Oscar Niemeyer Quotes

A vida é um sopro.

I was attracted by the curve — the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches.

I have always accepted and respected all other schools of architecture, from the chill and elemental structures of Mies van der Rohe to the imagination and delirium of Gaudi. I must design what pleases me in a way that is naturally linked to my roots and the country of my origin.

Life is very fleeting. It’s important to be gentle and optimistic. We look behind and think what we’ve done in this life has been good. It was simple; it was modest. Everyone creates their own story and moves on. That’s it. I don’t feel particularly important. What we create is not important. We’re very insignificant.

Architecture for me has always begun with drawing. When I was very little my mother said I used to draw in the air with my fingers. I needed a pencil. Once I could hold one, I have drawn every day since. The buildings do appear on paper the way you say, but they are not the result of gratuitous brushstrokes. The pencil is guided by so many thoughts stored away in my mental library. But, when I have looked at the site for a building, considered its budget and thought of how it might be built, and what it might be, the drawings come very quickly. I pick up my pen. It flows. A building appears. There it is. There is nothing more to say.

We hated Bauhaus. It was a bad time in architecture. They just didn’t have any talent. All they had were rules. Even for knives and forks they created rules. Picasso would never have accepted rules. The house is like a machine? No! The mechanical is ugly. The rule is the worst thing. You just want to break it.

It's funny, the power of beauty, to make us forget such injustice. É estranho o poder da beleza, que nos faz esquecer tanta injustiça.

My ambition has always been to reduce a building’s support to a minimum. The more we diminish supporting structures, the more audacious and important the architecture is. That has been my life’s work.

Brasilia was a wonderful time [...] I designed a wooden cabin for us to live in - me, engineers, visiting friends and JK himself. We called it Catetinho [a national monument today]. JK flew out to join us in the savannah as we built his city. We went to the same dances and bars as the workers. This was a liberating time. It seemed as if a new society was being born, with all the traditional barriers cast aside. It didn't work. Now, Brasilia is too big. The developers, the capitalists are there, dividing society and spoiling the city. Brasilia should stop.

I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete.… This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.

When people ask me if I take pleasure in the idea of someone looking at my buildings in the future, I tell them that this person will vanish, too. Everything has a beginning and an end. You. Me. Architecture. We must try to do the best we can, but must remain modest. Nothing lasts for very long.

Here, then, is what I wanted to tell you of my architecture. I created it with courage and idealism, but also with an awareness of the fact that what is important is life, friends and attempting to make this unjust world a better place in which to live.

Não é o ângulo reto que me atrai. Nem a linha reta, dura, inflexível, criada pelo homem. O que me atrai é a curva livre e sensual.

Architecture was my way of expressing my ideals: to be simple, to create a world equal to everyone, to look at people with optimism, that everyone has a gift. I don’t want anything but general happiness. Why is that bad?

My work is not about "form follows function," but "form follows beauty" or, even better, "form follows feminine."