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Pepper the Walls with Bullets: Lina Bo Bardi’s Museu de Arte de São Paulo

Conference Paper · January 2011

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 PROCEEDINGS OF THE
2010 CREATING MAKING FORUM
THE UNIVERSITY OF OKLAHOMA
COLLEGE OF ARCHITECTURE / DIVISION OF ARCHITECTURE

< 11.03.10 - 11.05.10 >

,

Pepper t he Walls with Bull ets :
Lina Bo Bardi 's Muse u de Arte de Sao Paulo
Gabriela Campa gnol
cam pagnol@gmail.com
Assistant Professor
TexasA&M
Department. of Architecture
Warer Presenter-Session 6]
Abstra ct
Recent commercial initiatives atMASP - S3.o Paulo Art
fVi uscmTI - have drawn the world's attention once again to the
genius of Roman-born Brazilian architect Lina Bo Bardi.
Designed in 1957, {vLASP flomed European museological and
museographical cOlwentiaos. In the dissolution of structural,
temporal anu hierarchical boundaries, Bardl's expressive
architectonic fo rms and rcvolu ti omry exhibition sch emes
allO\vcc! space to manifest as a substantive property. \'(Tithin
the thickness of the space, paintings :lttached to glass stelae
hovered in a state of veneration, as objects liberated
completely from the tyranny of scholarly text. T his
collaborative paper interrogates the intersections and
interstices between the building as object and the objects
within, with both experienced through "reactions of curiosity
and investigation" aroused by the fully realized desire for
affective freedom and the "conquest of nothing." By trac ing
the museum's devdopment from conception through its first
full permanent collection exhibition, the paper examine~ the
philosophical. theoretical, pr:lctical and formal clemenrs of
what John Cage termed "the architecture of freedom." The
paper then situates the museum and its collections within
broader discourses of de/ colonization, In order to
demonstrate the degrees to which B,udi's gestu res redefined
notions of sp:lce :lnd form within and beyond the context of
the mu seum as mausoleum, archive and treasury. T he paper
concludes with an interpre tative synthesis of prin ciples of
spatialiry as codifieu by Dcleuze, l'vfcrleau-Ponry, Lotman, et
al., as their tenets complicate and enrich ou r reading of r.'l.t\SP
and its objects as architectural interjection. The p3per also
debates the incongruent modifications t.hat I..ina's original
project has suffered over the last 15 years.
Lina Bo Burd i in Brazil
The foundation of :1 new art museum brought the Rornan-
born architect Lina Bo Bardi to Brazil.' In 1947 her husband,
the Italian journalist, an c~itic and promoter Pietro Maria
Bardi, was uwitcd by the publisher and entrepreneur Fr:lOCisco
de Assis Chateaubriand ro found and operate an art muselun
in Brazil, either in Itio or Sao Paulo, which \vould house a
collection of European and Brazili3n art. According to Lina, "1
much prefcrrl:d Rio, but the money was in Sao Paulo. I told
Pietro that I wanted to sra~', that I Iud re-encountered the
hopes of the /lights during the war. Thus \\le remained in
Brazil."l The priv:Hc, non-profit art museum opened its doors
in October of 1947 in a one-thousand-square-meter room in
an existing. building at 7 de Abril Street in downtown Sao
THE UNI VERSITY OF OKL AHOMA co llege of a r chi t ect ur e
St e phen Caff ey
scaffcy@atchmail.tamu .edu
Assistant Professor
Texas A&M
D epartment of luchitecture
Wapcr Author]
Paulo, location of the headquarters of the Diarios Associados
(As~ociateu Press), owned by Chateaubriand. una Bo Bardi
was placed in charge of the museological and mu~cographical
designs.
Lina's curatoria l vision challenged the configuration of a
Inuseum as an "i ntellectual mausole um" , with its ~uffocating
"cupolas and monumental staircases." Lin a env isioned instead
a space within which to provide an atmosphere, a conduit
intended to create in the visitor a state of mental preparedness
for understanding the work of art; "in this sense 110 (US tinction
is made be:t\\!ecn an old or a modern work of art. \,\lith the
same objective, the work of art is not located following a
chronologi cal criterion but it is presented almost deliberately
~() as to produce shock, to aW:lken reactions of curiosity and
iO\'estigation.»3 In the J\bri j Street location the paintings were
detached from the walls, mounted on a neutrru background,
:lnd held by meral pipe~ fixed on the ceiling :lnd tloor. 'The
critcria governing the imerm.l :lrchitecture of the museum
wcre restricted to solutions of 'flexibility,' (0 the possibility of
transforming the ambience, tOgether with strict economy tha t
is in keeping with our timcs.( ... ) Picture frames were also
eliminated (when dH:Y were not authentic to their times) and
replaced with neutral band~."4 111e jdea for a new kind of
museum had first manifested earlier in that same year, in Lina's
work for an art museum in Rio de J aneiro : "The new
museums should open their door, and let pu re air and new
light in . (... ) T o establish contact between past life anu the
present. In this sense the new museums, having understood
their function in the contcmpot>lry world, have fou nd to exert
it, and arc farther ahead than the most progressive of
educarional institutions".5 In keeping with what would be dle
generously collaborative approach that would define her
professional career, Sao Paulo Art Mus<:um (r.V\SP) was a
prouuct of three personalities: Chatcaubri:tnd, the unJcrwriter;
Pietro Maria Bardi, the head curator and directOr; anu. Lina Bo
Bnrdi , the d i:::~igner. Berween 1953 and 1957, the m3in
collt:ction of MASP went on tou r to countries such as France,
Germany, Belgium, England, it:)ly and the United States (ar.
New York's .Metropolitan Ivlu5cum of Art in 1957).6
Make tlJt Deri.rion/}.{akt· tIJe- COlltlfcliol1
I was looki ng fo r simple afchiu;cture, one that
could communicate mat which Ul the past was
kI10\vn as 'monumental', that is, in the sense of
collective", of"civic dignity,.7
145
2010 CREATING MAKING fORUM
'111(: location chosen for the permaocO( home of the 1-1A.5P
collection was ;} parcel of land bounded by a major
thoroughf<lre on onc side (Avcnida Paulista), a public park and
forested valley on another and A venida 9 de Julho, which runs
through a tunnel before intersecting A venida Paulista. T he
acreage donated by Joaquim Eugenio de Jjma-rhc engineer
whose contracting company built A,vcnida Paulista-included
a belvedere that offen::d park visitors a view of tile ci ty. T hat
prospect, which made the site such an attractive choice for the
construction, also proved the f,rrcatest challenge and
inspiration to the young architect. As part of the terms of the
donation, Lima stipulated that no building erected on the site
could obstruct any part of the view from the park.
Fig. 1 - Aria! view ufi\lASP at Paulista /\venue, Siio Paulo.
W'hen devising her solution, Lina considered he r personal
encounters with the sire as well as the role played by the
location in Sao Paulo's cultura l history. One day in early t 950s,
while passing by the A venida Paulista, Lina had noticed the
belved ere ,md inquired about its future . An employee of the
Ci ty Hall kindly informed Lina that the buildings on the site
would be replaced with ~(Jmething that Brazil needed urgently.
"Ah! \'(.'bat is lacking in Brni!? Public resrrooms! \"Xi' e are
going to do two big restrooms: one on tbe left, undergro und,
for men and another on the right, for women . That's when 1
decided 1 was going to do a museliln in that place."8 Until
1957 the site had served as the poli tical center of the ci ty, the
Triano n, where politidans launched their candidacies, the
socbl and cultural d ite held their banquets and celebrations,
gmncl b:llls were staged and the city's inhabitants could enjoy
the sun on : one of the few terraces devoted to that purpose.
\Vhen Lina saw the T ri ano n had been demolished in 1957, she
made her decision: "that \\"as the only one, the only place
where the Sao Paulo Art 1·I useum could be built . .. a decem
place with a good image, popular with Paulistanos- ideal for
the first art mus eum in Latin America."')
Despite her conviction, LitH had to face a number of realities.
Sbe was derermincd to locate i'v1ASP on the Trianon site, but
"there was no money; there ",'ere no nC\vspapcrs , there was
notll ing. [ had been working \vim Chateaubrialld, with Pietro,
in the Diarios AssociaJos . But Cbareaubriand was in England
as ambassador, Pietro in F rance, and here 1 was alone."lO
Undaunted, Lina arranged a meeting with Edmundo lVlomeiro,
fac totum of the Diarios at tl~e time, and persuaded him to
offer Sao P aulo Mayor Adhemar de Barros suppOrt from
D i;hi9s Associados in his campaign for the Presidency of
Republic. D c Barros would ha,;c access to twenty-three
newspapers, radio stations and television cbannels thtoughollt
the country in exchange for the construction, funded by the
municipal government, of a museum that would be conceded
to 1.1ASP to house Latin America' largest art coUection. Lim
recalled, "Edmund liked the idea ;lod asked me to do a skerch
that same night to go See the mayor the next day. (.. .)
E xciting! I·Ie [the mayor] agreed witho ut even looking at the
drawing, and asked us to talk with his secretaries."ll Lina's
personal determ ination ""vould prove key to the reali7ation of
MASP.
Conceived as a free pla.n, the current ·t<.tASP was designed lnd
built bet\veen 1957 and 1968 (Figu re 1). The building dh·idtd
into parts: the lower kvd located beneath Avellid a Paulista
and the upper level divided by the grand belvedere . The lower
level was comprised of a civic hal l with t\vo auditoriums,
library, restaurant ;lnd storage. The superior part of the
building was compriseJ of tWO levels, with five me ters of
lateral cantilevered space extending our over Avell.ida Paulista
on the one side and overlooking Anhangabau Valle\, on the
other. The first above··ground floor of the structu re housed
administration, storage and tempor:lry exhibition area. 111C
second floor was devoted entirely to t.he pinacoteca. At the
street level, a plaza opened beneath the entire length of the
building, with rhe b:lst' of the fi rst tlom serving as a sort of
ceiling fo r rhe plaza (Figure 2) .
One of the many distinguishing features of the structu re is the
span: at the t.ime the largest in the world.
!'in :lshamed to say that the Sao Paulo Art
lI-iuseum has the large st span in the world! It is
eighty meters in length. 1 · ne·ver wanted to make
the largest span in th e \vorld, but there W:lS the
land donation that imposed it as a condition for
its use the maintenance of the belvedere
overlooking S:'io Paulo. [f J had constructed a
building "\vith columns and eLim inated the
bdvtden.::, the land would return to the heirs .12
The ~p:lJl was a product of Lina's n:alization that tht
ch:lllenge~ presented by "no columns, seventy meters of light,
landl 8 meters of ceiling height" could only be saIyed with
pre-stressed concrete. Lina chose a pre-stressed concrete
Sttuctut:ll system JesigneJ and patenred by engineer .Jose
Carlos Figueiredo Ferraz, who had expressed admiration for
the proiect. "] went loo king for him: 'Do you want to work
for free on a public project t.hat will be of great culrural
im portance to Sao Paulo?' J wo rk for free, on ly the draftsmen
wi!! be paid ." Ferraz agreed. The const.ruction contractor had
already been chosen through a competitive bidding process.
\X/mk began in 1960.13
Afake It Simple/Make II Ploat
Concrete as it comes from the forms, the lack of
finish , may shock a whole group of p<:opk.14
1m mediately following the M.r\SP proposal, Li na visited the
nort.h of Brazil to design the Modern Art Museum of Bahia in

Salvlldor. \V'hile spending time away from the elite circles of
S3:o Paulo, Lina rededicated herself to the: va lucs of simplicity,
accessibility and what she came to term «Poor Architecrurc" -
poor not becau!'c of its use of inexpensive local materials or
low gualjt}" bur poor because of its simplicity, elariry and bck
of pretense. During thar period, Lina abo wrote extensively
abollt the relationships between architecture and culture with
an emphasis on the folk and the local rarher than the more
1":l.1:ified and esoteric issues associated with mid-century
Modernism . As Lna characterized it, "by means of a popular
experiment I arrivcd at what might be called Poor
Architecture .... I feci that ill the Sao Paulo Art Muscum 1
eliminated all the cultural snobbery so dearly beloved by the
intellectuals (and today's archi tects), opting for direct, raw
501utions."15 As Esthe r da Costa Meyer observes, Lina left the
concrete rough, covered the floors with black inuustrial
rubber, exposed the air duc ts and plumbing-all of which
combined to create a building more suitable to collective
experience than to pri\-ate use. 16
Fig. 2 - Void beneath the suspended box thaI hou~cs the pinaeotcca
filll.!d with concen -goers.
Though distinctive. Lina's decision to levitatc 11ASP TO allow
for an unobstructed view of the city from thc park wa~ neither
a martel" of artistic choice (she had [Q preserve the view) nor
an idea generated specifically for the Silo Paulo site. The
concept of a box-like buildin!! suspended from the ground by
reinforced concrete C beams was already proposed in her 1951
design for a 1...luseum on dlC Seashore in Sao Vicente. This
museum (never built) \vas conceh'ed as a box enc1osed~ on the
three side s, with the fayatle facing the ocean cover with glass.
Five C beams, measuring twent), meters from end to end and
twenty meters aparr, held the building aloft. 17 In one of Lin:l's
carly watercolor perspective sketches for J>.L\SP, she translated
the uesign for the seas ide museum into a box suspen<.h:d from
six C beams-a plan ab<lndoned because of its repetitive
disruption of the bdn:den:. 18
Make II Trcllisparelli/ Make It Free
Other . preparatory studies demonstr:He that Lina's earliest
conccprion of the suspended box made no provision for
transparency. In stead , Lina conceived the space as a box with
opaque sides (v.'ith or without a Corbusian ribbon winuow on
THE UNIVERSITY OF OKLAHOMA coll ege of ar chit ectu re
the t"irst floor, depending upon the stage of conceptualization)
and only settled on the glass fa~ades with light sheds later in
the process. Once transparency (exterior and interior) had
asserted it~elf at i\-lASP, it assumed a determinat.ive role in the
formal and philosophical content of the ~truc t ure, the site and
the exhibition scheme for the paintings in the col1cction. 19
Transparency had assu med an increasingly important role in
industrial and domestic architecture from the 19 lOs, beglnning
with Pet(:r Behrens's Turbine Fac w ry, \'(/al n:r Gropius's Fagus
and Bauhaus buildings, and Ludwig ~'lies van dCf Rohe's
Tugendhat House in Smo. As Rena to AneHi obsen'es, "l\"l ASP
shows no resemblance to the spiral museums of Le Corbusier
and Frank Lloyd \\h·ight. TranSp;JfCnc), comes clearly through
11ics Van Ocr Rohe , with her '1'fusellm for a Small Town'
(1942), and studies for the <Museum on the Seashore'
(1951).,,20 Lina's MASP, however, qualifies as one of the
earliest transparent spaces intended fo r collective usc by the
general public. 21
\'\!hen American avant-garde poet and musician John Cage
came to Sao Paulo, while riding along Aveniua Paulista he
asked the driver to stop the caf in front of 1L;\SP. } ·k got alit
of the car and \v;dked from side to of the belvedere ro the
other, raised his anns and excbimed: "It is an architecture of
freedom!"22 Having grown accustomed to recei\,ing for "the
world's la rgest free span", Lim. wdcomed Cage's
characreri%ation, \\'hich communicared "what 1 meant when I
designed MASP: the museum was a "nothing, a search for
freedom, the elimination of obstacles, the ability to be free.,,23
In haly, the crushing weight of Antiguity and the Renaissance
set limits and precondi tions on l'I lodern architecture that
simply did not exist in S3.o Paulo. [n Brazil. Lina "had rhe:
freedom to build a completely ncw building.,,24 Anelli nOtes
that Lina's design for MASP was
far from being a form alistic whim of the authorl;]
the glass facades of M ASP expand the space of
the pinacoteca to the city. The transparency of the
falJades and the suppOrts establish continuitr
bct\....een art work and daily life. 25
Transparent h;ades dissolve the false boundaries bet\.\' cen
high/fine an and daily life, awakening in the uniniri:lted viewer
"a natural consciousness." The transparency of "'IASP thus
articulated Lina's belief that "to acquire con sciousness is to
politicize oneself.,,26 MASP was the most fully realized and
rhus the most potent of Lina\ built 1}ltwijesti-a call to anns
for the Pauljsrano m:t~ses to wrench art from its funera~y
associations to connect to art t.hroLlgh the clear, free, natural
light of daily life.
The Exhjbition Scheme for MASP
. .. a palming is born in a free space-that is on an
easel- irs original state can best be evoked when
e~hibited on tempered plare gbss fixed 011 a
concrete b:lse, rather than against an opaque
waH.27
\\"fithin the contextL!:lJ confines of Crcacing....Making, Lina's
pinacoteca insrallacion for ~lASP ho\"ers in rhe space above
the underscore. T his is the space of neither/nor, of limina.lity,
of becoming, of transition, of di s~olution, of absence, of
suspension, of rhe pause, of silence, of the void. Through the
147
2010 CREATING MAKING FORUM
execution of Lina's \,isioo, the exhibition space took on a
substantive quality comparable to American composer John
Cage's 4' 33", performed. by a full orchestra as fOUf minutes
and thirty-three seconds of complete silcncc. 28 In Cage's three
movements of in strumental and vocal silence, rhe random ,
ambient noise of the music hall and irs occupants SCr\'CS as
content, with each performance and each recording of the
work dramatically diffcrcm from all others . Similarly, Lina's
instalbtion at 1-{ASP rejects the institutionally sanctioned (and
ever-contentious) d ialob,'1lc bCN'cen painting and wal l,
rephcing that artificial and superfici:ll dialogue with a series of
glancing enco unters with other viewers . 1n the MAsr
pinacoteca, silence equaled presence :md absence supplied the
sound.
Numerous anists and curators (indudingLimt) had questioned
the institutional rigidity of museal practi ce before i\{ASP
opened it~ doors to the Brazilian public in 1968. However,
few succeeded in completely liberating the museum from its
function as a treasury-reliqu ary-mausoleum conceived to
address, valori;.;e and reassure cultural elites. As Oliyia de
Oliveira notes, Lina "dc-christianized" the museum exp<:ricncc,
making all \\forks equally accessible to both th e uninitiated and
"the ordai ned" by " remoying the 'aura' from the pictures .,,29
Lina contested the traditional yaluation of p:untings as luxury
goods and precious objects, preferring instead to prescnt them
as the products of artistic labor, as '·trivial items" linked to
quotid ian Iife. 30 In Li na's curatorial calculus, the installation
became-in senses literal and figurative- a destabilized field
of cultural production. 31
Fig. 3. Una Bo Ihrdi with one of the glass rind concrete SUppUr1S ~m
cilC second floor of Ml\SP during conStruction.
In the mind of the "jealous conservatiye with his old -
fashioned, academic beliefs," the exhibition scheme; at i'vfASP
was an act tantamount to desecration . For innov;nor Lilla .
howevcr, with hcr "futu ristic background :lnd \'isionary ideas,:'
the re"oJuriOI13.ry appro:lch to the display of the p3.intings was
the only option for a museum [hat "bdongs to the pCOplc."32
'l1uough lVIA.SP Lina articulated a number of the aesthetic,
curatorial and political impu lses rhat informed her work as
architect, artist :md activist. As il member of the Communis t
Pany, Una hdd in marked disdain monarchical and capitalist
socioeconom ic hierarchies; thi~ disdain penneatcd LJna's
consciousness, driving her decisions at 3.11levels of the design
process. 33 Corolhry to this petspective was Lin a's coUectivist
appro::lch to aesthetic decision-making and curarorial
expressIon . Over a period of rwen t} years Lina conversed
with colleagues in the fidel" of arcbitecrure and design and
consulted with Pietro -i'vfatia as she crystallized tht: ideas that
would manifest as the radical l\1J\SP strate,;'}'. \\7hile working
with G i6 Ponti in J\fib n in the 1930s, Lina had act.i\'c1y
engaged in the emerging polemics of exhibition practice, :l
mode of expression which provided most young modern
architects thei r on ly opportunity to prt:sen t their work to the
34
public. Ivlost influenti al in Lina\ process was Franco Albini,
whose designs for Scipione & Black and \,('bite Exhibitions at
Milan's Pinaco tcca di Brera in .194 1 presented paintings on
individual stands that alJmved ·vie\vers the full 360-degrce
visual :lCcess most often afforded freesta nding sculpture. 35
As indiyidual brushstrokes comprise a paintjng, Lina's work
with tbt: l'vLASP collection qualifies as a single, expansive
artistic gesture-a work of installation art as much as a
curatorial policy, \'\:rhen affixed to their rcspectiye glass and
concrete suPPOrtS, the paintings served as discrete "markings"
within the broader work. A photograph of Lina seated next to
Vincent van Gogh's Tilt Sch()(JiIJf!)' (Camille ROlllin) on tile MASP
comtruction site demonstrates the poim (Figute 3). In formal
terms, four elements comprise each componenr gesrure. A
cast concrete base (40x40 em) supported :1 SIS -inch tempered
glass panel with four boles, to \vbich was secured a single
painting. As would be the case if the works were hung on a
wall, viewers ha d full access to the "content side"- the
obverse in the case of Lina's glass easel. On the reverse siue
of the support appeared labels, the smallest of which
approx imated conventio nal museum wall text panels, tbe
largest roughly matching the dimensions oJ rhe object
displayed, A t their most spare, the labels identitled arr.isr, title,
medium and dimensions of t.he work. Some labels of [his size
alJmved the viewer to see most of the back side of the work.
More text-intens iye labels, which included explanatory
"reproductions, engravings, maps, graphics and documenrs,"
completely obscured the backs of SOIYlt: works,36 Lina
expressed confidence that her "design of a panel-easel in the
IvtASP art gallery is an importan t eont6 bution to in ternational
museum management." To quantify her success, .Lina citt:d the
ratio of the thousands of Vlsirors who vlsitcd i'v1.ASP each
weekend to the "do;.;en complaints" she had received about
the exhibition scheme,37
Alake Mqyhem/ Crealt Pro:>-.:il1!ily
Once she had atta ched the paintings ro their glass easels, Lina
arranged them in the MASP second-floor exhibition room in
an irregular grid panern, all facing toward the entrance to the
space and presented at '·cye levd" so that the viewer could
always see multiple works placed at varying distances (Figure
4) . I-lowc\'er, no viewpoint allowed a 1L\SP visitor to see all
of the works at once; nor did any posit.ion permit the viewer to
sec only one of the paintinE.,'"S . As Shullun Basa r notes, "the
glass supports disappeared ::It a distance, giving the impression
that the paintings were hovering in magica l, liberated susp6nsc:
an orchestration of dogged Gltionality bordt:ring on the
(poetically) parhological.,,3B The resulting assemblage reads as
a single work of art, the whole o.f \vhich could only be
experienced by mo\'ing through and around the ind ividual
components, And JUSt as viewers \1,..)10 loo ked through Marcd
Duchamp's Ine Bride Stl7pped /3(IIl' I!)' Her Br1rhelors, Evm (The
t .,;,::;( Gla.rs) (! 91 5-23) to see other \'iewers on the other side of
the work experienced the disorientation of a chance
encounter, each visit to i\{ASP would 11a\'e emerged as a
different pemluration of chance elements.39

·11
-.-
Lina and Pietro-Maria chose the pn:scnt:ltion sCCJuenccs for
each of the rows of paintings; the intent was an emphatic
"ltve ling" of ilK objects. This was achieved by rej ecting such
conventions :"IS ch ronology, attribution, artistic movement,
artist oeuvre, n:uional identity, medium, size, market value, art-
historical significance and geographical origin. T he r.lAS P
in srall<'l tion made no distinctions b~tw ccn Brnilian vanguard
painter Fl ~\'io RC:l.cndc de Carv alho's S/I'rpht~ Nltde ([9 32),
Pierre-A ugust Renoir's Pillk (llId BI"r (1881) :lod van Gogh's
Scboolb,!Y. Lina's "crystal easels'- crcated a perception of
simultaneity :lcro s~ the movements and periods n:prcsc nred by
collection, and an unusually fn::c cour s~ of reception fo r the
\' i s itor.'~o \"Xhrh her carefully scattered glass stele, Lim
disfigured time :lnd deranged sp:lce, imi nu:lting the art of the
past ioro an "eternal p resent," concretizi ng Andre Malr:lux's
"imaginary nHt~cum" in one grand, wild, fanc iful
provoca tion.41
Mflkt J in/( C.ollide/ Makt Sporr Porous
Perhaps mo re than any other institution of its ki nd, Lina's
j'vl /\ SP invites a sort of rh i7.0morphic sam pling o f rwentierh -
42
cent~f)' theo ry and criticism. \X' riting about the work of
anothe r architect. Stephen Holl, Shima Mohajeri articulates :l
series of points that one n1ight reasonably apply to the
ex perience of Lim's fenestrations of space and time. Invoking
phi losophe r t\1:turice Merleau-Ponty, Mohajeri suggests Ho1l's
E;.,prn'lI1enls ill Porosity
bring in the idea of sp:lt.ial depth infused with
time. The porolis layers in sp:l ce indic:lte the
simulmnei ty o f presence v.'hcre ltheJ body moves
through depth in time. That is when the body
ex periences the event of rime and space in its
continuity. The spati:!l porosity is a method for
destab ilizing the o utlines and limits while
displacing them back and forth in - be~vcen spaces.
l "Oi5' continual dosing and opening of space
provides a room for the body to discover its. O\"'n
visibilitr among the irlYi sibles crea ted by the
empty voids. Thus, th e porosity in ~pace will
appear as a result of an uninterrupted flow of
imerpenetratcu events within the spatial depth .43
In the MAS !' pi mcoi:cca, one mon.:d in and a ro~tnd ancl
through and between the phenomenological field and the
d"materialized temporal and spatial boundaries of the
tr.lOsparent floating box hovering abo\'e the \'oid.
Rather than experienci ng the museum as a sedenta ry space
striated by paintings hung wal1-ro-wa ll and tlom-to-ceiling (as
THE UNIVERSI TY OF OK LA HOMA college of archite ct ure
was the practice prior to the late nineteenth century) or by
linear co nstructs of chronology, the uninitiated \'icwcr gazed at
the objects on display, never able to sec the object and its
medi ating, filtering bbel at the same time .44 The resulting
disconnection deterritori:llized the works, separating them
from thei r semiotic systems. effectively and affectivelr and
neutralizing the semiospheric authority of such classifications
as Renaissance, Baroque, Romanticism , French, Jtalian, etc. 45
Through this catalyzing m ecll:l1usm of pcrformati\'(:
(dis)en&ragcment, the novice viewer who might have been
otherwise alienated by the aura of each discrete ex pression of
Euro-impcrialist acach.:mic hegemol1), in the MAS P collection
welcomed an d was welcomed by each work ;IS a product of
artistic labor. Conversely. the strategy intentionally alienated
those among the ordained who h:ld been conditioned by rhe
institutional mand:lres of European museological and
museographical convention to seek disciplin a'1' reassur:l!l ce
through the ritual privilq.,>i ng of wall label te:-:t. 4 & Lin:l'~
installation allowed both the uni nitiated and the (willing)
ordained a smooth, nomadic space within which to " restrain
fro m all lIsual doing and prizing, knmving and looking, in
order ro linger within the truth that is happeoing in the work,"
rectifying and t"evivifying the "v ital relationship" between
viewer and object. 47 Thus Lina provided the perfect
environment within which viewers from various backb'Tounds
:lnd with various degrees of exposu re to the fine arts could
becom e the h'Uardialls of her inst:!IJation .4 8
Conclusion
CrMI COI!forlllity
lr is difficult and painfu l to visualize all the
countless paintings on countless walls in countless
rooms, halls and museums waiting to move back
into space where they can again \'ibr:ltc, breathe as
it were. 49
In 1996, four years after Lina's death. the glass e3sels in the
pinacoteca were replaced \\-'ith painted plaster walls in order to
halt and prevent further damage to rhe paintings c:lused by
exposure to lighr :1Od thc bowi ng of tbe floot. In 2003, the
Brazilian institute for National Historic and Artistic Heritage
(IPHAN) registered 1·LA..SP as a national heritage. In the
repon for th e listing, 11'1 IAN sugges ted (withollt mandating)
th;lt the ~IAS P curarors preserve Lina's installation scheme.
'fhe curators penna ncntly removed the glass panels, citing a
number of justifications for the decision. T hose justifications
range fro m the impracticality of m ing glass easel s fo r
displayi ng tapestties and other sl1ch brge wo rb to reasscrting
the primacy of the painting-wall dialogue in response to Lin:~'s
"intolerant" and "aurhorit:lfian" inrcn·cnuon. so
Architect Aldo \'an Eyck understood the genius of Lina 's
r. . 1ASP
installation, \'V'riting in 1997, five years after Lina's
death and shortly after painted walls were instalk:d to
pennanentl)' replace Lina's glass easels, van Eyck commented
on Al AS I' and its collection as a series of conjoined conditions:
ir is at the same time borh large and smalL few :lnd
many, near and far, simple and complex, open and
closed; i[ will furthermore always be bOtll part and
whole and embrace both unity and di\'crsity.
149
2010 CREATING MAK IN G FORUM
Lina's anti-museum, the "museum beyond the limits," has
been reduced to a simple , closed an d partial enclosure, no
longer complex, open and d iverse, no longer the "marvelo us
e:\ccption to the wrong rules" that b'0vcrn exhibition practices
worldwide. 51 Few reminders of Lilla's
"uncompromising . .. simultaneous solidarity with people, art
and architecture" remain. 52 Today ljna's vision survives in
the memories of the thous:l nds of Pautistanos who wandered
through the kaleidoscopic space and in works by such :lrtists as
Vi\.; ivt uniz and A1irjam T h omann (Fib'Ure 5),53
Figure 5. Vi]:; j\ [uniz, Sao PaH/o, after TIII"S;/a do _,l/lltlral (2010) .
\'",'ood , cloth, tape, labds, hardware, carpet.
112.2<1 :.; 100.49 x 6.35 em. Galcria Fones Vila<;:a, Sao Paulo .
In the suspended box above the void, one can experience the
b~t \'est.ige~ of the pinacoteca insraJlacion in the form of twO
replicas of Lin a's concrete and glass supports, wh ich are used
to ~epa r~lfe the kitchen from the checkout line in the l'vlASP
restaurant. 54 una' s characterization of rhe museum as the
"conquest of noth ing" tab:s on a particular poignancy in the
effacement of her cunnoriaJ presence by the irresistible
hOll1ogeni:.-:ing forces of globali:-.ation .ss
Ad:!1ol/ '/etig!1lfllts
'fhe au thors would like to express their gr:ltitude to Marcelo
Can'a!tlO Ferrn, Rau l Juste Lares, and Shima Mohajeri for
thei r support in helping to prepare this paper.
1\ number o f excellent recently p ublished schobrl y 3rticles have
disc ussed Lina Bo l'hrdi's d{,sign for the i\-Juseum of Art Sao Paulo.
Sec especially Zeukr Lima, ··Presen·ation as Confrontation ' The
\'(.'orks of Lina Bo Bardi." hilli!"1' AII/nior 2:2 (\Xlimer 2005): 25-33;
Cathrine Veikos. "To F.mer lhe \Vork: Ambient !\rt," .loHrtJa/ 0/
"'!rchikcllllill h"dllrafir;n 59:4 (2006) : 7 1-80; ,\kxmder Miyoshi,
" i\luseogr:lfi:ls do J\1./\SP," in i E llrolltlf) de IIiJ/r;na dt! / lrte do iFCi I
(Caffipinas: Unieamp, 2(06), revi~~l.0 histOliogni.fica 0 Es/odo do
QJ/i'Jtr/o (C:lmpinas: IFCH. 2(06) , 1:52-60; :lnd ·'0 edificio do
M.ASP como ~uj eiw de esrudo," / !rqllitr.y!o.r/ Anhlto:/s 07,084 (May
2007) accessed Augu st 30, 2010
<http://ww·>.\..vinuvius.com.b r/revist:1s/
read/arquitcxtos/07 .084 /245>; Carlos Edu:lrdo Comas, ·· Lina
3~ 2 1 ," / lrqll::;<lo 14 (2009): 146-1 89; ;md Ren;lto L. S. i\ndli, "Museu
de Aile de Sao PJulo: 0 muscu trJnsparent e c a dess;u.;raliza<;ao da
al"te," Arqfli/extoJ/ Arc/;itexl;-112 (September 2009) : 112.01 -1 12.10.
Lina Bo nardi, Lilla Bo Bami (Sao Paulo: Instituto Lina Bo c P. 1\\.
Bard i; MiJan; Chart:l, 1994), 12.
Ibid, p.46.
Ibid.
Ibid, p. 43.
See the fo llowing exhibition catalogues: Chr:f.r-d'oemn duMllsh d'art
af Silll-PaNlo: Odll/;W 1953-jantJier 1954 (Paris: Musces nationaux,
1953); Paintiflgs/rom the Sao PaHlo ,HustltH!: The AJetropolilan ]o,jllSflllJl of
Art, MtlfC/) 21· · .;H~r 5, 1957 (New York: i\Ictropolitan ]'v[useum of
An, 1957); An Exhibition of One Hund red Paintings from the Sao
Paulo Ivfuseum of An, October 8-November 17, 1957, the Toledo
MU$cum of Art ( fole do : Toledo ]'viuseum of An, 19 57); and
1hstcrpieccs from the Sao Paulo i\luseulTI of Art at the Tate
Gallery (London: T he }\ns Council of Great Britain, 1954).
Bardi, I.Jlla 1311 Hardi, 100.
& Lina Bo Bardi, Lilla por BIen/o, cds. Silvina Rubino and J",larina
G rinovcr (Sao Paulo : Cosac Naif)", 2009), 174
Ibid., 122· 123.
Ii ' Ibid .. 175.
II Ibid.
12 Ibid. 174.
n Ibid, 125.
14 Bardi, Lilla Ho Hardi, 100.
15 Bardi, IJlla Bo Banli, 100.
16 Esther cia COSU! j\,'l eyer, " 1\ fter the Flood: ljna 130 nardi's Glass
Hou~e," J ian-ard D"J;"~II /{Cl'if lJ! 16 (\'\!intcr /Spring 2002) 2cccs~cd
August 30, 2010 accessed August 30 2010
http:// '-vwv·,' .gsd.harvard.cdu i research/ p ubEca uons /hdm/back/ 1G
decosta_ m('yer. hnnl.
17 Banli, 1ilia !io Tiardi. 93.
l ~ OliYia de Oliveira, Subtlt- J"flh,rtmlCts: Tlit A,rliitertHfC 0/ '-ilia Hv Hardi
(Barcelona: Editori:ll Gust;JVO Gili. 2006). 262.
I~ Oliveira. Subtle SlfbtrlflCf!, 327; and Bardi, Lilla 130 J3a/~fi, 101 .
2<> Anelli, Rcnato L. S. "0 Museu de Ane de Sao Paulo: 0 mus~u
tra nsparente e a dessacralizayiio da arK," /lrtjl!itt.xfoJ/Ar{biffxtJ 112
(September 2009): 112.01·112.10 :lccesscd August 30. 20 10
http://w\\·w.YitTUyius.com.br/ r~yistas/rc:ld/arquitextos/10 . 1 12/ 22
21 The idea of emp lo~' ing glass as ;1 tr~nsp:"\rent support can be seen as
early as 1948 in the shd"e~ for :In An and l\rcbitecturc Studio
Palma designed by Lina with the architect Giancarlo P ~ lnnti .
Transparency as a concept was furt her explored by Lina in her own
house, the G·I:lsS House, built in Sao Pau lo in 1951.
2c Cl:iudio Cav:llcanti, ,H/JIP: A {Or da paixao jlt/o arle (Sao Paulo;
Glasulit do Brasil, 1990), 90.
:<.:l Bardi Lilla POl' BSCli/o, 16 .
24 Remlto I.. S. Andli, " (;'OSIO Moderno/ Modern Taste: Exhibition
Dl:sign and Design Exhibition," /lrqtf.\:fo 14 (2009) : 92-109, 104.
~;; Ibid.
M Andli, "Costo Mod emo." referencing Lina Bo ilardi, "Explica<;oes
sobn; 0 j\'luseu de Arte," 0 bJtadl.J d" Sao Palllo (5 April 11.)70).
'!J llcnry A . LaFarge, cd., All1smm if Arl Sao Paulo (New Yurk:
Newswcek, 1978). p. 163.
2l< /\ number of sources nOLe the comparison het\.\'een Lina's i\IASP
find Cage's music. Sec, c.g, Oliveira, Suhtle J"h,f!a!/ll},f, 259.
~'" For a .discussion uf the aura of the anwork, see \'(';l lter Benjamin,
"The Wlork o f An in the Age of i\-1 echanical Reproduction," first
published in 1936.
30 O liveira. SII!4Ir Sufis/atlas, 276, quoting Bardi, "Explici\yoes sohre 0
J\.·luseu deAne."
31 Sec Pierre BOllrdieu, TJ)f' Field 0/ ClJilllra/ Productiol/ (:'3ew York"
Colu mbia University Press, 1993).
12 Pietro I\briil Bardi, Introd uction 10 ed. Henry A. L~lFarge, AllISflllJJ
of /lrl Sao Palllo (New Yurk : Newsweek, 1978), 9-15, 9; Oliveira,
Sub/It SUbJirlll(CJ, 276, quoti ng Lina, " E xplioo;oes," 1970.
33 "1 have designcd ;J fcw homes, but only for people [with] whom I
am acquainted and that I am fond of. I have a horror of designing
homes for mad:uns \vherc an insipid conversation is apt to arise
abollr the ~wimmin g pool 01" the color of the curtains ... l havc done
mostly public works, always coUecti,'dy. 1 would ver)· much like to
design popubr humes and 1 have dom' sl"\"(;I"al studies on th~
 THE UNIV ER SIT Y OF OKLAHOMA coll e ge of a r chitect ur e

subject, but for the time being thaI docs not seem 10 be possible."
Bardi, LiIlI1 130 &rdi, 117.
}4 Stephen Leet, Franco Albini (New York: Princeton Architectural

Press, 1991), 21 ~4 3, 21 .
33 For a description of Franco Albini's exhibition practices, sec Leet,
FrallCO Albilli, and Oliveira, SlIbtle Subslal/lu, 286.
36 Sec 1_1Pa rgc, cd., MlIJfllll/ of Art Siio Palllo, 163.
37 Bardi, Lilla 80 Bardi, 100.
38 Sec Shuman Basar, "\'';/hiH:wash: The Role of the Modern Gallery
Setting as a Site of Artistic, Architectural and CuratOrial
Adventure," Platfo rm - Modern Painters (April 2005): 98-10 1, 100.
3? For other references to Duchamp in the COntC.Xl of Una's work, scc

Veikos, "To Enter the Wrork."

.ao Andli, "0 Museu de Arte dc Sao Paulo," 102.
~I See Andre Malmux, L.e ll'fliJee imagiJ/oin (Paris: Editio ns Gallimard,
1965), mentioned in Carlos Eduardo Comas, "Lina 31'2 1," Arqlf);to
14 (2009) ,146·189, 168.
~2 For a discussion of the principles of the rhizomorphic that one
might reasonably apply to Lina's MASP installation, sec Gilles
Ddeu7.C and Felil' G uattari, A TWllsalld Plo/tl1lls: Capitaliml alld
Sr/;izopbrtllia, traos. Brian Massumi (1'vIinneapolis: Univ ersity o f
Minnesota Press, 1987), 3-25.
43 Shima Mohajeri, "111e Time of Place in Architecture: The
Simu ltanei~' of Spatial Depth and Steven Holl's D esign Method,"
paper dcliven:d at Imernational Merleau-Ponty Circle Conference,
Mississippi State Unversity, 9 September 2009, 6. Sec !\h urice
j\'lcrleau-Po nty, P/'el/oJJle/lology of Puceptioll, trans. Colin Smith (New
York: The Humanities Prcss, 1962). Sec also Steven Holl,
b .pmimllls ill PoroJif]' (Buffalo: Buffalo Books, 2005)
Sce D cleuzc and Guattari, A TbOll1lmJ PlO/MIIJ, 474-500. For a
summary discussion of the gaze, filtering, discipline and desire in
the specific context of the museum, see Valerie Casey, "The
Museum Effect: Ga?ing fro m Object to Performance in the
Comemporary Culwml-HislOry Museum," paper delivered at the
2003 at the The S{'v"mh International Cultural llcritage
Info rmatics Meeting, Ecole du Louvre, Paris accessed August 30,
2010 Imp:! / w\.\-'W.valcasey.com/ thesis/thesis_cffe ct.html. See al so
Nonnan Bryson, "The Gaze in the Expanded Ficld," in Hal Fostcr,
cd., Visioll alld Vislla/i(y (ScauJe: Bay Press, 1988); j acques b ean
"\Vhat is a Picture?" ed.,jacques-Alain l\Wler, Tbe Fo"r Flllldalnelltol
COllleptS of P!)'c/Joallo/ysil (New Yo rk: Nonon, 1978); and Michel
Foucault, Disciplil/e & PIIt/iJb: Tin fili'll; of /be PriJOll (New York:
Vim age Books, 1979).
' 5 See j uri Lounan, "On the Semiospherc," trans. Wilma Clark, Sigl/
Systellls Stlldies 33:1 (2005): 205-229, 21 3, 217; and Gilles J)cleuzc
and rtlil' Guattari, Allli-Oedipfu, trans. Robert Hurley, I'vlark Seem
and Helen R. b ne (New York: Viking, 1977).
46 Sec n. 43 above.

47 See i\hnin Heidegger, Porta" f...pfIglIO!!, TI)(JIIgbt, trans. Alben

J-Iofstadter (New York: Harper & Row, 1971), 66; :md Theodor
Adorno, ''Valery Proust !vluseum," in PnSmJ, trans. Samuel and
Shierrr Wieber (Cambridge: M IT Press, 1982), 173-186.
48 Heidegger,Pottry, Lallgllage, TWIIgbJ,66.

~9 AIda ,·an Eyck, "1\ Superlative G ifl," in Sao P(/I/Io .."Itt iHlI!ell!!1 (Sao
Paulo, instiwto Lina Bo e P.l\ I. Bardi, 1997) n.p.
;0 Alexander J\liyoshi, "A E \'o lu~a o da i\Iuseologia do MASP no

ultimo deccnio (1986-1998)," in Miyoshi, I El/colI!ro de HiJtdria da

Arlt do IFCT I. Sec also: " I'vlasp lambado nao el'ige uso de cav alews"
(MASP registered docs nOt require the usc of eascl~), Folha de Siio
Palllo (19 D ecember 2003) .
;1 Oliveira, SlIbtle SllbJta/lltl. 262; \'an Eyck, , "Supedative G ift."
52 Van Eyck, "Superlative Gi ft." For the idea of social space sec
Henri Lefebvre, TIN Pror/lIllioll oj Spall, (\,,\Ialden: Wiley-Blackwell,
1991).
53 See M.irjam Tho mann accessed August 30, 2010
http: //www.bambi fou ndation.com/ projcets/201 0/
aufstdlung.html.
34 Fernanda Mena, "Pro jCto de U na Bo l3ardi vira di\'is6ria no

restaurante do Masp," Folbo de Sao POllio (28 April 2010).

;5 Marcelo C:lfvalh o Ferraz, "Uma idtia de museu," quming Lina.

151
Contents and I ndex of Papers
Keynote Speakers
Bruce Goff Chair of Creative Architecture Lectu r e Se ries
Hans Butzer, Lecture Series Chair
The Univ ersity of Oklahom a

Each Jlear olltstanding architects IlJith exceptiollal design talmt are blvttght to the unitJmity to teach and IIJOI'le with architecture students. Through student
lJIorksiJops, public lectures and informal discII.fsions, the.re architects are provided an opportunity to furth er their design philosoph), through (reiltitJe
eXjJelilllClitation ill all academic setting and, at the same time, share fi-esh ideas I/Jith others.

p.l The Bruce Goff Chair of Creative Architecture Lecture Series

p.l Sheila Kennedy

Professo.r of Practice at MIT and
Principal, K ennedy /Violich Architecmre, Ltd.

p.2 Crai g Borum

Associate Professor at the University of Michigan and
Principal, PLY Architecture

p.2 Marlon Blackwel l

D ept. Head, Fay Jones School of Architect ure, U. Arkansas and
Principal, Marlon Blackwell Architect

Des ign Education and Tac i t Knowledge

Dr. Eren Erdener, Session Chair
'111e University of OlJahoma

Sbaped '?y illtuitiom, cttltf!re, and jeelings, the development of this implicit knOJdedge aiZd its tJisnal, tactile, auditol)' IJoCtlbula~y, created throf!gh .rbared
cognitions of etJent-places, their at1/losjJhe1~, referenced and enbal/ced 0'pet:ronlll tlJetaphor.1~ thir kiZ01JJ!edge is deposited illto the designer's 1lIemOl)' and COIl.rtituteJ
a Clitimlb' per.follalized reJertJoir t1J a must ill the C1~atil!e p1'Ocess.

~5 Int r oduction to " Design Education and Tacit Knowledge"

p. 7 " M. I. Mat e ria 1 In tell i g e n c e "

Santiago Perez, University of Arkansas

p.l1 "D es igning From Past Experience"

Irina So]ovyova, University of Texas - San Antonio

p.19 " Qu a d Space-Academic Const ru cts in the Real City "

Ernest Ng, J\-1ississippi State University

Digital Creating and Making

Anthony Cricchio, Session Chair
The University of Oklahoma

Ft~l/J tetl<'h;lI,~
of dz~ilalloo!r ill academia to tbe lise 0/ dz!!,ital in fabrication, tI Clitimlpoillt oleomistenl)' tbat eacb allthor addresses Lr that (iJe digital tools 0/
torlqy reqllilr a newfoml of craji to obtail! the equal artisan quaiities 0/ the alla/~~ crajiJtlIan. Shollid digital mlji evet! be compared 10 IheplwesJ of band cmji,
the hll/1J[//t'sphpiml tool ofcboice, 0/; ilutead, be relegated to a lltll; Jet 0/ non-bllmallislie q:lalitieJ?

p. 23 Int ro duction to " Digital Creating and Making"

p.25 "Digital Fabrication in Denmark: As too l and craftsman "

Edward Becker, California Polytechnic

~31 "Process of Making in Analog and Digital"

Seung Ra, Oklahoma State University

p. 37 "Feeling Before Knowing: Form-making with the us e of Digital Simulations"

Andrzej Zarxycki, New Jersey institute of Technology
 Inn 0 vat ion, I n t e r dis c i P 1 i na r i t Y and the E n vir 0 n men t (CONTINUED)
Lee Fithian, Session Chair
The University of Oklahoma

p.93 "U nity of Being: The Hidden Manifestation of the Indoor -Outdo or
Relationship in Traditional Architecture of Iran "
Khosrow Bozorgi, The University of Oklahoma

~99 "T he Art in Structural Design for Ext reme Natural Forces·
Dr. I-Kwang Chang and Sean McDow, The University of Oklahoma

~101 "The Responsibility of Technology vs. the Technology of Responsibility"

Aimee Buccellato, The University of Notre Dame

~109 "The REdaptive Vessel: The Rebirth of Louisiana Architecture"

J essica I-lester, The University of Oklahoma

Interpreting Architecture
Dr. Catherine Barrett, Session Chair
The Unive rsity of Oklahoma

Can tbe lallgua<~e of technology and maJ.r production be translated to .rer-ve indil)idua! lI!'eds? Can de.r~~n proi'e.fJeJ tbat are me.rJ)' and emotional, or
organic and .rpOiltaneOuJ be tran.rlated into jOlm.\' that depend on tecbllo!oJ'yfor their dLise11lination? Wbat iJ Ibe role of individual atltbol:rbip ill 0111'
contell/porar), culture? All of tbesepapers belp to fUltber tbe discussion of sucb questions.

lid ~115 Introduction to "Interpreting Architecture"

'y.
'II} p.117 "J apanese American Internment Camp Design: Journey to Topaz"
'lid Shauna Corry, University of Idaho

p.121 "Transgendered: Int e r preti ng the Bavi nger House"

Thomas Cline, The University of Oklahoma and Nick Safley, bgDesign

p. 127 "Of the Same Hand"

Amrita 1,fahindroo, Massachusetts Institute of Technology

History Reframed
Dr. Stephanie Pilat, Session Chair
The University of Oklahoma

III tbe last few decC/des scbolars bcu'e cballel!ged tbe canon of arcbitect/m:t! bistory fi-om feminist, post-colonialist, and inl7U1mmbie otber pel~rpecti1Jes.
Tbis tritique has 7lIoliJ)ateri aprodlldir·, reconsidl~ration .of bOil! we seled atld elJalllateprojects 10 dimlSJ. Tbe callOIl as we Ollce knell' it baJ be,gllJl to
diritilegmte; it iJ I/O 10llger 11'estem-centric or elJell necessarijy thnmofo<~ical!y tat(~bt. TbeJe paj7erS arepari of the !ega!)! of tNr reconsideration.
These
ing tbe p.U1 Introduction to "History Reframed"
om fb i
~133 "Reconstructing the Historical Narrative: Wagner and a Volumetric Approach"
Nathan Richardson, Oklahoma State University

p.139 "Surface Effects : Lina Bo Bardi' s SESC -Pom pei aU

Ca thrine Veikos, University of Pennsylvania

p.145 "Pepper the Walls wi th Bullets: Lina Bo Bardi' s Museu de Art de Sao Paulo"
Gabriela Campagnol and Stephen Caffey, Texas A&M
The 2010 Creating_Making Forum
Peer Review Panelists and Session Moderators
For biographical information, see page 164.

We wo uld li ke to extend OUf sincere th anks to the following pa nelists and mo derators:

Cathe r i ne Ba r rett Ke ma l Gokt ur k Em; l y. Mo ss

cjbnrrr.:tt@ou .cdu sgokrurk@scad.cdu mosse@newschool.edu
l\ ssisram Professor CNC Prot'Or;'ping Manager Assistant Pro fessor of Core Studies
"111C U ni \'cr~ity o f Oklahoma Sa\"annah Coll ege of A rt anu D esign School o i D esign Str:ltcgics
College of Architectu re.: Weer review pa nelist I Parsons the New Sei1uu l for D esign
Weer review r a n di~t l ]peer review pandist]
ISession moderator]

Dave Boec k Nic k Har m Ste phani e Pi l at

dlb@ou.cdu nharm@ou.cdu spilat@ou.cdu
Associate Professor Associate Professor r\sSiSt:lnl Professor
The U n ivc rsit~, of Ok lahoma TIle University ot' Oklahoma The Cniversity uf Oklahoma
College o t Architecture College of Architecture Collegt· of Architecrurc
[Session moder-Horl [pccr review panelist] [peer rcviC'.v panelist ]
fSession modcr:aforj

Daniel But ka Jonathan Hi ls Fr e d Schmidt

butko@ou.cclu hils@ou.cdu fschmid t@fsb-ae.com
A~si~tant I)ro((,!ss~)r Associa(e Professor Plincipal and Director of Archi tecture
The University 01 Okhhoma The U niversity of Oklahom~ I'rankfu rt - Short - Bru!'.ll i\ssoci:Ht.:s
College of Arcilitc::ccl1I"e School of Art ~nd Art History [peer r\:\"iew pancl i ~tI
!pcer rcview p:l!lclistj [P eer review p:mcJislj
ISession mode r~torl

Antho ny Cr icch i o Kelly Hutze l l Rand y Teal

anr.hony.cricehio@ou.edu kell)·h@andrcw.t:mu.edu rtcal@uiJaho.edu
:\ssist~nt Professor Assistant Teaching Professor Assistant Professor
The L'nivcrsi(y of Okhhoma Carnegie Mellon Universiry The Univcrsity ·of Idaho
College of J\rchiccctu Te School of Architecture College of Art and Architecture
[Session mooenltf)rl JPeer rcview panelistl JPe.:r TCvie\\" panelistl

Dr. Ere n Erdener l isa Iw amoto

e-crdcner@ou.cdu lisa@iwamotoscott.com
Profcssor Associ:uc Profesl'or of l\rchi[cC[urc
The Cniversitr of Oklahoma College of Environml'ntai Design
College of Arch itecture Cnivcrsity of Californin-Berkdcy
ISession mo<]crfl.1.or] JPeer review pan disci

le e Fithia n St e ph anie Line r

Icefithian@ou.edu stephanic.lincr@gmail.com
ASSistant Pruiessor Artist
The University ofOk1:thoma New York City. NY
College of Architecture FPet"r Tc::riew·pancii$tl
lScssion moderator]
PROCEEDINGS OF THE
2010 CREATING MAKING FORUM

THE UNIVERSITY OF OKLAHOMA

COJ.LI ·:C; I·: 0 1' .IRU II T I ':CT U RI ·; I D II'I SIO N 0 1' .IRUI IT ECT U RI ·:

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