{"id":12506,"date":"2025-07-14T18:32:23","date_gmt":"2025-07-14T11:32:23","guid":{"rendered":"https:\/\/cstc.vn\/blogtsk\/juliana-godoy-reinterprets-lina-bo-bardis-glass-easels-with-soft-forms-for-masp-renoir-show\/"},"modified":"2025-07-14T18:32:23","modified_gmt":"2025-07-14T11:32:23","slug":"juliana-godoy-reinterprets-lina-bo-bardis-glass-easels-with-soft-forms-for-masp-renoir-show","status":"publish","type":"post","link":"https:\/\/cstc.vn\/blogtsk\/juliana-godoy-reinterprets-lina-bo-bardis-glass-easels-with-soft-forms-for-masp-renoir-show\/","title":{"rendered":"juliana godoy reinterprets lina bo bardi\u2019s glass easels with soft forms for MASP renoir show"},"content":{"rendered":"

juliana godoy completes exhibition design at masp\u2019s renoir show<\/strong><\/h2>\n

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For decades, the Museu de Arte de S\u00e3o Paulo (MASP) teams \u2014 particularly the museology department \u2014 have been developing a proprietary system for mounting and handling<\/strong><\/a> artworks from a collection that extends far beyond the museum walls and circulates globally. This work has resulted in a unique fixation system, visible in the permanent exhibition Acervo em movimento, where artworks are displayed on the iconic glass easels conceived by Lina Bo Bardi<\/strong><\/a> in 1968. In these display elements, the transparency of the glass reveals how the paintings are supported. Each piece is framed within a hybrid structure: a wooden frame encases the perimeter of the artwork, while its back features a translucent polyethylene panel and a stainless steel bar with two holes. This allows for the attachment of a specially designed system of screws and bolts that secures the piece both to the glass easels and to traditional walls or panels.<\/p>\n

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For the inauguration of MASP\u2019s new building in Brazil in 2025, Adriano Pedrosa and Regina Teixeira de Barros invited Juliana Godoy studio to develop the exhibition design for Cinco ensaios sobre o MASP \u2013 Renoir (Five Essays on MASP \u2013 Renoir), which features 13 works by the artist from the museum\u2019s collection \u2014 each integrated into this unique mounting system. The curatorial desire was to create a custom display support for each painting, and it was in this dialogue with the museum\u2019s past that the concept for the estrutura mole (soft structure) began to take form.<\/p>\n

all images courtesy of Juliana Godoy<\/p>\n

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a contemporary counterpoint to lina bo bardi\u2019s material clarity<\/strong><\/h2>\n

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Juliana Godoy\u2019s studio<\/strong><\/a> knew that comparisons to the glass easels would be inevitable. After all, they were once again designing individual supports in a museum where Lina had established one of the world\u2019s most iconic exhibition solutions. They were also engaging with the mounting mechanisms developed by Metro Arquitetos in 2015, when Pedrosa reintroduced the easels to the space they were never meant to leave. Their gesture, then, had to embody this legacy, acknowledging the beauty of a work that faces the viewer from one side, while revealing on the reverse the label and the very system that holds it in place. Thus, it was not just Lina\u2019s easels that served as a reference, but the fixation system itself \u2014 so elegantly exposed in her design and present throughout the museum\u2019s collection.<\/p>\n

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The soft structure emerges from this context: a freestanding object, entirely constructed from brushed stainless steel, composed of two curved, overlapping plates. Depending on the dimensions of the artworks, the structure discreetly reveals the back of each frame, establishing a visual and conceptual link with the museum\u2019s museological practices. In 1987, Lina chose two materials \u2014 concrete and glass \u2014 to express material truth, a foundational concept in an era still shaped by the echoes of modernism.<\/p>\n

Juliana Godoy reinterprets Lina Bo Bardi\u2019s glass easels<\/p>\n

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Today, in 2025, one may not know precisely how to define the current moment, but it is undeniably the era of post-truth, where nothing is quite as it seems, and each person constructs their own narrative of reality. In this time, where logic and meaning often invert, a base that to some appears as solid blue concrete is, in fact, made of foam. Steel, though rigid, reflects and dissolves the surrounding colors into itself. Within this shifting field of perception, the estrutura mole stands \u2014 offering a silent rhetoric on form and materiality, honoring the museum\u2019s legacy and collection, while subtly addressing the uncertainties of the time.<\/p>\n<\/p>\n

a new exhibition design for Cinco ensaios sobre o MASP \u2013 Renoir (Five Essays on MASP \u2013 Renoir)<\/p>\n

the show features 13 works by the artist from the museum\u2019s collection<\/p>\n

developing the new estrutura mole (soft structure) model<\/p>\n

the new structures are in dialogue with the museum\u2019s past that the concept<\/p>\n

the works are mounted on these freestanding objects<\/p>\n

a base that to some appears as solid blue concrete is, in fact, made of foam<\/p>\n

entirely constructed from brushed stainless steel, composed of two curved, overlapping plates<\/p>\n

honoring the museum\u2019s legacy and collection, while subtly addressing the uncertainties of the time<\/p>\n<\/p>\n

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project info:<\/strong><\/p>\n

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name:<\/strong>\u00a0Five Essays about MASP \u2013 Renoir
\ndesigner:<\/strong>\u00a0Juliana Godoy<\/a> | @julianapgodoy<\/a><\/p>\n

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designboom has received this project from our <\/em>DIY submissions<\/em><\/a> feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers <\/em>here.<\/em><\/a><\/p>\n

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edited by: ravail khan | designboom<\/em><\/p>\n

The post juliana godoy reinterprets lina bo bardi\u2019s glass easels with soft forms for MASP renoir show<\/a> appeared first on designboom | architecture & design magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

juliana godoy completes exhibition design at masp\u2019s renoir show \u00a0 For decades, the Museu de Arte de S\u00e3o Paulo (MASP) teams \u2014 particularly the museology department \u2014 have been developing a proprietary system for mounting … <\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[142],"tags":[],"yoast_head":"\njuliana godoy reinterprets lina bo bardi\u2019s glass easels with soft forms for MASP renoir show - Blog TSK<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cstc.vn\/blogtsk\/juliana-godoy-reinterprets-lina-bo-bardis-glass-easels-with-soft-forms-for-masp-renoir-show\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"juliana godoy reinterprets lina bo bardi\u2019s glass easels with soft forms for MASP renoir show - 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