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Lina Bo Bardi’s School of Craft and Industrial Art and the Bauhaus legacy
In the article-manifesto ‘Industrial Art’, the Italian-born Brazilian architect Lina Bo Bardi published her idea for a Museum of Craft and Industrial Art that should be carried together with a School of Industrial Art, envisaging the emergence of a Brazilian industry of crafts from popular roots. The architect conceived this art and industrial design school in a complex process of reception and critique of the Bauhaus myth. However, in contrast to the industrial-based conception of the Bauhaus, the Museum-School was conceived with the aims of agency, tying its premises to local needs and popular culture. These questions were present in the founding manifesto of the Bauhaus in Weimar, when Walter Gropius called on architects, sculptors, and painters to return to craftsmanship and remove the arrogant barrier that separated the work of the artist from that of the craftsperson. The paper analyses how Lina Bo Bardi's conception of an industrial design school in Brazil sought to overcome the polarisations between the fine arts and craft trades, reversing the prominence of an erudite culture that have subjugated the local and popular production. These revelations are further linked to questions of the role of local and popular production in relation to the foundational concepts of the Bauhaus School and the grassroots movements for social-political and cultural emancipation in the Brazilian Northeast region.
Lina Bo Bardi’s School of Craft and Industrial Art and the Bauhaus legacy
In the article-manifesto ‘Industrial Art’, the Italian-born Brazilian architect Lina Bo Bardi published her idea for a Museum of Craft and Industrial Art that should be carried together with a School of Industrial Art, envisaging the emergence of a Brazilian industry of crafts from popular roots. The architect conceived this art and industrial design school in a complex process of reception and critique of the Bauhaus myth. However, in contrast to the industrial-based conception of the Bauhaus, the Museum-School was conceived with the aims of agency, tying its premises to local needs and popular culture. These questions were present in the founding manifesto of the Bauhaus in Weimar, when Walter Gropius called on architects, sculptors, and painters to return to craftsmanship and remove the arrogant barrier that separated the work of the artist from that of the craftsperson. The paper analyses how Lina Bo Bardi's conception of an industrial design school in Brazil sought to overcome the polarisations between the fine arts and craft trades, reversing the prominence of an erudite culture that have subjugated the local and popular production. These revelations are further linked to questions of the role of local and popular production in relation to the foundational concepts of the Bauhaus School and the grassroots movements for social-political and cultural emancipation in the Brazilian Northeast region.
Lina Bo Bardi’s School of Craft and Industrial Art and the Bauhaus legacy
Zollinger, Carla (author)
The Journal of Architecture ; 27 ; 145-167
2022-01-02
23 pages
Article (Journal)
Electronic Resource
Unknown
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