Lina Bo Bardir and Aldo Van Eyck - Assignment Example

Research methodologies The difference in content between Lina Bo Bardir and Aldo Van Eyck arise solemnly because one is the primary source and the other is a secondary source. Lina Bo Bardir is the primary source because she is the designer of MASP. In MASP content by Lina Bo Bardir she discarded all the cultural snobbery that is loved greatly by intellectuals and he opted for raw and direct solution. Her finishing was poor as it evidence by the out of form of the concrete. According to Lina Bo Bardir’s content she abandoned the touch that evokes and the contours. The frames of the pictures were eliminated and instead neutral bands were placed. MASP has an empty space that is famous and that is not an architectural extravagance, as people would not be astonished by it. To Lina Bo Bardir the architectural design of the interior solution was restricted to “flexibility” making it possible to transform its ambience together with the change of economic situations in recent times. According to Lina Bo Bardir point of view, the museum purpose is to provide an atmosphere to prepare visitors mentality to understand work of the art. The work of the art is deliberately presented so as to create shock, and to awaken reactions of curiosity and investigation. The work of the art does not clearly bring the sense of distinction between the old and the new work of art. As a result, Lina Bo Bardir developed simple architecture known as the monument. She say “I was looking for simple architecture, one that could immediately communicate that which in the past was known as “monumental”, that is in the sense of “collective”, of Civic Dignity”. I.e. should be monumental so as to communicate with the past. Lina Bo Bardir architect about the MASP reveals her generosity, openness, playfulness, and more so the strength of her mind. Lina Bo Bardir is a perfect example of somebody who would wish her/his architect to produce a good product for the good of the society. Aldo Van Eyck content talks about audacity and generosity of Lina Bo Bardir and the vast space below that it is characterized with. Aldo Van Eyck refers to it as kaleidoscopic because of the paint of the interior. Aldo Van Eyck says the painting on the walls look as if it is windows on another world. The paint paints it own painted reality no matter what it portraits. Aldo Van Eyck gives amazing description about the building. Aldo Van Eyck says, “…A building is indeed both there and not there.” By saying that, Aldo Van Eyck meant the building occupied much space of the city and it offer the city too much more. Aldo Van Eyck refers to the presentation as being unique and he paradoxically says it has also abnormality. The abnormality in it is that it risks being dismantled. Aldo Van Eyck’s dilemma is that he does not know whether the imposed union fact is false or true. False in a way that does it is not in accordance in really what painting means. Aldo Van Eyck point of view is how well we should utilize paint he say if painting was returned to where it was painted the best will come out of the reality. Aldo Van Eyck came with ubiquitous dilemma that painting belongs to the walls, which they were fixed, and seems as if they were born there. To Aldo Van Eyck compares MASP to as a house, he refers to MASP is a framework for life with multiple layer and time and the way we relate with them. 2) Writing your own design works as incase of Lina Bo Bardir, as she is able to know the modern architectural design. To design MASP she applied techniques of a house. The raising above the ground provides an experience in life and the museum as public project depicts a magnificent art collection. Lina Bo Bardir design was a simple architecture and she refers to it as monumental because of the old design. Lina Bo Bardir made most of experience for five good years while she was in Brazil. It is where she learnt the lesson of her popular experience but to her it was simply an experiment. From that experience we can see writing on her design works. She referred to her work as an experiment that leads to a poor architecture. “…I insist, not from the ethical point of view. I feel that in Sao Paulo Art Museum I eliminated all the cultural snobbery so dearly beloved by the intellectuals (and todays architects), opting for direct, raw solution.” The concrete had loose form because of poor finishing. She selected the simpler of the solution. She gives an example of the auditorium, which will serve as an empty theater. Antonin Artaud professed the auditorium as a “farmyard.” Lina Bo Bardir knows she eliminated the cultural snobbery that being a weakness in the architectural design. Another design she eliminated was the evocative touches and contours. Lin abo bardi talks about the trianon Museum design and how it is different from MASP. She talks of its finish being as simple as possible. In trianon museum she incorporated both beauty and simplicity. She says trianon complex is to replace monumental simplicity. “…the Trianon complex is to replace is to replace, in its monumental simplicity, today’s so unpopular themes of rationalism.” In writing about someone elses design as Aldo van Eyck did about Bardi and the MASP one is not able to know the architectural design of the building instead knows about only the physical appearance of the building i.e. Aldo van Eyck know the building just needed to be repaint only. Aldo van Eyck refers to the MASP as not as any other building but already a phenomenon while Lina Bo Bardir refers to the buiding as poor structure. Aldo van Eyck complements the enormous space for people in MASP design but the designer herself view empty space that is famous and that is not an architectural extravagance, as people would not be astonished. Aldo van Eyck just focuses on the great interior of the MASP. “I even tried to create an “atmosphere” in the Trianon. I would like the public to go there to see open air exhibitions and discuss things, listen to music, see movies.” Aldo van Eyck refers to MASP as unique while Lin abo bardi poor architecture. Designing is a general way for life so to say. This is a term used by several architect but Bo Bardi meant it and in a highly appreciated way. For her, she achieved a balance of form and content 3) I understand the design better by reading from the perspective of the architect of the building because Lin Bo Bardi just from the starting from her introduction she introduces new museum and how the new museum looks as shown in the quote below, “ Should open the doors, and let pure air and new light in.” She goes ahead and talks about how we should adopt modern life before actually explaining the architectural design of the MASP. This clearly paints a picture of both the MASP and the new museum. By reading about the MASP Lin Bo Bardi satirical joke about how people refer famous empty space by saying: “Wow, what a huge thing” this tries to portrait the architecture of the MASP as big but not design to meet modern world design. Lin abo bardi was looking for a simple structure and even describes it as monumental these paints a picture to me of how monument looks like. According to Lin abo bardi perspective architect of the new Trianon Museum she clearly describe the building span of length seventy meters, five meters of cantilever at each end, eight meters of free floor to ceiling height at any column, rests upon four pillars, connected together by two prestressed concrete beam to carry the floor. She went further and describe the open stairways, the beams to carry the floor and so forth serves as a blue print for the design of the building hence help me figure out how the museum actually looks like. In addition, she opted to explain the incidents that occurred during the construction of the museum. She said an additional vertical prestressing to the pillars was required; this put us to clear perspective of how the design appears. She applied the house techniques. That is, the raising-above-the-ground to portrait her heightened life experience in design. 4) The risk of reading primary source i.e. what the architect of the building says is that one might concentrate on the architectural design at the expense of the real intended purpose of the building. For example, the architect of the building concentrates on the physical design of the building and forgets that museum is all about painting and sculpture. For example the risk involved by the architect in design of the MASP is that she eliminated all the cultural snobbery, which is loved by intellectuals and today’s architect. The other aspect she did not include in the primary source in her design is finishing as she was opting for direct and raw solution that made the concrete to loose form. She selected the simpler of the solution as shown in the example of the museum auditorium that resembled a farmyard. The contours were abandoned. In primary source the picture frames were abandoned and were replaced by neutral bands. Secondary source looks at other aspect of design that the designer of the building may not have realized. It adds salt to primary source. For example, Aldo Van Eyck deeply speaks about paint that brings about interior gesture of a building. Beside the design structure of a building, the secondary source explains painting and sculpture are the different way we spatially see things-that is in a museum perspective. “…there is that great interior accommodating a miraculous sea of paintings-a kaleidoscopic spectacle exemplify in each individual item and at the same time transcending the painter’s name, culture, period or style.” Avant Garde brings out old painting versus wall conflict opening. This was her dilemma. She says how difficult and how it is painful to visualize the countless paintings in the countless walls and rooms and museum waiting to go back to space and vibrate. In my own assumption and my own view is that the primary source is a nutshell that only describes more the structure and the physical appearance of the building. The secondary source describes both the social aspect and physical appearance of the building. Work cited Bass, Helen G. Creating Award-Winning History Fair Projects: The Complete Handbook for Teachers, Parents, and Students. Waco, Tex: Prufrock Press, 2007. Print. Hamilton, John. Primary and Secondary Sources. , 2005. Internet resource. Husbands, , Kitson, and Steward. Teaching and Learning History: Understanding the Past 11- 18. McGraw Hill Publishing Co UK, 2011. Print. Read More