In an age increasingly dominated by digital manufacturing and automation within architecture, the artisanal tradition is frequently considered an exclusive indulgence, reserved for elite projects where extended timelines and deep collaboration with craftspeople are feasible. This perspective would have seemed paradoxical just a few decades prior, when Lina Bo Bardi cautioned against a creeping "deculturalization" and called for an urgent reevaluation of Brazil's popular civilization. She aimed to counter universalizing trends and the reductive perception of "folklore"—which she saw as a state-sponsored tool to disarm the transformative power of popular culture.
Bo Bardi's insights were meticulously documented in her work, leading to an extensive exploration of Brazilian craftsmanship, especially from the Northeast. Her approach deeply influenced her personal philosophy and practical methodology; she viewed architecture as extending far beyond mere structural design, encompassing furniture, stage design, exhibition layouts, visual communication, and writing. This comprehensive perspective is eloquently presented in *Tempos de Grossura*, a pivotal text for understanding her thoughts on popular production. The opening chapter, "An assessment sixteen years later," reflects on the significant interval between 1980, when she began the book, and 1964, the year of Brazil's military coup, which abruptly ended her work in Salvador. It was during her time in Bahia that Bo Bardi immersed herself in popular culture, collaborating with prominent cultural figures such as Martim Gonçalves, Glauber Rocha, and Pierre Verger.
Bo Bardi argued in her publication that, in Brazil, craftsmanship as a structured social entity—like historical guilds—never truly existed, rather a form of "pre-craftsmanship" prevailed. This categorization, however, is not without its critics, as it might overlook the complex social structures and intergenerational knowledge transfer that characterized traditional making. The very word "craft" derives from the Latin *ars*, signifying skill and manual dexterity, an essence that evolves across eras, geographies, and individuals. Thus, craft emerges as a rich and diverse form of expression, possessing both significant material and immaterial value, a duality masterfully reflected in the integrative and cohesive nature of Bo Bardi's exhibition designs, both in their form and content.
The exhibitions she curated serve as compelling examples of her design philosophy. "Bahia no Ibirapuera" (1959), conceived with Martim Gonçalves, challenged the divide between institutionalized "Art" and utilitarian "art." By showcasing everyday objects like photographs, ceramics, ex-votos, and *carrancas* in an immersive setting with eucalyptus-covered floors and fabric-draped ceilings, they blurred the lines between high culture and popular creation. "Nordeste" (1963) at the Museum of Popular Art (MAP) further elaborated this vision, with Bo Bardi rejecting imported industrial models and advocating for scientific progress rooted in indigenous cultures. Her exhibition design for "Nordeste" recreated the vibrant atmosphere of open-air markets using raw materials like unfinished pine, effectively bringing popular culture into the museum space. Similarly, "A Mão do Povo Brasileiro" (1969) at the São Paulo Museum of Art (MASP) continued this exploration, exhibiting a vast array of popular ingenuity through tools, utensils, toys, and other objects, again using innovative displays like pinned fabrics and suspended items. Later, "Design no Brasil - História e Realidade" (1982) and "Caipiras, Capiaus, Pau a Pique" (1984), held at Sesc Fábrica da Pompéia, further showcased popular art and rural architecture, emphasizing their utility and integration into daily life rather than romanticizing them as mere decorative artifacts.
These exhibitions represent a fraction of Lina Bo Bardi's extensive contributions to exhibition design and curatorial work. Beyond her comprehensive exploration of Brazil's cultural underpinnings, her research into popular production and "pre-craftsmanship" led to curatorial approaches that eschewed superficial or romanticized views of popular culture. Her consistent aim was to critically engage with this production, envisioning its integration into industrial processes and its connection with educational institutions and workshops within museums and cultural centers.
In today's fast-paced, automated world, the diminishing connection to manual craftsmanship creates a sense of detachment from both production processes and the tangible world itself. Engaging with this legacy through Lina Bo Bardi's perspective is not about a nostalgic return but a recognition of manual knowledge as an ethical design principle, a form of constructive intelligence, and an essential pathway to making good design accessible to all. By upholding the inherent dignity and practical value of popular craftsmanship, Bo Bardi's vision encourages us to embrace an architectural practice deeply rooted in social consciousness.
