Abstract
Among the many definitions of nature, one is particularly relevant for architecture: the physical world that exists independently of mankind but includes man in its list of creatures. Among the relationships between architecture and this world that mankind inhabites and transforms, two are particularly relevant for understanding the work of Brazilian architect Oscar Niemeyer (1907-2012) and its legacy. One comes from situation, involving pre-existing conditions and the desired outcomes of their transformation. The other feeds on emulation of known forms. In academic terms, one impacts primarily on architectural composition, the definition of the correct anatomy and physiology of buildings, while the other impacts primarily on characterization, the definition of a distinctive physiognomy properly correlated with the building's anatomy and physiology. Niemeyer was educated at ENBA- the Escola Nacional de Belas Artes in Rio, created in1826 after the École des Beaux-Arts in Paris. A close reading of his works belies the widespread association of his work with fusing nature and architecture and reveals a far more complex attitude.
Highlights
Among the many definitions of nature, one is relevant for architecture: the physical world that exists independently of mankind but includes man in its list of creatures
Niemeyer was educated at ENBA- the Escola Nacional de Belas Artes in Rio, created in1826 after the École des Beaux-Arts in Paris
NATURE REVISITED Among the definitions of nature, one clearly concerns architecture: the physical world that exists independently of mankind but includes man in its list of creatures
Summary
A cantilevered prismatic body, and a roof garden punctuated by free-standing structures led to an elevation whose vertical tripartition was suggestive. It bowed to situation, to meeting the earth as well as the sky, and had anthropomorphic, Classical connotations, but its slender open base subverted them along with Louis Sullivan’s prescriptions for tall buildings artistically considered- while recalling Medieval arcaded buildings like Venice’s Palazzo Ducale. Architecture is represented as a woman in Latin languages, like the Muses and other Arts, but Costa’s definition would not lose descriptive power if “person” were substituted for “girl” and applied to houses that are thin and tall, rectangular in plan like Maison Citrohan, as well as broad and short, squarish in plan like Villa Savoye. Direct stylistic reference could not be accepted, biomorphism was not a problem. Costa, an admirer, defined the new architecture as “a smart girl with no makeup and skinny legs”.12 Architecture is represented as a woman in Latin languages, like the Muses and other Arts, but Costa’s definition would not lose descriptive power if “person” were substituted for “girl” and applied to houses that are thin and tall, rectangular in plan like Maison Citrohan, as well as broad and short, squarish in plan like Villa Savoye.
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