ABSTRACT

In 2020, Mexican architect Frida Escobedo (1979–) designed the exhibition “Lina Bo Bardi: Habitat” at Museo Jumex in Mexico City. Lina Bo Bardi (1914–92) was an Italian émigré who became one of Brazil’s most important — and few female — modernist architects. Escobedo, too, is one of few Latin American women architects whose work is recognised internationally. Using the exhibition as touchpoint, this paper recontextualises the work and archives of Lina Bo Bardi through the lens of Frida Escobedo’s current practice, revealing the socially engaged and spontaneously playful artistry of each. Whereas Bo Bardi is prescient and forward-looking, Escobedo sensitively and inventively references her predecessor. By way of interview analysis, each architect’s praxis will be discussed as a transnational entanglement of objects, curation, persona, text, user, city, and building. Drawing on Olivia De Oliveira’s 1991 interview with Bo Bardi and the author’s 2021 interview with Escobedo, the former’s pioneering of adaptive reuse and urban revitalisation, as well as the latter’s continuation of these methods and preoccupation with ruins, will be addressed. Such topics are salient as Bo Bardi’s buildings today face material decline due to bureaucracy and neglect. A central aim of this paper is therefore to salvage and engage with the residues of Bo Bardi’s departed yet potent voice whilst simultaneously highlighting the contemporary importance of her legacy. The foregrounding of not only Bo Bardi and Escobedo’s voices but also, by default, the voices of their interviewers — Olivia De Oliveira and the author of this paper — is motivated by an enthusiasm to contribute to the collective transformation of the broader gendered communication terrain.

摘要

2020 年，墨西哥建筑师弗里达·埃斯科贝多（Frida Escobedo，1979–）在墨西哥城的 Museo Jumex 设计了展览“Lina Bo Bardi: Habitat”。Lina Bo Bardi (1914-92) 是一位意大利移民，她成为巴西最重要的现代主义建筑师之一，也是为数不多的女性。Escobedo 也是少数几位作品获得国际认可的拉丁美洲女建筑师之一。本文以展览为接触点，通过弗里达·埃斯科贝多当前实践的镜头，对丽娜·博·巴迪的作品和档案进行重新语境化，揭示每个人的社会参与和自发的嬉戏艺术。Bo Bardi 具有先见之明和前瞻性，而 Escobedo 则敏感而富有创造性地引用了她的前任。通过访谈分析，每位建筑师的实践都将被讨论为对象、策展、角色、文本、用户、城市和建筑。借鉴 Olivia De Oliveira 1991 年对 Bo Bardi 的采访和作者 2021 年对 Escobedo 的采访，将讨论前者在适应性再利用和城市复兴方面的开创性，以及后者对这些方法的延续和对废墟的关注。由于官僚主义和忽视，博巴迪的建筑今天面临物质衰退，这些主题很突出。因此，本文的中心目标是挽救和处理 Bo Bardi 已逝但有力的声音的残余，同时强调她的遗产在当代的重要性。不仅是 Bo Bardi 和 Escobedo 的声音，而且默认情况下，