Oscar Niemeyer
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Oscar Ribeiro de Almeida Niemeyer Soares Filho (December 15, 1907) is a Brazilian architect who is considered one of the most important names in international modern architecture. He was a pioneer in the exploration of the constructive possibilities of reinforced concrete.
Although he was a defender of utilitarianism, his creations did not have the blocky coldness frequently criticized by post-modern critics. His buildings have forms so dynamic and curves so sensual that many admirers say that, more than an architect, he is a sculptor of monuments, a trait some critics consider to be a defect.
Oscar Niemeyer and his contribution to the construction of the city of Brasília is portrayed and somewhat parodied in the 1964 French movie L'homme de Rio (That Man From Rio), starring Jean-Paul Belmondo.
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[edit] Early life
Oscar Niemeyer was born in the city of Rio de Janeiro in 1907, on a street that later would receive the name of his grandfather Ribeiro de Almeida. He spent his youth as a typical young Carioca of the time: bohemian and relatively unconcerned with his future. He concluded his secondary education at age 21. The same year, he married Annita Baldo, daughter of Italian immigrants from Padua. Marriage gave him a sense of responsibility: he decided to work and enter university.
He started to work in his father's typography house and entered the Escola de Belas Artes, from which he graduated as engineer architect in 1934. At the time he had financial difficulties but decided to work without fee anyway, in the architecture studio of Lúcio Costa and Carlos Leão. He felt unsatisfied with the architecture that he saw in the streets and believed he could find a career there.
In 1945, already an architect of some repute, he joined the Brazilian Communist Party. Niemeyer was a boy at the time of the Russian Revolution of 1917, and by the Second World War he became a young idealist. He was an enthusiastic communist, a position which would cost him much later in his life. 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 visited the USSR, met with diverse socialist leaders and became a personal friend of some of them. Fidel Castro once said: "Niemeyer and I are the last Communists of this planet."
[edit] First works
In 1936, Lúcio Costa was appointed by Education Minister Gustavo Capanema architect of the new headquarters for the Ministry of Education and Public Health in Rio de Janeiro. In 1939, Niemeyer assumed the leadership of the team of architects (Lúcio Costa, Carlos Leão, Affonso Eduardo Reidy, Jorge Moreira, Ernani Vasconcellos and Oscar Niemeyer, with Le Corbusier acting as a consultant in 1936) responsible for the Ministry that had assumed the task of shaping the ‘novo homem, Brasileiro e moderno’ (new man, Brazilian and modern).
The project, named Capanema Palace, in 1935, was extremely bold for the time. It was the first government modernist building in the Americas, and of a much larger scale than anything Le Corbusier had built until then. Completed in 1943, the building which housed the regulator and manager of Brazilian culture and cultural heritage developed all the elements of what was to become recognised as Brazilian modernist movement: it employed local materials and techniques, like the azulejos linked to the Portuguese tradition; the revolutionised Corbusian brises-soleil, made adjustable and related to the Moorish shading devices of colonial architecture; bold colours; the tropical gardens of Roberto Burle Marx; the Imperial Palm (roystonea oleraceæ), known as the Brazilian order; further allusions to the icons of the Brazilian landscape; and the integrated, specially commissioned works of Brazilian artists.
In 1939 Niemeyer traveled with Lúcio Costa to design the Brazilian pavilion in the New York World's Fair. At a time when Europe and the United States were concentrating their industrial powers on World War II, Brazil was investing in architecture. The country placed itself in the vanguard of international modernist architecture, where it remained until decades later, in large part thanks to the talent of Niemeyer.
[edit] The Pampulha project
In 1940 Niemeyer met Juscelino Kubitschek, who was at the time the mayor of Belo Horizonte, capital of the state of Minas Gerais. He and Minas Gerais 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 to be known as the "Pampulha complex".
The buildings were completed in 1943, and provoked some controversy. They received international acclaim following the 1942 exhibition of Brazilian architecture (Colonial and Modern) at the New York Museum of Modern Art (MoMA). The conservative Church authorities of Minas Gerais refused to consecrate the Church of Saint Francis of Assis, in part due to its unorthodox form, in part due to the mural painted by Candido Portinari and the fact that it contained no confessional. The mural depicts Christ as the saviour of the ill, the poor and, most importantly, the sinner.
In Pampulha, Niemeyer started to mark his style: he used the structural properties of the armed concrete to give sinuous forms to the building. When Niemeyer draws a building he makes it with the minimum of possible traces, as organic and trembling as a gesture of the hand. However, he denies that his buildings have an aesthetic more important than function: he often wrote elaborate justifications of the details of his projects, wherein he described the function of each curve of the building. He said that if he could not justify an idea in one paragraph, he gave it up. Also later he would say that a form that conveys beauty is useful in itself.
[edit] The 1940s and 1950s
In 1947, his world-wide recognition was confirmed when Niemeyer traveled to the United States to design the headquarters of the United Nations in New York. In the previous year he had received an invitation to teach at Yale University; however, his visa was denied because of his socialist beliefs. In 1950 the first book about his work was published in the USA by Stamo Papadaki.
In Brazil, he designed São Paulo's Ibirapuera Park (for the celebrations of the city's 400th anniversary) and in 1951 the Copan apartment building, and the JK Building in Belo Horizonte. In 1952 he built his own house in Rio de Janeiro, the House at Canoas (casa das canoas), and in 1954 the Niemeyer luxury apartment building, in Belo Horizonte.
In 1954 he was called to design the Museum of Modern Art of Caracas (MAM Caracas). It was the first work where Niemeyer worked in order to create a symbol: architecture as a symbol. This kind of strategy was used later in Brasilia's projects. The building never was constructed but the drawings and the pictures of the model let us see Niemeyer's future style.
Then Juscelino Kubitschek, elected president of Brazil in 1956, once again came in contact with Niemeyer. This time his plans were far more ambitious: he put Niemeyer in the head of Novacap, a project to move the national capital to a depopulated region in the center of the country.
[edit] Brasília
Niemeyer organized a competition for the urbanistic 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 and 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, the Cathedral of Brasília (a hyperboloid structure), diverse ministries, not to mention residential buildings. Viewed from above, the city can be seen to have elements that repeat themselves in every building, giving it a formal unity. The cathedral of Brasília is especially beautiful, with diverse modern symbolism. Its entrance is a dimly-lit corridor that contrasts with the bright, naturally illuminated hall.
Behind the construction of Brasília lay a monumental campaign to construct an entire city in the barren center of the country, thousands of kilometers from any major city. The brainchild of Kubitschek, his 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 (many historians compare the construction of Brasília with the American colonization of its west). Niemeyer and Lúcio Costa used it to test new concepts of city planning: streets without transit (Niemeyer would say that it is a disrespect to the human being that it takes more than 20 minutes in the transport of a region to another one), 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 it, 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 a Soviet prize, the Lenin peace prize.
In 1964, 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 Castelo Branco assumed command of the country, which would remain a dictatorship until 1985.
[edit] Exile and projects overseas
The leftist position of Niemeyer would cost him much during the CIA-backed Cold War 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 asked for his 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.
In the following year, his work hindered in Brazil, Niemeyer moved to Paris. There he started a new phase of his life and workmanship. He opened an office on the Champs-Élysées, and had customers in diverse countries, especially in Algeria where, among others he designed the University of Constantine. In Paris he created the headquarters of the French Communist Party (photos), Place du Colonel Fabien, and in Italy that of the Mondadori publishing company. In Funchal on Madeira and old hotel from the 19th century was removed to build a Casino by Niemeyer.
Another prominent design of his was the Penang State Mosque in George Town the state capital of Penang, Malaysia in 1970s.
[edit] 1980s to the present
The dictatorship lasted 21 years, 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. He himself defines this time as the beginning of the last phase of his life. During that decade he made the Memorial Juscelino Kubitschek (1980), the Pantheon (1985) and the Latin America Memorial (1987), the last a beautiful sculpture representing the wounded hand of Jesus, whose wound bleeds in the shape of Central and South America.
In 1988 Oscar Niemeyer was awarded the Pritzker Architecture Prize, together with the American architect Gordon Bunshaft.
He designed at least two more buildings in Brasilia, small ones that are arguably among his greatest, the Memorial dos Povos Indigenas ("Memorial for the Indigenous People") and the Catedral Militar, Igreja de N.S. da Paz.
In 1996, at 89 years old, he created what many consider his greatest work: the Niterói Contemporary Art Museum (in the city of Niterói, a city next to Rio de Janeiro). The building flies from a rock, giving a beautiful view of the Guanabara Bay and the city of Rio de Janeiro. Critics of the museum say the building is so exotic that it upstages the works of art inside it.
In 2003, 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.
On December 10, 2004, a tombstone of Communist Carlos Marighella, in Salvador, Bahia was inaugurated to celebrate the 35th anniversary of his death. The tombstone was designed by Niemeyer.
In 2005, one of his project entitled "ESTAÇÃO CIÊNCIA, CULTURA e ARTES " was approved to be built at Joao Pessoa, the easternmost point of the Americas, at 34º 47' 38" west longitude and 7º 9' 28" south latitude [1] (in Portuguese).
Today, Niemeyer is over 99 and still involved in diverse projects, mainly sculptures and readjustments of old works of his that, protected by national (and some cases international) historic heritage regulations, can only be modified by him. He is currently designing a statue showing a tiger with its mouth open and a man fighting it raising the Cuban flag against the US blockade of Cuba.
In 2006, Niemeyer(98) wed longtime aide Vera Lucia Cabreira(60) at his apartment in Rio de Janeiro's Ipanema district a month after fracturing his hip in a fall.
[edit] External links
- Honored with a Stalin Peace Prize in 1963
- Oscar Niemeyer Museum (in Portuguese)
- May 2006 Interview with Niermeyer, age 98, in Metropolis Magazine
- Oscar Niemeyer, A Legend of Modernism, a book
- Niemeyer in Brasília history
- Contemporary Art Museum Niteroi.
- Oscar Niemeyer's Strick House in Santa Monica
- JK Building, Belo Horizonte, Brazil
- Pritzker Prize 1988
- Images of Tbe Museum of Contemporary Art, Niteroi, Cathedral of Brasilia, and Memorial dos Povos Indigenas (Memorial for the Indigenous People)
- Oscar Niemeyer group on Flickr
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| Johnson (1979) • Barragán (1980) • Stirling (1981) • Roche (1982) • Pei (1983) • Meier (1984) • Hollein (1985) • Böhm (1986) • Tange (1987) • Bunshaft/Niemeyer (1988) • Gehry (1989) • Rossi (1990) • Venturi (1991) • Siza (1992) • Maki (1993) • Portzamparc (1994) • Ando (1995) • Moneo (1996) • Fehn (1997) • Piano (1998) • Foster (1999) • Koolhaas (2000) • Herzog & de Meuron (2001) • Murcutt (2002) • Utzon (2003) • Hadid (2004) • Mayne (2005) • Mendes da Rocha (2006) • Rogers (2007) |
