Exceptional as posthumous buildings seem, the teamwork they require is routine
old industrial quarter of Leipzig, Ludwig Koehne stands in the middle of a giant sphere designed by Oscar Niemeyer in 2011, the year before the Brazilian architect died at the age of 104. The vaulted, part-glazed upper deck of the orb is due to open later this year as a restaurant, its cosier underbelly as a bar. “I wanted posthumous fidelity to the original design,” says Mr Koehne, a German entrepreneur. “The building had to have the master’s signature.
Alongside a project in southern France, this will count as the last work by Niemeyer, the progenitor of sensual architectural curves that complemented modernism’s unrelenting cubes. The completion of the sphere is a tribute to his vision—but it also highlights the collaborative nature of his profession and the slippery notion of authenticity. It always takes more than a single genius to make a beautiful building, which is one reason why, in the world of architecture, death is not always fatal.
Exceptional as these posthumous cases seem, the teamwork they require is routine. “Most buildings are the product of lots of unrecognised labour,” says Donald McNeill of the University of Sydney, who has researched the methods of global architecture firms. He sees the popular focus on star architects as a simplification by the media and marketeers. Big projects, he says, are “the result of work by designers, engineers and even the clients”.And, often, other architects.
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