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WIKIMAG n. 1 - Dicembre 2012
Oscar Niemeyer
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Oscar Ribeiro de Almeida Niemeyer Soares Filho (December 15,
1907 – December 5, 2012), known as Oscar Niemeyer (Brazilian
Portuguese: [ˈɔʃskaʁ
ˈniemajeʁ]), was a
Brazilian architect who is considered to be one of the key figures
in the development of
modern architecture. Niemeyer was best known for his design of civic
buildings for
Brasília, a
planned city which became Brazil's capital in 1960, as well as his
collaboration with other architects on the
United Nations Headquarters in
New York City. His exploration of the aesthetic possibilities of
reinforced concrete was highly influential on the architecture of
the late 20th and early 21st centuries.
Both lauded and criticized for being a "sculptor of monuments",[1]
Niemeyer was praised for being a great artist and one of the greatest architects
of his generation by his supporters.[2]
He said his architecture was strongly influenced by
Le
Corbusier, but in an interview, assured that this "didn't prevent [his]
architecture from going in a different direction".[3]
Niemeyer was most famous for his use of abstract forms and curves that
characterize most of his works, and wrote in his memoirs:
“ |
I am not
attracted to straight angles or to the straight line, hard and
inflexible, created by man. I am attracted to free-flowing, sensual
curves. The curves that I find in the mountains of my country, in the
sinuousness of its rivers, in the waves of the ocean, and on the body of
the beloved woman. Curves make up the entire Universe, the curved
Universe of Einstein.[4] |
” |
Born in
Rio
de Janeiro, Niemeyer was schooled at the city's
Escola Nacional de Belas Artes, and after graduating worked at his father's
typography
house, as well as as a
draftsman for local architectural firms. In the 1930s, he interned with
Lúcio Costa, with the pair collaborating on the design for the
Palácio Gustavo Capanema in Rio de Janeiro. Niemeyer's first major project
was the design of a series of buildings for
Pampulha, a
planned suburb north of
Belo Horizonte. His work, especially on the
Church of Saint Francis of Assisi, received critical acclaim, and drew
Niemeyer international attention. Throughout the 1940s and 1950s, Niemeyer
became one of Brazil's most prolific architects, designing a range of buildings
both within the country and overseas. This included the design of the
Edifício Copan (a large residential building in
São Paulo),
and a collaboration with
Le
Corbusier (and others) on the design of the United Nations Headquarters,
which engendered invitations to teach at
Yale University and the
Harvard Graduate School of Design.
In 1956, Niemeyer was invited by Brazil's new president,
Juscelino Kubitschek, to design the civic buildings for Brazil's new
capital, which was to be built in the centre of the country, far from any
existing cities. His designs for the
National Congress of Brazil, the
Cathedral of Brasília, the
Cultural Complex of the Republic, the
Palácio da Alvorada, the
Palácio do Planalto, and the
Supreme Federal Court, all completed by 1960, were largely experimental in
nature, and were linked by common design elements. This work led to his
appointment as inaugural head of architecture at the
University of Brasília, as well as honorary membership of the
American Institute of Architects. Due to his largely leftist ideology, and
involvement with the
Brazilian Communist Party (PCB), Niemeyer left the country after the
1964 military coup, and subsequently opened an office in
Paris. He
returned to Brazil in 1985, and was awarded the prestigious
Pritzker Architecture Prize in 1988. A socialist and atheist from an early
age, Niemeyer had spent time in both
Cuba and the
Soviet
Union during his exile, and on his return served as the PCB's president from
1992 to 1996. Niemeyer continued working at the end of the 20th and early 21st
century, notably designing the
Niterói Contemporary Art Museum (1996) and the
Oscar Niemeyer Museum (2002). Over his long career he designed approximately
600 projects.[5]
He died in Rio de Janeiro on December 5, 2012, at the age of 104.
Early life and
education
Niemeyer was born in the city of
Rio
de Janeiro on December 15, 1907.[3]
He took his German surname from a
German Brazilian grandmother with roots in
Hanover,
Germany.
Niemeyer explained, “my name ought to have been Oscar Ribeiro de Almeida de
Niemeyer Soares, or simply Oscar de Almeida Soares, but the foreign surname
prevailed and I am known simply as Oscar Niemeyer”.[6]
He spent his youth as a typical young
Carioca of
the time:
bohemian and relatively unconcerned with his future. In 1928, at age 21,
Niemeyer left school (Santo Antonio Maria Zaccaria priory school) and married
Annita Baldo,[3]
daughter of Italian immigrants from
Padua. They had
one daughter, Anna Maria Niemeyer (1931–2012).[7]
He pursued his passion at the National School of Fine Arts in Rio de Janeiro
(Escola
Nacional de Belas Artes) and graduated with a BA in architecture in 1934.[3]
First works
After graduating, he started to work in his father's
typography
house. Even though he was not financially stable at the time, he insisted in
working in the architecture studio of
Lucio
Costa,
Gregori Warchavchik and
Carlos Leão, even though they could not pay him. Niemeyer joined the studio
as a draftsman, an art that he mastered (Corbusier himself would latter
compliment Niemeyer's 'beautiful perspectives'[8]).
The contact with Lucio Costa would be extremely important in the professional
maturity of Niemeyer's work. It was Costa who, after an initial flirtation with
the Neocolonial movement, realized that the current advances of the
international style in Europe were the only true manifestation of a contemporary
architecture. His writings on the technical truth and simplicity which united
the traditional colonial architecture of Brazil (such as that in
Olinda) and the
modernist principles would be the basis of the architecture which would be later
realized by Niemeyer and his contemporaries, such as
Affonso Eduardo Reidy.
In 1936, at 29,
Lucio
Costa was appointed by the Education Minister Gustavo Capanema to design the
new headquarters of the
Ministry of Education and Health in
Rio
de Janeiro. Since Costa himself, though convinced of the required modernity,
was unsure of the modern language to be used, he gathered a group of young
architects (Carlos Leão, Affonso Eduardo Reidy, Jorge Moreira and Ernani
Vasconcellos) to design the building. He also insisted that
Le
Corbusier himself should be invited as a consultant. Though Niemeyer was not
initially included in the team, Costa agreed for him to join after his
insistence. During the period of Le Corbusier's stay in Rio, Niemeyer was
appointed to help him with the drafts, which allowed him a close contact with
the Swiss master. After his departure, Niemeyer's significant changes to
Corbusier's scheme impressed Lucio Costa to an extent that he progressively
started to take charge of the project, of which he assumed the leadership in
1939.
The Ministry which had assumed the task of shaping the ‘novo homem,
Brasileiro e moderno’ (new man, Brazilian and modern), was the first
state-sponsored
modernist
skyscraper in the world, and of a much larger scale than anything Le Corbusier
had built until then. Completed in 1943, when he was 36 years old, the building
which housed the regulator and manager of Brazilian culture and cultural
heritage developed the elements of what was to become recognized as
Brazilian modernism. It employed local materials and techniques, like the
azulejos
linked to the Portuguese tradition; the revolutionized Corbusian
brises-soleil, made adjustable and related to the Moorish shading devices of
colonial architecture; bold colors; the tropical gardens of
Roberto Burle Marx; the
Imperial Palm
(Roystonea oleracea), known as the Brazilian order; further allusions to
the icons of the Brazilian landscape; and specially commissioned works by
Brazilian artists. This building is considered by some architects as one of the
most influential of the 20th century, being taken as a model on how to dialogue
low- and high-rise structures (Lever
House).
In 1939, at age 32, Niemeyer and Lucio Costa designed the Brazilian pavilion
for the
New York World's Fair (executed in collaboration with
Paul Lester Wiener). Neighbouring the much larger French pavillion, the
Brazilian structure contrasted with its heavy mass. Costa explained that the
Brazilian Pavilion adopted a language of ‘grace and elegance’, lightness and
spatial fluidity, with an open plan, curves and free walls, which he termed
‘Ionic’, contrasting it to the mainstream contemporary modernist architecture,
which he termed ‘Doric’. Impressed by its avant-garde design, Mayor
Fiorello La Guardia awarded Niemeyer the keys to the city of New York.
In 1937, Niemeyer was invited by a relative to design a nursery for
philanthropic institution which catered for young mothers, the Obra do Berço.
It would become his first finalised work.[9]
However, Niemeyer has claimed that his architecture really began in Pampulha,
Minas Gerais, and as he explained in an interview, Pampulha was the starting
point of this freer architecture full of curves which I still love even today.
It was in fact, the beginning of Brasília....[3]
The Pampulha Project
The free-form marquee at Casa do Baile
In 1940, at 33, Niemeyer met
Juscelino Kubitschek, who was at the time the mayor of
Belo Horizonte, capital of the
state of Minas Gerais. Kubitschek, together with the state's governor
Benedito Valadares, wanted to develop a new suburb to the north of the city
called Pampulha
and commissioned Niemeyer to design a series of buildings which would become
known as the "Pampulha architectural complex". The complex included a casino, a
restaurant/dance hall, a yacht club, a golf club and a church, all of which
would be distributed around a new artificial lake. A weekend retreat for the
mayor was also built near the lake.
The buildings were completed in 1943 and received international acclaim
following the 1943 ‘Brazil Builds’ exhibition, at the New York Museum of Modern
Art (MoMA). Most of the buildings show Niemeyer's particular approach to the
Corbusian language. In the casino, with its relatively rigid main façade,
Niemeyer started to depart from the Corbusian principles and designed curved
volumes outside the confinement of a rational grid.[10]
He also expanded upon Corbusier's idea of a promenade architecturale with
his designs for the floating catwalk-like ramps which unfold the open vistas to
the players.
The small restaurant (Casa do Baile), which is perhaps the least bourgeois
building of the complex, is built on its own artificial island and comprises an
approximately circular block from which a free-form marquee unravels, following
the contour of the island. Although free form had been used even in Corbusier's
and Mies's architecture, its application on an outdoors marquee was a new
invention by Niemeyer. It blurs the inside-outside hierarchy at a previously
unrealised level, though the theme was already being explored by most modernist
architects. This application of free-form, together with the butterfly roof used
at the Yacht Club and Kubitschek's house became extremely fashionable from then
on.
The Saint Francis of Assisi church, however, is considered the masterpiece of
the complex. When it was built reinforced concrete was being used in traditional
ways, such as in pillar, beam and slab structures.
Auguste Perret, in Casablanca and
Robert Maillart in Zurich had experimented the plastic freedom of concrete,
taking advantage of the parabolic arch's geometry to build extremely thin
shells. Niemeyer's shocking decision to utilize such an economic approach to
construction, based on the inherent plasticity allowed by reinforced concrete to
produce an aesthetic and spacial experience was revolutionary. According to
Joaquim Cardoso,[11]
the unification of wall and roof into a single element marked a new
anti-vertical monumentality. The formal exuberance of this church added to the
strong integration between architecture and art (the church is covered by
Azulejos by
Portinari and tile murals by Paulo Werneck) led to the church being read as
baroque. Though some more radical European purists condemned its formalism, the
fact that the form's idea was directly linked to a logical structural reason
meant that the building belonged to the 20th century, while refusing to break
completely from the past as it was the tendency at the time.
Due to its importance in the history of Brazilian and World architecture, the
church was the first listed modern building in Brazil. This fact did not
influence the conservative church authorities of Minas Gerais, who refused to
consecrate the church until 1959, in part because of its unorthodox form, in
part because of the altar
mural painted by
Portinari. The mural depicts
Saint Francis of Assisi as the savior of the ill, the poor and, most
importantly, the sinner.
Pampulha, says Niemeyer, offered him the opportunity to 'challenge the
monotony of contemporary architecture, the wave of misinterpreted functionalism
that hindered it, and the dogmas of form and function that had emerged,
counteracting the plastic freedom that reinforced concrete introduced. I was
attracted by the curve – the liberated, sensual curve suggested by the
possibilities of new technology yet so often recalled in venerable old baroque
churches. […] I deliberately disregarded the right angle and rationalist
architecture designed with ruler and square to boldly enter the world of curves
and straight lines offered by reinforced concrete. […] This deliberate protest
arose from the environment in which I lived, with its white beaches, its huge
mountains, its old baroque churches, and the beautiful suntanned women.'[4]
The experience also marked the first collaborations between Niemeyer and
Roberto Burle Marx, considered the most important modern landscape
architect. They would be partners in many projects in the next 10 years, a
collaboration that would yield the best results in their careers.
The 1940s and 1950s
With the success of Pampulha and the Brazil Builds exhibition, Niemeyer's
fame was thrust to an international level. His architecture of the period
further developed the brazilian style that the Saint Fracis of Assissi
Church and, to a lesser extent (due to its primary corbusian language) the
Ministry building, had pioneered. Works of this period shows the traditional
modernist projectual method in which form follows function, but Niemeyer's (and
in fact, other prominent Brazilian architects) handling of scale, proportion and
program allowed him to resolve several complex problems with simple and
inteligent plans.[12]
Stamo Papadaki in his monography on Niemeyer would also mention the spacial
freedom which was characteristic of his simple and transparent architecture. The
headquarters of the Banco Boavista, inaugurated in 1948 show such an approach.[13]
Dealing with a typical urban site, Niemeyer adopted creative solutions to
enliven the otherwise monolithic high rise, thus challenging the predominant
solidity which was the norm for bank buildings.[14]
The glazed south façade (with least insulation) reflects the 19th century
Candelária Church, showing Niemeyer's sensitivity to the surroundings and
older architecture. Such austere designs to high rises within urban grids can
also be seen in the Edifício Montreal (1951-1954), Edifício Triângulo (1955),
and the Edifício Sede do Banco Mineiro da Produção, exemplifying how Niemeyer
prioritized urban unity for such program.
In 1947, at 40, Niemeyer returned to New York City to integrate the
international team working on the design for the
United Nations headquarters. Niemeyer's scheme 32 was approved by the Board
of Design, but he eventually gave in to pressure by Le Corbusier, and together
they submitted project 23/32 (developed with Bodiansky and Weissmann), which
combined elements from Niemeyer's and Le Corbusier's schemes. Despite Le
Corbusier’s insistence to remain involved, the conceptual design for the United
Nations Headquarters (scheme 23/32), approved by the Board, was carried forward
by the Director of Planning,
Wallace Harrison, and
Max
Abramovitz, then a partnership. This stay in the United States also produced
the project for the Burton G. Tremaine house, one of his boldest residential
designs. Amidst exuberant gardens by Burle Marx, it featured an extremely opened
plan designed for a total living experience next to the
Pacific Ocean.[15]
Niemeyer produced very few designs for the United States given that his
affiliation to the
Communist Party usually prevented him from obtaining a visa. This happened
in 1946 when he was invited to teach at
Yale University. However, due to his political views, his visa was denied.
In 1953, at 46, Niemeyer was selected for the position of dean of the
Harvard Graduate School of Design, but his political views were again a
problematic issue.
In 1950 the first book about the architect's work to be published in the
United States, "The Work of Oscar Niemeyer" by
Stamo Papadaki was released. It was the first systematic study of his
architecture, which significantly contributed to the promotion of his work
abroad. It would be followed in 1956 by "Oscar Niemeyer: Works in Progress", by
the same author.[16]
By this time, Niemeyer was already self-confident and following his own path in
the international architectural scenario. Since 1948 Niemeyer had departed from
the parabolic arches he had designed in Pampulha and went on to further explore
his standard material, the concrete.
Palácio da Agricultura, current MAC USP, showing the V shaped
pilotis
Niemeyer's formal creativity has been compared to that of sculptors. This
prolific impulse found grounds onto which to develop on 1950s, a time of
intensive construction in Brazil and when Niemeyer received numerous
commissions. Yves Bruand
[17] stressed that since his project for a theatre next to the
Ministry of Education and Health building, in 1948, it was in the structures
that Niemeyer saw ground onto which he could develop his vocabulary. In 1950 he
was asked to design
São Paulo's
Ibirapuera Park for the celebrations of the city's 400th anniversary. The
plan, which consisted of several porticoed pavilions related together via a
gigantic free form marquee, had to be simplified due to cost. The resulting
buildings were less interesting individually, which meant that the volumetric
dispositions became the dominant aesthetic experience, to be unraveled as one
meanders under the marquee. For these buildings Niemeyer developed the V shaped
pilotis, which went to become extremely fashionable at the time. A variation on
the same theme was the W shaped piloti which supports the
Governador Juscelino Kubitschek housing complex (1951), two large building
containing around 1,000 apartments. Its design was based on Niemeyer's scheme
for the Quitandinha apartment hotel in
Petrópolis
designed one year earlier and never realised. At 33 stories high and over 400
meters long, it would contain 5,700 living unites together with communal
services such as shops, schools etc, being Niemeyer's version of Corbusier's
Unité d'Habitation.[18]
A similar program was realized in the centre of
São Paulo,
the
Copan apartment building (1953–66). This landmark represents a microcosmos
of the diverse population of the city. Its horizontality, which is emphasized by
the concrete brise-soleil, together with the fact that it was a residential
building was an interesting approach to popular housing at the time, given that
in the 1950s the suburbanization process had begun and the city centres were
being occupied primarily by business and corporations, usually occupying
vertical "masculine" buildings, as opposed to Niemeyer's "feminine" approach.[19]
In 1954 Niemeyer also designed the "Niemeyer apartment building" at the
Praça da Liberdade, Belo Horizonte. The building's completely free form
layout is reminiscent of
Mies van der Rohe's 1922 glass skyscraper,, although with a much more
material feel than the airy German one. At the same plaza Niemeyer built a
library (Biblioteca Pública Estadual), also in 1954.
During the period Niemeyer build several residences. Among them are a weekend
house for his father, in Mendes (1949), which was built from a chicken coop, the
Prudente de Morais Neto house, in Rio (1943–49), which was based on Niemeyer's
original design for Kubitschek's house in Pampulha, a house for Gustavo Capanema
(1947) (the minister who commissioned the Ministry of Education and Health
building), the Leonel Miranda house (1952), featuring two spiral ramps which
provide access to the butterfly-roofed first floor, lifted up on oblique piloti.
These houses featured the same inclined façade used in the Tremaine design,
which allowed good natural lighting. In 1954 he built the famous Cavanelas
house, with its tent-like metallic roof which, with the help of Burle Marx's
gardens, is perfectly adapted to the mountainous site.[20]
However, his residential (and free-form architecture) masterpiece is considered
to be the 1953 Canoas House Niemeyer built for himself. The house is located at
a sloped terrain overlooking the ocen from far, and it is developed in two
floors, the first of which is a transparent and flowing space under a free form
roof, suported on thin metallic columns. The private living quarters is located
on the floor below, which is much more traditionaly divided. The design takes
advantage of the uneven terrain so that the house seems not to disturb the
landscape. Although the house is extremely well settled in its environment, it
did not escape from criticism. Niemeyer recalls that
Walter Gropius, who was visiting the country as a jury in the second
Biennial exhibition in São Paulo, argued that the house could not be mass
produced, to which Niemeyer responded that the house was design for himself and
at that particular site, not a general flat one.[21]
For Henry-Russell Hitchcock, the house at Canoas was Niemeyer's most extreme
statement of his lyricism, putting forward rhythm and dance as the ultimate
transgression of utility.[22]
However, Niemeyer must have realised that such organic architecture was indeed
very specific and dependent on particular talents and an almost crafted quality
in order to be successful.
Auto-critical revision: Depoimento
In 1953 the modern Brazilian architecture, which had been enormously praised
since Brazil Builds, started to be the target of international criticism, mainly
from strong rationalists. Niemeyer's architecture in particular was heavily
criticised by
Max Bill who had given an interview for the Manchete Magazine.[23]
He attacked Niemeyer's use of free-form as purely decorative (as opposed to
Reidy's Pedregulho housing), his use of mural panels and the individualistic
character of his architecture which "is in risk of falling in a dangerous
anti-social academicism". He even attacked Niemeyer's V piloti, judging their
form as purely aesthetic.
Niemeyer's first attitude towards Bill's critique was one of denial, followed
by an attack based on Bill's patronizing attitude which prevented him from
realising the different social and economic realities of Brazil and European
countries. Lucio Costa also stressed that Brazilian (and Niemeyer's)
architecture was based on unskilled work which allowed for a crafted
architecture based on concrete, expressing a tradition of church builders
(Brazilians), as opposed to clock builders (Swiss).[24]
Edifício Califórnia, São Paulo
Although it was badly received and to an extent a slight exaggeration, Bill's
words were effective in bringing to attention the mediocre architecture that was
being produced by less talented architects, who utilized Niemeyer's vocabulary
in the decorative fashion Bill had criticised. Niemeyer himself admitted that
for a certain period he had "handled too many commissions, executing them in a
hurry, trusting the improvisational skills he believed to have".[25]
The Edifício Califórnia in São Paulo is an example. Usually neglected by its
creator, it features the V piloti which had worked so well in isolated
buildings, creating a different treatment to that space without the need for two
separate structural system as Corbusier had done in Marseille. Its use on a
typical urban fabric was indeed completely formalistic and even compromised the
building's structural logic which required a myriad of different sized supports.[26]
Berlin's 1957 Interbau exhibition gave Niemeyer not only the chance of
building an example of his architecture in Germany, but also the chance to visit
Europe for the first time, in 1954. The contact with the ancient monuments of
the old world had a lasting impact on Niemeyer's views on architecture, which
now he believed was completely dependent its aesthetic qualities. Together with
his own realisations of how Brazilian architecture was been harmed by untalented
architects and recent international criticism, this trip led Niemeyer to a
process of revision of his own work, which he published as a text named
Depoimento in his Módulo Magazine. He proposed a simplification of his
architecture, discarding multiple elements such as brises, sculptural piloti,
marquees etc. His architecture from then on would be a pure expression of
structure as a representation of solid volumes.[27]
His design method would also change, prioritizing aesthetic impact over other
programmatic functions, given that for him "when form creates beauty, it has in
in beauty itself its justification".[28]
Model of the Museum of Modern Art of Caracas
In 1955, at 48, Niemeyer designed the Museum of Modern Art of Caracas. The
design of this museum was the material realization of his work revision. Meant
to rise from the top of a cliff overlooking central Caracas, the museum had an
inverted pyramid shape which dominated and overpowered the landscape. The opaque
prismatic building had almost no connection to the outside through its walls,
although its glass ceiling allowed specific quantities of natural light into the
building. An electronic system would keep lighting conditions unchanged
throughout the day as artificial light would complement it. The interior,
however, was more familiar to Niemeyer's language, with cat-walk ramps linking
the different levels and the mezzanine, a free-form slab hung from the ceiling
beams.
This purity of form and architectural simplicity would culminate in his work
in Brasília, where the aesthetic qualities of the buildings are expressed by
their structural elements alone.
Brasília
Ministries Esplanade with several of Niemeyer's buildings: the
National Congress, the Cathedral, the National Museum and the
National Library,
Brasilia, D.F., 2006
National Congress of Brazil, Brasília
It was at the Canoas House that Juscelino Kubitschek visited Niemeyer one
September morning of 1956, soon after he assumed the Brazilian presidency. While
driving back to the city, the politician ‘eagerly’ spoke to the architect about
his most audacious scheme: ‘I am going to build a new capital for this country
and I want you to help me […] Oscar, this time we are going to build the capital
of Brazil.’[29]
Niemeyer organized a competition for the lay-out of
Brasília,
the new capital, and the winner was the project of his old master and great
friend,
Lúcio Costa. Niemeyer would design the buildings, Lucio the plan of the
city.
In the space of a few months, Niemeyer designed a large number of
residential, commercial and government buildings. Among them were the residence
of the President (Palácio da Alvorada), the House of the deputy, the
National Congress of Brazil, the
Cathedral of Brasília (a
hyperboloid structure), diverse ministries, and residential buildings.
Viewed from above, the city can be seen to have elements that repeat themselves
in every building, giving it a formal unity.
Behind the construction of Brasília lay a monumental campaign to construct an
entire city in the barren center of the country, hundreds of kilometers from any
major city. The brainchild of Kubitschek, Niemeyer had as aims included
stimulating the national industry, integrating the country's distant areas,
populating inhospitable regions, and bringing progress to a region where only
cattle ranching had a foothold. Niemeyer and Lúcio Costa used it to test new
concepts of city planning: streets without transit, buildings floating off the
ground supported by columns and allowing the space underneath to be free and
integrated with nature.
The project also had a socialist ideology: in Brasília all the apartments
would be owned by the government and rented to its employees. Brasília did not
have "nobler" regions, meaning that top ministers and common laborers would
share the same building. Of course, many of these concepts were ignored or
changed by other presidents with different visions in later years. Brasília was
designed, constructed, and inaugurated within four years. After its completion,
Niemeyer was nominated head chief of the college of architecture of the
University of Brasília. In 1963, he became an honorary member of the
American Institute of Architects in the United States; the same year, he
received the
Lenin Peace Prize from the
USSR.
Niemeyer and his contribution to the construction of
Brasília
are portrayed in the 1964 French movie
L'homme de Rio (The Man From Rio), starring
Jean-Paul Belmondo.
In 1964, at 57, after being invited by
Abba Hushi,
the mayor of Haifa,
Israel, to plan the campus of the
University of Haifa, he came back to a completely different Brazil. In March
President
João
Goulart, who succeeded President
Jânio
Quadros in 1961, was deposed in a
military coup. General
Castello Branco assumed command of the country, which would remain a
dictatorship until 1985.
Exile and
projects overseas
The leftist position of Niemeyer cost him much during the military
dictatorship. His office was pillaged, the headquarters of the magazine he
coordinated was destroyed, his projects mysteriously began to be refused and
clients disappeared. In 1965, two hundred professors, Niemeyer among them, asked
for their resignation from the
University of Brasília, in protest against the government treatment of
universities. In the same year he traveled to France for an exhibition in the
Louvre museum.
The following year, Niemeyer moved to Paris. Also in 1966, at 59, he
travelled to the city of
Tripoli, Lebanon to design the International Permanent Exhibition Centre.[30]
Despite completing construction, the start of the civil war in Lebanon prevented
it from achieving its full utility.
He opened an office on the
Champs-Élysées, and had customers in diverse countries, especially in
Algeria where
he designed the
University of Science and Technology-Houari Boumediene. In Paris he created
the headquarters of the
French Communist Party,
Place du Colonel Fabien, and in
Italy that of the
Mondadori publishing company. In
Funchal on
Madeira, a
19th-century hotel was removed to build a casino by Niemeyer.
While in Paris, Niemeyer began designing furniture which was produced by
Mobilier International. He created an easy chair and ottoman composed of
bent steel and leather in limited numbers for private clients. Later, in 1978,
this chair and other designs including the "Rio" chaise-longue were produced in
Brazil by the
Japanese company
Tendo, then
Tendo Brasileira. The easy chairs and ottomans were made of bent wood and
were placed in different Communist party headquarters around the world. Much
like his architecture, Niemeyer's furniture designs were meant to evoke the
beauty of Brazil,
with curves mimicking the female form and the hills of
Rio
de Janeiro.
1980s to 2000
The Brazilian dictatorship lasted until 1985. Under
João Figueiredo's rule it softened and gradually turned into a democracy. At
this time Niemeyer decided to return to his country. During that decade he made
the
Memorial Juscelino Kubitschek (1980), the
Pantheon (Panteão da Pátria e da Liberdade Tancredo Neves Pantheon of
the Fatherland and Freedom, 1985) and the
Latin America Memorial (1987) (dubbed by The Independent of London to be
"...an incoherent and vulgar construction"[31]).
The memorial sculpture represents the wounded hand of Jesus, whose wound bleeds
in the shape of
Central and South America. In 1988, at 81, Niemeyer was awarded the
Pritzker Architecture Prize, the most prestigious award in architecture.
From 1992 to 1996, Niemeyer was the president of the
Brazilian Communist Party (PCB). As a lifelong activist, Niemeyer was chosen
as a powerful public figure that could be linked to the party at a time when it
appeared to be in its death throes after the demise of the USSR. Although not
active as a political leader, his image helped the party to survive through its
crisis, after the
1992 split and to remain as a political force in the national scene, which
eventually led to its reconstruction. He was replaced by Zuleide Faria de Mello
in 1996. He designed at least two more buildings in Brasilia, the Memorial dos
Povos Indigenas[32]
("Memorial for the Indigenous People") and the Catedral Militar, Igreja de N.S.
da Paz.[33]
In 1996, at the age of 89, he was responsible for the design of the
Niterói Contemporary Art Museum in
Niterói, a
city next to Rio de Janeiro. The building is cantilevered out from sheer rock
face, giving a view of the
Guanabara Bay and the city of Rio de Janeiro.
21st century and death
Oscar Niemeyer, December 2010
Niemeyer maintained his studio in Rio de Janeiro well into the 21st century.
In 2002, the
Oscar Niemeyer Museum complex was inaugurated in the city of
Curitiba,
Paraná. In 2003, at the age 96, Niemeyer was called to design the
Serpentine Gallery Summer Pavilion in Hyde Park London, a gallery that each
year invites a famous architect, who has never previously built in the UK, to
design this temporary structure. He was still involved in diverse projects at
the age of 100, mainly sculptures and readjustments of previous works. On
Niemeyer's 100th birthday, Russia's president Vladimir Putin awarded him the
Order of Friendship.[34]
Grateful for the
Prince of Asturias Award of Arts received in 1989, he collaborated on
the 25th anniversary of these awards with the donation to
Asturias of
the design of a cultural centre. The
Óscar Niemeyer International Cultural Centre (also known in Spain as Centro
Niemeyer), is located in
Avilés and was
inaugurated during in 2011. In January 2010, the Auditorium Oscar Niemeyer
Ravello was officially opened in
Ravello,
Italy, on the
Amalfi
Coast. The Auditorium's concept design, drawings, model, sketches and text
were made by Niemeyer in 2000 and completed under the guidance of his friend,
Italian sociologist Domenico de Masi. The project was delayed for several years
due to objections arising from its design, siting and clear difference from the
local architecture; since its inauguration the project has experienced problems
and, after one year was still closed.[35]
After reaching the age of 100, Niemeyer spent several periods of time in
hospital.[36]
In 2009, after a four-week period of hospitalisation for the treatment of
gallstones and an intestinal tumour, he was quoted as saying that
hospitalization is a "very lonely thing; I needed to keep busy, keep in touch
with friends, maintain my rhythm of life."[37]
His daughter and only child, Anna Maria, died of
emphysema
in June 2012, aged 82.[7]
Niemeyer died of
cardiorespiratory arrest on December 5, 2012 at the Hospital Samaritano in
Rio de Janeiro, ten days before his 105th birthday.[38]
He had been hospitalised with a respiratory infection prior to his death.[39]
The BBC's obituary of
Niemeyer noted that he "built some of the world's most striking buildings -
monumental, curving concrete and glass structures which almost defy
description", also acclaiming him as "one of the most innovative and daring
architects of the last 60 years".[40]
The
Washington Post described him as "widely regarded as the foremost Latin
American architect of the last century".[41]
-
-
Oscar Niemeyer Museum (NovoMuseu), Curitiba, Brazil
-
Brazilian National Museum, Brasilia, D.F.
-
Criticism
Nicolai Ouroussoff, the architecture critic of
The New York Times, published an article questioning if Niemeyer's
recent work is being affected by old age. Ouroussoff considers the "Niterói
Contemporary Art Museum" to be of significantly lower quality than his previous
works. Most notably, he argues that "the greatest threat to Mr. Niemeyer’s
remarkable legacy may not be the developer’s bulldozer or insensitive city
planners, but Mr. Niemeyer himself". He considers iconic works at "Esplanada dos
Ministérios" to "have been marred by the architect’s own hand".[42]
Political and
religious views
Niemeyer had a leftist political ideology. In 1945, many communist militants
who were arrested under
Vargas' dictatorship were released, and Niemeyer, who at the time kept an
office at Conde Lages (in
Glória),
decided to shelter some of them there. The experience allowed him to meet
Luís Carlos Prestes, perhaps the most important leftist figure in Brazil.
After several weeks, he gave up the house to Prestes and his supporters, who
came to found the Brazilian Communist Party.[43]
Niemeyer then joined the
Brazilian Communist Party in 1945[44]
and went on to become its president in 1992. Niemeyer was a boy at the time of
the
Russian Revolution of 1917, and by the Second World War he had become a
young idealist. During the
military dictatorship of Brazil his office was raided and he was forced into
exile in Europe. The Minister of Aeronautics of the time reportedly said that
"the place for a communist architect is Moscow." He subsequently visited the
Soviet
Union, meeting with a number of the country's leaders, and in 1963 was
awarded the
Lenin Peace Prize. Niemeyer was also a close friend of
Fidel
Castro, who often visited his apartment and studio whilst in Brazil. Castro
was once quoted as saying "Niemeyer and I are the last communists on this
planet." Niemeyer was also regularly visited by
Hugo
Chávez.[45]
Some critics have pointed out the fact that Niemeyer's architecture is often
contradictory to this view.[17]
His first major work,
Pampulha,
had a bourgeois character, and Brasília was famous for its palaces.
Niemeyer never saw architecture in the same way as
Walter Gropius, who defended a rational and industrial architecture capable
of moulding society into the new industrial era. Skeptical about architecture's
ability to change the "injust society", Niemeyer defended that such activism
should be undertaken politicaly, and thus simplifying architecture for such
purposes would be anti-modern (as it would be limiting constructive technology)
[46].
Niemeyer says: "Our concern is political too – to change the world,
...Architecture is my work, and I've spent my whole life at a drawing board, but
life is more important than architecture. What matters is to improve human
beings."[47]
Niemeyer was an
atheist
throughout his life, basing his beliefs both on the "injustices of this world"
and on cosmological principles: "It's a fantastic Universe which humiliates us,
and we can't make any use of it. But we are amazed by the power of the human
mind … in the end, that's it—you are born, you die, that's it!".[21]
Such views never stopped him from designing religious buildings, which span from
small Catholic chapels, through to huge Orthodox churches and large mosques. He
also catered to the spiritual beliefs of the public who facilitated his
religious buildings. In the Cathedral of Brasília, he intended for the large
glass windows "To connect the people to the sky, where their Lord's paradise
is."
Personal life
Niemeyer married Annita Baldo in 1928.[3]
They had one daughter, Anna Maria, and subsequently five grandchildren, thirteen
great-grandchildren, and seven great-great-grandchildren.[48]
Niemeyer's first wife died in 2004, at the age of 93, after 76 years of
marriage. In 2006, shortly before his 99th birthday, Niemeyer married his
longtime secretary, Vera Lucia Cabreira.[48]
They married at his apartment in Rio de Janeiro's
Ipanema
district, a month after he had fractured his hip in a fall.[49]
Anna Maria died on 6 June 2012.[7]
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