In the theatre, a stage comes to life when the actors begin to perform. So it is with Lina Bo

Bardi’s architecture. Her buildings are vibrant when inhabited: they come to life with the energy,

diversity and creativity of people.

Born in Rome in 1914, Lina’s extraordinary legacy as an architect, set designer, editor,

illustrator, furniture designer and curator, has yet to be fully acknowledged.

Lina moved to São Paulo in 1946. But the turning point came in 1958–1964 when, living in

Salvador de Bahia, she found the roots of Brazil’s popular culture. Lina managed to successfully

integrate the values of the Modern Movement with popular culture.

She applied sophisticated construction techniques learned from local craftsmen to her design

for the Museu de Arte Popular do Unhão. She also planned the creation of a crafts center and

an industrial design school. In her words: ‘It was to be a Museum of “Art” as an “Art”, that is, to

“do things”, everyday happenings.’

Years later, in São Paulo, Lina was commissioned to design SESC Pompéia, a leisure centre

built in an old factory. She organised space without hierarchy: swimming was deemed as

important as learning weaving, a jazz concert, or playing chess. She created a culture of

convivial diversity that continues today: inclusive environments where the old and the young

interact.

Lina Bo Bardi: Together pays tribute to Lina’s capacity to engage with every facet of culture and

to see the potential in all manner of people. 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. Tapio Snellman’s film installation explores the life generated

by SESC Pompéia within São Paulo and draws parallels with the city of Salvador.

Combined, these two works do not merely recreate Lina’s methods or represent her work, but

instead allow a more direct experience through a form of re-enactment.

Assemble designed and built a flexible enclosure, a set of display furniture and a technical

system. The exhibition furniture designed by Assemble can adapt to a range of gallery situations and

presents the diverse content within one space, without hierarchy. The furniture was cast using

snowcrete with vermiculite aggregate, which was then hand-hammered to make a rough, goldflecked

surface. The material palette and construction methodology learn directly from Lina Bo

Bardi’s approach to making buildings, and the display of exhibition contents, without hierarchy,

follows many of Lina’s own curatorial practices.

The exhibition is curated by Noemí Blager.

This exhibition is presented by Arper.

Major support to MCAD is provided by the Miami Design District and TWENTY TWO GROUP. Additional

support is provided by Luminaire.