Brasília-Chandigarh includes full-page photos documenting how residents have adapted two Modernist cities to their needs. Brasília’s master plan did not provide enough housing for all economic classes, forcing most people into the fringes.


Oscar Niemeyer’s towering capital building forms a sculptural backdrop.


The residents of Chandigarh inhabit every nook and cranny of the overpopulated city.


Baan writes that Brasília’s "city center feels markedly devoid of life in plazas, where the pigeons far outnumber the people."


Le Corbusier’s rigid plan included a complex network of roads for the technologically advanced automobile, but even today, most ride by bike or rickshaw.


The upside down arches of Niemeyer’s Alvorada Palace may have been inspired by Corbusier’s parabolic arches that appear in his initial designs for the Parliament at Chandigarh.


"Le Corbusier’s city sixty years later could easily have become a drab concrete expanse over a grid," Baan writes. "Instead, women in saris, populated city parks, and cricket games bring color and life to the place."


A defining material in Corbu’s buildings: exposed concrete.


Brasília And Chandigarh: Symbols Of Modernist Hope And Failure

In the 1950s and '60s, two cities were built from scratch on the foundations of Modernism. Photographer Iwan Baan captures how people live in them now.

No discussion of the life and work of Oscar Niemeyer is complete without Brasília, the dazzling capital that sprung up in the Brazilian savanna in 1961. The Brazilian starchitect who passed away on Wednesday, was responsible for the project’s crowning achievement: the monumental government buildings that stood proudly as emblems of the power of Modernist architecture’s promise—and, later, unfortunate failure—to shape a utopian society.

[In Chandigarh, the housing shortage has led people to make use of every available space.]

What gets less attention is that, a decade earlier, another urban vision was taking form more than 8,000 miles away, in India, under the supervision of Le Corbusier. Chandigarh, like Brasília, was intended to be a sparkling new city, created from scratch as a way of shaking off the albatross of colonialism and instating a native, democratic government. And modern notions of urban planning and architecture were central to both new capitals, as the premier architectural photographer Iwan Baan documents in a recent book from Lars Muller Publishers, Brasília-Chandigarh. Fifty years into existence, the two cities have evolved into examples of how grand utopian projects can both inspire and disappoint.

India became independent in 1947 and quickly entered a civil war, resulting in two separate states: Hindu-dominated India and what became the Islamic Republic of Pakistan. The border that bisected the two entities ran straight through the former province of Punjab and left India without its historical capital, Lahore. That hole inspired Indian leaders to commission an altogether new political center—one infused with the progressive ideals of Modernism. In addition to the architect couple Jane Drew and Maxwell Fry, Le Corbusier was brought on to execute the plan, which included a gridiron scheme that reflected Corbu’s obsession with the car—one of the scheme’s ultimate failings, as the residents to this day mainly use bikes and rickshaws. Corbu also failed to create spaces for street vending, an essential part of Indian culture. And finally, the plan didn’t provide enough housing, despite the 14 different housing types intended to accommodate every class level. The city’s population has ballooned to roughly 1 million, twice the original projected number of inhabitants.

[Oscar Niemeyer’s Alvorada Palace in Brasília]

As an ode to Modernism, Brasília has similarly been plagued by problems. As Martino Stierli writes in Brasília-Chandigarh, "Brasília has been characterized from early on by a sharp contrast between the rigid monumental center and the seemingly chaotic urban sprawl that surrounded it." Unable to afford to live in the city center, the working classes found themselves banished to the periphery, resulting in fringes of urban sprawl.

While the cities are not without their troubles, they’re also testaments to how residents have adapted their surroundings to suit their needs. That phenomenon is what Baan attempts to portray, showing people coping and even thriving in these Modernist test cities. In Brasília, the photographer writes, "the city center feels markedly devoid of life in plazas, where the pigeons far outnumber the people. However, in great contrast, the city becomes alive behind the doors of residences, in bus stations and underpasses, or within cars." He continues that in Chandigarh, "The nooks that Le Corbusier designed originally to dilute the Punjabi sun are used by outdoor businesses that rig up their own canopies," thereby managing to breathe life into Corbu’s concrete framework.

Check out Baan’s snapshots in the above slide show. To buy the book for $44, go here.

Add New Comment


  • cerulean_ninja

    I don't see that either of these grand projects are in any significant or particullar way the noble failures here described.
    By the same terms of reference one could describe London as a complete disaster as it failed to anticipate the motor car or the new aspirational cafe' society.

    In each example what was created was only a nucleus from which a more complete city was to evolve. Fifty years is an insignificant passage of time when you think that some of the great cities of the world have been evolving over milenia.

    Built form needs time to be adapted to new use and as a visit to any ancient city reveals the accretion and embelishment of original elements in ways that could never have been foreseen.

    Hausmanisation, superanuation and or other forms of intervention re-shape cities, changing the dynamics and focal points.

    Modernism of the brand favoured by both these two architects may in fact be only just getting into its stride. Its a bit soon to be talking about heroic failure, but don't let an objective viewpoint get in the way of your received opinions now will you? 

  • Gina - Detroit

    Ms. Lank,

    Although appreciate you bringing this book to my attention, especially in the light of Mr. Niemeyer's recent passing, you should really reference Nicolai Ouroussoff's obituary in Wednesday's New York Times for your readers. Your opening paragraph is a not-so-loose paraphrase of Mr. Ouroussoff's analysis on Niemeyer's work in Brasilia. Just give credit where credit is due. 

  • Jack

    Gina: I've read both stories and don't see any inappropriate borrowing from the NYT obit. Two writers on the same subject will naturally touch on many of the same points.