Spring Angel C is one of eight screenprints from Gary Hume’s Spring Angels series, in which imagery is based on the artist’s photographs of concrete angels on the ceiling of the Catholic Cathedral in Brasilia. The spring color palette is based on leaves and cuttings he brought into his print workshop from the countryside.
So here's something i am really curious as a brazilian: How is Oscar Niemeyer's work perceived by foreign architects?
I can’t answer for all non-Brazilian architects, but for me, Niemeyer is one of the greats, and you can check out ARCHatlas’ (MANY) previous posts of his work here. His work is unique, sublime, sculptural, and colorful. How many architects have had the opportunity to create one of the great cities of the world from scratch and be able to impart such beauty to its core structures.
Oscar Ribeiro de Almeida Niemeyer Soares Filho (December 15, 1907 – December 5, 2012), known asOscar Niemeyer, was a Brazilian (born in Rio de Janeiro) architect who is considered to be one of the key figures in the development of modern architecture. Niemeyer was best known for his design of civic buildings for Brasília, a planned city that became Brazil’s capital in 1960. His exploration of the aesthetic possibilities ofreinforced concrete was highly influential in the late 20th and early 21st centuries.
This brief was to design a poster to celebrate the 50th anniversary of Brasilia, the city designed by the architect Oscar Niemeyer. The work had to relate to Niemeyer’s work. Golden produced a live brief for designers last year to mark the 50th anniversary of the city. I looked at the 50 winning designs. They were all very different and inspired me. But I decided to move away from those designs and focus on his work for the project.
To fully understand Niemeyer’s architecture I researched his work and so designed a brainstorming mind-map of the key facts found. I then focused on a number of areas to concentrate on.
I used the basic silhouettes of Niemeyer’s organic, raw and simple modern city building forms, such as the Brasilia cathedral, National Congress building and the National Museum, as inspiration for my designs. Using my strategy of ‘Graphic Grab’ l grabbed visual images from previous posters of the Fifties, Cuban posters, looking at the fifties colour palettes and Niemeyer’s architecture.
I set my ideas on squared graph paper like the architectural drawing paper. Originally I wanted to design on blue print paper but it was difficult to source and probably expensive for a one-off design. When I developed the idea I decided the blue print idea I thought of did not work because the background colour does not link to Brazil’s colours which I wanted to use.
I experimented with typography and layout inspired by the Brazilian flag colours and 1950s posters.
The round design is inspired by Niemeyer’s Brazilian National Congress building. It is based on the bowl shape of one of the buildings and also references the round shape on the Brazilian flag. The green colour also links to the colours of the flag which is very eye-catching. The other colours are based on my research of 1950’s poster designs.
I hope people find my work eye-catching! Any comments?
Brasilia Cathedral - designed by Oscar Niemeyer, 1970
The cornerstone was laid in early September of 1958, when designs were beginning to be proposed and thoroughly planned out by Oscar Niemeyer. With a diameter of 70m, the only visible structure of the cathedral being sixteen concrete columns with a very peculiar shape. Reaching up towards the sky to represent two hands, the columns have parabolic sections.
After the addition of the external transparent windows, the Cathedral was dedicated on May 31st of 1970. Figuratively guarding the exterior of the church stand four bronze sculptures, each 3m high. These represent the Evangelists and were made with the help of Dante Croce in 1968. More sculptures can be seen inside the nave, where three angels are suspended by steel cables. Ranging in size from 2.22 to 4.25m long and weighing 100kg-300kg each, these were completed by Alfredo Ceschiatti and Dante Croce in 1970.
Hand-painted ceramic tiles cover the walls of the oval-shaped Baptistery, done by Athos Bulcao in 1977. The Cathedral is completed with its bell tower, housing four bells that were donated by Spain. More obvious details of the interior are the stained glass windows, with different shades of blue, white and brown.
These were pieced together to fit between the steel columns, into 30m high triangles that run 10m across. The alter was donated by Pope Paul VI, as well as the image of the Patroness Lady of Aparecida. Upon entering into the Cathedral, there stands a marble pillar with pictures of passages of the life of Our Lady, painted by Athos Bulcao.