Born in Rome in 1914, Lina Bo Bardi emigrated to Brazil in 1946.

Vriesendorp also crafted a series of paper hands, a reference to Bo Bardi's habit of drawing attention to important details in her notes.

Architect Lina Bo Bardi embraced the vernacular design traditions while pushing new forms forward. Her use of not only wood but fabrics and leathers stand out in several of her designs. Her furniture was often designed only for her buildings. This group of chairs was created between the 1950s and the 1980s.

Included here are the Bola armchair designed by Lina Bo Bardi (1951), a pine chair designed by Lina Bo Bardi, Marcelo Ferraz and Marcelo Suzuki for the SESC-Pompéia Center (1980s), and a folding chair with a jacaranda frame designed by Lina Bo Bardi for Studio de Arte Palma (circa 1950).

In 1953, the American magazine Interiors praised Bo Bardi's Bowl chair by comparing it to the work of Eero Saarinen and Irene Schawinsky.

Bo Bardi reclines in her world famous Bowl chair.

Drawn in the late 1960s, her colorful study for the Trianon Terrace at the São Paulo Museum of Art, celebrates everyday life in the city.

The Bola armchair features a black iron frame and a leather seat with lace-up detailing.

For Lina Bo Bardi: Together, artist Madelon Vriesendorp collaborated with Bahia residents, children, and craftspeople to create authentic folk objects.

Nestled in the jungle of São Paulo, Casa de Vidro (or Glass House) was the first built project by architect Lina Bo Bardi. Its glass volume stands on thin support columns that allow greenery to grow into the home.

Using slightly updated processes, the Italian furniture design company Arper produced a limited edition run of 500 Bowl chairs to support the Instituto Lina Bo e P.M. Bardi in São Paulo and help finance the exhibition tour.

The exhibition features video projections of Bo Bardi's beloved SESC Pompéia by filmmaker Tapio Snellman.

Built near her home, Bo Bardi’s studio was housed in a simple shed inspired by rural Brazilian structures and Japanese architecture.

Written by scholar Aric Chen for The Monacelli Press, the book surveys the history of Brazil’s iconic designers by exploring the innovations in material, form, and technique achieved during this period in time. Native hardwoods and craft traditions combined with European influences resulted in the signature style of Brazilian design. The Bowl Chair was originally designed in 1951 for Arper by Lina Bo Bardi. A limited edition of 500 was created in partnership with the Instituto Lina Bo e P.M. Bardi in São Paulo.

Exterior of Lina Bo and P. M. Bardi house in Morumbi, São Paulo, Brazil (1949–52). Photo by Nelson Kon.

Interior of Lina Bo and P.M. Bardi's house in Morumbi, São Paulo (1949–52). Photo by Nelson Kon. (Tip: You can visit the house, which is now a museum, in person!)

Lina Bo Bardi’s studio in Morumbi, São Paulo (1986). Photograph by architect and Yale Press author Zeuler R. Lima.

View from the living room of the Valéria P. Cirell House in Morumbi, São Paulo, Brazil (1957–58). Photo by Nelson Kon.

Southwestern view from avenida Paulista of MASP, São Paulo (1957–68). Photo by Nelson Kon.

Exterior of the Valéria P. Cirell House in Morumbi, São Paulo, Brazil (1957–58). Photo by Nelson Kon.

Coati Restaurant at the Ladeira da Misericórdia Housing and Commercial Complex, Salvador (1987–88). Photo by Nelson Kon.

This pine dining set was designed by Lina Bo Bardi, Marcelo Ferraz, and Marcelo Suzuki in the 1980s.

Interior view of the community hall in Cerrado Church, Uberlândia, Minas Gerais (1976–82). Photo by author Zeuler R. Lima.

A photo in the MoMA show taken shortly after its completion shows Lina Bo Bardi’s 1952 Casa de Vidro in São Paulo.

The living room of La Torraccia, a small guesthouse addition Bo Bardi designed in 1964 for the Cirell House in São Paulo, at once recalls vernacular architecture and the curvilinear forms of Spanish-Catalan architect Antoni Gaudí.

Lina Bo Bardi, foldable chair in wood and leather (1948). Photograph by Nelson Kon. Want to read more? Check out Lina Bo Bardi by Zeuler R. M. de A. Lima, out this month from Yale Press.

A 1990 portrait of architect Lina Bo Bardi in her São Paulo home, which she designed and completedin 1952.

A side entrance to Bardi's Fábrica da Pompéia.

Bo Bardi’s Bowl chair, designed in 1951 of iron and aluminum, with orange fabric.

Lina Bo Bardi's modernist vision did not stop at architecture; she also delved into furniture design. Here, the Bardi Bowl chair in steel and leather from 1951. Photo by Nelson Kon.

“Usually, I try to identify a connection between the work of an artist and Lina Bo Bardi’s work or thoughts,” says Waldick Jatobá, President of Instituo Bardi and Casa de Vidro. “The materiality of Rodrigo Silveira’s work, the way he cares about wood, and his respect for the manual process are also things that Lina Bo Bardi cared about.”

Lina Bo Bardi on the stairs beneath Casa de Vidro.

Lina Bo Bardi, Bowl Chair

Jean-Baptiste Souletie and Louise Breguet are the young founders of Parisian manufacturer La Chance. They release “unlimited” editions from primarily European designers, like Note Design Studio, whose Tembo and Bolt stools are shown here in their studio space, a flat in the 16th arrondissement. Photo by: Céline Clanet

Tripé chair by Lina Bo Bardi, 1948.