The ideal city of modernism was to respond to the growing needs of the Brazilian authorities, but also of the nation itself. In the 1950s, the cramped and inefficient streets of the old capital, Rio de Janerio, could not accommodate mass-produced cars. In addition, President Juscelino Kubitschek wanted to free the administration from the country’s crowded and decrepit coastline. For this reason, the new capital Brasilia was to be an open, egalitarian and above all modern city. The urban planner Lucio Costa created a design for the city based on two great axes, with different characters. Along the main Monumental Axis, the famous architect Oscar Niemeyer designed government buildings according to the principles of uniquely Brazilian modernism. However, the Brazilian dream of a unique and modern capital came at a price, and some of the city’s problems are still present today.
Imperial roots
The idea of a futuristic capital away from the crowded coastline was born just a few years after Brazil’s independence. In 1827, a project for a new capital was submitted to the cabinet of the not-so-successful first emperor Dom Pedro I. The idea then went to the Brazilian National Assembly … and the emperor then dissolved the parliament. This, by the way, was not the only case of conflict between monarch and parliament. It was difficult to think of megaprojects along the lines of the US Washington DC in a situation where the new monarchy on the world map was only trying to establish the seeds of statehood. Moreover, Dom Pedro I abdicated in 1831 after only nine years in power.
The idea was revived under Brazil’s second and last emperor , Pedro II. However, this is not about the ruler, but about the founder of the Salesian Society, John Bosco, who in his dream saw a ‘land flowing with milk and honey’ located between the Andes and the east coast. According to other clerics, by 2039, a great, rich city was to be built in this land. Although for decades the story of the priest’s dream was treated only as an allegorical dream, in the mid-20th century the opportunity to create a dream city came.
Brazilian President Juscelino Kubitschek, elected in 1955, embarked on a major project to build a modernist capital located away from Rio de Janeiro. The city was also to be a centre for modern technology and business and an escape from the bureaucracy of the old capital. Kubitschek’s slogan was ’50 years of development in 5′, and Brasilia was to automatically take the country into another era.
The period when planning began was the time when some of the most outstanding designs of Brazilian modernism were being created, so Kubitschek was able to enlist the help of famous architects such as Oscar Niemeyer. It was this modernist who was commissioned to design many of the administrative and residential buildings in the new capital. It is worth mentioning that Niemeyer had already worked for Kubitschek when he was president of Bello Horizonte. In addition, the two shared a proximity of left-wing views.
For all
Brasilia planner and urban planner Lucio Costa also subscribed to similar views. According to his idea, the new capital was to be egalitarian and convenient for everyone. For this reason, the administrative section was laid out along the wide Monumental Axis and the residential section along the Residential Axis. The intersecting axes formed the shape of a cross or plane, which is no coincidence. The cross represented Catholic Brazil and the aeroplane is the ideal product of modernity according to Le Corbusier. It was the thought of this Swiss architect that inspired Costa to create such a city design. Le Corbusier wanted a linear city, ordered, green and built up with tall blocks of flats.
Different social classes were to live in neighbouring concrete estates. The urban planner thus wanted to avoid the formation of favelas. This egalitarian approach to housing heralded other major changes in the perception of cities. Instead of the cramped streets of Rio de Janeiro, Costa offered Brazilians large avenues that stretched for several kilometres. Instead of an elaborate urban grid, Costa wanted Brasilia to be laid out in a geometric order that made it easier to get around the city. Finally, the pinnacle of post-war modernity was to be a city made for fast car traffic. Bus traffic and a metro were also envisaged, but it is difficult to speak of an efficient system. What’s more, Brasila’s metro opened more than 40 years after the city was founded.
The centre of the city was planned at the intersection of the axes, with empty streets on the periphery that would be settled over time. Of course, the possible development of the suburbs was also understood, but the urban planners probably did not foresee that the suburbs would function as favelas in the future. Far more important was the tone of the megaproject, which exuded monumentalism and a national character set apart from the colonial past. Brasilia was a display of the new world power that was to be born in the area. The emerging superpower was to take Portuguese models and refine them for its own purposes. The history of Brazilian national movements will also include attitudes that completely exclude European models.
National style
The chief architect of the city’s buildings, Oscar Niemeyer, also understood Brazil’s emerging national spirit and made efforts to create buildings unique to his country. An example of the architect’s unique design is the palace of the Ministry of Foreign Affairs located on the Monumental Axis. Palácio Itamaraty breaks out of the cluster of other ministry buildings and impresses with its modernist appearance. Rows of fourteen tall arches stretch for 30 metres and enclose a glass centre. The reinforced concrete columns are a manifestation of Niemeyer’s Brutalist fascination, and their symmetrical arrangement alludes to classical forms.
However, it is worth looking at the building from a slightly further perspective. It is not only the monumental arches that catch the eye, but also the great expanse of water with its clever arrangement of vegetation. This water garden is the work of Brazil’s most famous landscape architect, Robert Burle Marx. Thanks to the water, the palace is like a brutalist island, and the only way in is via a concrete platform. Equally impressive is the palace’s interior, which emphasises the importance of quality materials, room dimensions and details.
The glass façade lets a lot of light in, despite the low ceilings of the interior. Interestingly, the structure is open and the wind freely ventilates the rooms. Of note are the marble walls with fine geometric ornamentation and the stone floor, which blends well with the grey concrete of the structure. A separate work of art is the spiral staircase with ‘hanging’ steps. Their dynamic shape has become iconic, and diplomats visiting the palace are often photographed just climbing the stairs. At the top, the building transforms into a sky-high garden with an open roof. What’s more, visitors can also step out onto a terrace covered by concrete arches. The top floor exemplifies Niemeyer’s and Le Corbusier’s ideas about the modern city.
Mention should also be made of the palace art. Niemeyer placed many sculptures and paintings by various Brazilian artists inside. For example, the sculpture by Franz Weissmann adjacent to the staircase climbs quite like the iconic steps. There are more such non-accidental works of art, and another example is the sculpture ‘Meteoro’, which symbolises unity and harmony between the five continents.
Domes over the water
In his work, Niemeyer relied on quality materials and sculptural forms of concrete. Some of the shapes created by the architect were so ambitious that they were almost beyond the capabilities of the engineering of the time. An example of this ambition is the National Congress Palace, which is the culmination of the Monumental Axis. The most important government building in the country consists of a broad boxy mass with two domes. Behind the building are two towers that look as if they extend directly from the main body of parliament. Congress is surrounded by evenly trimmed lawns and water. Interestingly, the main body seems to hover above the surface of the water by means of lecorbusier pilotis. The symmetrical glass façade is separated by low concrete pillars.
The aforementioned elements are obvious components of a modernist edifice, but in the parliament building Niemeyer surprises with unusual shapes on the roof. A large concrete ramp leads to the top, where the architect designed two distinctive domes. The semi-dome on the left is the Senate vault, while on the right, under the bowl-shaped semi-dome, is the Chamber of Deputies. Interestingly, the right dome was the most troublesome during construction, as its inverted form required a different distribution of forces. Between the chambers, two 100 m high office towers rise from behind the building. Contrary to appearances, the skyscrapers were not built on a rectangular plan, but on a pentagon that descends inwards. A sky-link has been placed between the buildings, which adds functionality and a modern touch. The vertical buildings relate in form to another project Niemeyer worked on, the UN headquarters in New York.
The two planes, horizontal and vertical, are a combination of functionalism and symbolism. The monumental skyscrapers give Congress its due solemnity and symbolise Brazil’s growing ambitions. The wide block, on the other hand, represents the stability and modernity of the parliament. It is worth mentioning that previously the two chambers sat in separate buildings, making contact difficult. Members sat in the beautiful eclectic Palácio Monroe, which, however, soon became outdated and impractical. Named after American President Monroe, the palace was demolished in 1975 after Lucio Costa refused to list the building as a historic monument. The successor to the edifice in the new capital offers a huge space to accommodate MPs, officials, journalists and visitors, among others. The architect also designed separate entrances and ensured the free flow of different groups. Practicality and aesthetics were key values for Niemeyer.
Parliament of the arts
The interiors were made of high-quality materials, mainly stone and concrete. Visitors are usually invited to the Black Salon furnished with timeless Brazilian furniture from the 1960s. The room is located in the middle of the road to the two chambers, facilitating discussions with both the Senate and the lower house. Interestingly, the two chambers are connected by a concrete tunnel, which is the main artery of the building. In turn, the Green Room is a veritable art gallery holding works by Brazilian painters and sculptors. In addition, the room ends with a garden designed by Robert Burle Marx. The last significant space available to visitors is the mezzanine suspended above the Chamber of Deputies, from which debates can be heard. Throughout the building are colourful mosaics by Athos Bulcão enhancing the artistry of the interiors. Also of interest are the parliamentary halls themselves, where dark blue décor blends with metal details. The dome of the Senate diffuses light by means of 135,000 plates, which are attached to the ceiling. In turn, there are metal panels behind the podium of each chamber to improve acoustics. Both chambers are functional works of art.
The Itamaraty Palace and the National Congress are just two of Niemeyer’s dozens of impressive modernist projects in Brasila. The architect succeeded in creating a unique national style by seeking a Brazilian identity in modernism. The interiors of the modern palaces are flooded with greenery, art and light, and in addition to aesthetics, the architect also focused on functionalism. What’s more, other designers did not limit themselves to architecture and created iconic furniture that still impresses today with its expressiveness. You will be able to read about Niemeyer’s other outstanding achievements in the national capital in the next article continuing the story of Brasila.
Source: Re-thinking future
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