Eine Plattform für die Wissenschaft: Bauingenieurwesen, Architektur und Urbanistik
Eine Plattform für die Wissenschaft: Bauingenieurwesen, Architektur und Urbanistik
Dis/Solution: Lina Bo Bardi’s Museu de Arte de São Paulo
The year 2014 marked the centenary of the birth of Roman-born Brazilian architect Lina Bo Bardi. Among the best known of Lina’s many contributions to Brazilian modernism is Museu de Arte de São Paulo (MASP). Begun in 1957 and opened in 1968, MASP flouted European museological and museographical conventions, dissolving structural, temporal and hierarchical boundaries. Lina’s expressive architectonic forms and revolutionary exhibition scheme allowed the works in the MASP collection to literally stand on their own as objects liberated completely from chronological, connoisseurial and scholarly classification systems. Lina designed MASP to provoke ‘reactions of curiosity and investigation’ by redefining notions of space and form within and beyond the context of the museum as mausoleum, archive and treasury. This collaborative analysis examines the philosophical, theoretical, practical and formal elements of what John Cage purportedly characterized as ‘the architecture of freedom’. Toward that end, this article situates MASP and its collections within broader historical discourses of museum practice to reveal the transgressive genius of Lina’s architectural and museal gestures. We conclude with a discussion of current debates surrounding the conventionalization of MASP’s exhibition protocols, considered in the contexts of conservation and proposed changes to the structure and its immediate urban setting.
Dis/Solution: Lina Bo Bardi’s Museu de Arte de São Paulo
The year 2014 marked the centenary of the birth of Roman-born Brazilian architect Lina Bo Bardi. Among the best known of Lina’s many contributions to Brazilian modernism is Museu de Arte de São Paulo (MASP). Begun in 1957 and opened in 1968, MASP flouted European museological and museographical conventions, dissolving structural, temporal and hierarchical boundaries. Lina’s expressive architectonic forms and revolutionary exhibition scheme allowed the works in the MASP collection to literally stand on their own as objects liberated completely from chronological, connoisseurial and scholarly classification systems. Lina designed MASP to provoke ‘reactions of curiosity and investigation’ by redefining notions of space and form within and beyond the context of the museum as mausoleum, archive and treasury. This collaborative analysis examines the philosophical, theoretical, practical and formal elements of what John Cage purportedly characterized as ‘the architecture of freedom’. Toward that end, this article situates MASP and its collections within broader historical discourses of museum practice to reveal the transgressive genius of Lina’s architectural and museal gestures. We conclude with a discussion of current debates surrounding the conventionalization of MASP’s exhibition protocols, considered in the contexts of conservation and proposed changes to the structure and its immediate urban setting.
Dis/Solution: Lina Bo Bardi’s Museu de Arte de São Paulo
16.03.2015
doi:10.5334/jcms.1021221
Journal of Conservation and Museum Studies; Vol 13, No 1 (2015); Art. 5 ; 1364-0429 ; 2049-4572
Aufsatz (Zeitschrift)
Elektronische Ressource
Englisch
DDC:
720
Citadels of Freedom: Lina Bo Bardi's SESC Pompia Factory Leisure Centre and Teatro Oficina, So Paulo
| British Library Online Contents | 2013
Lina Bo Bardi’s School of Craft and Industrial Art and the Bauhaus legacy
| Taylor & Francis Verlag | 2022
| TIBKAT | 2021
Museu de Arte Contemporânea de Serralves, Porto
| TIBKAT | 2011