{"id":125407,"date":"2019-11-21T15:02:00","date_gmt":"2019-11-21T15:02:00","guid":{"rendered":"https:\/\/interiordesign.net\/projects\/oscar-niemeyer-s-french-communist-party-headquarters-brings-a-sensual-brazilian-lilt-to-paris\/"},"modified":"2023-03-04T18:58:38","modified_gmt":"2023-03-04T23:58:38","slug":"oscar-niemeyer-s-french-communist-party-headquarters-brings-a-sensual-brazilian-lilt-to-paris","status":"publish","type":"id_project","link":"https:\/\/interiordesign.net\/projects\/oscar-niemeyer-s-french-communist-party-headquarters-brings-a-sensual-brazilian-lilt-to-paris\/","title":{"rendered":"An Oscar Niemeyer Building Brings a Brazilian Lilt to Paris"},"content":{"rendered":"

In 1967, Brazilian architect Oscar Niemeyer left his homeland for what would become almost two decades of self-imposed exile in France. Three years earlier, an American-backed military coup had overthrown Brazil\u2019s government. Despite being renowned for designing the main buildings in Bras\u00edlia\u2014the spectacularly modern inland capital planned and built from scratch in a gobsmacking three and a half years\u2014Niemeyer<\/a>, who had been a member of the Brazilian Communist Party since 1945, found his work dried up under the implacably hostile right-wing dictatorship. So the displaced architect, who was twice refused entry to the U.S. because of his party affiliation, set up shop on the Champs-\u00c9lys\u00e9es in Paris.<\/p>\n

One of Niemeyer\u2019s first major commissions there was a new Paris headquarters for the French Communist Party, powerful enough at the time to win more than 20 percent of the national vote, though its fiercely pro-Soviet ideology would become increasingly unpopular and out of touch. The architect had abandoned his country but not his lifelong political principles: In a show of solidarity, Niemeyer worked on the project for free. But his Marxist-Leninist sympathies were not limitless. \u201cOn the politics, I\u2019m with you,\u201d he told a Moscow audience in 1963. \u201cBut your architecture is awful.\u201d The French Communists would get one of the least-Stalinist buildings imaginable.<\/p>\n

Oscar Niemeyer’s Paris Commission Reflects His Signature Aesthetic<\/h2>\n
\"The
The 36-foot-high ceiling of the auditorium is lined with thousands of light-diffusing aluminum strips, which also help with acoustics. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

By the time he died in 2012, a few days before his 105th birthday, Niemeyer was generally regarded as the last of the 20th century\u2019s great modernist masters\u2014a protean talent who, at his best, was as innovative and inventive an architect as any of his distinguished peers. From the beginning of his career in the \u201930s, working with Le Corbusier<\/a> in Rio de Janeiro on the Ministry of Education and Health headquarters\u2014Brazil<\/a>\u2019s first modernist building\u2014Niemeyer\u2019s cast-concrete structures infused the hard-edged, flat-planed International Style with his love of undulating lines and voluptuous forms. \u201cI am attracted to free-flowing, sensual curves,\u201d he wrote in his memoirs. \u201cThe curves that I find in the mountains of my country, in the sinuousness of its rivers, in the waves of the ocean, and on the body of the beloved woman.\u201d<\/p>\n

\"Four
Four iconic Alta lounge chairs gather around a coffee table\u2014all designed for the headquarters by Niemeyer and his daughter, Anna Maria\u2014to create a lobby meeting area. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

A Behind-the-Scenes Look at the French Communist Party Headquarters<\/h2>\n

No wonder, then, that Niemeyer\u2019s early biomorphic work, with its swelling shapes and fluid contours<\/a>, is almost always compared to the samba, the sensuous dance-rhythm that embodies Brazil\u2019s nonchalantly eroticized culture. But by the late \u201950s, when he designed Bras\u00edlia\u2019s elegantly charismatic buildings, the architect\u2019s style was closer in feel to the newly minted bossa nova: cooler, jazzier, more cadenced. It is this urbane, smoothly syncopated quality that pervades the complex Niemeyer devised for the French Communists. Unlike the Brazilian capital, however, the headquarters, located in northeast Paris\u2019s appropriately working-class 19th arrondisement, were not built overnight. Although the main building was inaugurated in 1971, for economic reasons the scheme\u2019s most spectacular element\u2014a mostly underground auditorium for meetings of the party\u2019s Central Committee\u2014was not completed until 1980.<\/p>\n

\"Used
Used to receive foreign delegations, the leaf-shape basement conference room has a light-diffusing ceiling like the auditorium\u2019s. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

Niemeyer went to great pains to preserve the openness of the sloping corner site, which faces the leafy oval of the Place du Colonel Fabien. He housed the party\u2019s administrative offices in an undulating six-story slab set high on the hillock, well back from the street. Sheathed in a stainless-steel and tinted-glass curtain wall designed by Jean Prouv\u00e9, the sinuous building sits on short concrete piers so that it appears to float above the broad paved forecourt, which swells upward to almost meet it. The main entrance, under a wavy concrete<\/a> canopy, is surprisingly discreet: a slotlike aperture that leads down to a vast subterranean lobby. Principal access to the offices above is via a separate circulation tower tucked immediately behind the building.<\/p>\n

\"The
The top of the auditorium dome rises in front of party secretariat, an undulating six-story slab, its steel-and-glass curtain wall designed by Jean Prouv\u00e9. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

Niemeyer’s Biomorphic Forms Breathe Life into the Structure Inside and Out<\/h2>\n

The only interruption to the plaza in front of the secretariat is a smooth\u00a0 white concrete dome that rises mysteriously out of the earth like some space-age burial mound. It is, in fact, the top of the bunkered auditorium\u2014 a dazzling 450-seat circular chamber that\u2019s like a smaller, more futuristic version of the General Assembly Hall at the United Nations in New York, another headquarters that Niemeyer and Le Corbusier worked on. The interior of the 36-foot-high cupola is hung with several thousand white anodized-aluminum strips, which turn the entire ceiling into a glowing nebula of diffused light. Beneath it, curving rows of delegate seating face a low platform stage defined by a sweeping white concrete canopy that echoes the one over the main entry.<\/p>\n

\"A
A circular sunken courtyard at the rear of the site brings light and greenery to the basement facilities. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

Set into the auditorium\u2019s sloping walls, airlock-style sliding doors open onto the lobby and its adjoining subterranean facilities. These include lounges, an exhibition area, a bookshop, circular sunken courtyard, and, spread across three lower basement levels, various conference rooms (including a leaf-shape one for meeting foreign delegations), a cafeteria, and TV studio. Sleek curves abound, but the cast-concrete walls and other architectural elements bear the texture of the boards that formed them, giving the interiors an attractively handmade quality that saves them from looking too slick or movie-ready.<\/p>\n

\"Board-formed
Board-formed concrete walls and leather-upholstered banquettes bring texture to a basement lounge.\u00a0Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

That hasn\u2019t stopped the complex from becoming a favorite location for art directors and fashion designers who have staged unapologetically capitalistic photo shoots and couture shows in and around it. Niemeyer was certainly aware that his building, which has been a listed monument since 2007, could serve such bourgeois ends. \u201cArchitecture does not change anything,\u201d he said more than once. \u201cIt\u2019s always on the side of the wealthy.\u201d The important thing was to believe that beautiful buildings make life better for everyone, something even Georges Pompidou, the right-wing French president at the time, seemed to acknowledge when he said that Niemeyer\u2019s coolly sensual landmark \u201cwas the only good thing those Commies have ever done.\u201d<\/p>\n

Keep scrolling to view more images of the project ><\/strong><\/p>\n

\"A
A curving concrete canopy defines the low platform stage. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n
\"Access
Access to the auditorium is via pneumatically controlled sliding doors. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n
\"The
The main entrance comprises a slotlike aperture beneath a small concrete canopy.\u00a0Photography courtesy of Artists Rights Society (ARS), New York 2019 \/ AUTVIS, Sao Paulo.<\/figcaption><\/figure>\n
\"The
The vast subterranean lobby includes an exhibition space. Photography by Maxime Galati and Laura Fantacuzzi\/Living Inside.<\/figcaption><\/figure>\n

> See more from the November 2019 issue of\u00a0Interior Design<\/em><\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Oscar Niemeyer abandoned his country but not his lifelong political principles to create the French Communist Party headquarters in Paris. <\/p>\n","protected":false},"author":3527,"featured_media":150793,"menu_order":0,"template":"","meta":{"_acf_changed":false,"featured_image_focal_point":[],"legacy_django_id":17221},"tags":[4643,245],"id_tax_domain":[19],"id_tax_product":[],"id_tax_program":[],"id_issue":[],"internal_flag":[4220],"class_list":["post-125407","id_project","type-id_project","status-publish","has-post-thumbnail","hentry","tag-oscar-niemeyer","tag-paris","id_tax_domain-institutional"],"acf":[],"yoast_head":"\nAn Oscar Niemeyer Building Brings a Brazilian Lilt to Paris<\/title>\n <!-- Mirrored from interiordesign.net/wp-json/wp/v2/id_project/125407 by HTTrack Website Copier/3.x [XR&CO'2014], Fri, 18 Apr 2025 21:37:39 GMT --> <!-- Added by HTTrack --><meta http-equiv="content-type" content="text/html;charset=utf-8" /><!-- /Added by HTTrack --> <meta name=\"description\" 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