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. After graduating, she moved to Milan and began working with architect Carlo Pagani and started working 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 also 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 judgements and verdicts which 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 establishment of 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.
For the first iteration of MASP, which opened in 1947, Bo Bardi designed the interior and the museum fittings. 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, designed 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 held the position as its 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 neighbourhood of São Paulo. Casa de Vidro was constructed on a hill and, over time, the structure 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 not only galleries but also dedicated spaces for teaching art.
By the 1950s the popularity of MASP overcame the museums physical capacity. In 1958 Bo Bardi was commissioned to design the new building. The building stands today as her most dominate creation. Situated in central São Paulo, the iconic building was is elevated 8 meters above the ground on
Centrally 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 shady heaven away from hot summer sun as well as a gathering place for concerts, protests ad 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 a number of lectures at Bahia University’s School of Fine Arts in 1958, and in 1959 she was invited 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 foriced 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 the 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 examples of language and historic architecture led her to adopt a design process guided by social and ethical responsibilitiy 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). Much of her work since her initial experience in Salvador involved re design and developing existing structures as well as restoring and preserving historic buildings. Throughout the 1980s Bo Bardi led preservation and restoration projects in the historic centre 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 centre 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 facility for 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 with architects André Vainer and Marcelo Carvalho Ferraz, she designed an addition to the Glass House to serve as the Instituto Lina Bo e P.M. Bardi (originally the Instituto Quadrante), a place to house the Bardis’ archive and dedicated to the study and exhibition of Brazilian art and architecture. In 2012, the centennial of her birth, Bo Bardi’s career was celebrated with the launching 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 .
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