#books #architecture | Lina Bo Bardi : habitat

Lina Bo Bardi : habitat / editado por José Esparza Chong Cuy ... [et al.].
Munich : Prestel Art, 2020.
351 p. : il.
Publicado con motivo de la exposición "Lina Bo Bardi: Habitat", organizada por el Museo de Arte de São Paulo, Museum of Contemporary Art Chicago y Museo Jumex.
/ EN / Libros / Catálogos / Arquitectura – Siglo XX – Brasil / Lina Bo Bardi

📘 Ed. impresa: ISBN 9783791359649
Cita APA-7: Esparza Chong Cuy, Josçe (2020). Lina Bo Bardi : habitat. Prestel Art.
ehuBiblioteka BCG A-72BO BARDI LIN
https://ehu.on.worldcat.org/oclc/1157894288

[.en] Lina Bo Bardi is regarded as one of the most important architects in Brazil’s history. Beginning her career as a Modernist architect in Rome, Bo Bardi and her husband emigrated to Brazil following the end of WWII. Bo Bardi quickly resumed her practice in her adopted homeland with architecture that was both modern and firmly rooted in the culture of Brazil. In 1951 she designed “Casa de Vidro” (“Glass House”), her first built work, where she and her husband would live for the rest of their lives. She also designed the Museu de Arte de São Paulo (São Paulo Art Museum), a landmark of Latin American modernist architecture which opened in 1968. It was for this museum she created the iconic glass easel display system, which remains radical to date. This book presents a comprehensive record of Bo Bardi’s overarching approach to art and architecture and shows how her exhibition designs, curatorial projects, and writing informed her spatial designs. Essays on Bo Bardi’s life and work accompany archival material such as design sketches and writings by the artist, giving new insight into the conceptual and material processes behind this radical thinker and creator’s projects.

[.es] ‘Lina Bo Bardi: Habitat’ aborda la vida, el trabajo y el legado de esta arquitecta, diseñadora, curadora, directora de museos, escritora, editora y escenógrafa italo-brasileña. Bo Bardi es reconocida mundialmente por el diseño del Museu de Arte de São Paulo (1968) y el SESC Pompéia (1982), un centro recreativo para trabajadores de esa ciudad brasileña. Mediante una selección de dibujos, fotografías y mobiliario diseñado por Bo Bardi, la exposición presenta su trabajo como una práctica que modificó el canon de la arquitectura moderna en Brasil y la tarea educativa del museo al incorporar otros conocimientos adquiridos durante su acercamiento a la cultura popular.