Icons at Risk
Registration and Program IH Conference 15-18 May
Terence Riley -KEYNOTE SPEAKER- on Philip Johnson
New era for Villa E-1027 and Cap Moderne
Jorge Liernur -KEYNOTE SPEAKER- on Latin American Modernism(s)
Restoring the past: The Diego Rivera and Frida Kahlo Home Studio
Behind the Scenes: Hendrick de Keyser Association
Latin America Special – Focus on Mexico
De Stijl in Drachten
Preserving the Nancarrow House-Studio
Meet the Friends - Nanne de Ru
Latin America Special – Focus on Brazil
Iconic Houses Lecture Tour - The Weizmann House
Jan de Jong’s House is Latest Hendrick de Keyser Acquisition
Stay in a Belgian Modernist Masterpiece
In Berlin’s Modernist Network
Rietveld-Schröder House Celebrates De Stijl Anniversary
Meet Our New Foundation Board Members
Virtual Tour of a Papaverhof Home in 3D
Getty Grant for Villa E-1027
11 Le Corbusier Homes now on Unesco World Heritage List
At home with Le Corbusier
Our Badge of Honour
Wright Plus 2016 Walk
Casa Batlló's innovative Video Guide
Documentary La Ricarda
Richard Hutten at the Sonneveld House
Rent a house designed by Gerrit Rietveld
Barragán House on Screen
Gesamtkunstwerk – An Icon on the Move
Maurice Drue Parrish named Executive Director of Farnsworth House
Triennale der Moderne 27 September - 13 October 2013
Prestigious Art Nouveau mansions in Brussels open
September 14 + 15: Heritage Days in Paris
June's New Arrivals: Museum Apartments
Iconic Houses is now on Twitter and Facebook
Corbu’s Cabanon: Reconstruction and Lecture
Projekt Mies In Krefeld: Life-sized model of the Krefeld Clubhouse
New arrivals: Spain special
MAMO: Le Corbu’s ‘Park in the Sky’ open 12 June
Annual Wright Architectural Housewalk: 18 May
Frank Lloyd Wright Homes on Screen
Message from the Editor
Neutra’s House on Screen
Melnikov House on Screen
Iconic Houses in the media
Message from the Editor
Eileen Gray House on Screen
Renato Anelli on Lina Bo Bardi’s Casa de Vidro
Architect, planner and historian Renato Anelli is a board member of the Lina Bo Bardi Institute. He is currently overseeing the conservation management plan for her Casa de Vidro, as part of the Getty Foundation’s Keeping It Modern initiative. Renato will be a speaker at our upcoming Fifth International Iconic Houses Conference in New Canaan 15-18 May.
What does the Getty conservation initiative, Keeping it Modern, mean to the Casa de Vidro?
It enables us to plan ahead in a comprehensive way, by providing us with a new methodology. It’s a timely step. The institute that runs the house started off with a good endowment. That has now run out and the conditions surrounding conservation have changed. The program has allowed us to draw up a holistic plan, ranging from preservation to financial sustainability.
The plan is for Casa de Vidro to become a house museum. What progress have you made with that?
We’ve made it much easier to visit. Previously, you could only visit by appointment, but since last year we’re open to the public three days a week. We’ve been surprised by the visitor numbers – 900 a month, and that’s before we’ve done any publicity. Obviously, this will positively impact our budget.
What insights did your conservation plan research give you into the house?
We looked into the technical aspects of the construction and found that the plan for a steel frame had been adapted to concrete – very well too –by the Brazilian team. Our understanding of the garden also deepened. This was not planned, but intended as an ‘extension’ of the forest.
What does the preservation plan prioritize?
Our urgent priorities are to protect the house from tree overgrowth, repair the roof, replace the asbestos tiles and adapt the frames holding the glass so that it is under less pressure and less likely to break than is currently the case.
What do you personally enjoy most about the house?
The living space is a mix of Le Corbusier and Mies, a mix that was unique to Lina Bo Bardi. The great transforming factor is the large-scale opening of the glass of the façade – possible because of the tropical setting. So straight away there’s a radical continuity between the interior and exterior. This house was never an isolated object, but a fusion of what the architect later called ‘natural and non-natural architecture.’
How did the house evolve while its architect lived in it?
In the mid-1950s she added organic touches – sinuous forms in the shape of new pathways for example – which were inspired by the work of Gaudí, which she’d seen in Spain. Then in 1986 she added a new studio, which is very much in the vernacular style. So every shift in her design can be traced here. It’s part of the house’s appeal.
Renato recommends watching a video about Casa de Vidro made by Tapio Snellman, a Finnish director, artist and architect based in London.
Publication date 15 February 2018