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1.Lina Bo Bardi’s Habitat: Becoming Lina Bo Bardi: An Ideological Odyssey - Esther da Costa Meyer p.48, A is for Anxiety: Lina Bo's War - Beatriz Colomina and Mark Wigley p.58, Lina Bo Bardi, The Organic Intellectual, And Habitat Magazine - Jane Hall p.72, Excursions Along The Praia De Amaralina - Antonio Risério p.80, Writings by Lina Bo Bardi: Habitat: The Sao Paulo Museum of Art: The Social Function of Museums, 1950 p.91, "Beautiful Child," 1951 p.93, "First: Schools," 1951 p.94, "Vitrines," 1951 p.96, "Assessments and Museographical Perspectives: A Museum Of Art In São Vicente," 1952 p.98, Diário De Notícias: "Culture and Nonculture," 1958 p.107, "Industrial Art," 1958 p.108, Mirante Das Artes: "The New Trianon, 1957 - 67," 1967 p.110, "Five Years Among The Whites," 1967 p.113, Tempos De Grossura: O Design No Impasse: "An Account Sixteen Years Later," 1994 p.116, 2. Rethinking the Museum: Lina Bo Bardi's Popular Museums -Tomás Toledo p.122, Whoever Does Not Own a Dog Hunts with a Cat - Julieta González p.136, The Hand (and the names) of the Brazilian People - Adriano Pedrosa p.180, Museums: Museum of Art (Rua Do Ouvidor), Rio De Janeiro, 1947 p.162, M ASP, Rua 7 De Abril, São Paulo, 1947 p.164, São Vicente Museum of Art (Oceanfront Museum), São Vicente, São Paulo, 1951 p.174, MASP, Avenida Paulista, São Paulo, 1957- 68 p.178, Museum of Modern Art of Bahia (Castro Alves Theater), Salvador, 1960 p.194, Museum of Popular Art (Solar Do Unhão), Salvador, 1963p.200, Marble Museum, Carrara,mItaly, 1963 p.204, Museum of the Butantã Institute, Sao Paulo, 1965 p.205, São Paulo Museum of Modern Art, Lbirapuera Park, São Paulo, 1982 p.206, Curatorial Projects and Exhibition Design: Crystal Easel Picture Gallery, MASP, Sao Paulo, 1957-68 p.208, Bahia in Ibirapuera, Ibirapuera Park, Sao Paulo, p.214, Northeast Museum of Popular Art, Solar do p.220, Unhao, Salvador, 1963 Northeast, Galleria Nazionale dArte Moderna, Rome, 1965 p.226, The Hand of the Brazilian People, MASP, Sao Paulo, 1969 p.230, One Hundred Portinari Masterpices, MASP, Sao Paulo p.236, Popular Art Creates: Sesc, Sao Paulo 1978 p.238, Countryfolk Rustics: wattle – and – Daub: Sesc. Pompeia, Sao Paulo, 1984 p.240, Black Africa: MASP, Sao Paulo 1988 p.244, 3. From Glass House to Hut: Inside Out - José Esparza Chong Cuy p.248, Lina's History Lesson - Luis M. Castaneda p.254, Lina Bo Bardi at Teatro Oficina: The Constructive and the Sacrificial - Guilherme Wisnik p.262, Houses: Glass House, Sao Paulo, 1950 – 51 p.270, Economic Houses, 1951 p.276, Chame - Chame House Salvador, 1958 p.278, Valeria Cirell House Sao Paulo, 1958 p.280, Circular House, 1962 p.284, Convivial Spaces: Pavilion at Lage Park Rio de Janeiro, 1965 p.286, Church of Espirito Santo da Cerrado, Uberlândia, Minas Gerais, 1976-82 p.288, Sesc Pompeia, Sao Paulo, 1977 – 86 p.292, Benin House in Bahia, Salvador, 1987 p.300, Brazil House in Benin, Uida, Benin, 1989 p.304, Ladeira da Misericórdia, Salvador 1987 – 90 p.306, Theater: MASP Auditorium, Sao Paulo, 1957 – 68 p.310, Castro Alves Theater, Salvador, 1960 p.311, The Threepenny Opera, Castro Alves Theater, Salvador, 1960 p.312, In the Jungle of Cities, Teatro Oficina, Sao Paulo, 1969 p.314, Sesc Pompeia Theater, Sao Paulo, 1977-86 p.318, Teatro Oficina, Sao Paulo, 1980-91 p.320, Furniture: 1947-1987: Auditorium Chair for MASP, Rua 7 de Abril, 1947 p.325, Iron Tripod Chair, 1948 Wood Tripod Chair, 1948 p.326, Bowl Armchair, 1951 p.328, Bardi's Bowl Armchair, 1951 p.329, Chairs for the Castro Alves Theater, 1960 p.330, Chairs for the MASP Auditorium, Avenida Paulista, Ca. 1970 p.331, Roadside Chair, 1967 p.332, Sesc Pompeia Chair, 1977-86 p.334, Little Box for Sesc Pompeia, 1977-86 p.335, Frei Egydio Chair, 1986 p.336, Giraffe Chair, 1986-87 p.337 |
