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Lina Bo Bardi

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AD Classics: São Paulo Museum of Art (MASP) / Lina Bo Bardi

22:00 - 28 October, 2018
AD Classics: São Paulo Museum of Art (MASP) / Lina Bo Bardi, © Pedro Kok
© Pedro Kok

This article was originally published on August 14, 2014. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

When Lina Bo Bardi received the commission to build a new museum of art on São Paulo’s Terraço do Trianon, she was given the job under one condition: under no circumstances could the building block the site’s panoramic vistas of the lower-lying parts of the city. This rule, instituted by the local legislature, sought to protect what had become an important urban gathering space along Avenida Paulista, the city’s main financial and cultural artery. Undeterred, Bo Bardi came up with a solution that was simple and powerful. She designed a building with a massive split through its midsection, burying half of it below the terrace and lifting the other half into the sky. As a result, the plaza remained open and unobstructed, and in 1968, the iconic São Paulo Museum of Art (MASP) was born.

© Flickr user Juliana Magro © Pedro Kok © Flickr user Rodrigo_Soldon © Flickr user Carol^-^ + 10

AD Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito

08:00 - 11 September, 2017
AD Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito, © Nelson Kon
© Nelson Kon

© Nelson Kon © Nelson Kon © Nelson Kon © Nelson Kon + 40

The Teatro Oficina Uzyna Uzona, popularly know as Teatro Oficina, located on Jaceguai Street, in the Bela Vista neighborhood, in São Paulo, was founded in the 1960s, more specifically in 1958 by José Celso Martinez Correa, acting as a manifest theater, marked by great spectacles between theatrical expressions, musical presentations, dance and performances.

Over time, the theater sought to revolutionize the performances that they put on. To this end, the architecture was designed to "collaborate" with the events, allowing the drama of the spectacle to engage more profoundly with audiences. T he architect Edson Elito, who would later instigate this reform, said [trans.]: