that buildings should pretty much look the same where ever on earth they happen to be. The early figures

在地球上的任何地方，建築物的外觀都應該是一樣的。早期的數據

of Modernism were united in their bitter opposition to any kind of 'regionalism', which they

現代主義的代表人物都一致強烈反對任何形式的 "地區主義"，他們認為

saw as reactionary, folkloric and plain mediocre.

被視為反動的、民俗的、平庸的。

The Brazilian architect Oscar Niemeyer began

巴西建築師奧斯卡-尼邁爾開始

his career as an orthodox modernist.

他作為一個正統的現代主義者的生涯。

He was born in Rio de Janeiro in 1907 – and developed a passion for architecture

他於1907年出生在里約熱內盧--並對建築產生了熱情。

in his early teens. As a young man he fell

在他十幾歲的時候。年輕的時候，他落下了

in with a group that venerated the great European Modernist architects, especially Le Corbusier

與一群崇尚歐洲現代主義偉大建築師，特別是勒-柯布西耶的人在一起。

– who had insisted with particular vehemence on making sure buildings made no concession

- 他特別強烈地要求確保建築物不作出任何讓步。

whatever to the culture in which they were located. Niemeyer's professional ambitions

無論對其所處的文化。尼邁爾的職業抱負

were realised when, in 1936, Le Corbusier came to Rio to design

1936年，當勒-柯布西耶來到里約熱內盧設計的時候，他就實現了。

the new Ministry of Education and Health and Niemeyer got a job on the project.

新的教育和衛生部和Niemeyer在這個項目上找到了一份工作。

While working with him, Niemeyer retained the utmost respect

在與他一起工作時，尼邁爾對他保持著最大的尊重。

for Le Corbusier, but at the same time, he couldn't help but observe how blind his

為勒-柯布西耶，但同時，他也不能不觀察到他的作品是多麼的盲目

guest was to the particularities of Brazilian culture and climate. With what would become

客人是對巴西文化和氣候的特殊性。隨著什麼將成為

his legendary charm, Niemeyer managed to persuade Le Corbusier to abandon some of his more hard-edged

他的傳奇魅力，尼邁耶成功地說服勒-柯布西耶放棄了他的一些更強硬的作品。

'universalist' ideas and to start to make some concessions to local conditions.

'普世主義'思想，並開始因地制宜地做出一些讓步。

Under Niemeyer's influence, the building's windows acquired shades against the sun and,

在尼邁爾的影響下，建築的窗戶獲得了遮陽和。

even an enormous traditional

龐大的傳統

Portuguese piece of tile work, done up with abstract motifs, for the public areas on the

葡萄牙瓷磚作品，以抽象圖案為主，適用於公共區域，包括

ground floor. Emboldened by his success

一樓。他的成功使他更有底氣

Niemeyer felt ready to break free from European Modernism. He is now celebrated for being

尼邁爾覺得自己已經做好了從歐洲現代主義中掙脫出來的準備。他現在被人們所稱道，因為他是

the first architect anywhere in the world to practice a regional kind of Modernism:

他是世界上第一個在任何地方實踐一種區域性的現代主義的建築師。

in his case, a Brazilian-infused modernism. His first wholly original work was completed

在他的作品中，是一種巴西式的現代主義。他的第一件完全原創的作品完成於

in 1943 (when he was 36), the church of Saint Francis of Assisi.

1943年（當時他36歲），阿西西聖方濟各教堂。

The church had no straight lines

教堂沒有直線

on any plane, for Niemeyer now judged these to be European and in many ways authoritarian.

在任何平面上，因為尼邁爾現在判斷這些都是歐洲的，在很多方面都是專制的。

Niemeyer was henceforth to include curves in all his buildings, and saw them in a nationalistic

從此，尼邁爾在他的所有建築中都加入了曲線，並從民族主義的角度來看待這些曲線。

light as being particularly Brazilian in nature. He remarked;

光，因為它特別具有巴西的性質。 他說：

“What attracts me is the free and sensual curve—the curve that I find in the mountains of my country,

"吸引我的是自由而感性的曲線--我在祖國的山裡找到的曲線。

in the sinuous course of its rivers and in the bodies of beautiful Brazilian women.”

在其河流的蜿蜒曲折的過程中，以及在美麗的巴西婦女的身體裡。"

The latter point about women is telling. Niemeyer was deeply responsive to female beauty throughout his

後面關於女性的觀點很能說明問題。尼邁爾在他的一生中，對女性美有著深刻的反應。

life. He was famous around Rio for his affairs, many with people dramatically younger than

的生活。他在里約熱內盧很有名氣，因為他的風流韻事，很多人都比他年輕得多。

he was. At 92, he acquired a girlfriend who had just turned 25. As in the Ministry of

他是。92歲時，他獲得了一個剛滿25歲的女友。正如在部。

Health, the Pampulha Church had tiles across it. They reminded viewers that Brazil could

健康，Pampulha教堂有瓷磚穿過它。他們提醒觀眾，巴西可以

be both modern and yet recall its heritage – that a church might nod towards the forms of a

既是現代的，又能讓人想起它的傳統--教堂可能會朝著一個國家的形式點頭。

futuristic airplane hanger, and yet could at the same time accommodate a depiction of

未來主義的飛機庫，但同時也可以容納一個描述的未來主義飛機庫。

Saint Francis.

聖弗朗西斯。

Niemeyer's most audacious attempt to use architecture to define Brazilian identity

尼邁爾最大膽的嘗試是用建築來定義巴西的身份。

came with his designs for the new capital, Brasília. In 1956, Kubitschek asked Niemeyer

帶來了他對新首都巴西利亞的設計。1956年，Kubitschek問Niemeyer

to help create a wholly planned city in the centre of the country, free from the corruption

以幫助在國家中心建立一個完全規劃的城市，擺脫腐敗的影響。

of the old capital in Rio. Niemeyer drew up the National Congress, a cathedral, a cultural

的老首都里約。尼邁耶在里約的老首都繪製了國民大會、大教堂、文化中心、博物館等。

complex, many ministries and commercial and residential buildings. The atmosphere was

綜合樓、眾多部委和商住樓。當時的氣氛是

dignified, hopeful, and in touch with the native environment. Apartment buildings were

莊重、充滿希望、與原生環境相聯繫。公寓樓是

lifted on stilts to allow vegetation to grow beneath them, maintaining a connection with

高蹺，讓下面的植被生長，保持與外界的聯繫。

the local ecology and tropical climate. Of course, Niemeyer's works depicted Brazil

當地的生態環境和熱帶氣候。 當然，尼邁爾的作品中描繪的巴西

not as it was, but as he believed and hoped it might one day be.

不是因為它是，而是因為他相信並希望它有一天會是。

Brasilia imagines the Brazil of the future;

巴西利亞想象著未來的巴西。

it is a glass and reinforced concrete ideal for the country to develop towards. In the

是國家向著玻璃鋼混凝土理想發展的。在

future, so the capitol argues, Brazil will be a place where rationality is powerful;

未來，所以首都認為，巴西將是一個理性強大的地方。

where order and harmony reign; where elegance and serenity are normal.

在這裡，秩序與和諧占主導地位；在這裡，優雅與寧靜是正常的。

Niemeyer was prolific until his very last

尼邁爾多產，直到他的最後一天。

years, teaching around the world, writing and designing sculptures and furniture. He

多年來，他在世界各地任教，寫作，設計雕塑和傢俱。他

died in 2012, when he was 104 years old. He was given a hero's funeral and thousands

2012年去世，享年104歲。他得到了一個英雄的葬禮和數以千計的。

joined the cortege. What his nation was honouring was an architect who had given it a workable

加入了隊伍。他的國家要表彰的是一位給了它一個可行的建築師。

yet ideal portrait of itself. He had enabled Brazil to break free from a sterile European

但又是其理想的寫照。他使巴西擺脫了歐洲的無菌狀態。

modernism – and to create buildings that better reflected the nation's uniqueness.

現代主義--並創造出能更好地反映國家獨特性的建築。

Niemeyer remains an example to all architects who aspire to put up buildings that remember

尼邁爾仍然是所有有志於建造記憶中的建築的建築師們的榜樣。

the distinctiveness of their locations – architects who may like their computers or their phones to be universal

他們地點的獨特性--建築師可能喜歡他們的電腦或手機是通用的。

in design, but are as keen for their buildings to be culturally specific.

在設計上，但同樣希望他們的建築具有文化特色。

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