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Niemeyer emerged, from obscurity and a lazy education, as one of the most original and talented of all Modern movement architects, with a highly informed and almost intuitive understanding of the possibilities of reinforced concrete construction. In his native Brazil, steel was far too rare and expensive for use in the majority of buildings, while concrete was not only cheap, but it could be stretched to unimagined limits while being poured and moulded by relatively unskilled labour. In concrete construction, Niemeyer could see a way of shaping an architecture that would not only be modern, but would also echo the Brazilian landscape he loved, and which he drew, increasingly, in the guise of curved female forms.
His chance to shine came in 1936 when Gustavo Capanema, the idealistic Brazilian minister for education, commissioned Lucio Costa to design the country's first Modern building, a headquarters for the health and education ministries in central Rio. Costa and Capanema decided to seek the advice of Le Corbusier, the greatest of all Modern architects. The famous Swiss-French visionary and architect flew to Rio. "In the Graf Zeppelin," says Niemeyer, referring to the magnificent 237-metre German airship that, between 1928 and 1937, made 143 impeccable transatlantic flights. "I went to meet him," he adds.
Le Corbusier descended from the air, "a mighty god visiting his pygmy worshippers," says Niemeyer. Or so it seemed. The result of Corbu's trip proved to be unexpected. He made two designs for Capanema's ministry: one idealistic, for an unobtainable site by the ocean, the other a low-rise building that somehow failed to capture the idea of the new Brazil and the new Brazilian. "We wanted to do something very special," says Niemeyer, "perhaps to show that we were something more than primitive Indians dancing colourfully for visiting Europeans and Northern Americans."
Working for nothing, and reliant on his family - his father was a graphic artist, his grandfather a Supreme Court judge - Niemeyer transformed the Corbusier scheme into the serene high-rise building that adorns central Rio today. A National Monument, it has since been renamed Capanema Palace. Le Corbusier had been deeply impressed by Niemeyer's burgeoning talent. Although rigid by Niemeyer's later standards, the palace abounds with curves inside; its exteriors are decorated with romantic wall tiles, depicting scallops and sea horses, and shaded by deep sun-louvres. Immensely photogenic and a superb fusion of art, engineering, landscaping and architecture, this confident new building was ecstatically received in 1943.
SIESTA KEY - Joe King could not restore his beloved Twitchell house to the way Sarasota School Architects designed it, nor could he keep the home in the same spot.
So he did the next best thing.
He documented that the historic house stood steps from Big Pass on Siesta Key. He photographed it inside and out, created detailed drawings of the building that is among the first in the Sarasota School of Architecture and the first by architectural great Paul Rudolph.
King and a work crew carefully took it apart, sorting through different crowbars for the ones that would not crack the cypress, salvaging Ocala block that had not cracked under 66 years of weathering.
Then he shipped what could be salvaged to Bradenton.
old lismore hosiery building (on ludlow) host to new para building tumor (click through comment link for earlier post w/ original store front images). bye bye LES
If you want to enjoy the unmistakable ambience of a real New York diner, head to Wyoming. The Moondance Diner, whose iconic, crescent-shaped sign has long beckoned hungry pedestrians on the western edge of SoHo, is heading to the small town of La Barge, Wyo.