Issue 125
V-VI 2007
25€

OSCAR NIEMEYER

 

Luis Fernández-Galiano
Pastoral brasileña Brazilian Pastoral

El maestro centenario The Centenarian Master
Roberto Segre
Paradojas estéticas de un Niemeyer definitivo Aesthetic Paradoxes of a Definitive Niemeyer
Carlos Eduardo Comas
Niemeyer, el derecho a la diferencia Niemeyer, the Legitimacy of Difference
Farès el-Dahdah
La arquitectura contemporánea ante Niemeyer Contemporary Architecture and Niemeyer

1936-1955
Otra modernidad Another Modernity
Ministerio de Educación y Salud, 1936-1943, Río de Janeiro (Brasil) 
Ministry of Education and Health, 1936-1943, Rio de Janeiro (Brazil)
Pabellón de Brasil en la Feria de Nueva York, 1938-1939 (Estados Unidos)
Brazilian Pavilion for the New York World’s Fair, 1938-1939 (United States)
Complejo Pampulha en Belo Horizonte, 1940-1943, Minas Gerais (Brasil)
Pampulha Complex in Belo Horizonte, 1940-1943, Minas Gerais (Brazil)
Conjunto Ibirapuera, 1951, São Paulo (Brasil) 
Ibirapuera Complex, 1951, São Paulo (Brazil)
Casa das Canoas, 1953, Río de Janeiro (Brasil) 
Canoas House, 1953, Rio de Janeiro (Brazil)

1956-1964
Los símbolos urbanos The Urban Symbols
Palacio de la Alborada y capilla, 1956-1957, Brasilia D. F. (Brasil) 
Alvorada Palace and Chapel, 1956-1957, Brasília D. F. (Brazil)
Catedral Metropolitana, 1958-1970, Brasilia D. F. (Brasil) 
Metropolitan Cathedral, 1959-1970, Brasília D. F. (Brazil)
Palacio de Planalto y Tribunal Supremo, 1958-1960, Brasilia D. F. (Brasil) 
Planalto Palace and Supreme Court, 1958-1960, Brasília D. F. (Brazil)
Congreso Nacional, 1958, Brasilia D. F. (Brasil) 
National Congress, 1958, Brasília D. F. (Brazil)
Palacio de Itamaraty, 1962, Brasilia D. F. (Brasil) 
Itamaraty Palace, 1962, Brasília D. F. (Brazil)

1965-1979
Una obra universal A Universal Oeuvre
Sede del Partido Comunista Francés, 1967-1981, París (Francia) 
Headquarters of the French Communist Party, 1967-1981, Paris (France)
Sede de la Editorial Mondadori, 1968-1975, Milán (Italia) 
Offices for Mondadori Editore, 1968-1975, Milan (Italy)
Universidad de Constantine, 1969-1972, Argel (Argelia) 
University of Constantine, 1969-1972, Algiers (Algeria)
Casa de la Cultura, 1972-1983, Le Havre (Francia) 
Cultural Center, 1972-1983, Le Havre (France)
Oficina de empleo, 1972, Bobigny (Francia) 
Labor Exchange, 1972, Bobigny (France)

1980-2007
Reiteración creadora Creative Reiteration
CIEP Tancredo Neves, 1984, Río de Janeiro (Brasil) 
CIEP Tancredo Neves, 1984, Rio de Janeiro (Brazil)
Memorial de América Latina, 1986-1988, São Paulo (Brasil) 
Memorial to Latin America, 1986-1988, São Paulo (Brazil)
Museo de Arte Contemporáneo en Niterói, 1991, Río de Janeiro (Brasil) 
Contemporary Art Museum in Niterói, 1991, Rio de Janeiro (Brazil)
Museo Oscar Niemeyer en Curitiba, 2002, Paraná (Brasil) 
Oscar Niemeyer Museum in Curitiba, 2002, Paraná (Brazil)
Auditorio Ibirapuera, 2002, São Paulo (Brasil) 
Ibirapuera Auditorium, 2002, São Paulo (Brazil)



 
 
 


 
Luis Fernández-Galiano
Brazilian pastoral

Oscar Niemeyer is a master of innocence. Beyond the elementary geometry and Cubist grammar that he learned from Le Corbusier, beyond the curved shapes and lyrical freedom that come from Dada or Surrealism, and beyond the streamlined aesthetic and naif Futurism used by the optimism of the fifties, this tropical designer builds with the wise ignorance of he who places the law of desire above the law of gravity. Leaving to engineers the stability of his warped shells and his fast ramps, the architect from Rio de Janeiro brings together the speedy space of centrifugal paths with the smiling solemnity of weightless porticoes to create almost without effort the monumental landmarks of a young nation. Both sensual and dynamic, his sculptural forms draft with exact calligraphy a preurban Eden that subjects the traces to the garden, outlining pastoral paradises for a guiltless Adam.

Anthropophagous perhaps in its primitive diet of bereaved humanity, and indeed lotophagous in its bright amnesia of newly-made day, the life path of this stubborn communist proves to be dazzling and nutritious, essential as rural nature and spectacular as a theater storm. A century before Niemeyer was born, Beethoven premiered two symphonies written simultaneously, the Fifth ‘of Destiny’ and the Sixth ‘Pastoral’, in a concert as excessive and oceanic as the oeuvre of an architect who brings together the heroic beat and the bucolic rumor to compose built symphonies where the expression of feelings is more important than the orchestration of functions. And in this victory of emotion upon usefulness dwells the ultimate innocence of a titanic author who has attained the biological feat of celebrating his own centenary, after witnessing his chorus of critics fade out in fog and smoke.

Driven, as the surviving heroes of Philip Roth, by the tenacious needs of the flesh, and swayed in his final period by the memory of a hundred bridal poems, the architect shows signs of battle fatigue and knows himself to be a dying animal. When, over twenty years ago, this magazine celebrated with two monographs the centennials of Mies van de Rohe and Le Corbusier, they both already inhabited the padded realm of history. On this occasion – with the help of Roberto Segre, who prepared the outline and boosted the initiative from Rio –, the tribute to the Brazilian master occurs when he is still alive, a circumstance at once fortunate and awkward for those who consider his latest works less intense than the canonical complexes where Oscar Niemeyer keeps adding impetuous and polemical structures. But the cupiditas aedificandi is as vigorous as the voluptuous appetite of the longing body. Exit ghost.