[1] One may say that Oscar Niemeyer had a perspective 

on life completely different to that of many of those working 

elsewhere in modern architecture. He began life as a modernist, 

[4] but gradually forged an architectural style that was both unique 

and ahead of its time, a symbol of the colour and lust for life of 

his native Brazil. He once told a newspaper: ‘Mine is an 

[7] architecture of curves; the body of a woman, the sinuous rivers, 

the waves of the sea’.

Through his professional life, Niemeyer retained 

[10] defining traits of the Modernists. However, the Brazilian 

simply didn’t have the mass-production mindset natural to the 

European modernists, obsessed with finding ways of building 

[13] cheap housing for the multitudes. Niemeyer would ask ‘How 

can you repeat a house that has specific level curves, a certain 

light or a landscape? How can you build it over again?’ He 

[16] explained later: ‘It was not the imposition of the right angle 

which made me mad, but the obsessive concern of an 

architectonical purity, of structural logic, of the systematic 

[19] campaign against the free and creative shape.’ 

Gaynor Aaltonen. The history of architecture: iconic buildings throughout the ages. London: Arcturus, 2008, p. 615-621 (adapted)

Based on the text, judge the item.

For Niemeyer, European modernist architecture was over preoccupied with avoiding freedom and creativity.