© Flickr user Rodrigo_Soldon

Flickr用户Rodrigo_Soldon

从一开始，这个项目就充满了政治色彩。博·巴迪(Bo Bardi)负责该建筑设计、施工和管理的几乎所有部分，她最初通过与当地州长谈判达成的“幕后交易”，确保了博物馆的主要位置。[1]然而，随着项目的发展，越来越明显的是，她对博物馆的看法将不属于政治家和城市的文化精英。相反，她试图迎合民粹主义的观点，即博物馆和它所在的地点应该属于人民和城市。博物馆不仅会归还它借来的同样数量的公共空间，而且还会接受一种激进的观念，即一个博物馆既可以展示文化，也可以作为它创建的舞台。

From the beginning, the project was rife with political overtones. Bo Bardi, who oversaw nearly every part of the building’s design, construction, and administration, initially secured the museum’s prime location through a “backroom deal” that she negotiated herself with the local governor. [1] However, as the project evolved, it became increasingly clear that her vision for the museum would not belong to the politicians and the city’s cultural elite. She would instead attempt to cater to the populist view that the museum and the site on which it stood should belong to the people and the city. Not only would the museum return the same amount of public space that it borrowed, but it would embrace the radical notion that a museum could both exhibit culture and serve as a stage on which it was created.

From the beginning, the project was rife with political overtones. Bo Bardi, who oversaw nearly every part of the building’s design, construction, and administration, initially secured the museum’s prime location through a “backroom deal” that she negotiated herself with the local governor. [1] However, as the project evolved, it became increasingly clear that her vision for the museum would not belong to the politicians and the city’s cultural elite. She would instead attempt to cater to the populist view that the museum and the site on which it stood should belong to the people and the city. Not only would the museum return the same amount of public space that it borrowed, but it would embrace the radical notion that a museum could both exhibit culture and serve as a stage on which it was created.

 © Pedro Kok

(佩德罗角)

Masp的不朽美学是一个巧妙的工程方案的结果，其结构的明确性支配了建筑的正式语言。两个巨大的预应力混凝土梁，搁置在同样巨大的桥墩上，平行穿过场地的长度，悬挂一个庞大的箱子，容纳博物馆的主要展览和行政空间。该上部通过玻璃升降器连接到低于等级的水平，该玻璃升降器在博物馆和城市之间的旅程中吸引游客，并且再次返回，故意挑战艺术品可以与创建它的人断开连接并使访问体验具有政治含义的想法。

The MASP’s monumental aesthetic is the result of an ingenious engineering scheme whose structural clarity dominates the building’s formal language. Two enormous pre-stressed concrete beams, resting on equally massive piers, traverse the length of the site in parallel and suspend a voluminous box containing the museum’s main exhibition and administrative spaces. This upper section is connected to the below-grade levels through a glass elevator that takes visitors on a journey between the museum and the city and back again, intentionally challenging the idea that artwork can exist in disconnect from the people that create it and imbuing the visiting experience with political meaning. 

The MASP’s monumental aesthetic is the result of an ingenious engineering scheme whose structural clarity dominates the building’s formal language. Two enormous pre-stressed concrete beams, resting on equally massive piers, traverse the length of the site in parallel and suspend a voluminous box containing the museum’s main exhibition and administrative spaces. This upper section is connected to the below-grade levels through a glass elevator that takes visitors on a journey between the museum and the city and back again, intentionally challenging the idea that artwork can exist in disconnect from the people that create it and imbuing the visiting experience with political meaning. 

博巴迪把这一言论扩展到艺术和政治上，进入了主要的画廊，多年来，现代主义的开放式计划从根本上重新界定了艺术品之间的等级制度。参观者被从电梯中释放到未介导的挂起的绘画领域，并且在没有明确的进展感的情况下被要求在碎片之间弯曲。正如一位学者所描述的那样，“每个艺术品都显示为自己的网站，显示模式既证明了碎片的迁移命运，而且更重要的是，缺乏体制框架。”[2]这些碎片惊人地安装在玻璃面板上，这些玻璃面板在沉重的混凝土块中接地，似乎漂浮在空气中，加剧了展览的解放的混乱和模仿建筑的浮动形式。博巴迪的丈夫是博物馆的长期董事，他在1990年退休时保存了这种安排，当时他不幸地放弃了一个更传统的实体墙显示系统。建筑师试图强迫访问者重新审视预先构想的艺术观念的方式的一个例子。

Bo Bardi extended this discourse on art and politics into the main galleries, where for years a modernist open-floor plan radically redefined the hierarchies between works of art. Visitors were released from the elevator into an unmediated field of suspended paintings and required to meander between pieces without a clear sense of progression. As one scholar described it, “each artwork was shown to be its own site, a display mode that attested both to the migratory destiny of the pieces, but also, and more importantly, to a lack of institutional framing.” [2] The pieces, which were strikingly mounted on glass panels grounded in heavy concrete blocks, appeared to float in the air, intensifying the liberated chaos of the exhibit and cheekily mimicking the floating form of the building. Bo Bardi’s husband, who was the longtime director of the museum, preserved this arrangement until his retirement in 1990, when it was tragically abandoned in favor of a more conventional solid-wall display system. It was just one example of the way in which the architect attempted to force visitors to reexamine preconceived notions of art.

Bo Bardi extended this discourse on art and politics into the main galleries, where for years a modernist open-floor plan radically redefined the hierarchies between works of art. Visitors were released from the elevator into an unmediated field of suspended paintings and required to meander between pieces without a clear sense of progression. As one scholar described it, “each artwork was shown to be its own site, a display mode that attested both to the migratory destiny of the pieces, but also, and more importantly, to a lack of institutional framing.” [2] The pieces, which were strikingly mounted on glass panels grounded in heavy concrete blocks, appeared to float in the air, intensifying the liberated chaos of the exhibit and cheekily mimicking the floating form of the building. Bo Bardi’s husband, who was the longtime director of the museum, preserved this arrangement until his retirement in 1990, when it was tragically abandoned in favor of a more conventional solid-wall display system. It was just one example of the way in which the architect attempted to force visitors to reexamine preconceived notions of art.

 © Pedro Kok

(佩德罗角)

在画廊和整个建筑中，波·巴迪反复地在轻盈与大众之间展开了一场强有力的对话。例如，从露台上看，建筑物的重量在直觉上是显而易见的，但作为一种感官体验，它却明显地缺失了。伟大的结构主义者赫尔曼·赫茨伯格(Herman Hertzberger)写道：“在建筑物的下面，你完全没有感觉到由于你头顶上的巨大存在而产生的压迫感。”[3]另一种说法是，“在画廊下面的广场上行走的行人，对头顶建筑的重量丝毫没有感觉，”但更确切地感觉到，一朵云在巴西炎热的太阳前掠过，给了他们一个令人愉快的凉爽时刻。“

In the gallery and with the building as a whole, Bo Bardi repeatedly prompts a powerful dialogue between lightness and mass. From the terrace, for example, the weight of the building is intuitively obvious, but as a sensory experience it is notably missing. The great structuralist Herman Hertzberger wrote that “when underneath the building, you feel absolutely no sense of oppression due to the immense presence above you.” [3] By a different account, "pedestrians who walk on the plaza beneath the galleries feel nothing of the weight of the structure overhead, but rather sense that a cloud has passed in front of the hot Brazilian sun and given them a delightful moment of coolness." [4]

In the gallery and with the building as a whole, Bo Bardi repeatedly prompts a powerful dialogue between lightness and mass. From the terrace, for example, the weight of the building is intuitively obvious, but as a sensory experience it is notably missing. The great structuralist Herman Hertzberger wrote that “when underneath the building, you feel absolutely no sense of oppression due to the immense presence above you.” [3] By a different account, "pedestrians who walk on the plaza beneath the galleries feel nothing of the weight of the structure overhead, but rather sense that a cloud has passed in front of the hot Brazilian sun and given them a delightful moment of coolness." [4]

 © Flickr user Carol^-^

c Flickr用户Carol^-^

在很大程度上，这种紧张的存在是由于建筑物的现代主义和野蛮的元素并置。一方面，典雅的玻璃窗和开阔的平面图是博物馆视觉上的轻盈之处，它坚定地属于国际风格的传统。另一方面，巨大的混凝土墩和结构体系属于野蛮运动，这是在博物馆建设的鼎盛时期。波·巴迪(Bo Bardi)没有回避这些不同元素所构成的矛盾，而是提请人们注意这些矛盾，把码头漆成鲜红色，把地板变薄，拉长立面上的元素，在视觉上消除它们的宽度。这些思想相互作用的效果是戏剧性的，建筑对传统美学的创新反思也借鉴了巴西独特的具体现代主义传统，其中包括奥斯卡·尼迈耶(Oscar Niemeyer)和罗伯托·伯勒·马克思(Roberto Burle马克思)。

Much of this tension exists due to the building’s juxtaposition of modernist and brutalist elements. On the one hand, the elegant glazing and open floor plans responsible for the visual levity of the museum belong firmly in the International Style tradition. On the other, the colossal concrete piers and structural systems belong to the brutalist movement, which was in its heyday at the time of the museum’s construction. Rather than shy away from the contradictions posed by these disparate elements, Bo Bardi draws attention to them, painting the piers bright red and thinning out the floors and elongating vertical elements of the façade to visually dematerialize their width. The effect of the interplay of these ideas is dramatic, and the building’s innovative rethinking of conventional aesthetics hearkens to a uniquely Brazilian tradition of concrete modernism that includes Oscar Niemeyer and Roberto Burle Marx.

Much of this tension exists due to the building’s juxtaposition of modernist and brutalist elements. On the one hand, the elegant glazing and open floor plans responsible for the visual levity of the museum belong firmly in the International Style tradition. On the other, the colossal concrete piers and structural systems belong to the brutalist movement, which was in its heyday at the time of the museum’s construction. Rather than shy away from the contradictions posed by these disparate elements, Bo Bardi draws attention to them, painting the piers bright red and thinning out the floors and elongating vertical elements of the façade to visually dematerialize their width. The effect of the interplay of these ideas is dramatic, and the building’s innovative rethinking of conventional aesthetics hearkens to a uniquely Brazilian tradition of concrete modernism that includes Oscar Niemeyer and Roberto Burle Marx.

 © Flickr user Rodrigo_Soldon

Flickr用户Rodrigo_Soldon

 © Flickr user Juliana Magro

Flickr用户Juliana Magro

尽管该博物馆并非没有争议或批评，但它成功地实现了丽娜·博·巴迪(Lina Bo Bardi)的理想，它既是一座博物馆，也是圣保罗居民的非正式聚会场所。在这个意义上，MASP是一个证明，建筑师的力量，促进平等的价值观和社会责任，并通过设计。这座建筑体现了野蛮人通过建筑改善城市状况的最好努力，也是一篇关于艺术政治层面的优雅的批判性文章。

Although the museum is not without controversy or critics, it succeeds in faithfully delivering the vision of Lina Bo Bardi by serving both as a museum and as an informal gathering place for the residents of São Paulo. In this sense, the MASP is a testament to the power of architects to promote egalitarian values and social responsibility and through design. The building exemplifies the best of the brutalist effort to improve the urban condition through architecture and serves as an elegant critical essay on the political dimensions of art.

Although the museum is not without controversy or critics, it succeeds in faithfully delivering the vision of Lina Bo Bardi by serving both as a museum and as an informal gathering place for the residents of São Paulo. In this sense, the MASP is a testament to the power of architects to promote egalitarian values and social responsibility and through design. The building exemplifies the best of the brutalist effort to improve the urban condition through architecture and serves as an elegant critical essay on the political dimensions of art.

[1]Buergel，Roger M.“‘这次展览是一个指控’：根据丽娜·博·巴迪的说法，展示的语法。”“毕竟：艺术、背景和查询杂志”，第26期(2011年春季)，p。56.

[1] Buergel, Roger M. “’This Exhibition Is an Accusation’: The Grammar of Display According to Lina Bo Bardi.” Afterall: A Journal of Art, Context, and Enquiry, Issue 26 (Spring 2011), p. 56.

[1] Buergel, Roger M. “’This Exhibition Is an Accusation’: The Grammar of Display According to Lina Bo Bardi.” Afterall: A Journal of Art, Context, and Enquiry, Issue 26 (Spring 2011), p. 56.

[3]Hertzberger，Herman。空间与建筑师：建筑的教训2。010出版社：鹿特丹，2010年，p。106.

[3] Hertzberger, Herman. Space and the Architect: Lessons in Architecture 2. 010 Publishers: Rotterdam, 2010, p. 106.

[3] Hertzberger, Herman. Space and the Architect: Lessons in Architecture 2. 010 Publishers: Rotterdam, 2010, p. 106.

[4]任何人公司。“Lina Bo Bardi：圣保罗艺术博物馆”任何：纽约建筑学，第5号，轻盈(1994年3月/4月)，p。24.

[4] Anyone Corporation. "Lina Bo Bardi: Museo de Arte de São Paulo." ANY: Architecture New York, No. 5, Lightness (March/April 1994), p. 24.

[4] Anyone Corporation. "Lina Bo Bardi: Museo de Arte de São Paulo." ANY: Architecture New York, No. 5, Lightness (March/April 1994), p. 24.

建筑师Lina Bo Bardi地点1578 Avenida Paulista地区0.0m2 1968年项目年照片Pedro角，Flickr用户Juliana Magro，Flickr用户Rodrigo_Soldon，Flickr用户Carol^-^类别画廊

Architects Lina Bo Bardi Location 1578 Avenida Paulista Area 0.0 m2 Project Year 1968 Photographs Pedro Kok, Flickr user Juliana Magro, Flickr user Rodrigo_Soldon, Flickr user Carol^-^ Category Gallery

Architects Lina Bo Bardi Location 1578 Avenida Paulista Area 0.0 m2 Project Year 1968 Photographs Pedro Kok, Flickr user Juliana Magro, Flickr user Rodrigo_Soldon, Flickr user Carol^-^ Category Gallery