在巴西内陆建立一个有目的首都的概念可以追溯到拿破仑战争后巴西从葡萄牙独立出来，甚至在1891年巴西第一部共和宪法[1]中也有体现。[1]直到1956年，尼迈耶的朋友兼赞助人尤塞利诺·库比切克(Juscelino Kubitschek)当选总统，才真正开始了这一进程。

The concept of a purpose-built capital city in the interior of the country dates back to Brazil’s independence from Portugal following the Napoleonic Wars, and was even enshrined in Brazil’s first Republican Constitution in 1891.[1] It was not until Niemeyer’s friend and patron Juscelino Kubitschek was elected president in 1956 that progress truly began in earnest.

被任命为巴西利亚作品的导演，“尼迈耶在创造城市主要纪念碑的艺术决策上享有虚拟的全权证书。”[2]为了平息对库比切克违抗规定公共建筑公开竞赛的法律的批评，巴西利亚总体规划的项目向全国竞赛开放，但尼迈耶是评审团成员，这个项目于1957年授予他的导师劳西奥·科斯塔(Lúcio Costa)。[3]作为Kubitschek的“五年中的进步五十年”计划的一部分，这个新首都的设计和建造速度似乎是不可能的，并于1960年4月21日落成。

Appointed director of Brasília’s works, “Niemeyer enjoyed a virtual carte blanche over artistic decision making in the creation of the city’s major monuments.”[2] To quiet criticism that Kubitschek had defied a law mandating open competitions for public buildings the project for the master plan of Brasília was opened to a national competition, but Niemeyer was a member of the jury, and the project was awarded to his mentor Lúcio Costa in 1957.[3] As part of Kubitschek’s “Fifty years of progress in five” plan, the new capital city was designed and constructed with seemingly impossible speed, and was inaugurated on April 21, 1960.

 The Monumental Axis with the National Congress in the distance. Image © Limogi

远处有国民大会的巨大轴心国。图像C.Limogi

也许不是巴西利亚最著名或最受欢迎的建筑(城市印章是帕拉西奥·达·阿尔沃拉达总统官邸倒置的抛物线拱门上的缩影[4])，国民议会当然是最突出的，也是巴西利亚作为国家政府所在地最具象征意义的地方。

Perhaps not the most famous or popular of Brasília’s monumental structures (the city seal is a riff on the inverted parabolic arches at the Palácio da Alvorada presidential residence[4]), the National Congress is certainly the most prominent, and the most symbolic of Brasília as the seat of the national government.

 The original pilot plan for Brasilia. Image Courtesy of O Espaço Lúcio Costa.

最初的巴西利亚试验计划。O Espa o Lúcio Costa的形象礼貌。

在这里，科斯塔的城市规划和尼迈耶的建筑实际上是结合在一起的：标志着巨大轴心的两条宽阔的道路被竖立在人工护堤上，以与国会大厦两层桥墩的屋顶水平相匹配，而三角形的部分则从长而平坦的悬空屋顶的每一个角落延伸到几乎没有触及道路边缘的地方。

Here Costa’s city plan and Niemeyer’s architecture are literally joined together: the two wide avenues that mark the Monumental Axis are raised on artificial berms to match the roof level of the two-story plinth of the National Congress building, and triangular segments extend from each corner of the long, flat, overhanging roof to just barely touch the edges of the roadways.

 © Flickr User may_inthesky

c Flickr用户可以使用

两座“冲天炉”高高耸立在楼顶上方，显示出巴西两院制立法机构的议会两院。尼迈耶以前住在里约热内卢的两栋独立的建筑里，把两个立法机构聚集在巴西利亚。作为其他权力席位的反映，如华盛顿的美国国会大厦或罗马的圣彼得大教堂，参议院会议厅上方的冲天炉呈浅抛物面穹顶的形状。相比之下，对于更大的众议院，尼迈耶倒置了象征性的圆顶，创造了一个碗形。

Rising above the flat roof, two “cupolas” indicate the assembly chambers of Brazil’s bicameral legislature. Previously housed in two separate buildings in Rio de Janeiro, Niemeyer brought the two legislative chambers together in Brasília. Reflective of other seats of power, such the U.S. Capitol in Washington, DC, or St. Peter’s Basilica in Rome, the cupola over the Senate chamber takes the shape of a shallow parabolic dome. In contrast, for the larger Chamber of Deputies, Niemeyer inverted the symbolic dome to create a bowl shape.

一条长长的斜坡从车道通往大楼。分成两段，一段斜坡通向建筑物的入口，另一段通向桥墩的大理石覆盖屋顶。屋顶原本打算作为公共广场，但后来出于安全考虑而被关闭。

A long ramp leads from a driveway to the building. Split into two segments, one section of ramp leads to the entrance of the building, while the other section leads to the marble clad roof of the plinth. Originally intended as a public plaza, the roof has since been closed off due to security concerns.[5]

 Floor Plan of the National Congress

国民议会平面图

在议会会议厅之外，立法者办公室和其他行政职能都设在两座27层楼高的塔楼中。塔楼位于中心以北，在两座冲天炉之间的巨无霸轴心保持着不间断的视野，并平衡了南面碗形冲天炉的视觉重量。虽然它们看起来是基本的楼板塔，但实际上这些建筑都是五面的，每一座都有两个略呈角度的立面，在这两座塔之间的狭小空间中达到了顶点。这些塔楼还由十四层至十六层的三层桥梁连接起来。办公室和会议室位于塔楼的外部边缘，电梯和其他服务空间面向塔楼之间的空间。

Beyond the assembly chambers, legislators’ offices and other administrative functions are housed in twin twenty-seven story towers. Set just north of center, the towers preserve uninterrupted views along the center of the Monumental Axis, between the two cupolas, and balance the visual weight of the bowl-shaped cupola to the south. Though they appear to be basic slab towers, the buildings are actually five-sided in plan, each with two slightly angled façades, coming to a point in the narrow space between the two towers. The towers are also connected by a three-story bridge on the fourteenth through sixteenth floors. Offices and meeting rooms are located along the outer edges of the towers, while elevators and other service spaces face into the space between the towers.

 © Andrew Prokos

C.Andrew Prokos

从表面上看，国民议会实际上是背弃广场，进一步区别于其他政府建筑，这是三个大国广场的一部分(另外两个国家是普拉尔托宫，设有行政部门办公室和最高联邦法庭)。入口坡道在建筑物的对面，一个巨大的反射池将它与广场隔开。

Ostensibly one part of the Plaza of the Three Powers (the other two being the Planalto Palace, housing the offices of the Executive, and the Supreme Federal Tribunal), the National Congress actually turns its back on the plaza, further distinguishing it from the other government buildings. The grand entry ramp is on the opposite side of the building, and a large reflecting pool separates it from the plaza.

对巴西利亚个别建筑物的看法很难脱离整个城市的意见。在巴西利亚的就职典礼上，库比切克总统兴高采烈地宣布该城为国家乌托邦。[6]其他支持者也同样过于狂热。在1965年出版的“巴西利亚”一书中，Willy St Ubli大放异彩地说：“Lúcio Costa和Oscar Niemeyer的设计的原则、创意和完美是如此空前和惊人，因此必须将其评价为现代建筑领域的一大进步，从而确立了它们的创造者在现代建筑伟人中的地位”[7]。

Perceptions of the individual buildings in Brasília are difficult to divorce from opinions of the city as whole. At the inauguration of Brasília, President Kubitschek was elated, proclaiming the city a national utopia.[6] Other supporters were similarly overzealous. In his book, Brasília, published in 1965, Willy Stäubli raved, “The principles, originality and perfection of the designs of Lúcio Costa and those of Oscar Niemeyer are so unprecedented and striking that they must be evaluated as a substantial advance in the sphere of modern architecture which established the position of their creators among the great men of modern architecture.”[7]

查看图片\gettyImages.com

View image | gettyimages.com

许多人不那么热情。甚至在巴西利亚完成之前，批评的反应就变得消极了，怀疑论者称这座城市是“奥威尔式的”和“卡夫卡式的噩梦”。[8]正如沃尔夫·冯·埃克德(Wolf Von Eckard)所描述的那样，“尼迈耶和科斯塔不仅实现了自己的梦想，而且实现了勒柯布西耶和追随他的一代规划者和建筑师的梦想(…)。也许是…他们用这一成就摧毁了梦想。“[9]连Niemeyer也没有分享Kubitschek的乌托邦式声明。尼迈耶是巴西共产党的一名终身党员，他深情地记得在巴西利亚建设的那几年，工人们和工程师们并肩生活和工作，但是他说，“在就职日，共和国总统，将军们穿着他们的全套制服，代表们穿着九件衣服，所有的国家官员和社会地位高的女士戴着他们最好的珠宝，一切都变了。魔法一击就粉碎了。“

Many were not so enthusiastic. Critical reception turned negative even before Brasília’s completion, with skeptics describing the city as “Orwellian,” and a “Kafkaesque nightmare.”[8] As Wolf von Eckard described it, “Niemeyer and Costa have realized not just their own dream but that of Le Corbusier and a generation of planners and architects who followed him… Perhaps… they have demolished the dream by this achievement.”[9] Not even Niemeyer shared Kubitschek’s utopian pronouncements. A lifelong member of Brazil’s Communist Party, Niemeyer fondly remembered the years during the construction of Brasília when the laborers and the engineers lived and worked side by side, but he said, “On the inauguration day, with the President of the Republic, the generals in their full dress uniforms, the deputies dressed to the nines, all state officials and their high-society ladies in their finest jewellery, everything changed. The magic was shattered in a single blow.”[10]

巴西利亚就职四年后，一场军事政变推翻了巴西政府，独裁政权很快在首都与巴西人口中心的距离上得到了安慰。由于受到军政府的骚扰，尼迈耶在独裁统治期间大部分时间都在巴黎自我放逐。与独裁政权的联系无助于巴西利亚的声誉，在1980年代恢复民主之后，人们努力使政府所在地更接近里约热内卢和圣保罗的市中心。

Four years after the inauguration of Brasília, a military coup ousted the government, and the dictatorship soon took comfort in the capital city’s distance from Brazil’s population centers. Niemeyer spent most of the dictatorship period in a self-imposed exile in Paris following harassment from the military government. The association with the dictatorship did not aid Brasília’s reputation, and after the return of democracy in the 1980s, there were efforts to bring the seat of government nearer to the urban centers of Rio de Janeiro and São Paulo.[11]

 © gary yim / Shutterstock.com

电话：GaryYim/ShutterStock.com

随着时间的推移，巴西利亚的观点更加微妙。1987年，巴西利亚被宣布为教科文组织的世界遗产遗址，由于它是历史不到100年的第一个遗址，也是实现这一区别的现代主义运动的第一个例子，这使它变得更加重要。费尔南多·拉拉(Fernando Lara)和斯特拉·奈尔(Stella Nair)认为，巴西利亚的标志性建筑和大部分空荡荡的广场并不是公共空间的失败，而是对公共空间含义的重新定义。[12]在对斯特利亚内·菲利浦(Styliane Philippou)最近著作奥斯卡·尼迈耶(Oscar Niemeyer)的评论中，本杰明·施瓦茨(Benjamin Schwarz)把规划和建筑区分开来，说：“今天，这座城市被正确地认为是城市规划中的一个巨大错误转折-但矛盾的是，巴西利亚包含了一些有史以来最优雅的现代主义政府建筑。“正如菲利普在书中所描述的，“巴西利亚幸存了下来，…如今，巴西有着悠久的历史和记忆，还有一批为自己的“绿色城市”自豪的本土公民。“[13]也许最能说明问题的是，在一系列全国范围内的示威活动中，数十万巴西人走上街头，抗议公共交通费用的上涨和2014年世界杯的费用。巴西利亚的抗议者走上国会的坡道和屋顶广场，像尼迈耶最初打算的那样，夺回曾经的公共空间。

The passage of time has allowed for more nuance in the views of Brasília. In 1987 Brasília was declared a UNESCO world heritage site, made more significant by the fact that it was the first site less than 100 years old, and the first example of the Modernist movement to achieve this distinction. Fernando Lara and Stella Nair suggest that Brasília’s monumental buildings and largely empty plazas are not a failure of public space, but a redefinition of the meaning of public space.[12] In a review of Styliane Philippou’s recent book, Oscar Niemeyer: Curves of Irreverence, Benjamin Schwarz distinguishes between the planning and the architecture, saying, “Today, the city is quite correctly regarded as a colossally wrong turn in urban planning—but Brasília, paradoxically, contains some of the most graceful modernist government buildings ever produced.” As Philippou describes in the book, “Brasília has survived, and… today it has a history and a memory and an indigenous generation of citizens who take pride in their ‘green city.’”[13] Perhaps most telling, during a series of nationwide demonstrations that drew hundreds of thousands of Brazilians to the streets to protest rising public transportation fares and the costs of the 2014 FIFA World Cup, protesters in Brasília took to the ramp and the roof plaza of the National Congress, reclaiming the once public space, just as Niemeyer had originally intended it.

 Protestors occupy the roof plaza of the National Congress, 17 June 2013. Image © Agência Brasil

2013年6月17日，抗议者占领国民议会屋顶广场。图像(Agència Brasil)

[1]St Ubli，Willy。胸罩。纽约：宇宙图书公司，1965年。P10。

[1] Stäubli, Willy. Brasília. New York: Universe Books, Inc., 1965. p10.

[2]安德伍德，大卫。奥斯卡·尼迈耶和巴西自由形式现代主义。纽约：乔治·巴西勒公司，1994年。第71页。

[2] Underwood, David. Oscar Niemeyer and Brazilian Free-form Modernism. New York: George Braziller, Inc., 1994. p71.

[4]Philippou，Styliane。奥斯卡·尼迈耶：不敬的曲线。纽黑文：耶鲁大学出版社，2008年。P 245。

[4] Philippou, Styliane. Oscar Niemeyer: Curves of Irreverence. New Haven: Yale University Press, 2008. p245.

[5]Frampton，Kenneth。“建设与建设：巴西的发展”建造巴西利亚。纽约：泰晤士河

[5] Frampton, Kenneth. “Construct and Construction: Brasília’s Development.” Building Brasilia. New York: Thames & Hudson, 2010. p30.

[6]Philippou，第244页。

[6] Philippou, p244.

[7]St Ubli，第10页。

[7] Stäubli, p10.

[8]Philippou，p 247。

[8] Philippou, p247.

[9]同上，p 247注。

[9] Ibid, p247 notes.

[10]同上，第247页。

[10] Ibid, p247.

[11]同上，第248页。

[11] Ibid, p248.

[12]Lara，Fernando和Stella Nair。“巴西利亚的巴西化”“国际研究所学报”。第14卷，第2期，2007年冬季。2015年9月12日查阅。http：/quod.lib.umich.edu/j/jii/4750978.0014.214/-巴西利亚？RGN=Main；View=全文

[12] Lara, Fernando and Stella Nair. “The Brazilianization of Brasília.” The Journal of the International Institute. Volume 14, Issue 2, Winter 2007. Accessed September 12, 2015. http://quod.lib.umich.edu/j/jii/4750978.0014.214/--brazilianization-of-brasilia?rgn=main;view=fulltext

[13]Philippou，第248页。

[13] Philippou, p248.

建筑师奥斯卡·尼迈耶地点国民大会-普拉萨·多斯·特里斯·波德斯，巴西利亚-联邦区，70160-900，巴西类别政府项目年1960年照片Flickr用户可能_inthky，Andrew Prokos

Architects Oscar Niemeyer Location National Congress - Praça dos Três Poderes, Brasilia, Brasília - Federal District, 70160-900, Brazil Category Government Project Year 1960 Photographs Flickr User may_inthesky, Andrew Prokos