From left: Norman Foster, Oscar Niemeyer, and Gary Hustwit, whose 2011 film Urbanized featured both architects.

As a student in the 1960s, Norman Foster voraciously consumed the work of Oscar Niemeyer, who died yesterday in Rio de Janeiro at the age of 104. Foster studied the Brazilian architect’s drawings and looked to them for inspiration. But it wasn’t until 2011 that the two met in person. “Few people get to meet their heroes and I am grateful to have had the chance to spend time with him in Rio last year,” Foster writes in a statement. “During our meeting last year, we spoke at length about his work – and he offered some valuable lessons for my own. It seems absurd to describe a 104 year old as youthful, but his energy and creativity were an inspiration.”

Foster adds, “I was touched by his warmth and his great passion for life and for scientific discovery – he wanted to know about the cosmos and the world in which we live. In his words: ‘We are on board a fantastic ship!’” Read more.

Brasilia’s cathedral, completed in 1960.

The British architect praises his fellow Pritzker Prize winner for creating dancerly buildings that beckon visitors from many different vantage points—particularly in Brasilia, the futuristic geometric playground Niemeyer completed in 1960. “Brasilia is not simply designed, it is choreographed; each of its fluidly-composed pieces seems to stand, like a dancer, on its points frozen in a moment of absolute balance,” he writes.

Niemeyer turned modernism’s “form follows function” dictate on its head, says Foster: “Niemeyer demonstrated instead that, ‘When a form creates beauty it becomes functional and therefore fundamental in architecture.’”

The Alvorada Palace, the presidential residence in Brasilia. Photo: Marcel Gautherot/IMS Collection © Instituto Moreira Salles

Foster’s full statement:

“I was deeply saddened to learn of the death of Oscar Niemeyer. He was an inspiration to me – and to a generation of architects. Few people get to meet their heroes and I am grateful to have had the chance to spend time with him in Rio last year.

For architects schooled in the mainstream Modern Movement, he stood accepted wisdom on its head. Inverting the familiar dictum that ‘form follows function’, Niemeyer demonstrated instead that, ‘When a form creates beauty it becomes functional and therefore fundamental in architecture.’

It is said that when the pioneering Russian cosmonaut, Yuri Gagarin visited Brasilia he likened the experience to landing on a different planet. Many people seeing Niemeyer’s city for the first time must have felt the same way. It was daring, sculptural, colourful and free – and like nothing else that had gone before. Few architects in recent history have been able to summon such a vibrant vocabulary and structure it into such a brilliantly communicative and seductive tectonic language.

One cannot contemplate Brasilia’s crown-like cathedral, for example, without being thrilled both by its formal dynamism and its structural economy, which combine to engender a sense almost of weightlessness from within, as the enclosure appears to dissolve entirely into glass. And what architect can resist trying to work out how the tapering, bone-like concrete columns of the Alvorada Palace are able to touch the ground so lightly. Brasilia is not simply designed, it is choreographed; each of its fluidly-composed pieces seems to stand, like a dancer, on its points frozen in a moment of absolute balance. But what I most enjoy in his work is that even the individual building is very much about the public promenade, the public dimension.

The Niterói Contemporary Art Museum in Rio de Janeiro.

As a student in the early 1960s, I looked to Niemeyer’s work for stimulation; poring over the drawings of each new project. Fifty years later his work still has the power to startle us. His contemporary Art Museum at Niteroi is exemplary in this regard. Standing on its rocky promontory like some exotic plant form, it shatters convention by juxtaposing art with a panoramic view of Rio harbour. It is as if – in his mind – he had dashed the conventional gallery box on the rocks below, and challenged us to view art and nature as equals. I have walked the Museum’s ramps. They are almost like a dance in space, inviting you to see the building from many different viewpoints before you actually enter. I found it absolutely magic.

During our meeting last year, we spoke at length about his work – and he offered some valuable lessons for my own. It seems absurd to describe a 104 year old as youthful, but his energy and creativity were an inspiration. I was touched by his warmth and his great passion for life and for scientific discovery – he wanted to know about the cosmos and the world in which we live. In his words: ‘We are on board a fantastic ship!’

He told me that architecture is important, but that life is more important. And yet in the end his architecture is his ultimate legacy. Like the man himself, it is eternally youthful – he leaves us with a source of delight and inspiration for many generations to come.”

[via Dezeen]

by Lamar Anderson

posted in news

tagged Brasilia, Brazil, norman foster, obituaries, oscar niemeyer

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