ABSTRACT

In 1948, en-route to Australia from the United States, young Viennese-born architect Harry Seidler spent just over six weeks in Brazil. There, he worked briefly for Oscar Niemeyer and visited numerous examples of Brazilian modernism. Settling in Sydney, Seidler became one of Australia’s foremost modernist architects. His output quickly shifted from deference to the work of his mentors Walter Gropius and Marcel Breuer to formal experiments determined by the peculiarities of Australia’s geography and climate. He increasingly adapted elements that reflected his South American experiences. As his practice gained larger commissions, Seidler’s engagement with the Australian city was similarly affected. His urbanism - as it developed - ran counter to the Australian city’s Anglo-American trajectory that had shaped its form and character since the 1850s. This paper places Seidler’s interests in Brazil within the Australian context, where Iberico-American modernism was known and understood but appeared in isolated examples with little or no urban reference. Seidler, instead, proposed a new vision for the Australian city, one that extended Giedion, Sert and Leger’s wartime call for a new monumentality and combined architecture, art and landscape in a unified response: it was his answer to an urbanism for the New World.

摘要

1948 年，在从美国前往澳大利亚的途中，出生于维也纳的年轻建筑师 Harry Seidler 在巴西呆了六个多星期。在那里，他为奥斯卡·尼迈耶 (Oscar Niemeyer) 短暂工作过，并参观了许多巴西现代主义的例子。在悉尼定居后，塞德勒成为澳大利亚最重要的现代主义建筑师之一。他的作品迅速从对导师沃尔特格罗皮乌斯和马塞尔布鲁尔的工作的尊重转变为由澳大利亚地理和气候特性决定的正式实验。他越来越多地适应反映他南美经历的元素。随着他的实践获得更大的佣金，塞德勒与澳大利亚城市的接触也受到了类似的影响。他的都市主义——随着它的发展——与澳大利亚城市自 1850 年代以来塑造其形式和特征的英美发展轨迹背道而驰。本文将塞德勒对巴西的兴趣置于澳大利亚背景下，在那里伊比利亚美洲现代主义广为人知并被理解，但出现在很少或根本没有城市参考的孤立例子中。相反，塞德勒为这座澳大利亚城市提出了一个新的愿景，这个愿景扩展了 Giedion、Sert 和 Leger 在战时对新纪念碑的呼吁，并将建筑、艺术和景观结合在一起，形成统一的回应：这是他对新世界城市化的回答.