The scenario of routine and rush in the metropolis of 2.9 million inhabitants enchants the eyes used to the disadvantaged ones. It also enchants poets, such as Caetano Veloso, who said he had a great love that would pass “beyond the sky of Brasilia”, the “trait of the architects” (Lúcio Costa and Oscar Niemeyer).
“I like her so much,” said Caetano. What is on the floor arouses curiosity for its different ways.
In this place, hopes and inequalities of everyday are mixed since the strokes have become buildings, streets and avenues animated by sounds of the third most populous city in Brazil, according to the Census of the Brazilian Institute of Geography and Statistics (IBGE),
The city, inaugurated 65 years ago and only growing, was created to express modernity, integration and freedom, according to architect and urban planner Alberto de Faria, who is a professor at the University Center of Brasilia (CEUB).
“Niemeyer’s work establishes visual references to this new country, modern and with opportunities for everyone,” says the professor.
Dating
One of these curiosities is that, in fact, Brasilia was designed without corners. “The meetings take place in the green areas between the trades and the (residential) superquads, with no cross with vehicle flows,” recalls Alberto de Faria. He explains that the idea was to promote a new urban dynamics.
Speaking of this urban image, a myth is that Brasilia was designed by architect Lúcio Costa in plane format. According to the expert, this interpretation is playful and not technical, and would have been spread by the designation of the name Plan Piloto.
Lúcio Costa drew the Brasilia Pilot Plan based on a cross: a monumental axis (east-west) crossing with a residential (curved, north-south) axis. He described his proposal as a “synthesis between tradition and modernity,” and wanted a simple and functional form.
Giant park
One fact that prides Brazil is that the city park has become the largest of its kind in urban space in the country. According to Professor Alberto de Faria, the park has 420 hectares, which is equivalent to 4.2 square kilometers.
“The Sarah Kubitschek City Park in Brasilia is larger than the New York Central Park. It is a broad and democratic living space, widely used by the population of all ages,” he explains.
Participation of Workers
Painter tile panel, sculptor and architect Athos Bulcão, on the side wall of the church of Our Lady of Fatima – Marcello Casal Jr/Agência Brasil
In this coming and going, in the conception of architect Oscar Niemeyer, city buildings would have freedom of circulation to reduce fences and barriers. Another element of this differentiated view is the iconic Athos Bulcão tile panels. “The panels were mounted freely by the workers.”
Even the first Catholic Church of Brasilia, the church of Our Lady of Fatima, is an example of the collaboration between architecture and art. “Niemeyer’s project, with Athos Bulcão’s panels, creates welcoming spaces for spiritual reflection, bringing references to freedom and spiritual development,” says the professor.
