MASP M ASP
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Deyuan(Raby) Sun Zine Graphic Design, Structure & History Analysis Syed Raza Context Analysis, Diagrams Teodora Nikolic Context & Prominence Analysis Yifei Liu History & Public Space Analysis, DrawingsINTRO
Museu de Arte de São Paulo also known as MASP is a significant modernist building in Brazil. Designed by female architect and designer Lina Bo Bardi, who’s work in the Brazilian modernism movement promotes the social and cultural components or architecture. This zine will explore the historical and physical context of the building as well as the relationships between public spaces. Illustrating our findings with plans and sections, the zine will also analyze the impressive construction methods, such as the use of pre-stressed concrete to achieve this robust span. Furthermore it will investigate the urban and aesthetic significance of the building.
HISTORY CONTEXT PROMINENCE
TABLE OF
1.2.3.
PROMINENCE
CONTENT
PROGRAMSTRUCTURE4.5.
Openness - Transparency
Transparency - Freedom
(“MASP
Em Expansão: Considerações Do METRO Arquitetos - Revista PROJETO,”
2021)
HISTORY
1
Lina Bo Bardi
1914 - 1992
“ I did not seek beauty, but freedom ”
Italian Born, Modernist architect
With her extensive involvement in the arts, architecture, and design scene, she made a significant contribution to consolidating her views and ideas concerning architectural criticism. Her broad and diverse approach made Lina one of the best multidisciplinary architects of her time. It is her intention to facilitate people’s use of her works in a civic-collective way, since, to her, “true freedom can only be collective”. Freedom aware of social reality”. Through architecture, she advocates minimal intervention and preserves what is already there, encouraging collaboration and participation in social integration.
The MASP itself
MASP is a building in which architecture and structure are uniquely integrated. This relationship is essential in the determination of its functioning, in the configuration of its spaces, and in the composition of its main values – transparency, fluidity, permeability and spatial amplitude. The building’s interior and exterior expression is based on the intrinsic characteristics of the materials used – rough surfaces with little ornamentation. Its architecture is characterized by its collective character and appreciation of the individual, expressing Lina Bo Bardi’s stance in regard to sociocultural questions.
Avenida Paulista & Site
Avenida Paulista was part of the process for the expansion of the center of the city. It was initially occupied by mansions built as homes for the city’s elite. The construction of the avenue as an urban thoroughfare in modern fashion for the time was an attraction for the São Paulo aristocracy that occupied it for many years with palatial residences built in eclectic style, nestled among numerous trees on large properties.
The Site offered a panoramic view looking down on Avenida, and toward downtown and Valley, the city’s main North-South axis.
Statement of Art: Glass Easels
Looking at the interior displays “Lina’s choice to affix the paintings and works on paper in the MASP collection to glass easels with concrete bases rejects the institutionally sanctioned dialogue between painting and wall… and with the other viewers moving behind and between the glass easel to activate the space among the levitating products of artistic labor,” (Caffey, 2015). This hovering of the paintings mirrors the hovering of the building itself.
MASP is characterized by the innovation, as its novelty lies not only in the high degree of experimentalism it displays but above all in its comprehensive and creative solution to the problem.
CONTEXT
The building is on Paulista Joaquim Eugênio de Lima building,” (Pisani, 2018). Bo Bardi states: “I never set could be no columns. How incredible span
2
Site Context
avenue,one of the most important avenues in Sao Paulo, and “the site had been donated to the city by the engineer Lima (designer of Avenida Paulista) on the condition that views over the city would not be obstructed by any future
Great care was taken to preserve the views from this site creating a large plateau where the building floats above. set out to make the largest free span in the world … Given that the famous Belvedere had to be kept untouched, there How do you span 80m without columns? The only way is with a large structure.” (Pisani, 2018). Explaining that the of the building was not so much a creative liberty but rather a response to the site and surrounding views.
Avenidapaulista
Contextural Relationship
This Museum was designed with an intent to keep the social context into consideration.
In the 1950s, highrise buildings commenced to spread all around the MASP’s site. This contextual development began to transform the shape of the city when it comes to the urban Architecture. This modification of the city changed classical eclectic mansions to midrise and highrise residential and commercial buildings. This change allowed MASP to launch its construction. An original block that was covered by an old Trianon Belvedere was the replaced by a huge volume of suspended spaced that covered eight meters above the ground level. This change allowed the designer to provide a public space to the community at the ground level that was open to the public all the time. Right below the square, there sits semi-subterranean space of the building from where a visitor can experience the architectural set of the building.
23°33’40.000’S 46°39’20.999’W
PROMINENCE 3
Urban
The MASP building is a significant urban building “Trianon Park and the valley of Avenida 9 de axis, being part of the museum’s cognitive and Getty Foundation, 2018). The horizontal nature forward alignment make it stand out against the buildings, solidifying it as an urban landmark. a scenic overlook onto the valley of Avenida 9 these views and framing of the cityscape the relationship with its site. “The design demonstrates territorial landscape … a relationship between and allows a comprehension of the city on a broader immediate surroundings,” (The Getty
building on Avenida Paulista. Julho compose its transversal and sensorial experience,” (The nature of the building as well as its the verticality of the surrounding The ground level plaza has 9 de Julho and beyond. With MASP building has a strong demonstrates an understanding of the the highest point of the city… broader scale, beyond its more Foundation, 2018).
Aesthetic
Architecture and structure are intimately linked in the MASP building. The building’s recognisable appearance is composed of its inventive shape. “Its spatial configuration is organized based on this solution and creates unique internal and external spaces, the main values being spatial amplitude, permeability and transparency. It is based on these characteristics that the interior-exterior relations are created,” (The Getty Foundation, 2018). The relationship between spaces is also noteworthy, for example the picture gallery consisting of an entire floor with no partitions creating unity between architectural concept and exhibition design. The building comes together in a very expressive manner, with its shapes, colors, and textures, such as the large red external pillars, as well as the transparency of the windows.
PROGRAM
4
Spatial Organization
The program proposal for MASP holds the social and educational function. Museums host regular exhibitions, promote educational aspects of art contests and conferences and also open schools on topics not widely used. The ground level void is proposed in order to protect the major existing urban gathering space along Avenida Paulista— city’s main financial and cultural artery. On the other hand, the free space under the span echoes with the interior layout of the picture gallery, which further accentuates the idea of continuity and openness and emphasizes the human oriented aspect.
There are two sublevels in total, where the first sublevel hosts a large and small auditorium, a small exhibition space and cafe/ stores; the second sublevel which has a civic hall, research center and restaurants. Both upper floors were used for exhibition purposes. Where the first floor provides additional service spaces for administration and the second floor is entirely dedicated to the picture gallery.
Circulation
Vertical transportation
Circulation
Reception
Small Auditorium
Vertical transportation
Large Auditorium
Reception
Café and Store
Small Auditorium
Mezzanine for Exhibitions
Large Auditorium
Research Center
Café and Store
Exhibition Space (Civic Hall)
Mezzanine for Exhibitions
Restaurant
Research Center
Exhibition Space (Civic Hall)
Restaurant
51020
N 0 51020 m
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8
N 0
m
1
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8
3 2 1 4 DN 5 6 7 8 UP 3 2 1 4 DN 5 6 7 8 UP 1st Sub Level 2nd Sub Level
Interior layout of the picture gallery went through a series of transformations. After Lina Bo Bardi‘s death in 1992, glass display easels were removed in 1996 and brought back in 2015, aiming to reinstating the original value of transparency and fluidity and spatial amplitude.
Gallery
Exibition Room
Elevator
Picture
Hallway Staircase
Belvidere 1968 1996 2015
STRUCTURE 5
MASP Structure
MASP’s structural system is a key element in the building’s well as in its function. In MASP, the structural language architectural form. 78 meter-long prestressed concrete beams concrete columns suspended on two gigantic columns, suspended glass volume that houses exhibitions and offices. Two central the ribbed concrete floor above and an additional ribbed floor by steel cables, while the folded-slab roof hangs from the reflecting light into the transparent galleries. Elevators only upper floor of the building to the underground space, and located in the open square only link the building to
Lina used both modernist and brutalist elements to express contrast and tension, while the concrete columns were enhance the lightness and verticality.
building’s expression as dominates the beams support four suspended over a central beams carry floor suspended the top beams, only connect the and the elevators the city. express the dramatic painted red to
3 Floor Plates
The sidewalls are cantilevered out from the three planes of the upper volume. A waffle slab suspended by tie rods from the intermediate means consists of a 50cm high internal waffling on the first story. On top of the intermediate beams is the 1.5m high ribbed slab of the second story, visible from below. In addition to their lower surfaces, the large roof beams support the structure.
4 Columns
Four columns are defined by a rectangular cross-section of 2.5x4m. In terms of structure, there are three distinct sections: the footings, the ground level, and the consoles, which support the intermediate beams. After the consoles, the roof beams rest on the top part of the structure. The lower part columns that extend from the consoles and rest on the roof beams have a less robust upper section due to the eccentricity of their consoles. The upper part is equipped with special system that allows the articulation of one of the supports.
4 Beams
Roof beams have a total length of 78m and a rectangular hollow section of 2.5x3.5m. These beams are prestressed with steel cables along their sides. The Engineer developed a system where it cac make a loop in the cable at the fixed anchorage, so that the continuous steel cable returned through the sheath to the mobile anchorage. Compression flange has a variable cross-section, similar to the structural design of its intermediate beams. In this way, not only is it able to support the weight of the 1st floor, suspended below it, but it can also support the weight of the 2nd floor.
4 Footings
Due to the eccentricity of the beam supports, the columns absorb normal forces and bending moments. These forces are discharged through the footings. In order to distribute forces uniformly in the soil, their geometric center was positioned eccentrically. Based on the building’s projection, each footing’s geometric center is displaced inward by 2.7m relative to the column it supports, at a distance of 12.5 x 9.5m.
Top Beam Cross Sections
References
ArchDaily. Retrieved October 16, 2022, from https://www.archdaily.com/537063/ad-classics-sao-paulo-museum-of-art-masp-lina-bo-bardi
Art Museum of Sao Paulo - Data, Photos & Plans. WikiArquitectura. (2020, September 14). Retrieved October 15, 2022, from https://en.wikiarquitectura.com/building/art-museum-of-sao-paulo/
Caffey, S. M., & Campagnol, G. (2015). DIS/Solution: Lina Bo Bardi’s Museu de Arte de São Paulo. Journal of Conservation and Museum Studies, 13(1). https://doi.org/10.5334/jcms.1021221
Campagnol, G., & Caffey, S. (2015, June 5). CONSTRUCTION OF THE MUSEU DE ARTE DE SÃO PAULO. Retrieved October 16, 2022, from ResearchGate website: https://www.researchgate.net/publication/281253456_CONSTRUCTION_OF_THE_ MUSEU_DE_ARTE_DE_SAO_PAULO
Hesson, R. (2022, July 4). Bo Bardi and Poor Architecture - Modern Architecture. Retrieved October 25, 2022, from Northern Architecture website: https://www. northernarchitecture.us/modern-architecture/bo-bardi-and-poor-architecture.html
Juan José Santos. (2016, June 23). Understanding Lina Bo Bardi’s Unending Popularity (and Misuse) - Momus. Retrieved October 25, 2022, from Momus website: https://momus.ca/understanding-lina-bo-bardis-unending-popularity-and-misuse/
Langdon, D. (2018, October 28). Ad classics: São Paulo Museum of Art (MASP) / Lina Bo Bardi.
Lina Bo Bardi | Biography & works | Collectible design at Casati Gallery. (2021, April 3). Retrieved October 25, 2022, from Casati Gallery website: https:// www.casatigallery.com/designers/lina-bo-bardi/
LINA BO BARDI / SESC POMPEIA. (2014, September 12). Retrieved October 25, 2022, from Issuu website: https://issuu.com/catalinagranados/docs/linabobardi
Pisani, D. (2018). Too beautiful to be true: Lina Bo Bardi’s MASP, or an “architectured” lie. SAN ROCCO. Retrieved from https://re.public.polimi.it/handle/11311/1053122?mode=complete.
Poster MASP. (2021). Retrieved October 25, 2022, from Daniloz.com website: https://daniloz.com/produto/poster-masp/
The Getty Foundation. (2018). MASP’s Structure Conservation Plan. Retrieved October 16, 2022, from Getty.edu website:https://www.getty.edu/foundation/pdfs/kim/masp_%20sao_paulo_english.pdf