#bo & lina

[humanoidhistory]

SESC Pompeia, Sao Paulo, Brazil. Designed by Lina Bo Bardi.

(Concrete Concept)

[michaelsmosey]

[germanpostwarmodern]

The Museum of Art (MASP) (1957-68) in São Paulo, Brazil, by Lina Bo Bardi

[almostarts]

Lina Bo Bardi, "Cavaletes de vidro" (1968/2024),

This historical archetype — made of glass panels and concrete blocks — was originally conceived for MASP’s picture gallery and first introduced in 1968 at the inauguration of the museum’s headquarters on Paulista Avenue

Concrete, glass, wood, neoprene and stainless steel,

240 × 75cm; 240 × 100cm; 240 × 150cm; 240 × 210cm 

[wouas]

[frenchcurious]

Lina Bo Bardi (Italian-Brazilian, 1914-1992). Bowl Chair, circa 1951. - source Heritage Auctions.

[bresiltropical]

Galpão da Casa de Vidro, Lina Bo Bardi - São Paulo/SP (1950)

[connaisseuse]

[humanoidhistory]

SESC Pompeia, Sao Paulo, Brazil. Designed by Lina Bo Bardi.

(Concrete Concept)

[marcolikestowatch]

Lina Bo Bardi

[nevermissblog]

a brutalist beauty in São Paulo

[atlasofmaterialculture]

Lina Bo Bardi

Museum In The Shore of São Vicente São Paulo, Brazil 1951

[ripplefactor]

At Casa de Vidro by Lina Bo Bardi .. @jasonschmidtstudio ..

[upstairsdownstairsandinbetween]

SESC Pompéia Factory, São Paulo, Brazil,

1977-1986.

Lina Bo Bardi Architect

[gregdotorg]

I felt like I never got to see Lina Bo Bardi's glass, concrete & wood easels for MASP Sao Paulo from the back, but now that MASP director Adriano Pedrosa curated the Venice Biennale, more views are coming out. Also Olafur Eliasson made some half-mirrored sculptures based on Bardi's easels a couple of years before MASP brought them back, for a show at Bardi's Casa di Vidro in São Paulo (tho the image above is of one in Zurich.)

Point is, I kind of want to have some in my home.

images: Collection in Transformation installation view from the back, MASP, São Paulo; screenshot of TVFählo video of MASP installation; Symbiotic Seeing, an Olafur Eliasson exhibit at Kunsthaus Zurich in 2020.

[subnitida]

While traveling through Italy with Carlo Pagani and Federico Patellani after the Second World War, Lina Bo Bardi observes cages over the entrance door of a building in Buonconvento, August 1945. Photo by Federico Patellani.