奥斯卡·尼迈耶：生命是一口气

12月15日是巴西著名现代主义建筑师、普利兹克奖得主奥斯卡·尼迈耶（Oscar Niemeyer）的生日。在此之际，我们重温了一遍由Fabiano Maciel拍摄，记录了尼迈耶从里约热内卢开始的生活、求学、创作及工作，一直到其102岁时在西班牙的第一个项目落成的职业生涯纪录片——《生命是一口气》。

机智、风趣、自信，尼迈耶在纪录片里妙语连珠。他既谈到了自己做设计时的方式，也聊到了与各位现代主义建筑师的逸闻趣事。我们从影片中摘选了这位巴西建筑大师的20句金句，一个生动形象的尼迈耶，就此展现在我们面前。

祝你享用愉快。

奥斯卡·尼迈耶（1907-2012）

Oscar Niemeyer

巴西建筑师，1988年获得普利兹克奖。1934年毕业于里约的国家美术学院。1936年以实习生身份加入巴西教育和公共卫生部大楼项目工作组, 在此受到柯布决定性的影响。1940年完成欧鲁普雷图饭店，1945年，28岁的尼迈耶加入巴西共产党，1947年时加入位于纽约的联合国总部的设计工作。1956, 总统库比切克（Juscelino Kubitschek）任命他为巴西利亚的建筑部长并承担了巴西利亚的许多重要建筑设计，60年代中期由于军政府独裁统治，尼迈耶开始流亡生涯；流亡期间，他在欧洲共产党协助下，完成了法国、意大利、阿尔及利亚等地的建筑设计项目。直到80年代初巴西恢复民主政体后，才回到巴西继续执业。尼迈耶将现代主义建筑的表现力推到了一个极致，他的执业时间跨度极大，但在不同阶段的作品都体现出了惊人的想象力。

Once in Brasilia, it was late at night...we decided to see the Alvorade structure which had been concluded. When we arrived there, we were overwhelmed by its beauty. It looked like a sculpture, something with on other purpose than beauty itself. I told them:“See, that’s the moment when architecture is bo.” The new, different, surprising form is what defines architecture.

一次在巴西利亚，深夜，我们决定去看看Alvorade的结构。到那儿的时候，我们被它的美丽征服了。它看起来就像雕塑一般。它本身的美超过其他任何目的性的东西。我说：“看，这才是建筑诞生的时刻。”建筑的定义就是创新、求异、令人惊奇。

I enjoyed drawing. I remember when I was a child, I used to drawing with my fingers on the air, and my mother used to ask me:“What are you doing?” I answered:“I’m drawing.” Drawing has led me to architecture.

我喜欢画画。我记得当我还是孩子的时候，我经常用手指在空气中比划，那时候我妈妈总问我“你在干什么？”我回答“在画画。”画画引领我走上建筑师的道路。

I was still a student when I designed my first building. A house for a doctor who was a relative of mine. I did it for free. The guy laughed a lot:“What a joke!” He thought the house was ludicrous. It was a mode house. Sometimes you have to please a person who cannot be pleased.

我做第一个项目时还是学生。那是我免费帮我的一个医生亲戚设计的房子。他看到建成后的房子，感到很可笑，但实际上那是一个很现代的建筑。有时候，你总得取悦一些无法被取悦的人。

I lea through life, I lea through Lucio Costa’s studio...back then, when we were in college, everybody wanted to work in a construction firm. But even though, I was unemployed, married, and short of money, I chose to work with Lucio for free. Because I wanted to creat good architecture, and I leaed it there.

我从生活中学习，我从卢西奥科斯塔的工作室中学习。当我们还在大学里的时候，每个人都想去工程公司工作。即便那时候我没有工作，还结了婚，也没有钱，我依然选择无偿为卢西奥工作。因为我想创造优秀的建筑，我在那里得到了学习。

The most significant event was Le Corbusier’s project for the Ministry of Education. Because it showed the people and the rulers what contemporary architecture was. It showed the reason for the pilotis, for the brise-soleil, for the glass facade, all that.

最伟大的工程是柯布设计的教育部大楼。因为它向市民和统治者展示了现代建筑的意义，展示了底层架空、遮阳以及玻璃幕墙的意义。

My intention in Pampulha was to creat a different architecture. Back then, architecture was very...it did not quite understand nor translate the reinforced concrete. Architecture was rigid, as if it were done with metallic structure. Concrete was just the opposite, it suggested a new field of experience and invention......This architecture generated lots of doubts and discussions. But soon after everybody understood that reinforced concrete was the material of the times and we should use it.

我在Pampulha是想要创造与众不同的建筑。那个时候，建筑并没有很好地理解或转译钢筋混凝土的意义。建筑是死板的，就像用金属结构那样。相反，混凝土展示了一个新的经验和创造的领域。这个项目在当时引起许多质疑和讨论，但很快人们就发现，钢筋混凝土是属于时代的建筑材料，我们应该使用它。

That’s when a very intelligent Frenchman who work with Le Corbusier said: “That is, it is necessary to make the supporting points sing.” I gave more emphasis to the structure.

一个跟随着柯布工作的非常有才华的年轻人说：“让支撑点变得精彩是非常有必要的。”因此我会更加强调建筑的结构。

It is not the right angle that attracts me, nor the straight, hard, inflexible line created by man. What attracts me is the free, sensual curve. The curve I find in the rivers of my country, the clouds up in the sky, in the body of my favourite woman.

吸引我的不是正确的角度，不是强硬的直线。吸引我的，是自由、感性的曲线。是我在故乡的河流里看见的，在天空的云朵中看见的，在我最爱的女人身体上看见的曲线。

All the universe is made of curves.

宇宙由曲线构成。

My architecture is not the solution for all architecture. It’s just my architecture. If we agree that there is no mode and ancient painting, but just good and bad painting, the same happens with architecture. Everyone should find their own way and do what he or she likes.

我的建筑不是给所有建筑设计的方案。这只是我的建筑。如果我们同意没有现代与古典绘画之分，只有好坏之分的话，那么建筑也是一样的道理。每个人都应该找到自己的道路，做自己喜欢的。

I must confess I’m tired of talking about architecture. Because it is the same conversation, over and over. The question are the same. More important than architecture is protesting in the streets. That is the important stuff: when someone feels good, and believe that they are not a piece of shit, that they can be useful.

我必须承认我已经厌倦谈论建筑。因为每次都是同样的谈话，问题总是一样的。更重要的事情是我们应该上街去抗议。当一个人感觉良好，而且相信自己并不是一无是处，那他就有用武之地。

It was the time of Stalinism, a teacher there asked me:“Dr Niemeyer, what is your opinion about Soviet architecture?” I answered:“ I side with you in political aspects, peace and so on, but I have no answer to that. Your architecture is very bad.” He said:“Show us your criticisms.” I said:“ I didn’t come here to criticize, but since you asked...the columns here are too close to each other, too thick for the space that exists between them. Circulation is bad, and ventilation is bad. ” So, in our relationship with the Left, we had to be frateal, but telling the truth.

那是斯大林主义盛行的时期，一个教师问我：“尼迈耶教授，你对苏联建筑有什么看法？”我回答：“我同意你们的政治观点，和平什么的，但我无法回答你这个问题，你们的建筑非常差。”“请告诉我们你的批评点。”我说：“我不是来批评你们的，但既然你问起......这里柱子的间距太窄了，留下的空间过宽，流线很差，通风也很差。”所以，在与苏联左翼打交道的时候，我们必须表现得友好，但同时又要说实话。

Bauhaus was a paradise of mediocrity as Le Corbusier used to say. The fellows lea how to draw something. A dinner service, for example, that was established with a series of rules that they had to follow. Architecture has nothing to do with that. Architecture is invention. Of everything I got from Le Cobusier, the most important was something he told me:”Architecture is invention.”

包豪斯是平庸建筑的天堂，就像柯布说的那样。其成员学着怎样去画一些东西。像一套晚餐服务，由一系列规则组成，他们必须得遵从这套规则。但建筑不一样，建筑是创造。我在柯布身上学到的所有事情里，最重要的就是他告诉我的：“建筑是创造。”

Architecture cannot be seen as something isolated. When the architect create a project, he is already wondering whether that wall will become a painting, a whtiewash, a stonewall, or a sculpture.

建筑不能被看作孤立的存在。当建筑师在设计一个作品时，他就已经在思考这堵墙是否会变成一幅画，一处白色涂料，一面石墙，或者一个雕塑。

I must give up smoking today, I might forgot, damn it. I’ve been forgetting names. (Oh, that’s normal.) But I even forget the name of the guy next to me. The other day talking to them, I couldn’t remeber Mies Van Der Rohe...that’s too much.

我今天必须戒烟，我可能会忘记，糟糕，我已经开始忘记人们的名字......（哦这是正常的）我甚至忘记了坐在我旁边的人的名字。有一天我告诉他们，我记不起密斯·凡·德·罗了......这有点过分。

That is how life should be, let’s make things clear. Life is about laughing and crying. We must enjoy the easy moments while we can and have fun, and lea to bear the other moments. Life is a breath of air.

生活就应该这样，生活是关于笑与哭的。我们应当在条件允许的时候充分享乐，然后在其他时候忍受生活的无趣。生命就是一口气。

Sometimes in Brazil, the mediocre face of people come up to complain:“Why can’t the Three Powers Square have any vegetation?Why all this sun?” We’re complled to explain what should be intuitive:“Because it’s a civic square, it’s something different, one must emphasize architecture. Can you imagine San Marco’s Square if we filled it with trees? What would happen? It’d be shadowy, but the square would disappear. All that artistic work (would disappear).”

在巴西，有时候会有普通人来抱怨：“为什么三权广场上不能种点树？为什么让我们曝晒在太阳底下？”我们必须解释一下初衷：“因为这是个公权广场，它是特别的，周边的建筑应该被强调。你能想象圣马可广场上种满树的样子吗？那会发生什么？是会变得有树荫，但广场也就消失了。艺术性的成果也就消失了。”

In architecture, unity is when elements that compose a whole are plastically connected.

在建筑中，统一性是指所有元素被可塑性地联系在一起，成为一个整体。

Like Rilke used to say:“When you see a grove, not only the trees are important, but also the space among them.” So I made those arches with different inteal spaces. One with a span of 15m, another with 9m, another with 6m and so on. It was somthing had to do with music. An Italian engineer asked me:“Can we do them all with 8m span?” I said:“No.”

像Rilke说的那样：“当你看见一片树林，重要的不仅只有树木，还有树木之间的间隙。”所以我在米兰的项目里，在那些拱之间设计了空间。这些拱，有些是15米跨度，有些是9米，还有些是6米。这些与音乐韵律有关。一个意大利工程师问我：“我们可以把它们做成统一8米跨度吗？”我说：“不可以。”

We do not want a correct architecture which works well. I mean, all architecture has to work well.

我们并不想要正确的、使用起来很方便的建筑。因为所有的建筑使用起来都应该很方便。

版权声明：本文版权归行走中的建筑学所有，欢迎转发，禁止转载。

投稿邮箱：media@archiposition.com