A cathedral that reimagines heaven in concrete

Home > Opinion > Meanwhile

A cathedral that reimagines heaven in concrete

Published: 09 Jun. 2025, 00:05

Audio report: written by reporters, read by AI

Kim Bong-ryeol

The author is an architect and professor emeritus at the Korea National University of Arts.

In the heart of Brazil’s purpose-built capital stands a structure that seems to defy gravity and tradition alike. The Cathedral of Brasília, designed by famed Brazilian architect Oscar Niemeyer, is among the most iconic elements of the capital’s cityscape — a space where modernist design meets sacred symbolism.

Niemeyer, a leading figure in modern architecture, remained active into his 90s and left behind more than 600 works. Among these, the Cathedral of Brasília is widely considered a masterpiece. Although he drafted the plans in 1958, the cathedral was not completed until 1970, delayed by technical limitations and the disruptions of Brazil’s military coup.

The Cathedral of Brasília [KIM BONG-RYEOL]

The cathedral’s structure comprises sixteen concrete columns shaped as hyperbolic parabolas. These sweeping forms appear like hands raised in prayer or, more darkly, the crown of thorns placed on Jesus' head. Despite Niemeyer’s well-known atheism, the cathedral brims with Christian imagery. A bell tower on the right of the entrance, holding four bells donated by Spain, evokes a chalice. On the left, the oval-shaped baptistery suggests a loaf of bread. Together, the forms represent the wine and bread of the Last Supper — symbols of Christ’s blood and body.

At the cathedral’s entrance stand four bronze statues, each four meters (13 feet) high, depicting the authors of the Gospels: Matthew, Mark, Luke and John. Visitors descend through a sloped passage beneath a reflecting pool, moving from daylight into darkness. The tunnel opens into a sanctuary filled with light, a space designed to feel like a sudden revelation.

The interior, 70 meters in diameter and 40 meters high, can accommodate up to 4,000 people. Between the columns are vast stained-glass windows in green and blue, symbolizing the sky and clouds. Suspended above the pews are three angel sculptures in flight. The space embodies a modernist realization of the Christian vision of heaven.

Niemeyer’s career was marked by political exile and controversy. A committed communist, he was barred from entering the United States and spent two decades in Europe after Brazil’s military regime took power. His bold, sculptural designs led some to dismiss him as a “monumental sculptor.” But at a time when internationalist architecture favored strict lines and right angles, Niemeyer championed curves and abstract forms inspired by Brazil’s mountains and waves.

In recognition of his contributions, he received the Pritzker Architecture Prize in 1988, becoming its oldest-ever recipient.

Translated from the JoongAng Ilbo using generative AI and edited by Korea JoongAng Daily staff.