"Aldo van Eyck and Lina Bo Bardi were two subversive figures. Their visions of collectivity and playfulness-though applied to very different kinds of structures-shared a common ground: an idea of architecture that goes beyond design. For both, architecture was a living space, animated by appropriation, movement, and exchange. From Dutch playgrounds to thw São Paulo Museum of Art, their ideals intertwined, reinforcing the notion of an architecture where anyone could become a child again."
"They met in person in 1969, when the Dutch architect visited São Paulo and was received for lunch at Lina's Glass House. They never worked together, but fate would later arrange an unexpected encounter. Years after Lina's death, Aldo stumbled upon an exhibition dedicated to her work. The experience struck him so deeply that he crossed Brazil to see her architecture firsthand. From that posthumous encounter, inevitable parallels emerged-affinities that had until then remained dormant."
Aldo van Eyck and Lina Bo Bardi pursued subversive visions that prioritized collectivity and playfulness across different building types. Architecture functioned as a living space animated by appropriation, movement, and exchange. Van Eyck designed nearly 750 playgrounds for Amsterdam between 1947 and 1978, treating them as imaginative territories rather than mere play equipment. Lina's projects, including the São Paulo Museum of Art and her Glass House, invited public engagement and conviviality. The two met in 1969 but never collaborated; after her death van Eyck later sought out her work, revealing dormant affinities. Their shared ideal envisions spaces that invite play and communal encounter.
Read at ArchDaily
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