A virtual tour of Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil

The location

Opened in 1996, the Museum of Contemporary Art in Niteroi is one of the smaller, but no less intriguing buildings designed by one of my favourite architects; the famous Brazilian architect Oscar Niemeyer. A building that reflects his skill of blending sculptural elements with Architecture, the museum designed by Niemeyer with the assistance of structural engineer, Bruno Contarini, is perhaps also one of the best examples of a building that takes intentional advantage of its location on a site imbued with natural beauty. Sitting on the Boa Viagem beach and overlooking the Guanabara bay and the city of Rio De Janeiro, the building is quite dramatic, yet fits in with the natural context and the adjoining residential neighbourhood. Depending on whom is telling the story, Niteroi is a suburb of Rio de Janeiro, municipality of Rio de Janeiro State or an independent city that seats across the Guanabara bay from Rio de Janeiro city.

Approaching the building

The full history of this building’s beginnings can be found elsewhere on the web. The focus of interest here is the experience of a visitor to the museum particularly as one walks up the approaching road towards the museum coming off the ferry ride across the Guanabara bay from the Rio de Janeiro side. As one walks up the Avenida Almirante Benjamin Sodre road which curves along the edge of the bay, the full effect of the building as ‘Sculpture’ gradually comes into focus at about 150m from the building’s entrance through a simple gate.

Approaching the Museu de Arte Contemporânea de Niterói, Brazil from the Avenida Almirante Benjamin Sodre. Photography by Lola Adeokun.

Approaching the Museu de Arte Contemporânea de Niterói, Brazil from the Avenida Almirante Benjamin Sodre.

Photography by Lola Adeokun.

The gateway to the Museu de Arte Contemporânea de Niterói, Brazil from the Avenida Almirante Benjamin Sodre. Photography by Lola Adeokun.

The gateway to the Museu de Arte Contemporânea de Niterói, Brazil from the Avenida Almirante Benjamin Sodre.

Photography by Lola Adeokun.

The simple fencing around the Museu de Arte Contemporânea de Niterói, Brazil looking from the Avenida Almirante Benjamin Sodre. Photography by Lola Adeokun.

The simple fencing around the Museu de Arte Contemporânea de Niterói, Brazil looking from the Avenida Almirante Benjamin Sodre.

Photography by Lola Adeokun.

The boundary fence and gate are simple and transparent, allowing the tranquillity of the hilly backdrop and the beauty of the building which has been described as a ‘flower’ by Niemeyer himself, or by others as a ‘goblet’, to be visible from the road. The narrow base or ‘stem’ which supports a wide-rimmed, concrete sculpted, goblet-like upper body seems to defy gravity, yet is rooted in the promontory, allowing views towards the ubiquitous residential blocks which make up much of downtown Rio across the Guanabara bay. Its geometrical dimensions- 16 meters height; accommodates three floors with its upper rim diameter of 50 meters- emphasises its structural daring as well; a tribute to the genius of Contarini too. Niemayer describes the ease with which the design flowed from the configuration of the site itself (translated from the museum website), stating:-

“How easy it is to explain this project! I remember when I went to see the place. The sea, the mountains of the river, a magnificent landscape that I should preserve. And I went up with the building, adopting the circular form which, in my view, the space would require. The study was ready, and a ramp leading the visitors to the museum completed my project”.

The base of the sculptural shape, reminiscent of a goblet. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun.

The base of the sculptural shape, reminiscent of a goblet. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun.

Looking across Guanabara Bay from Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun

Looking across Guanabara Bay from Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun

The glazed middle band on the exterior provides successful contrast between the upper wide rim of the building and the narrow stem of the flower or wine goblet and provides much needed views and connection with the exterior from the inside of the building. The building has curved display walls which take you in circular movements within the building and works quite well with the shape of the form, while the sweeping white walls which are shielded from direct sunlight protect the display objects and artefacts from damaging UV rays.

Going inside

The movement from the outside ramp into the interior circular corridor-galleries are like layers of an onion, which then terminate in a central display space which is lit from above. This cleverly takes the visitor from the sunlight into the muted view of the outer layer of the onion with its shaded and uninterrupted views of the bay. The view disappears as one moves round towards the centre in a concentric movement which by taking away the outside views, plunges the visitor into subdued light, focusing the visitor towards the display on the wall, yet the hold of the building form is only slightly relinquished when one arrives in the centre where the roof light brings in light and connection again with the exterior with paintings and graphic works mounted on the curved walls. However, despite the dramatic experiences felt over the years by many, attested to by the recent use of the external forecourt and red ramp for the Louis Vuitton’s Cruise 2017 show, the interior is perhaps less successful for the artworks. The artworks seem to struggle a bit in coming to the fore and are somewhat subservient to the ambience of the building form itself. The exhibition that I visited in this amazing building was quite contemporary, perhaps even risqué, and was certainly able to hold its own in the centre gallery, but I found my experience of the inner long curved galleries less memorable.

Sweeping curved white walls display artwork in Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun

Sweeping curved white walls display artwork in Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun

The play of natural light within the curves and space. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun

The play of natural light within the curves and space. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun

Perhaps it is a building which contributes significantly to one’s experience of the artistic world as much as the exhibits, but I would suggest that the onus is on the curators to help the artworks find expression alongside the moving expression of the building itself. So, as architecture, do I think the building ‘hits the mark’? Yes, but only if the art curated is equally assertive. The Museu de Arte Contemporânea may be one of Niemeyer’s smaller works- but only in size- it is a bonafide example of why the combination of sculpture meets architecture in my opinion, is worthy of a ferry ride from Rio across the Guanabara bay.

The works of art have to rise to the challenge of a striking building. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun

The works of art have to rise to the challenge of a striking building. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun

Circular, sweeping interior rooflight. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil. Photography by Lola Adeokun

Circular, sweeping interior rooflight. Oscar Niemeyer’s Museu de Arte Contemporânea de Niterói, Brazil.

Photography by Lola Adeokun

Here we look at every kind of architecture, often including steel and other metals of course, current and historical usually by famous and influential architects but sometimes by names that are surprisingly lesser known.

The Castelar Building, Madrid, Spain – a glass lantern floating above the Paseo de la Castellana - Double Stone Steel

The Castelar Building, Madrid, Spain – a glass lantern floating above the Paseo de la Castellana

The conviction of Rafael de La-Hoz Arderius and Gerardo Olivares to build a minimalist sculpture of steel, glass and travertine on an urban scale.

The story of how the Petersen Automotive Museum leapt into the 21st century with a futuristic steel exoskeleton design strongly influenced by car culture - Double Stone Steel

The story of how the Petersen Automotive Museum leapt into the 21st century with a futuristic steel exoskeleton design strongly influenced by car culture

Robin Fisher explores this building, located at the gateway of Los Angeles' famous Museum Row, extensively renovated through the work of Kohn Pedersen Fox and A.Zahner.

The US Steel Tower, a lasting beacon on the Pittsburgh skyline and legacy of Andrew Carnegie - Double Stone Steel

The US Steel Tower, a lasting beacon on the Pittsburgh skyline and legacy of Andrew Carnegie

Richard Storer-Adam reviews the design and construction of this 64-story skyscraper, built in the 1970’s with Cor-Ten steel, symbolising the triumph of the US Steel industry.

The design story of the Seagram Building, 375 Park Avenue, New York City, built in 1957 - Double Stone Steel

The design story of the Seagram Building, 375 Park Avenue, New York City, built in 1957

Richard Storer-Adam reviews the background and architecture of this iconic modernist glass and bronze tower by German-American architect Ludwig Mies Van der Rohe and American associate architect Philip Cortelyou Johnson.

An examination of the design theory behind Seattle Central Library by OMA - Double Stone Steel

An examination of the design theory behind Seattle Central Library by OMA

Antonio Moll reviews the first work by the Dutch Office in the USA, 16 years after its opening, considering what is probably the most disrupting piece of architecture of the 21st Century.

The Flatiron Building (originally the Fuller Building), designed by Daniel H. Burnham and built in 1902 - Double Stone Steel

The Flatiron Building (originally the Fuller Building), designed by Daniel H. Burnham and built in 1902

Richard Storer-Adam dwells on the genesis of NYC’s most iconic skyscraper and ‘quintessential symbol’ of Manhattan, New York City, New York, USA named after the Flatiron district.

How our use of metals and finishing processes features in design today and since prehistoric times.

The Mini - an iconic car with a design that is recognised around the world. - Double Stone Steel

The Mini - an iconic car with a design that is recognised around the world.

Considered the second most influential car of the 20th Century just after the Ford Model T the Mini is a British Pop-culture icon.

The story of Kem Weber (1889 – 1963), one of the proponents of Art Deco design and architecture in 1930s America - Double Stone Steel

The story of Kem Weber (1889 – 1963), one of the proponents of Art Deco design and architecture in 1930s America

Richard Storer-Adam recounts the work of this influential industrial designer, famous for his work with Walt Disney Studios, through two of his favourite products created in the style of Streamline Moderne.

How the simple industrial process of tube drawing allows for the production of precision quality pipe and tube - Double Stone Steel

How the simple industrial process of tube drawing allows for the production of precision quality pipe and tube

Richard Storer-Adam gives a brief history of two essential modern-day products - hypodermic needles and steel pipes - and the manufacturing technique that connects them.

A brief tutorial on the most luxurious stainless steel watches in the world - Double Stone Steel

A brief tutorial on the most luxurious stainless steel watches in the world

Richard Storer-Adam gives a brief tutorial on Rose and Rose Gold watches, watch straps, lugs and integrated wrist bands including the Rolex Glidelock system in 904L stainless steel.

A study of the major design influencer Jean Prouvé - Double Stone Steel

A study of the major design influencer Jean Prouvé

Richard Storer-Adam gives an overview of the life of an iconic mid-century designer whose background as a blacksmith and empathy with metal fabrication played out in his work ranging from furniture, such as the famous Standard SP chair, to pre-fabricated buildings.

Outrageously successful. Peter Marino, the artist behind the architect - Double Stone Steel

Outrageously successful. Peter Marino, the artist behind the architect

Carol Rutter looks at how art and sculpture are integrated into this controversial art and music-loving prolific designer’s interiors including his work for Christian Dior for whom he designs nearly all of their stores.