abílio Guerra: Architect and
work, through its study, research, etc. Contrary to opening urbanist from PUC (Pontifical
it, I thought it should be closed, in this sense of protecting Catholic University) of Campinas
the figure of Lina of being trivialized. Today there are three with a doctorate degree in history
from Unicamp (State University
or four buildings by Lina in the city that people experience a of Campinas). Professor at Mack-
lot, Masp, Sesc [Pompeia], Teatro Oficina, and this house. I enzie University, he is the editor
would say that one must value this question, of how Lina put of the website www.vitruvius.
com.br and the publisher of
herself in the city that she chose to live in. Romano Guerra Editora.
But when people come to Lina’s house, especially some-
one who comes from abroad, they expect to find Lina’s
house. They don’t expect to find Lina’s house colonized by
other things. I think it is a responsibility, after all, that any-

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5.2 Verification Report of Structural
Capacity

Ricardo Couceiro Bento 1 Introduction 4 On-site verification of structural components

The present report is intended to verify the structural Measurements of the most important and accessible
capacity of the construction, originally designed and used structural parts, such as steel-pillared columns, of the depth
as a residential building, in view of its change of purpose, of the spread footings on the foundations of these columns,
for the project of transforming it into a space for public and of the thickness of the floor slab of the first floor were
visitation. taken. Also, observances were made regarding pathologies
The work was envisaged as part of a historic heritage that could express some damage or excessive deterioration
preservation project that received the support of the Getty of the structure, and no occurrence was verified.
Foundation through the third-edition of its Keeping It Modern In images 1, 2 and 3, it is possible to observe the hole
program, which encourages the realization of historical made in a cylindrical column to verify the thickness of
asset management and maintenance plans drawn up from the steel pipe and the existence of concrete inside it. The
specialized technical studies. measurement was 9.84 mm, and the pipe thickness of 10
According to item 1.2 (Work Plan) of the said project, it is mm was adopted in the analysis. Ultrasonography was
necessary to evaluate the impact of the change of use on the also performed and, although it resulted in generally non-
construction and the maximum loads of the main building conclusive values, it showed a similar result with respect to
structure in order to minimize its deterioration. the thickness of the pipe. The existence of concrete inside
The author of this work was defined by the coordinator the metal pipe was also confirmed.
of the task group three of the project, Professor João
Adriano Rossignolo.

2 Study plan

Because of the change of use during the life of the building,

the objective was to carry out the necessary verification
of the existing structural components, in what regards the
resistant capacity, due to the new loads requested from the
point of view of safety and durability.
In order to perform the analysis of the structure aiming
such goal, the following procedures were performed:

– Study and interpretation of structural design information,

– On-site verifications of structural components,
– Analysis of the design of the original structure with
structural calculation software.
Image 1: Image 2: Image 3:
Hole in the column Measurement of pipe thickness Reading the thickness of the tube
on the calipers

3 Study and interpretation of structural design

information In order to verify the depth of the top of the columns spread
footings in round steel pipes and the insertion of the pillars
The structural project analyzed was executed in 1951 by in the land, it was collected a sample through opening o
the company Sociedade Comercial e Construtora S.A. The holes in some of them, as seen in images 4, 5 and 6.
existing draws are available at: <http://www.institutobardi.
com.br/desenhos_simples.asp?Palavra_Chave=estrutura%20
casa%20de%20vidro&Codigo_Referencia=&Data_
Inicial=&Data_Final>. In spite of a good level of detailing in
the drawings, it is observed, from their study, the absence
of certain information of extreme importance for the project,
such as the characteristic resistance of the concrete (fck),
the type of steel used in the reinforced concrete structure
(drainage tension) and the detailing of the columns
constructed with steel pipes (without any information as to
the wall thickness of the pipes and their interior). Due to this
difficulty, additional investigations were carried out to make
feasible the structural analysis of the residence, as described
in item 4, below.

Image 4: Image 5: Image 6:

Location of the top of the spread Location of the top of the spread Location of the top of the spread
footing footing footing

430 431
 The thickness of the slab, as verified by means of Still because of their relevance to the preservation of the
prospection, using an outlet on the floor of the first floor, is building, 3 strategic points were approved for extracting the
of 58.15 mm, as shown in images 7, 8, 9 and 10. smaller specimens so that they were not overly visible (as
indicated in figure 1), being two samples of each point, used
to ensure the minimum number of 6 specimens required for
a statistical analysis according to ABNT NBR-7680-1: 2015.
The process of extracting the smaller specimens can be
observed in images 11, 12, 13.
A test was also carried out in order to verify the depth
of carbonation in the concrete structure. This test was
requested due to the great importance of this phenomenon,
whose occurrence, in case it reaches the structure armature,
causes structural damages due to the oxidation speed of the
reinforcements. The result of this test is given in Annex 2 to
this report. One stage of the test, using the phenohphthalein
indicator, can be verified in image 14.
Image 7: Image 8: Image 9: Figure 1:
Detail of outlet on the floor slab Outlet on the floor slab Measurement of slab thickness Smaller specimens extraction points
in the concrete structure

As to the characteristic resistance of the concrete (fck)

used in the construction, no data was found that would
make possible the execution of a resistance projection over
the years, necessary for the structural evaluation.
This data is, of course, of vital importance for the
analysis of the reinforced concrete structure and, as a
consequence of its absence, it was commissioned the
extraction of concrete samples from the structure by a
technical laboratory specialized in the procedure.
Due to the importance of this data for aesthetic
preservation, and aiming at an investigation with a minimum Image 11: Image 12: Image 13:
Smaller specimens extraction: Smaller specimens extraction: using Smaller specimens extraction:
of intervention, it was approved the extraction of specimens detection of concrete cover with a drill specimen extracted
of the core structure of reinforced concrete with the cover meter
diameter of 27 mm – the so-called smaller specimens, in
substitution of the usual ones, with a diameter of 100 mm or Later, it was found in Italy a detail by engineer Nervi, the
75 mm. structural consultant of the owners of the residence. The
The use of the smaller specimens was theoretically detail contained a specification in the design of the Glass
possible and then adopted in the evaluation of the House as to the minimum characteristics of the columns,
Image 10: compressive strength of the concrete, since it was such as the thickness of the pipes, the connections with
Reading on the calipers
evidenced, based on the excellent statistical correlations at the slabs and the foundations, as well as the minimum
the significance level of 1%, the possibility of using them in consumption of cement. In addition, a maximum load of
the evaluation of finished structures (VIEIRA FILHO, 2007). 45 tons was also provided for the foundations, and the
The extraction of the specimens was commissioned maximum load capacity of the soil was assumed to be as
by Centro Tecnológico de Controle da Qualidade Falcão low as 1.5 kg/cm², resulting in a minimum size for the spread
Bauer and followed the requirements of ABNT NBR 7680- footings of 1.70 m x 1.70 m for the columns with metal
1: 2015 – Concreto – Extração, preparo, ensaio e análise de pipes. The detail is in image 15.
testemunhos de estruturas de concreto. Parte 1: Resistência à
compressão axial [Concrete – Extraction, preparation, testing
and analysis of concrete structures. Part 1: Resistance to Image 14: Image 15:
Carbonation test: measuring Photo of a detail of the design by
axial compression]. carbonation depth the engineer Nervi regarding the
The work of extracting specimens and subsequent filling Glass House, column bonds with
of the holes were supervised personally by the author of this the foundation and the slabs
report. The results of the tests are given in Annex 1 to this
structural report.

432 433
 The current resistance under load, that is, already longer for residential purposes, as originally conceived, but
4.1 Assesment of concrete strength for purposes of affected, is diminished in advance by the Rusch effect according to the current purpose, which we could classify
structural safety verification (loss of the resistant capacity due to long-term load of the as a small museum or an art gallery – in the consideration of
According to FUSCO (2008), in general, since the material). Both actions, Rusch effect and resistance growth, accidental overloads (accidental overload is everything that
number of specimens that can be effectively extracted are practically stabilized after fifty years (BOLINA, PERRONE can act on the structure of buildings depending on their use,
from an existing structure is usually very small, it is usual and TUTIKIAN, 2015). such as people, furniture, miscellaneous materials, vehicles,
to carry out only an unsystematic statistical analysis that In the case of this study, these divisions of Ðc were not etc.).
encompasses the entire structure in a single batch. adopted by the author, due to safety reasons, given the Loads are important factors in the field of structural safe-
NBR 7680-1: 2015, in its item 7.1.2, indicates that, for possibility of extracting only a small number of specimens. ty and life expectancy for the ultimate limit state criteria. Due
the assesment of concrete resistance to be used in the Thus, based on these works, on the normative to their random nature, the loads are difficult to define, es-
structural safety verification, it must be taken into account all specifications and on the conclusions of the tests, following pecially accidental ones. The vertical loads considered to be
the results issued by the laboratory responsible for the tests, the guidelines of NBR 7680-1:2015, the result reached was acting on the floors of buildings, besides those that are ap-
already corrected by coefficients k1 to k4. The table in figure fck, ext, seg of 32.92 MPa. plied in a special character, are assumed to be evenly distrib-
2 was the one provided by the laboratory with the results of Later, one of the values of fck established by NBR uted, with minimum values indicated. ABNT NBR 6120:1980
the tests. 8953:2015 – the one closest to the concrete class of 30 MPa – Cargas para o cálculo de estruturas de edificações [Loads
– was adopted, in favor of safety. for the calculation of building structures] specifies these min-
imum values (JORDÃO et al., 2013).
The vertical overload adopted for the floor of the upper
4.2 Assessment of carbonation depth for purposes of floor in this evaluation was 3 kN/m² (300 kg/m²), equivalent
structural safety verification to an occupation of 42 people in 10 m² (MARINGONI, 2003).
According to the results of the report issued by the This overload, as specified in NBR 6120:1980, provides
laboratory responsible for the tests, the structure is not for a minimum load to be considered for corridors and
carbonated in the region of the reinforcement. The covering school classrooms, movie theaters with fixed seats, library
of the columns tested is of 20 mm, according to the original reading rooms and, finally, for art galleries (considered ap-
structural design, and the coating is of 15 mm according to propriate in this evaluation). The configuration of the environ-
the on-site verification. ment can be verified in some images, as in figure 3, which
Carbonation was detected as varying from 0 mm to 10 presents the modeling of the upper floor, and in figure 4,
mm, from the outer face to the center of the piece. In view of with 3D views of the complete structure evaluated in some
the obtained results, the laboratory responsible for the tests models. The total loads resulting from structural processing
verified that the carbonate thickness has not yet reached the are detailed in figure 5.
reinforcement of the parts and, therefore, the passive layer of In the analysis of the space porch, for the displacement
the bars must be preserved where the concrete is intact. The verification, it was considered a wind speed of 45 m/s.
results of these tests can be found in Annex 2 to this report.

Figure 2: According to the same paragraph of the said standard, 5 Analysis of the structural design with software for
Table with test results of the smaller
specimens of concrete
the estimate of the characteristic strength of the lot for structural design
purposes of structural safety verification is given by the
average of the individual results of that lot, according to the With the information described in the previous items, the
following equation: data of the design of the original structural design were
Also according to NBR 7680-1:2015, the design inserted and analyzed in structural design software with
resistance fcd to be used in the verification of the structure the due and required modeling for a more realistic analysis,
should be calculated using the Ðc reduction provided for in according to the possibilities of the tools.
NBR 6118:2014. The programs used were CAD/TQS V18 System (nation-
For the assesment of structural safety and overall al reference in its field of activity, with clients throughout
stability, considering the Ultimate Limit State (ULS), NBR Brazil and in some other countries) for the determination of
6118:2014, in its item 12.4.1, recommends, in the case of the efforts and verification of the details of the structure of
specimens extracted from the structure, the division of the reinforced concrete. The Pilar Misto V&M-UFMG – Programa
value of Ðc by 1.1. Therefore, in usual cases, Ðc = 1.4 / 1.1 Pilar Misto, which verifies steel tubular columns filled with
= 1.27, which is pragmatically equivalent to multiplying concrete according to ABNT NBR 8800:2008, was used for
the result of resistance of the test by 1.1, ie increasing it by the exclusive analysis of the composite steel and concrete
10%, since the test better represents the effective strength round columns (this software was developed by the Federal
of the concrete at the site around that extraction region than University of Minas Gerais – UFMG).
the molded specimen. For the purpose of verification of the The initial procedure adopted was the insertion of data
Service Limit State (SLS), ie deformations (arrows), cracking in the CAD/TQS V18 System referring to the location and
and working stress, it should be adopted Ðc = 1. There is also dimensions described in the original design.
no need to apply coefficients to retroact resistances at 28 In the structural analysis, besides the permanent loads
days, because they are specimens extracted from elements (constituted by the weight of the structure itself and of all
under load (HELENE, 2010). the fixed elements and permanent installations), it was also
necessary to take into account the use of the building – no

434 435
 5.1 Analysis of the spread footing foundations Since information related to the steel flow limit (fy) of The columns that did not respond to the new modeling
Through the results obtained in the structural modeling the columns is not available, the value of 180 MPa has been were:
applied to the dimensions of the foundations, presumably adopted to fy, although NBR 8800:2008 does not consider in
executed according to the detail of the structural design, its Annex A flow limits lower than 250 MPa. – P23, with original longitudinal reinforcement at 37.5% of
dated 1951, in its sheet 1, it can be observed an average In practice, steel with fy in the range of 180 MPa to 200 the new modeling;
transfer of tensile force to the ground of the order of 0.076 MPa can still be found on the market. This conservative – P23, com uma armadura longitudinal original a 37,5% of
MPa (0.76 kg/cm²), varying from a minimum of 0.039 MPa value was adopted for the sake of safety, because it the new modeling;
(0.39 kg/cm²) to a maximum of 0.114 MPa (1.14 kg/cm²). In was considered closer to the characteristics of the pipes – P7, with original longitudinal reinforcement at 68,75% of
the specific case of the foundations of the composite steel manufactured at the time of construction of the building. the new modeling;
and concrete columns supporting the upper floor slab, the The columns were evaluated through two calculation – P22a, with original longitudinal reinforcement at 37,5%
average tension transferred to the ground was 0.089 MPa models, the calculation model I (based on the American of the new modeling.
(0.89 kg/cm²), ranging from a minimum of 0.08 MPa (0.8 kg/ Standard ANSI/AISC 360–05 – Specification for Structural
cm²) to a maximum of 0.114 MPa (1.14 kg/cm²). Steel Buildings and uses the same expressions of interaction As for the support section of the column cover in reinforced
The detail of the project by Nervi, in image 11, indicates between axial force and bending moments prescribed for concrete, due to the various changes of the technical
the consideration of a load capacity of the soil for a steel columns) and calculation model II (a verification based standards over the years, some have, as expected,
tension of 0.15 MPa (1.50 kg/cm²), which may suggest the on the simplified method of European standard EN 1994–1– dimensions smaller than the current minimum requirements.
occurrence of some discussion in this sense between the 1:2004: Design of Composite Steel and Concrete Structures The P3, P7, P12 and P22 columns have the smallest
Brazilian designers and the Italian at the time of designing – Part 1-1: General rules and rules for buildings). transverse dimension with 12 cm, whereas the requirements
the structural project. Some studies have shown that the calculation models in NBR 6118:2014: Projeto de Estruturas de Concreto –
Results of soil load capacity gotten through trials, I and II present adequate safety, and that for columns with Procedimento [Design of Concrete Structures – Procedure],
performed currently or at the time of construction, are not relatively low slenderness and small contribution factor of in its item 13.2.3, determines a minimum of 14 cm.
available. However, based on the observances made on the steel, the calculation model I is quite conservative in relation A sizing coefficient is stipulated by NBR6118 in the case
foundations and on the structure of the house, together to the calculation model II, and that, for columns with high of columns with the smallest transverse dimension of less
Figure 3: with the data of the original projects and these, compared to contribution factor of steel or great relative slenderness, both than 19 cm. For the analysis, the value of 1.5 was adopted
Modeling of the upper floor in CAD/
TQS software
the results of the loads of the current structural project, the models provide close results (CALDAS et al., 2007). (in the same standard, in its 2003 version, the value was
conclusion is that, with respect to the foundations for the The evaluation of the existing composite steel and 1.25, so the value adopted is in favor of security).
intended use, these are safe in what regards the requests. concrete tubular columns subjected to the structural The current standard also does not allow, in any case,
modeling requests generated results that confirmed the columns with cross-sectional area of less than 360 cm². The
5.2 Analysis of the columns structural safety of these pieces as to the intended use, P7 and P12 columns, with a cross-sectional area of 230 cm²,
5.2.1) Composite steel and concrete tubular columns object of this work. The results of this evaluation can be do not therefore meet this requirement in the supporting
The composite steel and concrete tubular columns were verified in Annex 3. section of the roof.
evaluated for the requirements obtained in the structural
modeling with the measurement of the dimensions taken 5.2.2) Reinforced concrete columns
on-site. The variation of the heights to the foundations was The original structural design, in what regards the columns, 5.2.3) Circular reinforced concrete columns that support
taken into consideration in the structural analysis according only details the grade of the starters, described in sheet 2 of the roof
to the situation of each column measured on-site. the original 1951 design. For the verification of the internal The lack of detailing of the circular columns throughout
The values used for the analysis, in the case of the reinforcements of the columns, the only reference used was the building has already been commented on previously,
Figure 4: columns that support the slab of the upper floor, were 18.3 this information regarding the starters, with the deduction of and the analysis of them is always difficult to achieve. Due
3D view of structural modeling
cm for the diameter and 1 cm for the thickness of the pipe. continuity of the reinforcement to the upper floors. to this difficulty, observations and conclusions were drawn
In no case was the contribution of any internal Through the observance of the results of the structural through quantitative assessments reinforced by unavoidable
reinforcement, besides the concrete filling, considered for modeling of the columns in reinforced concrete, the qualitative assessments (supported by on-site observances
the analysis of the composite steel and concrete tubular supporting columns of the floor slab of the upper floor are of possible signs of structural pathologies).
columns. The existence of reinforcements in the concrete all in accordance with their dimensions and slenderness. Still According to information from the architect Marcelo
was not found in the details of the projects nor was it with respect to the internal reinforcement (starting from the Suzuki, the circular columns in the supporting section of the
detected by means of ultrasound tests carried out on-site. hypothesis of the existence of the same structure as of the roof, contrary to what was thought, are not made of metal
For safety, it was decided to disregard them in the analyzes. starters), it attends to the current modeling in practically all pipes filled with concrete, as they are in the supporting
The calculation for the verification of these columns is the columns, as well as the longitudinal reinforcement and section of the floor of the pavement. The circular columns
regulated by ABNT NBR 8800:2008 – Projeto de estruturas the stirrups. in the supporting section of the roof would then, according
de aço e de estruturas mistas de aço e concreto de edifícios to this information, be made of asbestos cement, filled with
[Design of steel structures and mixed structures of steel and concrete and reinforcement grade (unspecified as to its
concrete for buildings] (even if there is a specific standard for grading area or number of bars).
circular tubular profiles, ABNT NBR 16239:2013 – Projeto de Observations and conclusions drawn by the author of
estruturas de aço e de estruturas mistas de aço e concreto de this report through the available information:
edificações com perfis tubulares [Design of steel structures
and mixed steel and concrete structures with tubular 1) The circular columns of the roof have a diameter of
columns). approximately 15 cm, which results in a cross-sectional area
of 177 cm². The current standard, in NBR 6118: 2014: Projeto
de Estruturas de concreto – Procedimento, in its item 13.2.3,
states that in no case are to be allowed columns with a
cross-sectional area of less than 360 cm². The columns meet
the current standardization, with regard to the area of the
Figure 7: minimum cross-section, in practically 50%.
Table of the columns loads

436 437
 2) For the verification of the nominal structural capacity The current presentation of the structure in such good the parts, which would make it the best type of shearing
of these columns, the following parameters were considered: condition may be the result of factors such as the non- reinforcement (FUSCO, 1995). In the present modeling of
transfer of these moments to the top of the columns, the structure, the verification of the shear stress was realized
2.1) The conclusions and values obtained regarding the according to the evaluated model, due to the behavior of through the use of vertical stirrups.
concrete strength were used, as explained in item 4.1. The the structure in a differentiated way in work. One hypothesis As for the deformations of the structure through the non-
exception was the adoption, in this case only, of the division would be that this is due to the slow deformation of the linear grid, they are within the parameters of the standard for
of Ðc in the analysis of these columns, given the observance columns or deformations of thermal origin of the cover slab, both slab and beams, proving adequate for the intended use.
of the good conditions of the same, in order to avoid an which would have unlinked the top of them from the roof The dimensions of the pieces (beams and ribs) were
assessment that is too pessimistic and probably out of beams. The cracks would have been repaired over time, not confirmed in the current modeling. Regarding the detailing
reality. receiving the transfer of these moments. of the reinforcement, some variations were observed as
Another hypothesis of differentiated behavior was expected. The differences in structural parts (beams and
2.2) The requests found in the current structural model the failure to consider the role played by the “X” locks slabs) are, depending on the case, more or less, but, in the
with regard to vertical loads and moments in the columns. presented in draw 12 of the original structural design of the opinion of this expert, they do not express anything that
Glass House, located between columns 7 and 12; 18 and results in damage or a reprobation of the structure.
2.3) The analysis was made based on the hypothesis 23, in the transverse direction; and between 16 and 17 in
that 12 mm # 12 mm reinforcement was installed on each the longitudinal direction. These may have been part of an 6 Assessment of displacements of the space portico
columns, according to a detail of the design by the engineer effort in the project to reduce horizontal movements. In the
Nervi in his guidelines for the execution of the structure, with present structural model, without these locks, the horizontal The average load obtained through the current modeling
the columns connections with the foundation (cited in image displacements resulted in a maximum value of 0.27 cm at was 9,600 kg/m². The overall stability parameter obtained
15). the top of the building (reference value of 0.56 cm) and a was an alpha value of 0.65 (reference value: 0.6).
displacement between floors of 0.15 cm (reference value of The horizontal displacements resulted in a maximum
3) From the analysis of the results it is concluded that 0.37 cm). The displacements are therefore within acceptable value of 0.27 cm at the top of the building (reference value:
the circular columns P1, P5, P10, P15 and P20, from the limits. It should be noted that low and lightweight buildings 0.56 cm) and a floor displacement of 0.15 cm (reference
first row from the façade, and the P2, P6, P11, P16 and P21 can dispense with the special bracing elements, since the value: 0.37 cm). Displacements, therefore, are within
columns from the second row attend to structural capacity main aporticated structure itself is sufficient to guarantee acceptable limits.
when it is taken into account the efforts, in their axes, of the indeslocability (ARAÚJO, 2014).
vertical concentrated loads. Thus, unfortunately, the author of this report can not
On the other hand, when the possible moments in their provide a reasonable and complete conclusion regarding a
tops (obtained in the current structural model) are inserted, definitive and convincing evaluation of the current structure
the columns would not meet the safety coefficients in all of the circular supporting columns of the roof. This would
cases. The percentage of attendance of the safety coefficient require further studies, testing and documentation analysis.
would be, in the first row: P1, in 72%; P5, in 45%; P10, in
45%, P15, in 45%; and P20 in 84%. And, in the second row: 5.3 Assessment of slabs, ribs and beams of the upper
P2, in 73%; P6, in 62%; P11, in 56%; P16, in 49%; and P21 floor and roof
in 91%.
The structure of the floors was modeled with the dimensions
4) The conditions of the structure as a whole, and of the original design, and the deformations were evaluated
specifically those of the circular pillars, observed on- by means of the non-linear grating process.
site, despite the negative results listed in item 3, do not In the non-linear grating process, the portion referring
present any sign of pathological symptoms or excessive to the creep of the concrete structure (phenomenon of
deformations (resulting in small values, according to gradual increase of the deformation over time under a given
structural model). constant stress level) was not taken into consideration, since
the structure was already stabilized after more than 60 years
under load. Research with test results shows that in 75%
to 80% of cases this occurs in the first year of construction
(MEHTA & MONTEIRO, 2008), which justifies the hypothesis
adopted.
The detailing of the ribs and beams was originally made
with folded steel longitudinal reinforcements, usual at the
time. For a long time the bars bent at 45° were considered
the most recommended reinforcements to resist the tensile
stresses caused by the shearing action. Nowadays, it is
known the notion that a bent steel bar that passes from
the trammel drawn to the compressed flange of the beam
ensures a better connection between the two flanges of

438 439
7 Final conclusions Bibliographical references: HELENE, P. R. L. Considerações sobre a
conformidade da resistência à compressão do
AMERICAN NATIONAL STANDARDS INSTITUTE. concreto em estruturas de edificações – 4o
The conclusions drawn from the studies carried out with the ANSI/AISC 360:05 – Specification for Steel texto preliminar. São Paulo. Texto enviado à
use of structural analysis software, from the on-site structure Structural Buildings. Washington, 2005. Comunidade TQS, 2010.
ARAÚJO, J. M.. Curso de Concreto Armado, Rio JORDÃO, F.; OTONI, M.E.; MENDES, R.B.; ARAÚJO,
verifications (visual and obtained through the extraction of Grande: Dunas, v.3, 4.ed., 2014. R.S. Caracterização estatística das cargas
specimens) and from the existing projects are as follows: ASSOCIAÇÃO BRASILEIRA DE NORMAS TÉCNICAS acidentais verticais em edifícios com base
· The structure is in a satisfactory state of (ABNT). ABNT NBR 6120: Cargas para o cálculo em levantamento de dados. E-RAC: Revista
de estruturas de edificações. Rio de Janeiro, 5 Eletrônica da Reunião Anula de Ciência do
conservation, given the age of the construction, and the páginas, 1980. Centro Universitário do Triângulo – Unitri, v.3,
carbonation process has not yet reached the reinforcement ______. ABNT NBR 8800: Projeto de estruturas de n.1, 2013.
of the concrete structure. aço e estruturas mistas de aço e concreto de MARANGONI, H.M. Princípios de arquitetura em
edifícios. Rio de Janeiro, 237 páginas, 2008. aço. Coletânea do Uso do Aço, v. 4, 2.ed., 2004.
· With regard to the Ultimate Limit State (ULS), ______. ABNT NBR 16239: Projeto de estruturas de MEHTA, P. K.; MONTEIRO, P. J. M. Concreto:
obtained by comparing the current analysis with the original aço e estruturas mistas de aço de edificações microestrutura, propriedades e materiais, 3.ed.,
structural design, according to the details and hypotheses com perfis tubulares. Rio de Janeiro, 83 IBRACON, 2008.
páginas, 2013. VIEIRA FILHO, J. O.; Avaliação da resistência
adopted in the evaluation, the structure is considered safe ______. ABNT NBR 6118: Projeto de estruturas de à compressão do concreto através de
for vertical accidental overload in the floor of 3 kN/m² (300 concreto – Procedimento. Rio de Janeiro, 238 testemunhos extraídos: contribuição à
kg/m²), which equals an occupancy of 42 people in 10 m². páginas, 2014. estimativa do coeficiente de correção devido
______. ABNT NBR 7680-1: Concreto – Extração, aos efeitos do broqueamento. São Paulo,
Regarding the detailing of the reinforcement, some variations preparo, ensaio e análise de testemunhos de Escola Politécnica da USP, PPEGEC, jul. 2007
were verified, as expected, which are not significant to the estruturas de concreto. Parte 1: Resistência à (Doctorate Thesis).
point of non-approval of the structure. compressão axial. Rio de Janeiro, 24 páginas,
2015.
· Based on the observances made in the foundations ______. ABNT NBR 8953: Concreto para fins
and the structure of the house, together with the data of the estruturais – Classificação pela massa
original projects and these, compared to the results of the específica, por grupos de resistência e
consistência. Rio de Janeiro, 3 páginas, 2015.
loads of the current structural project, the conclusion is that, BOLINA, F.; PERRONE, V.; TUTIKIAN, B. Discussão
with regard to foundations, these are safe in what concerns sobre as ações variáveis de projeto segundo
the requests for the intended use. os requisitos mínimo, intermediário e superior
de desempenho da ABNT NBR 15575. Revista
· The assessment of the existing composite steel Concreto & Construções, IBRACON, n.79, jul.-
and concrete tubular columns, submitted to the structural set. 2015.
modeling requirements, presented results that confirmed the CALDAS, R.B.; FAKURY, R.H.; SOUSA JR., J.B.M.
Bases do dimensionamento de pilares mistos
structural safety. de aço e concreto segundo o projeto de revisão
· By evaluating the results of the structural modeling na NBR 8800. REM: Rev. Esc. Minas, Ouro
of the columns in reinforced concrete, the supporting Preto, v.60, n.2, 2017.
EN 1994-1-1 (2004) (English): Eurocode 4: Design
columns of the floor slab of the upper floor are all in of composite steel and concrete structures –
accordance with their dimensions and slenderness. Part 1-1: General rules and rules for buildings
· With respect to the State Service Limit (SSL), values [Authority: The European Union Per Regulation
305/2011, Directive 98/34/EC, Directive
of structure displacements and deformations of the beams 2004/18/EC].
and slabs (through non-linear grid analysis) were found FUSCO, P; B. Técnicas de armar as estruturas de
within the limits of the current standardization. concreto. Editora PINI, São Paulo, 1995.
______.; Tecnologia do Concreto Estrutural: tópicos
aplicados. Editora PINI, São Paulo, 2008.
With no more to add, I hereby endorse this report,
. .
Eng. Civil Ricardo Couceiro Bento
Doutor – USP – São Carlos.
Mestre em Habitação – IPT – Instituto de Pesquisas
Tecnológicas de São Paulo.
Professor PUC Minas – Poços de Caldas.
Membro do IBRACON – Instituto Brasileiro do Concreto.
Membro da ABMS – Associação Brasileira de Mecânica
dos Solos.
Membro do Instituto de Engenharia – SP.

440 441
5.3 Glazing report

Osny Pellegrino Ferreira The facades’ existing glass casements, comprised of steel Possibilities for the attenuation of the effects that In terms of the item – Roof, I suggest that all tiles be
profiles, are fixed to the lower slab (ground) and on the contribute the cracking of the glass: replaced by corrugated sheets of asbestos cement without
upper inclined slab (ceiling). Considering this rigidity in both 1) The substitution of the casements which are currently asbestos, with minimal thickness of 6 mm. To mitigate the
slabs, it can be supposed that any movement occurring in damaged - considering that the substitution of the already- thermal load provided by the roof I suggest that an isolating,
these structural elements ends up generating force for the -corroded casements is necessary, the possibility of utilizing plastic thermal film, such as Duralfoil, be applied, aluminized
glass casements. steel profiles that are resistant to corrosion can be verified, on both sides.
in other words, weathering steel, of the COR-TEN A type The existing glass wool batts should be removed, with
Cracks in the glass panels may have originated in the (designated as ASTM A 242), available on the market, used workers taking great care and using personal protective
following manner: in architectural applications. This possibility will diminish equipment.
1) Deformation due to fluidity in the reinforced con- corrosion in the steel casements. The orientation ratifies the recommendation made by
crete-- mainly in the centers between supports and in the 2) Substitution of putty- application of elastomer to the team 3, coordinated by Professor João Adriano Rossignolo,
extremities, where the roof and ground slabs find themselves base of flexible polyurethane in order to attach the glass to PhD: substituting the roof tiles with the same characteristics,
in balance (from the columns), displacement due to the fle- the casement. This solution is advisable since, in addition to but without asbestos.
xure of the slabs contributed to the generation of force in the preventing the oxidation of the steel, it guarantees greater Installation of a lifeline on the roof in order to prevent
casements, though in the present case it is considered less impermeability and makes it possible for the glass to not maintenance workers from suffering falls or accidents.
responsible for the cracking of the glass since the presence receive occasional forces that originate in the casements.
of cracks was not detected in the windows of the central 3) Direct detachment of the casement from the struc- Make coupled gutter
casements between columns. ture – I consider the direct inlaying of the casements to the
2) Movement resulting from thermal variation acts on ground and roof slabs, by way of rigid anchor bolts, to be Circular pilotis
the reinforced concrete structure and the casements. The inappropriate in the present case. The possibility of desolde- Measured by acoustic instrument (to detect the thickness of
roof slab is more subject to thermal variations, since it gains ring the casements from the elements of reinforced concrete the metallic side wall).
and loses heat from the environment with greater intensity can be realized through flexible elements comprised of a In the base: remove the land up to 40 centimeters below
than the ground slab. The glass is fragile and its coefficient UHMW (Ultra-High-Molecular-Weight) polymer (manufactu- the surface, scrape, sand the section with corrosion, apply
of thermal expansion is much lower than that of concrete. rer Baron: http://baron.com.br/ company from Água Verme- phosphate coating (using Fosfatox) to the region and repaint
This condition, considering that the casements are currently lha – São Carlos). This polymer is also resistant to electro- with polyurethane bi-component based products. At the top,
rigidly embedded (soldered) into both slabs, the differential chemical conduction and has a great capacity for resilience, sand and repaint using synthetic enamel.
thermal variations tend to cause shearing force in the glass, which contributes to a longer lifespan for the casements.
leading to cracks. 4) Installation of galvanic anodes – the placement of Painting
“sacrificial” zinc pellets in order to minimize the corrosion To regulate the mortar in the masonry, add to the lime 20%
Aggravators that contribute to the occurrence of the of the steel and act as an alternative to the casements that of acrylic latex, in terms of the quantity of water. This would
cracking glass: are not yet completely compromised by oxidation. In them, give a greater regularity to the plaster covering the walls,
1) The attachment of the windows to the casements the formation of flaking compromises the functioning of the avoiding fissures in the actual painting.
with putty - this material, composed of plaster and linseed oil casements and the movement of their moving parts where
tends to harden over time, turning stiff and passing any de- there are openings for ventilation, for example. Gutter / gargoyle
formation that may occur in the metal frame on to the glass. 5) Substitution with laminated glass- the possibility of Recompose the gutter according to the original project
The plaster (calcium sulfate) can also attack the steel profiles substituting with laminated glass appears adequate, conside- and coat it with a sheet of zinc, closing the openings
of the casements and, in the presence of humidity, lead to ring that this type is considered safety glass, and it provides with Sicaflex/polyurethane. Place dome drain covers over
the appearance of rust (oxidation). The corroded steel pre- a greater guarantee in terms of the occurrence of accidents opening to the gutter’s (downward) water chutes.
sents volumetric expansion and can thus burden the glass occasioned by falling fragments of glass that may happen to
panel, framed by the casement, exerting localized forces. The crack. Osny Pellegrino Ferreira
glass, a fragile material, should it surpass its resistant capaci- Civil engineer (1975), retired professor from the University
ty can break at the more susceptible locales. of São Paulo’s São Carlos School of Engineering, having
2) The rigid embedding of the casements- the profiles taught graduate and post-graduate courses in civil
that comprise the casements are directly “soldered” into the engineering and architecture and urbanism. Researcher
ground and roof slabs and, as such, they are submitted to in the area of civil construction and technology of the
the deformations and displacements of each, both in terms constructed environment on the following themes: special
of mechanical forces as well as those originating from varia- concretes, asbestos cement, the utilization of agro-industrial
tions in temperature in the environment. residues in construction, development of new materials
and constructive components, evaluation of systems and
constructive components, composites in polymeric and
cementitious cores, structural reinforcements with fiberglass
plating.

Example of “sacrificial” anode, zinc

pallets that can be installed in the
Casa de VIdro to prevent oxidation
of the frames. This kind of anodes
are attached to the metalwork of
the reinforced concrete beam and
can be installed in the space of the
alveolar slab.

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5.4 Casa de Vidro point cloud
and information processing1

Júlio César Franco Jr. 3d documentation and architectural heritage According to Eppich e Chabbi (2007), in a conservation 3D scanning allows obtaining geometric models from a
Ana Regina Mizrahy Cuperschmid planning process, documentation provides the long-term point cloud set up through laser beam scanning (GROET-
Márcio Minto Fabricio Digital technologies are widely used for recording and pre- baseline for monitoring, maintaining and managing resourc- ELAARS, 2015). Fritsch and Klein (2018) show that com-
serving information concerning architectural heritage. Virtual es, ensuring this knowledge may be passed on to future bining photogrammetry and laser scanning can generate
reconstruction of historical building allows innovative possi- generations. Endorsing this view, Schmid and Lebanc (2007) tridimensional models that are geometrically accurate and
bilities for recording the memory of buildings and their con- suggest that documenting a heritage building can assure quality textured.
struction techniques, which may contribute to maintenance building memory perpetuation, even in case this heritage
and operation actions. resource evanishes due to natural disasters, negligence or Along with photogrammetry, laser scanning is one the most
inadequate conservation. used technologies for assessing buildings. It has millimet-
This chapter presents research results on the implementation ric precision, resolution of millions of points and automatic
of digital technologies for documenting architectural heritage Eppich and Chabbi (2007) consider that cultural heritage shape capture and extraction (Dezen-Kempter et al., 2015)
carried on in Lina Bo Bardi’s Casa de Vidro [Glass House]. documentation has become more complex, requiring now fotogrametria.
The documentation work used Terrestrial Laser Scanning more resources for proper recording. This process consists
(TLS) and photogrammetric techniques to support the devel- of multidisciplinary assignments that comprise information In regard to Casa de Vidro, designed by Lina Bo Bardi, ex-
opment of HBIM models by making up graphic products for provided by professionals and nonprofessionals from various tensive tridimensional documentation has been produced
analyses and accurate tridimensional documentation of Casa fields (LETELLIER; SCHMID; LEBLANC, 2007). According through photogrammetric, 3D laser scanning and HBIM
de Vidro’s set of buildings. to Rodríguez-Moreno et al. (2018), if the records produced modelling techniques, which was altogether the result of a
in this process are classified and kept in a documentation collective work focused on the building Management and
The chapter is organized so as to present: the procedures archive where building components are treated as detached Conservation; a job that lasted around two years.
for collecting contextual, spatial and photographic data; 3D objects, unrelated to its environment, information will be
point cloud processing and photogrammetric procedures fragmented, which affects the global assessment of the re- The Brazilian team worked in collaboration with Italian re-
and results that supported the development of the Casa de source subject to conservation. searchers from the Ferrara University during the phase of
Vidro’s Historical Building Information Modelling (HBIM), 3D laser scanning the buildings and gardens (see next text
which is described in the next chapter. Different tridimensional assessment techniques have been 5.5 Documenting Modern Architecture to Learn from
used to document historical buildings with geometrical pre- Masters). The Italian team has also provided training to the
Accurate documentation and tridimensional recording pro- cision. Among them, we can highlight those derived from Brazilian team on manipulating the resulting point cloud.
cess of historical buildings come in an opportune time when photographic assessments, photogrammetric processing
Information and Communication Technologies (ICT) have and techniques related to 3D laser scanning. The research was exploratory in nature and evolved from
greatly benefitted projecting, building and management pro- a case study on the use of Terrestrial Laser Scanning (TLS)
cesses, although such technologies are still seldom used for According to Fritsch (1999), photogrammetry is a photo technologies, HBIM and photogrammetric techniques as
conservation works with historical buildings (Dezen-Kempter image scanning and processing technology for determining documentation basis for Casa de Vidro, for purposes of
et al. 2015). shapes, position and geometrical features in order to gen- historical heritage management, building memory conserva-
erate tridimensional virtual models. As a science of remote tion, structural, construction and pathological records, and
In regard to existing buildings, a key step is to assess their sensing and measuring the geodesy field, photogrammetry support for future interventions and use management of this
physical-geometrical features in order to generate documen- has its own techniques for obtaining geometrical data out of heritage resource.
tation consistent with the actual scenario. As for high histor- objects represented in photographs (Linder, 2009).
ical-artistic importance buildings, which should therefore be One of the issues that stimulated the research is linked to the
preserved, information accuracy and consistency are requi- Such techniques allow for 2D photographs – with differ- limitation of traditional documentation methods for combin-
site for analyzing their current status, operation and mainte- ent perspectives of the same object –, when combined, to ing and managing information concerning the building. In-
nance requirements and supporting intervention studies. As determine spatial coordinates and correct perspective and tending to use BIM for assisting in the heritage management
a result, this work combines practices adopted for develop- focal distortions, producing as a result orthogonal mosaics of of Casa de Vidro, we tried to develop a HBIM model and,
ing the Casa de Vidro Conservation Management Plan (CMP) images. Therefore, they enable the production of information subsequently, integrate it to the building damage mapping.
with reference to digital technologies used for documenting for documenting heritage resources (Fritsch & Klein, 2018). This data, obtained through the use of a tool designed for
and virtually reconstituting in the heritage building in ques- integrating BIM-model into the damage mapping, was quali-
tion. According to Groetelaars (2015), the use of manifold digital tatively analyzed.
photogrammetric techniques makes it possible to obtain a
Accurate documentation is an essential factor in successful significant amount of geometry data, measurements, de- Following accurate tridimensional assessment, the subse-
cultural heritage conservation, for it allows for the under- signs, orthophotos, among other information. In addition, quent step was to record and consolidate information in
standing of the heritage resource’s significance, conditions the use of photogrammetry measurement methods has semantically enriched databases for documenting and ana-
and complexity (EPPICH; CHABBI, 2007). Letellier, Schmid increased, when compared with traditional methods, due to lyzing physical and cultural features of the heritage resource
and Lebanc (2007) highlight that documentation and infor- its speed and easiness for obtaining results (Barbasiewicz, in question. It is also important that information is recorded
mation management should not be limited to the duration Widerski, & Daliga, 2018). in formats that allow project manipulation to simulate repairs
of the conservation project, but must rather be a constant and interventions to the building.
activity. Analytically, photogrammetry operates on a basis of centi-
metric accuracy, resolution of thousands of points, 3D man-
ual modelling with post-processing and is relatively more
affordable (Dezen-Kempter et al., 2015)fotogrametria. More-
over, using photos for measuring means being discharged
from physical contact with objects, which facilitates jobs
with difficult accessibility, and helps conservation and preser-
vation of resources intended to be preserved, as highlighted
by Linder (2009).

444 445
 Post-processing and interpreting the point cloud of
Casa de Vidro On the following pages, we present different images that
allow us to characterize Casa de Vidro in detail. In image 2,
The architectural and landscape set under analysis consists we have a perspective view of the Casa de Vidro. Images 3, 4
of the Casa de VIdro itself, where Lina and Pietro M. Bardi and 5 were produced with varying degrees of segmentation
lived, Lina Bo’s studio, the housekeeper’s apartment and the width of the cloud, by activating different layers for rendering
garage. The buildings are interconnected by a series of path- images. In image 3, we work with a transversal cut of small
ways that cross a stretch of woodland and gardens. width, emulating a transversal cut in Casa de Vidro. Images 4
and 5 are 3D cuts, with vegetation layer at first displayed and
From the point cloud that was prepared and processed, as then concealed, emulating a transversal cut, a 3D transversal
presented in the next text 5.5 Documenting Modern Ar- cut of Casa de Vidro and a 3D transversal cut in the midst of
chitecture to Learn from Masters, the data was handled the garden.
by the IAU-USP team. This work focused on preparing inter-
nal and external high-quality building sections for the visual Images 6 and 7 emulate cuts of the floor plan of the building.
understanding of the spaces and the elements of the build- In image 7, the ground and first floor plans are overlapped (in
Image 1. ings, as graphic products were prepared in scale, such as detail) on the the area, allowing the identification of a minor
3D point cloud of Casa de Vidro’s
set of buildings and pathways.
plants, cuts, elevations and building perspective views. eccentricity between the sections of same column at the
Clockwise from the image center: ground floor and the first floor segments.
Casa de Vidro (1), Housekeeper’s The analyses performed began with segmentation, noise
apartment (2); Studio (3); Garage
(4).
cleaning, and point cloud organization so that the graphic Image 8 highlights the main access stairs to Casa de Vidro,
products and the cloud itself could be formatted in order to in which we can observe small deformations on the structure
be integrated into documentation and building information of the stairs.
modelling softwares. In this process, layers were created for
comprising each building, access way, garden pathway and
others, as required, so as to tell apart and manipulate the
points of interests from other scanned elements.

Laser scanning is capable of producing an expressive

amount of geometric data and, in this case, 8 billion points
were generated, each of which with XYZ coordinates and
RGB color parameters. In virtue of the technology employed,
the colors atributed to the points relate to the laser reflection
conditions and not to each material’s colors themselves, in
such a way that every point is represented by a “false color”
(see images 1, 2 and 3)
Image 2. Image 3.
Isolated view of Casa de Vidro: Transversal cut of the main
Due to the large amount of data and to the nature of the main building, 2017. building.
point cloud visualization, the geometry interpretation and the
elaboration of products based themselves on segmenting
the cloud by means of selecting and categorizing elements
of interest in specific layers, so that isolated views were ren-
dered possible. Besides, cloud segments could be recolored
in better contrast and, in specific anlyses, their colors were
atributed according to their elevation quote.

Once the cloud was processed and segmented, it was possi-

ble to extract a series of images with a very accurate dimen-
sional precision, depicting geometrically the set of buildings
and enabling the analysis of geometric aspects regarding the
construction and current conditions of the building. In these
processes, mesh structures were used, which had their
spacing determined according to the appropriated scale and
precision, and set up according to the analysis plans.
Image 4. Image 5.
3D transversal cut. 3D Transversal cut of Casa de Vidro
amidst the vegetation.

446 447
 With this same segmentation process, terrain topography
was analysed through the scanned point cloud. Every tree
crown was isolated in separate layers so that the points as-
sociated to the terrain could be visualized. Such points were
colored according to their elevation quota in a scale ranging
from cool color tones (for lower quotas) to warm color tones
(for higher quotas), varying it at each meter.

This way, an elevation map was then generated, which was

used during the studies for the interventions to Casa de
Vidro’s gardens. Images 9 to 12 portray the segmentation Image 9. Image 10.
Elevation map from the point cloud Elevation map from the point cloud
and processessing, displaying results stemming from this – Stage 1. – Stage 2.
work.
Image 6.
Floor-plan of the main building
rendered out of 3D scanning and
Cloud segmentation was also necessary to make its integra-
detail of the floor of the living room tion to HBIM models possible. In virtue of the large volume
of points captured — around 8 billion — segmented files of
the point cloud were created for each building, linked none-
theless to register database. BIM modelling files were also
individually developed for each building, sometimes linked to
the corresponding segmented files of the point cloud. Thus it
was possible to manipulate the point cloud according to the
available computational capabilities, optmizing integration of
BIM models into the cloud.

Image 7.
Floor-plan and detail with the beam
eccentricity, compared to section
on the ground and first floors. Image 11. Image 12.
Elevation map from the point cloud Segmentation process of the point
– Stage 3. cloud for the implementation study
of buildings and connection paths.

Image 8.
Image of Casa de Vidro’s main
access stairs.
Image 13. Image 14.
Elevation map from the point cloud Elevation Map with color gradient
– Stage 4 – Paths Study. and main access path.

448 449
 As an ilustration of this process, we will take the initiative de- Photographic survey
voted to modelling the Studio. In this study, the point cloud
was organized in layers with Leica Cyclone, by means of cat- Photographic survey aimed the creation of a collection for
egorizing the points so that the construction elements could subsidizing the application of photogrammetry techniques.
be isolated from unrelated elements, such as trees and other The shots intended to capture the whole set of buildings,
external elements. Graphic products, illustrated in image 15, producing an archive of 901 images categorized as follows:
were extracted from the segmented point cloud.
Amount of
Image 15. For the next step, the cloud was emulated in Autodesk Revit Site photos
Isometric Perspectives: (a) floor-
plan and; (b) internal shelves of the
(see image 16) using Leica CloudWorx plug-in for controlling
the point cloud density and appearance and thus proceeding Main building (interior + surroundings) 709
Studio
to modelling. CloudWorx funcionatilities were used primarily
to optimize the use of computational resources during the Small house 37
modelling process, iteratively adjusting the parameters of
emulation, for instance: augmenting visualization definition Housekeeper’s appartment 19
(quantity of points) if needed and, if not, diminishing it in
roder to reduce processing demand. Garage 33

Others 103

Table 1
Photograph shots count
For this survey, it was used a D300 Nikon camera with lens
of 12.00 mm (nominal value), calibrated and set with fixed
focal distance3. A DJI Mvic-Pro drone was also used, which
can travel at about 13 km away from the controller, with
approximately 20 minutes of flight time per battery charge,
equipped with a 12.35 megapixels integrated digital camera
Image 16. and a three-axis mechanic stabilizer. The shootings were
Point cloud of the Studio’s
emulated floor-plan.
manually controlled and some of the selected images are
presented below (images 18-20).

Image 18. roof: main building.

Rain gutters and channel flashing int cloud.
on the edges of Casa de Vidro’s

Image 17.
Garage’s point cloud.

Image 19. Image 20.

Aerial view of the Garage’s roof. Aerial view of the main house’s roof
and its contrast with vegetation

450 451
 photogrammetry of the Studio In image 13 the resulting orthomosaics are presented.

For the Studio, we also used techniques of photogrammetry Lastly, these orthomosaics were incorporated into the BIM
restitution through image processing software Photomodeler modelling of the building, along with their corresponding
2018. This processing was performed individually for each point cloud. BIM modelling was developed within the Au-
of the building’s faces, in such a way that the results for the todesk 2017 software, where the point clouds as well were
North and East faces were obtained individually. The survey emulated via Leica CloudWorx plug-in.
covered the East face (lateral), the North face (principal), and
partially the South face, as well as the roof and the brickwork In images 23 and 24, it’s presented the incorporation of the
of the West part. 37 photos were shot, with minimal overlap- orthomosaics into the BIM model views, along with the inte-
ping of 50% on Mai 28th 2018, during a technical visit to the. Image 22. gration with the 3D scanned point cloud.
Studio’s orthomosaics. (i) North
face; (ii) East face. Source: Image
In each shooting session, the objects of interest were care- rendered by Júlio Jr. (Aquitec-IAU/
fully focused, attempting to avoid intense shadowing and USP’s Researcher). Software:
PhotoModeler
excessive light incidence. The images were analyzed in a
laboratory and then selected, while the ones presenting fo-
cus and lighting problems were discarded.

Image 21. The selected images were then used in the photogrammetric
Examples from the set of selected
images of the East and North faces
reconstitution of the building, performed with Photomodeler
UAS 2018 software. The procedure included the identifi-
cation and manual creation of homologous points in each
image, i.e. points representing one element that appears in
many photos. Next, these points were related to one another
so that the images could be spatially oriented, distortions
could be corrected and an orthogonal photographic mosaic
could be generated, which here is denominated orthomosa-
ics. Image 23. Image 23.
From top to bottom, (i) Point cloud From top to bottom, perspectives
+ HBIM; (ii) BIM (semitransparent) are composed through: (i) Point
In the following step, it was adopted points relative to the + Orthomosaic; e (iii) resulting Cloud + HBIM; (ii) resulting BIM
vertical and horizontal axes of the building face in order to HBIM Model. Source: Image Model; e (iii) Point of Clouds Cut +
rendered by Júlio Franco BIM. Source: Image rendered by
correct the horizontal and vertical alignments of the prod- Júlio Franco.
ucts. Finally, the scale of the resulting orthomosaics was
adjusted by means of an assessment of the measurements
of the 3D scanned point cloud, using Leica Cyclone 9.1 soft-
ware.

452 453
Bibliography Notes

BARBASIEWICZ, A., WIDERSKI, T., & DALIGA, K. 1 Brazilian team for the digital documentation
(2018). The analysis of the accuracy of spatial goal consisted of Prof. Márcio Minto Fabricio
models using photogrammetric software: (documentation goal coordinator), architect
Agisoft Photoscan and Pix4D. Proceedings… and Dr. Ana R. M. Cuperschmid, civil engineer
E3S Web of Conferences, 26, 1–5. DOI: and MSc candidate Júlio César Franco Jr.,
10.1051/e3sconf/20182600012 architect Welen Martins and trainee Marina
DEZEN-KEMPTER, E., SOIBELMAN, L., CHEN, Grachet. Besides manipulating, generating
M., VICTOR, A., & FILHO, M. (2015). and interpreting point cloud information,
Escaneamento 3D a laser, fotogrametria e the team worked on the building’s HBIM
modelagem da informação da construção modelling, integration of BIM 3D model
para gestão e operação de edificações into point cloud, integration into the BIM
históricas. Gestão e Tecnologia de Projetos, structural model developed with TQS by an
10(2), 113–124. https://doi.org/10.11606/gtp. specialized consultant and recording 3D model
v10i2.102710 pathologies.
EPPICH, R.; CHABBI, A. Recording, Documentation,
and Information Management for the 2 The images that appear in this text were ren-
Conservation of Heritage Places: Illustrated dered by Júlio C. Franco Jr., with Leica Cyclone
Examples. Shaftesbury: Donhead, 2007. v. 2, Software based on the point cloud captured by
164 p. ISBN: 978-0-89236-946. the 3D scanning (Leica Scanner) performed by
Fritsch, D., & Klein, M. (2018). 3D preservation of the University of Ferrara team, Diaprem, São
buildings – Reconstructing the past. Multimedia Paulo, 2017. Task 2. Coordination: Márcio M.
Tools and Applications, 77(7), 9153–9170. DOI: Fabricio.
10.1007/s11042-017-4654-5
GROETELAARS, N. J. Criação de Modelos BIM 3 This assessment was supported by Professor
a partir de “Nuvens de Pontos”: Estudo de Dr. Arivaldo Leão Amorim, from the Federal
Métodos e Técnicas para Documentação University of Bahia (UFBA), who directly helped
Arquitetônica. 2015. 372f. Tese (Doutorado in the shootings and in the training of the IAU-
em Arquitetura e Urbanismo) - Faculdade de USP team on photogrammetry.
Arquitetura, Universidade Federal da Bahia,
Salvador, 2015.
LETELLIER, R.; SCHMID, W.; LEBLANC, F.
Recording, Documentation, and Information
Management for the Conservation of Heritage
Places: Guiding Principles. Los Angeles: Getty
Conservation Institute, 2007. v. 1, 174 p. ISBN:
9780892369256.
LINDER, W. (2009). Digital photogrammetry a
practical course. Springer Berlin Heidelberg
New York. DOI: 10.4324/9780203305959
RODRÍGUEZ-MORENO, C. et al. From point
cloud to BIM: an integrated workflow for
documentation, research and modelling of
architectural heritage. Survey Review, [s. l.], v.
50, n. 360, p. 212–231, 2018.

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5.5 Documenting modern architecture
to learn from the masters

The integrated survey of Casa de Vidro by DIAPReM Abstract Introduction outside, then the design act (artistic, architectural) can make
Center, University of Ferrara, Italy. Marcello Balzani, things vibrate and legible, even if just for a moment in which
Federica Maietti and Luca Rossato Recent BIM modelling procedures and 3D integrated Documenting to transmit meaning folds and cracks seem to energetically convey the vital,
surveys have greatly improved the overall knowledge on Working with cultural heritage comes down to transmitting organic, biological activity of existence. As Bergson wrote
some Brazilian modernist buildings. In this framework, the a meaning or a cultural, technological or construction in “Matter and Memory” (BERGSON, 2007), this relation is
Casa de Vidro 3D survey carried out by DIAPReM Centre at process to someone who might be (since they come after never frontal, but rather “oblique and clandestine”, and it is
Ferrara University (Italy), along with the important outputs us) hostilely passive or potentially indifferent to it. In the precisely in the capacity to make it stand out and express
extracted from the database, was also useful to test, in building process and in architecture, the passage is not something that we can understand how it is often things that
cooperation with local stakeholders, several activities meant just that of a ritual or of a memory but is also constructive, shape our attempt to endure. Time is, after all, hesitation;
to increase awareness. In order to face the challenge of materially identifiable, connected to the desire to make and if memory is a weak attempt at defense, material (that
preserving modernist buildings, government agencies and an immobilized cultural value inheritable: it belongs to a which is sacrificed in the arduous ritual of conservation,
professionals should be able to pick the most suitable tools complex category of social and cultural language. reconstruction or, most of the time, negation of the interpre-
to the tasks of documenting, monitoring and carrying out When the conflict with the pre-existent is latent or tive process) can be a concrete intuition of duration in the
the yearly maintenance of such buildings. denied, a resolution then opens it up to the project, a few translation of the survey and the project. Moreover, it would
“traditions” are preserved to the point of cliché repetition: in be on the one hand anachronistic in the liquid age of immer-
Keyword: this regard, Émile Durkheim created the category “chronic sive consumerism to not also see in this meta-representative
3D survey, documentation, modernist heritage anomie” to define this issue (DURKHEIM, 2001). action a damp irony that pervades materials as if it were
The passage needs a translation to avoid being traitor- impregnated by a controlled atmosphere. Fluidity, which ap-
ous or at least to be so as little as possible, since traditions parently helps to consolidate numerous temporal similarities,
often take on an intolerable meaning as if they were being obviously brings into being the double ambivalence of time:
uttered in an alien language. The translator/traitor, therefore, on the one hand measurable (with more or less sophisticated
is not doing something negative, but rather highlighting the scans of nature and instrumental artifice) and, on the other,
problematic nature of the passage and, in a certain way, perceptible in a dimension that is at once chrono-biological
triggering it. The effort is that of transmitting meanings, even (circadian, infradian, ultradian rhythms) and emotional/inti-
if they will be distorted (or falsified) when compared to its mate/psychological.
original sense, which is triggered by the need for change,
development and transformation (the restoration projects for
example).
The problem regarding the forms that define places or
buildings – including the modernist ones – seems often
linked to the capacity to describe and “revoke them“. Know-
ing how things are made is not easy. From a certain perspec-
tive, it concerns the shared experience, the possession of
uniting, of formally taking part into; nonetheless, describing
and representing all this is something different. If human
experience becomes qualitative, gaining emotional meaning,
as stated by Merleau-Ponty (2008), then the relation with the
other qualities (which often have nothing in common with it)
starts to become understandable. In fact, the problem is tied
to a delta, or a variable, within which a trace of reality can
be inserted, the problem of spatial description and its trans-
lation. If life is lived as if in Plato’s cave, where we can only
perceive the shadows (projections) of the reality that unfolds

456 457
The temporal direction and contemporary technologies For this reason DIAPReM (Development of Integrated
Experience teaches us that there are natural processes Automatic Procedures for Restoration of Monument), a re-
that are irreversible, what is the same as saying that the search center at the Architecture Department of Ferrara Uni-
world around us (us included) ages and changes day by versity has, for over fifteen years, tried to develop optimized
day with no hope of going back. This is a reality architects procedures and applications that make more accessible and
are well familiar with, perhaps from the very first moment cost-effective the technology transfers from the productive
when, still as students, they step across the threshold of sector to the construction network (professional engineers,
a school of architecture and come up against the exams service companies, ministries, local authorities, construc-
of the initial two-year programme, where, through surveys tion and restoration companies) (BALZANI, MAIETTI, 2008).
and drawings, they are obliged to try to understand first Since 1997, DIAPReM has been developing operative proce-
what space is, then what forms in space are, and lastly dures for the 3D geometric modeling and virtual representa-
to come to grips with how they are, and how they live, tion of architectural complexes of a monumental nature as
by translating into materials what their reason of life is. In an analytic tool to aid in a comprehensive interdisciplinary
everyday life it is practically impossible, when one is carried approach to the study of such complexes.
along by daily experiences, to rid ourselves of the idea The research center is especially engaged in sectors
(which some believe is an integral part of our biological relating to the preservation and restoration of archaeologi-
makeup as determined by the evolutionary process) that Fig. 01: cal sites and architectural works. Its specialties include 3D
development of technologies
all-natural phenomena are part of a unidirectional flow applied to Cultural Heritage
surveys, solid prototyping of architectural features and antiq-
(going from the past to the present and on to the future). uities, multi-spectral analysis, the study of historical material
Somehow, we might say that our brains memorize actions and of the technical and structural problems associated with
and phenomena according to an invariable framework that artefacts of historical interest, and field work and analyses
fixes the past as having been, and thus unalterable, and for architectural and archaeological heritage site restoration
the future as completely indeterminate. This is a very basic and preservation projects in relation to the environment and
concept deriving from experience, on which history and the territory. The center has been involved in Italy and abroad
many other descriptions of the expressions of humanity in many research activities and it has helped in developing
are based. It is a concept that possesses the power of a preventive preservation strategies employing innovative
cogent law, deeply rooted in physiological, psychological methods and technologies for heritage site monitoring and
and social-historical arguments of no small import and controlling and for urban and environmental upgrading.
wealth in what regards content. However, in the realm Nowadays, working between innovation and docu-
of elementary phenomena, every physical process may mentation strategies, the problems come up in the logic
take place in the forward direction, from the past into the of creation, management and use of real 3D data. The de-
future, or else in the opposite direction in time, from the scriptive process is, in fact, strongly linked to the traditional
future toward the past. As a consequence, there is no two-dimensional drawing, even when it tries to emulate the
favored direction for the flow of time in elementary physical results represented in the spatial complexity. This procedure
processes because both directions –the natural one, that is historically connected to the simplicity of such models: the
accords with our empirical experience, and the opposite Fig. 02: discreet and simple elements of a two-dimensional represen-
the integrated methodology
one – are perfectly equivalent for the purposes of describing on Brazilian Modern Heritage
tation offer a series of limited configurations that are easily
phenomena. In order to express the value of an asset, one developed by DIAPReM Center understood and used. However, some of the problems that
attempts to identify and valorize its uniqueness and thus to arise from it must be pointed out:
make reversible every operation which was worked upon • the majority of technicians working on the digital draw-
it, in the sense of being as little contaminating, destructive, ing (even if in 2D) forgets that this is a spatial operation
interpretative, and dispersive as possible, to allow those – those who do not understand, in a critical and careful
who come later to be able to enjoy the same asset and way, that every sign of change, integration and correc-
be able to take further reversible action with constructive tion of a project will also change something on some
and conservational technologies that are even less invasive other part of the project, and that this demands verifi-
and more preservation-focused (KOLLER, FRISCHER AND cation (prospects, sections, plans). Here it is possible to
HUMPHREYS, 2009). correctly get the limits of the procedure in the work site
The major surveying technological tools (3D laser scan- at (in front of the real three-dimensional space);
ners mostly integrated on total stations and digital cameras) • until today, the degrees of variation, the “distance from
are continually updated with regard to speed of acquisition, reality”, are offset by criteria of gradual approximation
accuracy of data in relation to the relevant operating range, that can also be contained in the economic estimate
portability and lightness of use, interface flexibility. The de- evaluation. In other words, the compensation of the
gree of innovation that the industry offers to the professional technological error observed is made possible throught
market is not always supported by a level of information and a value to manage the basic shape error. The economic
technical knowledge capable of absorbing the real potential damage is significant. It Alternates between configura-
of use. tion discrepancy and a morphological inaccuracy, which,
for the more complex realities (often associated with
restoration or recovery) can be up to 20-30%;

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• the attention given to what there is (whether what is The idea born within DIAPReM Center was originally very Knowledge technology and development strategies acquisition of knowledge that discriminates, selects, verifies
subject to restoration is something antique, even of simple and tried to offer an answer to this issue: if a new The economic crisis requires operating with a different and produces differences. The world of restoration is the
lesser value, or something fresher, to operate upon with technology comes up in the market, it should, first of all, kind of attention from that of the past. The subject of place where these conflicts have been mostly expressed and
reuse, regeneration, functionalization and recoveries) be able to do (possibly better) what has already been done. managing the cultural heritage (be it a specific site or within therefore more solutions can be found. A project on historic
necessarily produces the need to control the subject to The improvement can be identified in the time (faster) a museum) is at the heart of the debate. Many projects that heritage requires a conscious flexibility and a smart vision
transformation with greater security. Such reasoning is and accuracy factors (generating measurements that are are being developed often regard the reunion of these two expressed by deep knowledge of the building also in terms
not trivial, since for the last thirty years the expansion more secure in the representation and querying phase of fundamental objectives. The experimentation is thus not of digital data. These data should be used as a baseline for
model of city suburbs has contemplated project logics data). If it happens, then it is possible to lead the technical exclusively connected to the restoration process, but also students and academics (not only in Brazil) for further anal-
that little relies on construction reality. The habit to de- operators towards a second stage: make them understand to fitting out technologies, the territorial marketing strategy, yses on both built and unbuilt architectures or more specific
sign in relation (of knowledge and critical consciousness) how operating preventively inside an architectural structure, and the management model; technologies that need to research on modern architecture even from afar. In this pro-
with the context is not so widespread as one would according to rules of measurement and geometry (in a be planned in synergy, together from the first moment. A cess of knowledge and toward a real scheduled maintenance
imagine even if the technical instrumentation and con- 3D morphometric environment on 1:1 scale) can lead to multidisciplinary and cooperative approach is nowadays programme the 3D integrated surveys have great impor-
ception are very different. The project that is born on cost-effective solutions (that can be shown in analysis and needed in order to face many challenges linked to cultural tance. The cooperation with the scanners manufacturers in
a virgin area of an allotment possesses, in its genetic visualizations) for those who work in such sector and for heritage documentation and preservation (BIANCHINI 2014). Brazil has shown how it could be possible to use expensive
code, relationships of form and proportion that relate to society itself. It is therefore understandable that, in order to For instance, the 3D surveying technology, carried out tools even in medium-budget projects. This could help to
independent architectural thinking and is often self-ref- act upon this issue, it is not only necessary to focus on the for the diagnosis and planning of a restoration project can improve the spread of new technologies in the heritage field
erential. The project created within or next to pre-exis- optimization of the complex phases of survey, but it is also generate a marketing and communication product for the in Brazil and the creation of a net of laboratories able to au-
tent projects is a one that has to adapt to sensitivity of crucial to: exhibition, while the opposite is not possible. It always tonomously develop local methodologies for the preservation
shape, size, materials that have layered over years and happens that technologies are first invented, produced and of modernist buildings.
have already undergone comparison with the construc- • understand all the phases of the process, from survey to developed, before it is realized what they can do, not from
tion process and time. The tolerances (not only geomet- planning; the factual and final point of view but from a perspective
ric, but also conceptual) to be taken into account are • listen to and embrace all doubts of the draftsmen and of method. The critical approach is, instead, part of a real
completely different. institutional commissions;
• spend lots of time and effort on the process analysis.

The introduction of instruments (with their potential only

apparently intelligent) has made room for the idea that the
processes of awareness and understanding are not needed,
or at best are less required, when what happens is exactly
the opposite. These technologies (from automatic design to
laser scanner survey) – objectively powerful for enhancing
speed, accuracy, capacity of displaying – trigger the need
to further develop a new critical-conceptual instrument
(CENTOFANTI, BRUSAPORCI, CERASOLI, 2014). An effort
of awareness that restoration already possesses in its DNA
and is ready to reinforce.

Fig. 03:
some 3D integrated surveys
performed by DIAPReM in Brazil
since 2004

460 461
Creating accessible databases and digital archives a methodology for data cataloguing. Understanding the ar-
The cultural heritage can be represented using the most chitectural project and being able to reproduce it with digital
suitable technologies. In regard to architecture, techniques technologies will also improve the conservation of the design
such as 3D modeling, virtual reality, animation, or digital process. The preservation of the architectural projects de-
video may be employed. signed by the masters is nowadays becoming a crucial point.
All these apparatuses are not mere gadgets, but actual Very often cultural foundations that manage the archives of
digital tools that facilitate the understanding and studying of the great architects of the 20th century are not always able
both built and unbuilt projects, offering opportunities of anal- to ensure an effective conservation because of the lack of
ysis in an immediate way. That’s why the real key to a revolu- funds.
tion in this field is certainly the use of telematic networks for Redrawing the modernist architectural projects also
sharing knowledge. means preserving the lessons learnt in terms of architectural
In fact, these tools provide access to a wider cultural her- and spatial composition (GAIANI, 2013). The information
itage. And thanks to search engines specially designed for system, consisting of sketches, drawings, images, maps,
this goal, the access to big databases is granted, not only for needs thus to be understood and represented with all its
traditional searches, but also for other sorts of information, features, a set of elements linked by hierarchical relations in
such as images, templates, themes, etc. a sort of conceptualization of reality. The young students and
All this will offer the student the opportunity to develop researchers can play a key role in this process, as stressed
surveys taking on large databases on the net, making it pos- by A.M. Ronchi when talking about digital literacy: “there is
sible, for example, to visualize all the buildings by a specific a need to channel the creative energies of young people by
architect. The professionals, researchers and students can promoting digital literacy in the field on new ICT-enable or Fig. 04: the investigation of the available
3D elaborations developed by sources to the creation of BIM
access information about the works, wherever it is stored, empowered creativity and expression” (see Fig. 04). students of Ferrara University models (since 2014)
and then compare all similar works. In contrast to this po- “There is also a need to create a proactive environment Architecture Department: from
tential, it is important to highlight today, and even more in that enhances the overall quality of eContent products. Dig-
regard to the near future, that such abundance of data on ital and social divides must be bridged in order to provide
the network generates pathological effects, including un- access and added value to citizens. Digital technologies and
controlled proliferation of references and lack of validity and ICT tools provide an incredible opportunity to encourage
reliability of the information transmitted. The set of data – pa- growth and prosperity. Digital content and services empow-
per documents, drawings, photos – is a source which, if not ered by broadband communications, both wired and wire-
properly structured, and cleaned up in order to remove re- less, could have a significant impact on society. One of the
dundant information, could appear to be out of control both first steps in this direction is to promote human networking
in terms of accessibility and verification of the information and the exchange of experiences and skills amongst differ-
accuracy. ent groups and communities” (RONCHI, 2008, p. 14). For
Nowadays there is a repeatable model that allows a instance, the collection of 3D data in cultural heritage preser-
procedure to be carried out step by step, from conception vation sites is useful for a wide variety of applications and it
and composition up to the finalization of the data, through could also be integrated with other technologies to improve
the overall knowledge about the object. But it also means to
have the right skill to interpret and analyze the big amount
of data, as the data captured by laser scanners on a field
campaign has to be elaborated in order to create a useful 3D
database. Only with the right methodology these data can be
properly used to extract geometric information related to the
building (such as plans, sections, etc.) on different scales,
depending on the required level of detail. As stated, 3D laser
scanner outputs (point cloud) could also be integrated with
other sources of information, such as high definition pho-
tographs, thermal images or spectrophotometer data (color
analyses).

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 Modern tropical houses: a cultural heritage in danger? national, and international context, and benefits of incorpo-
In November 2014 the DIAPReM Center of the Architecture rating 3D documentation technology into the site’s preser-
Department of Ferrara University performed the integrated vation, maintenance, and interpretation plan. Therefore, the
3D survey of Casa das Canoas, in Rio de Janeiro. The documentation of the architectural masterpiece by Niemeyer
research was carried out aiming the documentation, has set as a priority to analyze the present condition and the
the knowledge and the preservation of one of the most state of conservation of the building, which currently suffers
important architecture work designed by Oscar Niemeyer. from a lack of maintenance. The impact of digital preser-
The research project was conceived in cooperation with vation concerned both cultural and social aspects, and the
the Oscar Niemeryer Foundation in 2013, in order to find a resulting benefits of such documentation will contribute to
methodology for documentation aimed at defining conserva- ensure that the heritage site will be available and accessible
tion procedures for the buildings designed by the great Bra- to future generations (see Fig. 06).
zilian architect. His ideologies in terms of society, politics and The survey had to face the architectural complexity
architecture, as well as his style, are fully expressed in the conceived by Niemeyer, who designed the whole building
architecture of the house in Canoas, which was a remarkable around a large rock situated on the site and that was left
achievement of modernist architecture (WARCHAVCHIK, there as the binding element of the whole project (KOMA-
2006). The survey allowed the Italian staff to get familiar with ROV, 1975). The result was a design that was modernist in
tropical architecture context in a learning-by-doing process nature, but which contradicted Modernism (NIEMEYER,
that was crucial to develop the right methodology for the 2000) at one of its main points that regard creating universal
Fig. 05: general point cloud of Casa survey of Lina Bo Bardi house two years later. Furthermore, and reproducible architecture, which is not applied to the
das Canoas (2014 research project),
a tropical house built in a stunning
the 3D laser scanner survey of Casa das Canoas is consistent site. The house is arranged according to the terrain and the
natural environment with the digitalization of the Oscar Niemeyer Foundation feeling is that the architecture is following the contours of
archive, as one of the Foundation’s priority is to create an the site. The flowing shape of the concrete roof blends with
archive of Niemeyer’s drawings for researchers and academ- the shape of the surrounding hills. Casa das Canoas was an
ics. innovation in Modernism not only in the context of architec-
In order to accomplish the research projects, four main tural approach and landscape integration but also in the use
actions were carried out: a detailed architectural analysis, the of technology. One of the main features is the free-flowing
study of the relationship between architecture and sculpture, horizontal concrete roof, quite thin so as not look too heavy
the relationship of architecture with the surrounding green over the glass skin of the living room and resting on small
landscape and the diagnostic survey (to document the mate- steel supports (WEINSTRAUB&HESS, 2012).
rials’ state of conservation). Fig. 06: reveals the complexity of Niemeyer The integrated survey started from the architectural
tridimensional study by point cloud design
The relationship between the project design and the elaboration of Casa das Canoas
analysis: Oscar Niemeyer’s ideologies had formed a unique
actual construction, the inclusion and integration of the ar- style (CAVALCANTI, 2003), which he fully expressed in the
chitecture in the natural landscape (BOTEY, 1996) and the architecture of the house in Canoas, which in itself was a
material conservation’ issues in this particular natural context remarkable achievement of Modernist architecture (PAPADA-
once again led to a choice of survey technologies able to KI, 1960).
meet the problems of memory preservation. Therefore, the The “reading” of the architecture composition and the
3D laser scanner survey was aimed at knowledge, documen- 3D survey with high level of detail (2 mm) allows to identify-
tation, protection and enhancement of this important cultural ing new ways of “reading” and cross interpretation, such as
heritage and the surrounding landscape. The digital survey the triangulation perspective between the artwork placed by
campaign, including the external areas and the garden, has Oscar Niemeyer into the indoors and outdoors areas. Thanks
been integrated by a diagnostic survey in order to map the to the detailed data capturing, it was possible to identify the
state of conservation and the main issues concerning degra- axes of relationship that develop from the placement and
dation. orientation of the female bodies to encourage to share the
The work has been selected to be part of the CyArk 500 environmental and architectural experience.
Challenge, a CyArk’s ambitious goal to digitally preserve
500 cultural heritage sites until 2021. The Foundation and its
partners are on a mission to digitally preserve these cultural
heritage sites before more of them are ravaged by war, ter-
rorism, arson, urban sprawl, climate change, earthquakes, Fig. 07:
Plan view by 3D point cloud. For
floods, lack of maintenance and other threats. the first time the 2 levels of the
The Casa das Canoas project was selected because of house were overlapped with high
three factors: level of risk faced by the site due to natural and accuracy
human-induced threats, significance of the site in its local,

464 465
 The 3D integrated survey of Casa de Vidro The survey carried out in 16 working days was based on
The first test survey of Casa de Vidro has been developed a multiple methodological integration in order to obtain a set
in 2016 within the cooperation framework between the São of data to be critically investigated in depth:
Paulo University (especially with Instituto de Arquitetura 1) 3D scanner survey aimed at generating a point cloud
e Urbanismo – IAU São Carlos – and Prof. Renato Anelli), model;
the Instituto Lina Bo and P.M. Bardi (São Paulo) and the 2) detailed topographic survey of the homology points;
DIAPReM research center. 3) high-resolution photographic survey aimed at an
These first quick campaigns of laser scanner surveys overall and detailed documentation of the house’s state of
allowed to verifying the feasibility of a full survey on the conservation.
building towards the restoration and possible insertion of The scanner stations points were selected so the individ-
new architectures into the garden as an archive-museum of ual scans could gather the most metric information and the
the Foundation. highest number of homology points (target) allowing, subse-
The advanced decay of the garden’s retaining walls de- quently, a better alignment during registration.
signed by Lina required a particularly-targeted survey which The three-dimensional survey was performed using
will allow the preliminary assessment of the state of conser- a Leica P30 scanner (speed: 1mln points / s, accuracy on
vation of the structures and can act as a digital archive for single measurement: 3mm / 50m, linear error <1mm, max-
those who want to get closer to this extraordinary building imum acquisition distance: 120m). On the external portions
which, despite its age, remains incredibly contemporary. no particular difficulties have been detected in data acquisi-
tion; however, great attention was paid to the garden paths
(sometimes less accessible due to the inclination of the
ground). A detailed topographic survey (based on targets
acquisition) composed of open polygonal with control points
for the targets was also completed (carried out by Leica total
station TS11 R1000). The survey campaign has been docu-
mented by a detailed photographic survey.
In total, 135 hours of data capturing were performed on
site, 197 scans were carried out, and 296 targets were used;
the total measured coordinates were 8,430,499,869.
The alignment phase allowed the recording and the com-
bination of the data: the resulting 3D model is made up of
more than 8 million points (xyz coordinates) which refer to a
system of local coordinates. In addition, the individual points
Fig. 09: pictures of the 2017 are accompanied by a specific reflectance value.
integrated survey at Casa de Vidro
by DIAPReM Center
The overall cloud can be queried at any time both in the
source software (Leica Cyclone 9.2.0) and in many other
softwares compatible with the original imp format. The regis-
tration phase followed the on-site metric survey of the house
and it took more than one month to be completed. The
Fig. 08: check the columns alignment after Later, in 2017, a full-3D-integrated survey (both laser and analysis phase dealt with the topic of visual and analytical
point cloud view (right) and first the first test survey at Casa de topographic) was planned and carried out by the same part- querying of the data. The process placed therefore a preven-
application of the database to Vidro in 2016 (left)
ners to achieve the total digital documentation of the house. tive constraint on the obligatory determination of useful and
As it is known, Casa de Vidro has an important affinity necessary reference plans in order to extract data in the form
with the work of the masters Mies Van der Rohe (Tugendhat of horizontal and vertical sections for understanding mor-
house) and Le Corbusier (ville Sovoye), even if it appears less phology relations.
metaphysical than the Mies’ architecture and more linked
to the nature when compared to buildings designed by the
French-Suisse architect. Following its characteristics, the sur-
vey had to take into consideration the different architectural
features: from the slim metal columns supporting the front of
the house, which is defined by the horizontal planes of floor
slabs, to the relationship of architecture and nature.
The second 3D survey allowed also the study of the
structure of the house, designed to disappear with its 17 Fig. 10: Lina’s and keepers houses that
centimeters diameter of pipe columns and the light staircase 3D elaboration from point cloud were subjects of the research
showing the garage, the studio, project
hanged in the air giving a mobile and provisional feeling
about its fragile design, a solution also used later for the
MASP project (DE OLIVEIRA, 2014).

466 467
 The relations that link the wall thicknesses to the huge According to instrument’s specifications (Leica P30 laser
window frames according to the xy cutting planes (horizontal scanner), different visualizations of the point cloud have been
sections) and the relations that bind the patio and the slim displayed in order to help accentuate variations of surfaces’
columns on the xz-yz cutting planes (longitudinal and trans- characteristics, starting from the full range of colors mapped
versal vertical sections) were accurately determined. in the software by default.
As it happened during the work on Niemeyer’s Casa das By changing the intensity range for specific visualiza-
Canoas, also with Lina’s Casa de Vidro,, while dealing with tions, the processing of acquired data highlighted areas with
the database, it became even more clear the strong unity specific features to be mapped (different materials, degrada-
between the outside and the inside, the natural and the arti- tions, previous restoration works, etc.).
ficial that is expressed through the integration between the This methodology has been applied to a limited but
house and the hill where it is located, one of the driving forc- highly representative area of one facade, in order to show on
es of the design. It was not just a matter of reating a beau- a sample surface the potential of the integrated diagnostic
tiful setting around the dwelling; by looking at the garden Fig. 13: high resolution: the building could survey by exploiting also the processing of intensity values
the very dense point cloud allows be redrawn on a 1:20 scale without
she planned, the data showed how she wanted to make the cross sections of Casa de Vidro at losing details
(FANG et al., 2015). The investigations carried out will sup-
house part of the landscape. port future conservation options to be applied on the build-
The house is nowadays surrounded by greenery from all ing.
sides, and this was one of the major difficulties of the survey. Furthermore, by combining 3D metric-morphologic mod-
The winding paths in the gardens provided numerous routes els with mapping and image analysis of architecture surfaces
for a walk, but at the same time many trees were more than it is possible to achieve useful representations and visualiza-
an obstacle for the laser scan. The project is designed to tion of conservation specifications; three-dimensional repre-
fit the topography of the site by exploiting the full potential sentations of Casa de Vidro have been used as an effective
in terms of isolation and immersion into the nature and, at tool for studying, detecting and evaluating present condi-
Fig. 11: point cloud, perspective views by the same time, let the vegetation enters and appropriates tions and possible conservation strategies. Point cloud mod-
vertical (top image) and horizontal database inquiring
sections of the Casa de Vidro
architecture, integrating it. Thanks to several cross sections els, opportunely processed, not only allow to understand and
extracted from the database this relation is finally precisely assess morphological features, but can also be configured
determined. as multi-layered 3D databases for multidisciplinary purposes,
The digital geometric model was also the basis for including visual detections of material specifications and de-
processing the intensity values acquired by laser scanning teriorations by means of high-definition digital visualizations
instruments; this method of analysis was an essential inte- for non-destructive investigations (ALEXAKIS et al., 2015).
gration to the macroscopic investigations in order to manage The house is currently facing some problems regarding
additional information related to surface characteristics dis- the deterioration of materials. One of the main degradation
playable on the point cloud. issues is the besetting of vegetation, which is growing on
Each point acquired with the laser scanner has an inten- external walls and on horizontal surfaces due to the local
sity value attached to it, which is calculated within the range climate, making some cracks visible due to the vegetation
between -2048 and + 2048 (pts export) related to the range pressure. The digital survey campaign, including the external
of 0-1 (ptx export). areas and the garden, has been integrated by a diagnostic
Considering intensity as measured by the scanner, inten- survey to map the state of conservation and the main degra-
sity as recorded by the software, and intensity as visualized dation issues.
by the software, and also considering that different scanners After a first general inspection of the whole building, a
can have different intensity characteristics (minimum, max- macroscopic analysis of deteriorations has been implement-
imum, response curve, etc.), a set of analysis on the point ed on the basis of the nomenclature of the UNI Normal 1/88
cloud of the house has been performed. recommendation. The result of the visual analysis will be
related to the surface specifications surveyed by means of
the 3D laser scanning and particularly through reflectance
data (BALZANI&MAIETTI, 2008).

Fig. 14: at visualizing and analyzing the

elaboration of the reflectance surface characteristics
data by several methods aimed

Fig. 12: of the two sites play a crucial

point cloud sections of Casa das role in the architectural projects
Canoas (top image) and Casa de respectively by Oscar and Lina
Vidro: vegetation and topography

468 469
 Conclusions
The great opportunity to document and investigate one of
the most significant architectural works by Lina Bo Bardi,
carried out in cooperation with the Instituto Lina Bo e P.M.
Bardi, has shown how the integrated methodology is able
to reveal new aspects of the building and to analyze spaces
and surfaces by means of innovative methods that have
allowed to tracking intellectual paths completely unexplored
and unpublished.
The three-dimensional survey has proved to be essential
to represent areas that otherwise would be impossible to
analyze, for example elevations immersed in the trees, es-
pecially because of the surrounding landscape, and to find
planimetric matches essential to understand the architectural
“philosophy” on which Lina based the design of the house.
In the representative phase there is a motivational value,
which makes the survey-representation a real project itself,
with significant critical implications aimed at the determina-
tion not only of geometric precision but, especially in regard
to architecture, of visualization and conceptual representa-
tion of reality. For instance, by elaborating the database, it
was also possible to highlight some architectural features
such as the stairs structure and the precise shape of the
pond, both designed by Lina Bo Bardi.

Fig. 15: identified during the diagnostic The vegetation, deliberately integral part of the architec-
main pathologies affecting the survey
surfaces of part of the house
ture, determines some consequences, while the presence of
moisture damages the building’s state of conservation, espe-
cially along the external wall of the lower floor.
Besides vegetation, the main degradations surveyed on
external surfaces are:
- biological patina and biological crust;
- chromatic alteration;
- surface deposit;
- lacuna;
- deformation and detachment.
The main deteriorations on interior surfaces concern:
- lacuna and deformation of the plaster;
- moisture stains and biological crusts.
Knowledge of the main deterioration causes as an addi-
tional “level” of integrated survey will allow a precise map-
ping of the detected damages and will contribute to conser- Fig. 16:
extraction of architectural element
vation actions. from the database: stairs structure
and the pond.

470 471
 Furthermore, the project was a great opportunity to in- Bibliography O. DE OLIVEIRA, Lina Bo Bardi, Obra costruida, Project credit
Editorial Gustavo Gili, São Paulo, 2014.
vestigate different methods for the digital acquisition of sur- Bibliography É. DURKHEIM, Critical Assessments of Leading 3D integrated survey of Casa de Vidro
face characteristics such as colour, texture, morphology, and M. ACAYABA MILAN, Residências em São Pau- Sociologists. Volume II, Routledge, London Project: DIAPReM research centre, University of
macroscopic features of decay through spectrophotometric lo: 1947-1975, Romano Guerra Editores, and New York, 2001. Ferrara, Department of Architecture
São Paulo, 2011. W. FANG, X. HUANG, F. ZHANG, D. LI, Intensity Client: Isituto Lina Bo e P.M. Bardi (São Paulo,
analysis. The scope should be to identify the possible clues M. BALZANI, F. MAIETTI, Development of correction of terrestrial laser scanning data Brazil)
that such surface-recognition may offer, as well as to un- integrated procedures for diagnosis of by estimating laser transmission function. Scientific coordinators: Prof. Marcello Balzani,
derlying processes of structural decay. These findings could architectonical surfaces. Dimensional data IEEE Transactions on Geoscience and Re- Prof. Renato Anelli
and surface aspects. In Proceedings of the mote Sensing, 2015. Project coordinators: Arch. Luca Rossato, Arch.
then be confronted with chromatic data obtained by spectro- International Workshop SMW08 In situ M. GAIANI, Analogue to digital conversions: a Ana Lúcia Cerávolo
photometric analysis. monitoring of monumental surfaces, 27-29 new life for architectural drawings, in: Ani- 3D survey coordinator: Arch. Daniele Felice
Some considerations can be outlined in order to point October 2008, Florence. (Tiano P. and C. mated Archive, Electa, Milano, 2013, pp. Sasso
Pardini eds). ICVBC-CNR, Florence, Italy. 132 – 148. Diagnostic survey: Arch. Federica Maietti
out a possible procedure to exploit the 3D survey methodolo- Firenze: Edifir Edizioni, pp. 131-140. D. KOLLER, B. FRISCHER, G. HUMPHREYS, Photo survey: Arch. Laura Abbruzzese
gies for enhancement and conservation of cultural assets: H. BERGSON, Matter and Memory, Cosimo Research Challenges for Digital Archives of Scientific partners: Instituto Lina Bo e P.M. Bardi
- interdisciplinary competences are needed in order to Classics Series, New York, 2007.C. BIAN- 3D Cultural Heritage Models”. ACM Jour- (São Paulo, Brazil), Instituto de Arquitetura e
CHINI, Survey, modeling, interpretation as nal on computing and Cultural Heritage, Urbanismo (São Carlos, Brazil)
manage survey procedures and cultural heritage analysis; multidisciplinary components of a Vol. 2, No. 3, Article 7. 2009. Technical support: Leica Geosystem Brazil (Rio
- outcomes from 3D data acquisition can be a useful knowledge system, in SCIentific RESearch and S. KOMAROV, Oscar Niemeyer - Architecture De Janeiro, São Carlos, São Paulo)
integration of non-destructive techniques and monitoring Information Technology, Vol. 4, Issue 1, and Society, Progress Publishers, Moscow, In cooperation with: Consorzio Futuro in Ricerca,
2015, pp. 15-24. 1975. Italy
technologies; J. M. BOTEY, Oscar Niemeyer - Works and Pro- E. LEXAKIS, A. KIOUSI, A. MOROPOULOU,
- knowledge on deterioration mechanisms acting on jects, Gustavo Gili, Barcelona, 1996. 3D representation of decay processes on General info
original materials and structures and identification of critical L. CAVALCANTI, when brazil was modern: guide cultural assets as a diagnostic tool. In: Mission start: 23 Jan 2017
to architecture, 1928-1960. Princeton Ar- Proceedings of 8th National Conference on Mission end: 11 Feb 2017
areas for deeper investigations is a requirement in order to chitectural Press, New York, 2003. NDT of the Hellenic Society of NDT (HSNT), Days of work: 14 working days
finalize the 3D acquisition; M. CENTOFANTI, S. BRUSAPORCI, F. CERA- Athens, 2015. Hours of work: 168 working hours
- awareness of accuracy and limits of different technol- SOLI, The surveying of the historical urban M. MERLEAU-PONTY, Praise of Philosophy, SE, Technicians: 2
fabric: tradition and innovation. In P. Gian- Milano 2008, p. 22.
ogies is the starting point to merge metric survey purposes debiaggi, C. Vernizzi (ed.) “Italian survey O. NIEMEYER, The Curves of Time - The me- Survey data
Fig. 17: with a multidisciplinary approach to diagnosis (Maietti & Bal- and international experience, proceedings moirs of Oscar Niemeyer, Phaidon Press Equipments: Leica P30 + Leica total station TS11
cross section in high resolution of
Lina’s office, one of the buildings of
zani, 2008). of 36th Convegno Internazionale dei Do- Limited, London, 2000. R1000
centi della Rappresentazione - Undicesimo S. PAPADAKI, Oscar Niemeyer, Mayflower Pub- Time of data capturing: 135 hours
the set surveyed over the campaign In this research, the projects also paid attention to defin- Congresso UID”, Parma 18-20 september lishing Company Limited, London, 1960 Number of stations: 197
ing methods for an integrated use of chromatic and digital 2014. pp 187-198. M. RONCHI, ECulture: Cultural Content in the Number of targets: 296
structural data for the final BIM model of the house. To ex- Digital Age. Springer Berlin Heidelberg, Number of points (coordinates): 8.430.499.869
Berlin, 2008.
plore this possibility, a 30 hours seminar on effective technol- G. WARCHAVCHIK, Arquitetura do Seculo XX e
ogy and methodology transfer regarding 3D laser scanning Outros Escritos. Cosac & Naify editora, São
activities has taken place at the IAU in São Carlos, during Paulo, 2006.
WEINSTRAUB, A. HESS, Oscar Niemeyer Ca-
which the staff of the DIAPReM research centre taught the sas. São Paulo: GG Brasil Editora, 2012.
methodology that later helped the staff to independently
manage the data elaboration procedures. The topics of the
seminar were discussed and chosen in cooperation with
local staff and they were mainly related to representation
through database querying of facades and plans of the
whole building. Thanks to these joint efforts, the 3D survey
outputs are going to be a strong base for future manage-
ment and conservation plan, and it will preserve the memory
of this extraordinary house.

472 473
Techinical Team

Project Coordinator Task 3 Production process of the plan Reproduction of this report is Photographers Cataloging in Publication
Renato Anelli Structure and pathology – Addenda governed by the Creative Commons
Coordinator Ricardo Couceiro Bento Attribution No Derives CC BY-ND Instituto Bardi/Casa de Vidro - IB C334 Casa de vidro :
Instituto de Arquitetura e João Adriano Rossignolo Osny Pelegrino Attribution — You must give Armin Guthmann: 43 (10 e 11) Lina Bo Bardi architect :
Urbanismo da USP Consultants Márcio Minto Fabrício appropriate credit, provide a link to Arnaldo Papalardo: 107 (67) Conservation management plan /
Instituto Bardi/Casa de Vidro Osny Pelegrino Júlio Franco the license, and indicate if changes Elio Cardone: 48 (marriage) editor: Renato Anelli ;
Ricardo Couceiro Bento Ana Regina Mizrahy Cuperschmid were made. You may do so in any Francisco (Chico) Albuquerque: 50 supervisor: Marcelo Suzuki. --
Casa de Vidro, Lina Bo Bardi Research Marcelo Balzani reasonable manner, but not in any (1), 89 (38 e 39), 90 (40), 120 (6), São Paulo:
architect Alexandre Rosim Pereira Federica Maietti way that suggests the licensor 121 (7) Instituto Bardi Casa de Vidro, 2019.
Conservation Management Plan Bruno Carlos de Santis Luca Rossato endorses you or your use. Federico Patellani: 36 (1) 475 p. : il.
NoDerivatives — If you remix, Hans Gunter Flieg: 26 (4),
Editor and Project Coordinator Task 4 Graphic Design transform, or build upon the Juan Esteves: 53 (up)
Renato Anelli Historical gardens Darkon Vieira Roque material, you may not distribute the Marcelo Ferraz: 104 (62 e 63), 105 ISBN - 978-85-85751-23-4
Coordinator Portuguese Review modified material. (64), 106 (66)
The Conservation Management Luciana Bongiovanni Schenk Noemi Zein Telles You are free to share, copy and Malú Villas Bôas: 134 (11, 12,
Plan – Casa de Vidro, Lina Bo Research Kika Freitas redistribute the material in any 13, 14), 135 (15, 16, 17), 188 1. Bardi, Lina Bo, 1914-1992.
Bardi team is comprised of a set André Graziano Richard Sanches medium or format, for any purpose, (CV.03.03.01 corner of the slab) 2. Modern Architecture.
of researchers and educators Ligia Teresa Paludetto Silva Translation even commercially. Marina D’Império: 428 (up) 3. Architecture heritage
of Instituto de Arquitetura e Anthony Doyle Nelson Kon: 189 (CV.03.03.01 stair) (Conservation).
Urbanismo – Universidade de São Consultant Matthew Rinaldi © Renato Anelli Paolo Gasparini: 41 (6), 125 (13) 4. Residential Building
Paulo, invited by Professor Renato Beatriz M. Kuhl Richard Sanches © Instituto Bardi / Casa de Vidro Paquito: 44 (12) e 45 (13) (Architecture).
Anelli in function of the work Interns Peter Scheier: Cover (1951), 40(5), I. Anelli, Renato.
highlighted in their respective areas Aluísio Teles Collaboration as representative Rights for this issue 68 (11), 91 (43 e 45), 118 (4) II. Suzuki, Marcelo.
or young people with consolidated Amanda Basso Morelli of the Institute Bardi in the Instituto Bardi Casa de Vidro Pietro Maria Bardi (attributed to):
activities, as well as employees Diogo Horvath preparation of the plan Rua General Almério de Moura 200 60, 62, 66 (7 e 8), 67 (9 e 10), 124
and members of the directory Gabriela Possato Sol Camacho CEP 01223-011 São Paulo SP (11), CDD 724.98161
or agencies partnered with the Isadora Inocencio Brasil Vic Parisi: 102 (60)
Instituto Bardi, from August 2016 Laura de Freitas Pinheiro
to November 2018. Leticia Becker Savastano Instituto Bardi - Casa de Vidro Instituto de Arquitetura e IAU USP team and contractors Librarian responsible for the
Marina Graf Grachet Urbanismo Universidade Inventory photographers: Alexandre cataloging structure of the
Upon completion of the first stage Executive coordinator and Administrative Council de São Paulo Rosim Pereira, Ana Lúcia Cerávolo, publication: Brianda de Oliveira
survey, in November 2018, the production Chair Avenida Trabalhador São-carlense Ana Regina Mizrahy Cuperschmid, Ordonho Sígolo - CRB - 8/8229
plan was presented to the Instituto Eloísa Mara Sonia Guarita do Amaral 400 Arivaldo Leão Amorim,Bruno
Bardi, emerging suggestions General assistant Members CEP 13566590 São Carlos SP Carlos de Santis, Federica Maietti
for revisions and additions. This Talita Heleodoro Alberto Mayer Brasil (University of Ferrara), Gabriela
volume, with new graphic design Fabíola Sayuri Anna Maria Carboncini Masini Possato, Júlio Franco, Ligia Teresa
and expanded content, is the result Giuseppe D’Anna Sponsorship Paludetto Silva, Renato Anelli,
of the review conducted between Review and second stage Lucien Bernard Mulder Belmonte Keeping It Modern / The Getty Ricardo Couceiro Bento.
March and August 2019. (Mars - August 2019) Renato Anelli Foundation
Coordinator Eugênia Gorini Esmeraldo https://www.getty.edu/foundation/ Other archives 9 788585 75123-4
Research and first stage Renato Anelli Nelson Aguilar initiatives/current/keeping_it_ Glauber Gonçalves: 17 (1)
(August 2016 – November 2018) Supervisor Maria Cattaneo modern/ Archivio Ettore Camesasca, Milan:
Coordinator Marcelo Suzuki Bruno Simões The Getty Foundation 128 (1)
Renato Anelli Architects Team Fiscal Council 1200 Getty Center Drive, Suite 800 Escola de Comunicação e Arte
Adjunct coordinator Kelly Yamashita Natalie Sequerra Los Angeles, California 90049-1685 Library, Univesity of São Paulo: 101
Ana Lúcia Cerávolo Felipe Contier Victor Megido United States (59)
Supervisor Raquel Gomes Directors Giovanni Pirelli: 424, 426.
Marcelo Suzuki Clarice Sfair Chief Executive Officer
Agnes Rumi Waldick Jatobá Drawings
Research team Technical/Cultural Director Instituto Bardi / Casa de Vidro
Historic essays Sol Camacho archive: 15, 35, 48, 49, 51, 52, 54,
Task 1 Aline Coelho Sanches Corato 68, 69, 72, 73, 74, 75, 81, 83, 84,
Historic documentation Ana Lúcia Cerávolo Universidade de São Paulo 85, 96, 97, 98, 99, 103, 105, 119,
Coordinator Betriz Kühl President 122, 123, 129, 374, 405, 406.
Aline Coelho Sanches Renato Anelli Vahan Agopyan CSAC Centro Studi e Archivio
dela Comunicazione, Universitá di
Task 2 Instituto de Arquitetura e Parma. Fondo Pier Luigi Nervi: 76
Digital documentation Urbanismo (27), 77 (28), 78 (29), 432.
Coordinator Director ANELLI, R.; GUERRA, A. ; KON,
Márcio Minto Fabrício Miguel Buzzar N. Rino Levi, arquitetura e Cidade,
3D scanning Deputy Director São Paulo: Romano Guerra Editora,
Marcelo Balzani Joubert Lancha 2001: Redrawing of Casa Arnstein,
Research p. 115.
Ana Regina Mizrahy Cuperschmid
Daniele Felice Sasso
Federica Maietti
Luca Rossato
Júlio Franco