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Achillina Bo, best know as Lina Bo Bardi, (born December 5, 1914, Rome, Italy—died March 29, 1992, São Paulo, Brazil), was an Italian-born Brazilian Modernist architect, industrial designer, historic preservationist, journalist, and activist whose work broke free from convention. She designed daring, distinctive structures that merged Modernism with populism.

Bo Bardi graduated with an architecture degree in 1939 at the University of Rome, where she had studied under architects such as Marcello Piacentini and Gustavo Giovannoni. Upon graduating, Bo Bardi moved to Milan and began working with the architect Carlo Pagani as a design journalist. She also worked with the famous architect and designer Gio Ponti and collaborated with him on the magazine Lo Stile, while contributing to several other Italian design publications. In 1944 she became deputy director of Domus, the acclaimed design magazine established by Gio Ponti in 1928, and retained the post until 1945. In 1945 Domus commissioned Bo Bardi, Pagani, and photographer Federico Patellani to travel through Italy documenting the destruction of World War II. Later that year, she collaborated with Pagani and art critic Bruno Zevi on the short-lived magazine A – Attualità, Architettura, Abitazione, Arte, which published their judgments and verdicts discussed ideas for restoration of the postwar devastation.

Pietro Maria Bardi, an art gallery director, dealer, and critic, became her husband in 1946. Pietro was soon invited to Brazil by the media tycoon Assis Chateaubriand to help coordinate the Art Museum of São Paulo (Museu de Arte de São Paulo; MASP). The couple, as a result, emigrated across the Atlantic to the modernist hotspot Sao Paulo.

Bo Bardi designed the interior and the museum fittings for the first iteration of MASP, which opened in 1947. She developed an innovative system for suspending paintings away from the wall. (Her design was torn down in the 1990s and replaced with a conventional wall hanging system.) She also designed folding stackable chairs made from Brazilian jacaranda wood and leather intended for use at lectures and museum events. Later in life, she curated an exhibition at the museum on the history of chair design.

In 1950 Bo Bardi founded the magazine Habitat with her husband and worked as the editor until 1953. During that time, it was the most influential architectural magazine in Brazil. She became a citizen of Brazil (1951) and started the country's first industrial design course at the Institute of Contemporary Art (a part of the expanded MASP). She designed for her and her husband, the notorious Modernist Le Corbusier, influenced Casa de Vidro (Glass House) in the Morumbi neighborhood of São Paulo. Constructed on a hill, Casa de Vidro, over time, integrated into the landscape entirely. The front of the house extended out over the slope of the hill, elevated and supported on delicate-looking stilts. In 1951 she also designed her most famous piece of furniture, Bardi's Bowl, a chair in the form of an adjustable hemispherical bowl resting in a steel cradle.

By the mid-1950s, it was clear that MASP had outgrown its original building, with galleries and dedicated spaces for teaching art. By the 1950s, the popularity of MASP overcame the museum's physical capacity. In 1958 Bo Bardi was commissioned to design the new building. The building stands today as her most dominant creation. Located on São Paulo's Paulista Avenue, Bo Bardi's iconic glass-and-concrete building was elevated 8 meters (26.2 feet) above the ground on sizeable red pillars. The space at ground level provides a shaded heaven away from the hot summer sun and a gathering place for concerts, protests, and socializing.

In the late 1950s Bo Bardi began an extended period of living and working in Salvador, a poor city rich in cultural heritage in the northeastern state of Bahia. She gave several lectures at Bahia University's School of Fine Arts in 1958, and in 1959 she was invited to create and run Bahia's Museum of Modern Art (Museu de Arte Moderna da Bahia). She chose to house the museum in the Solar do Unhão, a former salt mill and part of a network of historic seaside constructions that she restored in 1963. Bo Bardi added a museum of popular art and an art school to the Museum of Modern Art, all under the roof of Unhão.

However, political unrest forced Bo Bardi to leave Bahia in 1964. Her return to São Paulo marked the beginning of Brazil's lengthy era of oppression under a military dictatorship that lasted until 1985. During that period, Bo Bardi curated exhibitions and worked in theatre, designing sets and costumes for several productions, notably a 1969 production of Im Dickicht der Städte (In the Jungle of Cities), an early play by Bertolt Brecht.

Bo Bardi's time in Bahia altered her political and aesthetic philosophies. The region's language and historic architecture led her to adopt a design process guided by social and ethical responsibility and inspired by allegiance to her adopted country and its native aesthetic traditions. Bo Bardi dedicated herself to creating only Brazilian architecture, projecting simple designs, and sourcing local materials, the style of architecture she called "Arquitetura Povera" ("poor", or, "simple" architecture). Since her initial experience in Salvador, much of her work involved re-designing and developing existing structures and restoring and preserving historic buildings. Throughout the 1980s Bo Bardi led preservation and restoration projects in the historic center of Salvador, including the House of Benin, which houses an art collection, as well as Misericórdia Hill, an extremely steep historic street (both in 1987). Her next major architecture project was the SESC Pompéia (built in stages, 1977–1986), a leisure and cultural center in São Paulo sponsored by the nonprofit Social Service of Commerce (Serviço Social do Comércio). Bo Bardi converted an old steel drum factory into a center for various facilities; sports, theatre, and other leisure activities.

Bo Bardi, although late, has been given her due as one of the most prolific women architects of the 20th century. In the mid-1980s, working alongside the architects André Vainer and Marcelo Carvalho Ferraz, Bo Bardi designed an addition to the Glass House, the Instituto Lina Bo e P.M Bardi (originally the Instituo Quadrante). As well as housing Bo Bardi's archive, The Instituto Lina Bo e P.M Bardi is an exhibition space dedicated to the study of Brazilian art and architecture.

In 2012, the centennial of her birth, Bo Bardi's career was celebrated with the launch of a limited-edition line of her bowl chair, a major traveling retrospective organized by the British Council in London, and the publication of a scholarly monograph discloses her life's work.

Luis Barragán (1902, Guadalajara, Mexico – 24th November, Tacubaya, Mexico) was a Mexican-born architect and furniture designer. He was brought up in the Santa Monica neighborhood of the city of Guadalajara. His family had a farm in the countryside, where they spent their holidays and where Luis Barragán began to admire nature. He studied civil engineering and architecture in his home city of Guadalajara, and after graduating in 1925, left for a two-year trip to Europe. His journey on the other side of the Atlantic inspired his interest in landscape architecture, which transpired later in life. He was impressed by the beauty of the many gardens and cities he visited on the continent, especially noting the Generalife of Granada, Italian villas, and the long luscious Mediterranean coast.

On return to Mexico, Barragán worked on residential projects in Guadalajara. In 1930 his father died, and he took over the family business. This opportunity lent itself to traveling. Upon his travels to New York and Europe, he met other prominent architects like Konstantin Melnikov, Friedrich Kiesler, and Le Corbusier.

In 1935 he moved to Mexico City. Upon arrival, he worked on projects that reflected the current international trends, but the features of acclaimed architectural language can be seen even in these early projects.

In 1940, Barragán adopted a new style, his interest in landscape architecture began to prevail. He brought a piece of land around three thousand square meters in the Tacubaya area and, in 1943, built his first home, Casa Ortega. The house was designed with a large garden, comprised of many terraces; the intention was to incorporate the construction into nature, which grew in abundance around the building.

Later, in partnership with José Alberto and Luis Bustamante, he brought a piece of land to the city's south, next to the Ciudad Universitaria. There, they developed the project Jardines del Pedregal de San Ángel, seeking to take advantage of the area's volcanic soil and landscape. An example of Barragán's work on this land is the residence formerly known as Casa Prieto López. It served as the canvas for an ambitious modernist urbanization project. Barragán and his contemporaries sought to develop in the area while preserving the integrity of its unique ecosystem. Initially, commissioned by Eduardo Prieto López, a friend of the architect, Casa del Pedregal remained in the Prieto López family for decades. In 2013, the art collector and businessman, César Cervantes, bought Casa de Pedregal to return the structure to its original condition. Barragán was also commissioned to design the furniture within the residence. Barragán's furniture was never produced and was only made for specific projects, such as Casa Prieto López. The furniture always had the same simplicity of form, tactility of material, and authenticity that is evident in all of his architecture and were mainly produced at the latest and most mature phase of his career.

The famous architecture of Mexico's villages, ranches, and convents, was a decisive influence on Barragán's work, reflected in his use of sabino wood (also called ahuehuete or Montezuma Cypress) in his early years. The architectural richness of Barragán's sober architecture is based on a few constructive elements bound together by a mystical feeling and an austerity exalted by his brilliant colors. The result of all of his work is the exposure of the simplest elements. Luis Barragán disregarded the trends of his days and followed his instincts, becoming one of the most influential architects of the 20th century.

Later in the decade, he sold part of his property in Tacubaya to build what would become his most representative work: the house in which he would live for forty years. The house was located at number 12-14 of General Francisco Ramirez Street. It was during this project that Barragán moved away from architectural fashions to shape his own language. The project's water, gardens, colors, height, and sobriety became symbolic expressions of the Barragán architectural stamp. These features would begin to shape the architectural landscape of Mexico City and Guadalajara.

The construction of his house began in 1947, and its modest façade is a clear contrast to the architectural work behind it. The Management of color and light are the elements that categorize it as an unrivaled work; the harmonious construction of the interior with the exterior allows the gardens to be appreciated from inside and demonstrate the weight they carry in the design process. Pink, yellow, and white are the predominant colors of the construction, contrasting the gardens' greens and the ochre of the furniture and interior decorating.

Other notable works include the Satellite Towers, built in collaboration with Mathias Goeritz. This building consists of five large towers of varying heights and colors, used as promotional symbols identifying a residential area. The building counterpoints the distant hills surrounding Mexico City; Las Arboledas (1958-61) and Los Clubes (1963-64) residential subdivisions created for horse riders, both designed with an equestrian character. Las Arboledas features water as a continuous presence throughout; fountains, water tanks, and reflection pools express the element's sounds, movements, and mirror-like surfaces. Los Clubes is one of Barragán's most accomplished fountains for horses, creating a magical play of shadow and reflections against solid and liquid surfaces.

In 1976 the MOMA in New York dedicated an exhibition to him, certifying international recognition of his work. In 1980 he received the highest honor granted to an architect worldwide, the Pritzker, considered the Nobel Prize of Architecture, being the only Mexican with this distinction so far and one of the two Latin Americans who have received this award along with Oscar Niemeyer.

Towards the end of his life, Barragán suffered severely from Parkinson's disease, making his work ever more difficult to manage and eventually preventing him from continuing. He died on 24th November 1988 at the age of 68 in his home in Tacubaya.