{"id":8563,"date":"2013-01-06T16:36:24","date_gmt":"2013-01-06T19:36:24","guid":{"rendered":"http:\/\/puntoni.28ers.com\/?p=8563"},"modified":"2013-01-11T15:03:51","modified_gmt":"2013-01-11T18:03:51","slug":"homenagem-a-oscar-uma-montagem-niemeyer","status":"publish","type":"post","link":"https:\/\/puntoni.28ers.com\/2013\/01\/06\/homenagem-a-oscar-uma-montagem-niemeyer\/","title":{"rendered":"Homenagem a Oscar : uma montagem Niemeyer"},"content":{"rendered":"

Alguns anos atr\u00e1s, o atrevido artista gal\u00eas Cerith Wyn Evans fotografou o interior da Catedral Metropolitana projetada por Oscar Niemeyer para a \u00e1rea central de Bras\u00edlia. Nessas imagens, um vazio em forma de v\u00f3rtice \u00e9 inundado de cor e luz; anjos esculpidos por Alfredo Ceschiatti parecem voar na rede modernista de concreto e vidro de Niemeyer. Ou estaria a estrutura iluminada de Niemeyer de fato girando sobre as figuras que pairavam, congeladas momentaneamente no espa\u00e7o e no tempo? Na minha experi\u00eancia, os melhores projetos de Niemeyer instigam tais pensamentos sobre movimento, explora\u00e7\u00e3o, dan\u00e7a. Cinestesia concreta.<\/p>\n

Cerith Wyn Evans<\/span>
\nBrasilia 01.09.04<\/span>
\n2006<\/span>
\nC-print<\/span>
\nPaper size: 25.4 x 30.5 cm<\/span>
\n\u00a9 Cerith Wyn Evans<\/span>
\nCourtesy White Cube<\/span><\/p>\n

Na mesma \u00e9poca, tive a oportunidade de visitar Bras\u00edlia. Vim da Irlanda para apresentar uma confer\u00eancia sobre a arquitetura contempor\u00e2nea irlandesa, um tema de certo modo ir\u00f4nico j\u00e1 que diversos dos edif\u00edcios irlandeses caberiam integralmente no interior dos espa\u00e7osos sagu\u00f5es dos projetos autorais de Niemeyer. Eu nunca tinha visto um edif\u00edcio de Niemeyer \u201cem carne e osso\u201d e tinha minhas d\u00favidas sobre as realiza\u00e7\u00f5es do mestre. Essa rea\u00e7\u00e3o, a um s\u00f3 tempo emocionada e c\u00e9tica, \u00e9 evidente em um breve artigo publicado em Irish Architect em Dublin<\/a>.<\/p>\n

Contatos posteriores com o trabalho de Niemeyer me atraiam para suas qualidades. Aos 7 minutos e 20 segundos do filme Orfeu Negro<\/a> (1959), encontramos o Minist\u00e9rio da Educa\u00e7\u00e3o e Sa\u00fade P\u00fablica, projetado por uma equipe que inclu\u00eda Le Corbusier e um jovem Oscar. A c\u00e2mera registrou a chegada de Eurydice, interpretada pela atriz nascida em Pittsburgh Marpessa Dawn, e seu percurso atrav\u00e9s do centro do Rio. Repentinamente vemos a silhueta da laje retil\u00ednea do Minist\u00e9rio contra o c\u00e9u azul. A c\u00e2mera move-se para os her\u00f3icos pilotis onde Eurydice, com seu vestido branco virginal, serpenteia atrav\u00e9s da ensolarada pra\u00e7a modernista e seu paisagismo por Roberto Burle Marx.<\/p>\n

Recentemente, viajei de Pittsburgh, onde hoje trabalho, para Belo Horizonte. L\u00e1 vi obras\u00a0 impressionantes de Niemeyer dos anos 50. O destaque foi um passeio pelos quatro pavilh\u00f5es edificados por Niemeyer ao redor da Lagoa da Pampulha, edif\u00edcios sociais com deliciosas formas esculturais e uma continuidade espacial entre interiores e o mundo exterior da natureza. Fotografias de Luisa Lambri revelam a intimidade dos pavilh\u00f5es de Pampulha; dificilmente algu\u00e9m n\u00e3o se entusiasma com o puro deleite que esses pequenos edif\u00edcios oferecem. V\u00e1rias das imagens de Lambri foram exibidas aqui no Carnegie Museum of Art em 2006, apresentadas sob a instala\u00e7\u00e3o de Ernesto Neto\u00a0 Okitimanaia Ogu \u2013 <\/i>um grande brasileiro junto a outro.<\/p>\n

$\"Untitled$ <\/a><\/p>\n

Luisa Lambri<\/span>
\nUntitled (Casino, #09),\u00a0 2003
\nLasrechrome print mounted on Plexi
\nEdition of 5 + 1 AP
\nunframed: 110.5 x 132.7 x 0 cm
\nCourtesy of the Artist and Marc Foxx, Los Angeles<\/span><\/p>\n

<\/p>\n

Os Estados Unidos e Niemeyer tiveram um relacionamento tortuoso. Ele e Lucio Costa, \u00e9 claro, realizaram o pavilh\u00e3o tempor\u00e1rio para o Brasil na Feira Internacional de Nova Iorque em 1939. Tendo o visto recusado por motivos pol\u00edticos, Niemeyer nunca viu a casa que ele projetou no in\u00edcio dos anos 60 para o cineasta Joseph Strick em Santa Monica; felizmente, a propriedade foi meticulosamente restaurada por Michael e Gabrielle Boyd. \u00c9 o trabalho de Niemeyer no projeto da Sede das Na\u00e7\u00f5es Unidas em Nova Iorque que lhe assegura um legado norte-americano. Os visitantes hoje podem apreciar uma evocativa vista do complexo das Na\u00e7\u00f5es Unidas desde o FDR \u2013 Four Freedoms Park<\/a> \u2013 inaugurado no \u00faltimo m\u00eas de outubro a partir de desenho de um dos mais importantes arquitetos contempor\u00e2neos de Niemeyer, Louis I. Kahn.<\/p>\n

Visitando-se o www.mapquest.com<\/a> e buscando-se \u201cChemin de Saint-Hospice, Saint-Jean-Cap-Ferrat\u201d, encontra-se uma propriedade longil\u00ednea com duas piscinas e diversas estruturas alongadas para sul para mirar para o Mediterr\u00e2neo. Esse para\u00edso projetado para a fam\u00edlia de editores Mondadori \u00e9 praticamente invis\u00edvel desde a rua. Na \u00faltima primavera meu avi\u00e3o para Nice sobrevoou o lugar de modo que parec\u00edamos flutuar, momentaneamente, sobre a piscina biom\u00f3rfica \u00e0 beira-mar. Eu me lembrei da visita \u00e0 casa de Niemeyer em Canoas com sua rocha aparente, sua delgada laje de cobertura e sua sedutora piscina; t\u00e3o sedutora de fato que fiquei tentado a me despir e mergulhar.<\/p>\n

O legado ou desafio de Oscar Niemeyer aos arquitetos reside em como lidar com o planejamento cr\u00edtico e o projeto de edif\u00edcios, tanto em termos sociais e t\u00e9cnicos, sem se esquecer de buscar o prazer na vida.<\/p>\n

\n
Raymund Ryan \u00e9 curador do Heinz Architectural Center Carnegie Museum of Art, Pittsburgh, USA.
\nSua exposi\u00e7\u00e3o atual \u00e9 White Cube, Green Maze: New Art Landscapes<\/em>.<\/p>\n
\n
_<\/span><\/p>\n
Homage to Oscar : a Niemeyer Montage<\/h2>\n
A few years back, the cheeky Welsh artist Cerith Wyn Evans photographed the interior of the Metropolitan Cathedral designed by Oscar Niemeyer for the centre of Brasilia. In these images, a vortex-like void is infused with colour and light; angels sculpted by Alfredo Ceschiatti appear to fly in Niemeyer\u2019s modernist net of concrete and glass. Or could it be that Niemeyer\u2019s flared structure is in fact rotating about the levitating figures frozen momentarily in space and time? In my experience, Niemeyer\u2019s best projects instigate such thoughts of movement, exploration, dance. Concrete kinaesthesia.<\/p>\n
Around the same time, I had the opportunity to visit Brasilia. I made my way from Ireland to give a talk about contemporary Irish architecture, a topic not without irony as many of the Irish buildings would fit in toto<\/i> within the spacious foyers of Niemeyer\u2019s signature projects. I had never seen a Niemeyer building \u201cin the flesh\u201d and had mixed feelings about the master\u2019s achievements. This reaction, being simultaneously thrilled and sceptical, is evident in a brief article I contributed to Irish Architect<\/i> in Dublin<\/a>.<\/p>\n
\u00a0Subsequent exposure swayed me to the merits of Niemeyer\u2019s work. 7 min 20 sec into the film<\/a> Orfeu Negro<\/i> (1959), we find the Ministry of Education and Health, designed by a team including Le Corbusier and a young Oscar. The camera has tracked the arrival of Eurydice, played by Pittsburgh-born Marpessa Dawn, and her tentative progress through downtown Rio. Suddenly we see the taut slab of the Ministry silhouetted against a blue sky. The camera pans down to heroic pilotis as Eurydice, in her virginal white dress, sashays across the sunny modernist plaza with its landscaping by Roberto Burle Marx.<\/p>\n
More recently I flew from Pittsburgh, where I now work, to Belo Horizonte and saw impressive interventions there by Niemeyer from the 1950s. The highlight was a tour of four pavilions erected by Niemeyer around the lake at Pampulha, social buildings with delicious sculptural form and flow of space between indoors and the external world of nature. Photographs by Luisa Lambri reveal the intimacy of the Pampulha pavilions; one cannot but be enthused by the sheer joy of these smaller projects. Several Lambri prints were exhibited here at the Carnegie Museum of Art in 2006, arranged beneath Ernesto Neto\u2019s installation Okitimanaia Ogu<\/i> \u2013 one great Brazilian hanging with another.<\/p>\n
The United States and Niemeyer had a rather tortuous relationship. He and Lucio Costa realised of course the temporary pavilion for Brazil at the New York World\u2019s Fair in 1939. Refused visas on political grounds, Niemeyer never saw the home he designed in the early 1960s for filmmaker Joseph Strick in Santa Monica; happily, that property has been meticulously restored by Michael and Gabrielle Boyd. It is Niemeyer\u2019s role in designing the United Nations in Manhattan that ensures him a US legacy. Visitors now enjoy an evocative view of the UN complex from the FDR Four Freedoms Park<\/a> inaugurated this October to designs by one of Niemeyer\u2019s greatest contemporaries, Louis I. Kahn.<\/p>\n
\u00a0If you go to www.mapquest.com<\/a> and search for \u201cChemin de Saint-Hospice, Saint-Jean-Cap-Ferrat\u201d, you\u2019ll find an elongated property with two swimming pools and several structures stretching south to overlook the Mediterranean. This paradise designed for the Mondadori publishing family is almost illegible from the road. Last spring my plane into Nice banked above the site so that we seemed to hover, momentarily, above the biomorphic sea-side pool. I was reminded of my visit to Niemeyer\u2019s home at Canoas with its exposed rock, wafer-thin canopy roof, and enticing pool; so enticing in fact I was tempted to strip and plunge right in.<\/p>\n
\u00a0Oscar Niemeyer\u2019s legacy or challenge to architects is to grapple with critical planning and construction projects, in both social and technical terms, without forgetting to take pleasure in life.<\/p>\n
\n
Raymund Ryan is Curator, The Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, USA.
\nHis current exhibition is White Cube, Green Maze: New Art Landscapes<\/em>.
\n<\/em><\/p>\n
\n
Veja todas as mat\u00e9rias da s\u00e9rie Oscar Niemeyer 1907-2012<\/a>
\n See all the texts in the series Oscar Niemeyer 1907-2012<\/a><\/p>\n
Veja todas as mat\u00e9rias sobre Oscar Niemeyer j\u00e1 publicadas na revista MDC<\/a>
\n See everything on Oscar Niemeyer published on MDC magazine<\/a><\/p>\n
Tradu\u00e7\u00e3o: Carlos Alberto Maciel
\nColabora\u00e7\u00e3o editorial: Danilo Matoso
\n<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
Raymund Ryan<\/p>\n","protected":false},"author":6206942,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3919,131443376,26911652],"tags":[1271633,9751854,764769272,291768,38312500,960692],"class_list":["post-8563","post","type-post","status-publish","format-standard","hentry","category-opiniao","category-oscar-niemeyer-1907-2012","category-raymund-ryan","tag-arquitetura-moderna","tag-arquitetura-moderna-brasileira","tag-brasilia","tag-modern-architecture","tag-modern-brazilian-architecture","tag-oscar-niemeyer"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/plwdR-2e7","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8563","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/users\/6206942"}],"replies":[{"embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/comments?post=8563"}],"version-history":[{"count":25,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8563\/revisions"}],"predecessor-version":[{"id":8588,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/posts\/8563\/revisions\/8588"}],"wp:attachment":[{"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/media?parent=8563"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/categories?post=8563"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/puntoni.28ers.com\/wp-json\/wp\/v2\/tags?post=8563"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}