Niemeyer, Burle Marx and
Costa’s Approach to Design
Costa’s Approach to Design
At the time of the fair in 1939
Oscar Niemeyer and Lucio Costa were already well known as trend settersnin the modern architecture scene in Brazil. Costa has always striven to reform the outdated architectural principles in his country. He was appointed a director of the National School of Fine Arts in 1931, where his new curriculum for the architecture school inspired a new generation of modernist architects in Brazil.22Amongst his students was Oscar Niemeyer, with whom he later often collaborated with on the projects that modernized Brazilian architecture such as Ministry of Education and Health in 1937 and the city of Brasilia in late 1950s.23 Even though Niemeyer learned from the discoveries in the work of Le Corbusier, he, similarly to the Brazilian artists at the time, reinterpreted them to echo the spirit of his country. He found inspiration in forms native and familiar to him: “[...] the elliptical white beaches of Brazil, its sinuous rivers, the rounded towers of its baroque churches, its heaped-up mountains and the curling waves of the ocean.”24
Oscar Niemeyer and Lucio Costa were already well known as trend settersnin the modern architecture scene in Brazil. Costa has always striven to reform the outdated architectural principles in his country. He was appointed a director of the National School of Fine Arts in 1931, where his new curriculum for the architecture school inspired a new generation of modernist architects in Brazil.22Amongst his students was Oscar Niemeyer, with whom he later often collaborated with on the projects that modernized Brazilian architecture such as Ministry of Education and Health in 1937 and the city of Brasilia in late 1950s.23 Even though Niemeyer learned from the discoveries in the work of Le Corbusier, he, similarly to the Brazilian artists at the time, reinterpreted them to echo the spirit of his country. He found inspiration in forms native and familiar to him: “[...] the elliptical white beaches of Brazil, its sinuous rivers, the rounded towers of its baroque churches, its heaped-up mountains and the curling waves of the ocean.”24
His material of choice was concrete that liberated him, as it could take any form, allowing for construction of curvilinear forms. Niemeyer strove for harmonious architecture where the knowledge from his modernistpredecessors, memory of his native land, and the use of new technology would fuse together in striking forms of architecture. In return, his work itself resembled artificial forms of landscape.
Niemeyer often collaborated with Roberto Burle Marx, the landscape architect and a painter.25 Burle Marx landscape forms were innovative in the way that it combined his passion for all three disciplines: architecture, landscape, and painting. As a result his modernist drawings and paintings would come to life in urban design.26 Due to Niemeyer and Burle Marx’s unconventional approach and reinterpretation of topography and native land, their collaboration resulted in ‘landscape’ becoming “a metaphor embodying myths concerning the roots of society and the beginnings of architecture”.27
Niemeyer often collaborated with Roberto Burle Marx, the landscape architect and a painter.25 Burle Marx landscape forms were innovative in the way that it combined his passion for all three disciplines: architecture, landscape, and painting. As a result his modernist drawings and paintings would come to life in urban design.26 Due to Niemeyer and Burle Marx’s unconventional approach and reinterpretation of topography and native land, their collaboration resulted in ‘landscape’ becoming “a metaphor embodying myths concerning the roots of society and the beginnings of architecture”.27
Lucio Costa. Brazil Pavilion Concept, Sketch
Oscar Niemeyer. Brazil Pavilion Concept, Sketches