For MASP, which would eventually take 10 years to complete, Lina Bo Bardi designed an expansive concrete-and-glass 74-meter-wide Brutalist structure held on four columns that surround the whole building and lift it 8 meters above the ground. After Lina Bo Bardi,” Stroom Den Haag, The Hague, Netherlands, “Latin America in Construction: Architecture 1955-1980,” Museum of Modern Art, New York, “Moderno: Design for Living in Brazil, Mexico, and Venezuela 1940-78,” The Blanton Museum of Art, The University of Texas at Austin, Austin, Texas [traveled to: Americas Society, New York], “Kaleidoscope: abstraction in architecture,” Christopher Grimes Gallery, Los Angeles, California, “Designing Modern Women 1890-1990,” Museum of Modern Art, New York, “Conceptions of Space: Recent Acquisitions in Contemporary Architecture,” Museum of Modern Art, New York, 12th International Architecture Biennale, La Biennale di Venezia, Venice, Italy, “When Lives Become Form – Contemporary Brazilian Art: 1960-Present,” Museum of Contemporary Art, Tokyo, Japan, “Can Buildings Curate,” Storefront for Art and Architecture, New York, “Brazil Projects,” Museum of Modern Art, New York, Centro de Lazer Fabrica da Pompeia (SESC Pompeia), “Travel Posters,” Museum of Modern Art, New York, “Posters by Painters and Sculptors,” Museum of Modern Art, New York. Editorial intern, Encyclopaedia Britannica. It also could have been influenced by Bernard Rudofsky's courtyard houses featured in the Brazil Builds exposition (1940-1942). [10], In 1977 Bo Bardi designed the Pompéia Factory.
While she studied under radical Italian architects, she quickly became intrigued with Brazilian vernacular design and how it could influence a modern Brazilian architecture.

In 1948, the Studio d’Arte Palma was established on the 18th floor of a building by Polish architect Lucjan Korngold (N˚ 66 Praça Bráulio Gomes, São Paulo), bringing Pietro Maria Bardi, Bo Bardi, Giancarlo Palanti (until 1951) and Valeria Piacentini Cirell (responsible for the antiquarian section) together.[4]. Centrally located on São Paulo’s Paulista Avenue, Bo Bardi’s iconic glass-and-concrete building was elevated 8 metres (26.2 feet) above the ground on substantial red pillars. São Paulo was chosen as the location despite Bo Bardi’s preference for Rio de Janeiro.

The heavy wooden seats are designed in a circle at center stage and the stage is very narrow. This experience in the economically poor but culturally rich state of Bahia continued to transform Lina Bo Bardi’s practice. By this time, it was clear that Bo Bardi had found in Brazil and its culture a fertile ground to reinterpret Italian Rationalism and to find a new language that infused it with the vernacular and the Brazilian landscape. In 1946, she moved back to Rome, where she met and married art dealer, gallery director, and critic Pietro Maria Bardi. Much of her work since her initial experience in Salvador involved repurposing existing structures as well as restoring and preserving historic buildings. [19] The building was designed for the theatre group with the same name whom were an important part of the Tropicalia movement of the late 1960s. She also drew from other American modernist works, such as Mies van der Rohe's Farnsworth House and Case Study House No. A significant part of Lina Bo Bardi’s career is tied to the São Paulo Art Museum, established in 1947.

It was founded by Lina Bo Bardi after an invitation by the governor of Bahia to direct a new art museum in the North East of Brazil. While Bardi would dedicate the rest of his life to the museum, Lina also played a large part in creating the museum’s identity. [9] The Bardis became involved with the Museum after meeting the Brazilian journalist and diplomat Assis Chateaubriand. However, her work was not exclusive to architecture; she was also engaged in scenery production, art, furniture and graphic design. Artist Madelon Vriesendorp has conducted workshops at Solar do Unhão and combined objects made there with others of her own and artefacts by Brazilian craftspeople. Pietro Bardi’s passion for Modernism – additionally fed by his personal connections with great Italian rationalists, as well as members of CIAM, most notably Le Corbusier – greatly influenced Lina’s early style as an architect and designer. CS1 maint: multiple names: authors list (, "Lina Bo Bardi's "radical" glass easels revived for exhibition of Brazilian art", "AA School of Architecture - Exhibitions", "Lina Bo Bardi and the Architecture of Everyday Culture", "AD Classics: São Paulo Museum of Art (MASP) / Lina Bo Bardi", "The Making of SESC Pompéia by Marcelo Ferraz", Google celebra centenário de Lina Bo Bardi, "LINA BOBARDI GIANCARLO PALANTI STUDIO D'ARTE PALMA 1948 - 1951", "Lina Bo Bardi's Personal Brand of Modernism", "Lina Bo Bardi's Personal Brand of Modernism - Metropolis", "Graham Foundation > Exhibitions > Lina Bo Bardi: Together", "The motley life and uncertain legacy of Lina Bo Bardi", http://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300154269, https://www.routledge.com/Lina-Bo-Bardi-The-Theory-of-Architectural-Practice/Veikos/p/book/9780415689137, https://en.wikipedia.org/w/index.php?title=Lina_Bo_Bardi&oldid=976757300, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License, Casa de Vidro (The Glass House), 1951: Bo Bardi's residence, Solar do Unhão, 1959: sugar mill converted to a craft museum in, Museu de Arte de São Paulo (São Paulo Museum of Art), 1968, Caipiras, Capiaus: Pau a Pique (Exhibition), 1984, Centro de Lazer Fábrica da Pompéia (Pompéia Factory Leisure Centre), 1986, Teatro Oficina, 1991: variable space composed of reused materials that dissolved the distinctions between actor and audience, stage and backstage, Meyer, Esther da Costa.
[21], Bo Bardi's drawings continued to have a presences in her education as an architect. Elevated on pilotis, today the house floats among the treetops. Most of her drawings are not isolated events as they correlate and exist in a wide range of scales, patterns, relationships, and themes. Bo Bardi took part in the First National Meeting for Reconstruction in Milan, alerting people to the indifference of public opinion on the subject, which for her covered both the physical and moral reconstruction of the country. The main part of the house is horizontal between thin reinforced concrete slabs with slender circular columns.

In the 1950s, Bardi began designing metal-framed furniture with upholstered seats and backs.


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