Architect

Richard Meier
Richard Meier has maintained a specific and unalterable attitude toward the design of buildings from the moment Richard Meier first entered architecture. Although his later projects show a definite refinement from his earlier projects, Richard
Meier clearly authored both based on the same design concepts. With admirable consistency and dedication, Richard Meier has ignored the fashion trends of modern architecture and maintained his own design philosophy. Richard Meier has
created a series of striking, but related designs. Richard Meier usually designs white Neo-Corbusian forms with enameled panels and glass. These structure usually play with the linear relationships of ramps and handrails. Although all have a
similar look, Richard Meier manages to generate endless variations on his singular theme.
Chris Schilder 4076273
Albert Mark 4076257
Werner Huizing 4064658 Source: http://architect.architecture.sk/richard-meier-architect/richard-meier-architect.php
Marcel Mataheru 4064496
Theo Weijs 4064666

BIOGRAPHY THEMATICS
Richard Meier was born in Newark, New Jersey in 1934. Richard Meier graduated from Cornell University in 1957 then worked with a series of architects, including Skidmore, Owings, and Merrill and Marcel Breuer. Richard Meier established The three of the most significant concepts of Richard Meier ‘s work are Light, Color and Place. His architecture shows how plain geometry, layered definition of spaces and effects of light and shade, allow Richard Meier to create clear and
his own practice in 1963. comprehensible spaces. The main issue Richard Meier is focusing on as an architect, is what Richard Meier termed placeness: “What is it that makes a space a place.” According to Richard Meier there are ten factors that connect a building to
His practice has included housing and private residences, museums, high-tech and medical facilities, commercial buildings and such major civic commissions as courthouses and city halls in the United States and Europe: Among his most well- its environment, one or more of which must be present for a space to be a place: factors which cause the Mode of Being; those which emphasize the presence of the building as an independent object; factors which emphasize the presence of
known projects are the High Museum in Atlanta; the Frankfurt Museum for Decorative Arts In Germany; Canal+ Television Headquarters in Paris; the Hartford Seminary In Connecticut; the Atheneun in New Harmony, Indiana, and the Bronx the building in its given environment; those which encourage fantasy and play; factors which encourage ecstatic exuberance; factors which preserve a sense of mystery and adventure; ingredients which connect us to reality; those which link
Developmental Center in New York. All of these have received National Honor Awards from the American Institute of Architects (AIA). the building to its past; facilitate spontaneous exchanges; and affirm people’s identity.
In 1984, Mr. Richard Meier was awarded the Pritzker Architecture Prize, considered the field’s highest honor and often equated with the Nobel Prize. In the same year, Mr. Richard Meier was selected architect for the prestigious commission to
design the new $1 billion Getty Center in Los Angeles, California. Source: http://architect.architecture.sk/richard-meier-architect/richard-meier-architect.php
Building analysis Realized works

Barcelona    Museum     of  Contemporary Art, 1987

Frankfurt Museum   for the   Decor. Arts, 1979

173 - 176 Perry  Street Condoleum, 1999

United  States  Courthouse, Islip, 1993
Canal +     Headquarters, 1988

Neugebauer House, 1995

Jubilee Church, 1996

Douglas House, 1971

A A
Barcelona Museum of Contemporary Art

South elevation North elevation

A B A B

B
B

B
B
Jubilee Church
Ground floor plan A First floor plan A

Ground floor plan A B Second floor plan A B

Section through rotunda A-A Section through typical gallaries B-B East section A-A North section B-B

B
B C B
B F
C B D
H C E
B
F
D  E
A  A  B
E  A  D

E  F  A 
C

F  D 
A  B C D E F
G  A 
Adjecent
A  B C D E F  G  H
G
Adjecent
Spatial relations Circulation elements Approach, frontal
Interlocking
Spatial relations Circulation elements Approach, frontal

A  D E F
Ching

B C D  B

A 

E  F 
G C

Spatial organizations, linear Circulation elements Approach, frontal Form compositions Spatial organizations, linear Circulation elements Approach, frontal Form compositions

Structure Plan to section Repetitive to unique Symmetry and balance

Clark & Pause

Structure Plan to section Circulation to use-space Repetitive to unique Symmetry and ballance Additive and subtractive

Natural light Circulation to use Parti Additive and subtractive

Natural light
B C H I M N B C H I M N
A G
B C H I M D
N BJ C L O
H I A
M D
N G J L O A B D E F G H I
Massing Unit to whole
A G Geometry
J
Hierarchy
A B D E Geometry
F G Hierarchy

M DN LF O
Massing Unit to whole Parti
E K
A GP J H I J K
B C H I B C H I M DN LF O
E K P C
F L EO K P
G
G
C
C
A D D
G H
J I J
A. Corridor
O M
A
N

D G J F L EO K P D
KK

E F G A B D
B
B. Employee rooms
C. Exposition space
A B H I J K L
F J
A G D. Exposition Lspace
E. Staircase
B C E C I I J H L
A B D E F G
F
E
E
F
K E
A. Corridor
F
P E
F. Staircase
F

F E P C C
C K
K P HH HH
Ground floor plan First floor plan B. Employee rooms
C. Exposition space
G. Corridor
Second floor planH Employee rooms B B C D A. Staircase G
I. Exposition space B. Church hall G
D. Exposition space
A
A
D C
A F
E. Staircase J. Exposition space BB C
C G D
D B BB
C. Staircase
D. Hall/Corridor
F
A. Corridor
F. Staircase
G. Corridor
K. Exposition space
L. Corridor
G A D A
B C A. Staircase
A B D
E. Office
E F G F
A HB
B C H I BM C N H I B CM
B NH
C IH M
I M C N N B. Church hall F. Hall
B. Employee rooms
C. Exposition space
H Employee rooms
I. Exposition space
B M Employee rooms
N.Exposition space
H I M
B N
C H I M N A
A E
F C. Staircase G. Kitchen/toilets E C F

F E
G
J
D. Hall/Corridor E
A D
D. Exposition space
G J A L DO G J A
J. Exposition space
A
L OG
D JG J L DO
L
O. Exposition space
O FF Conclusion
A D
E. Office
H Hall
I. Office
HH
H I L K
E. Staircase
F. Staircase
G. Corridor
K. Exposition space
D
L. Corridor
M Employee rooms
A P. Exposition space
G J
F
A
L O
D
E G J
Conclusion
Conclusion
L O E G
B C
Ground floor plan G First floor plan F. Hall
G. Kitchen/toilets C
Hall plan
SecondJ.floor
K. Auditorium A
HH

A. Staircase H Hall L. Office

H Employee rooms
F E P N.Exposition space
P P AE BF D GA E B F D G E F HG I
F E K F EF E B
K K
F E P P A B D LJ H K I L
J K L
A
I. Exposition space O. Exposition space K K F E K P H I J
B. Church hall
K I. Office
L
Steadman

B
A B D E F G
A
J. Hall
D F
C. Staircase
E J L
P. Exposition space
G H I K
J. Exposition space A. Corridor K. Auditorium
K. Exposition space
B B
C C B. Employee rooms
C C C
D. Hall/Corridor
E. Office L. Office H I J K
D
L. Corridor
A B
A. Corridor A. Corridor A. Corridor A. Corridor C. Exposition space
B. Employee rooms M Employee rooms B. Employee rooms B. Employee rooms
B. Employee rooms D. Exposition
B space C D C F. Hall
C. Exposition space
D. Exposition space
N.Exposition space C. Exposition space
D. Exposition space
C. Exposition space
D. Exposition space
C. Exposition space G A D E. Staircase
G. Kitchen/toilets

F E D AE BF D GA E B F D
H Hall GE F G Conclusion
O. Exposition space G
Conclusion
A B
E. Staircase E. Staircase
E. Staircase F. Staircase
M A
D. Exposition space A
B C N
H I DE
I. Office
L
F. Staircase

G D E F
F. Staircase F. Staircase
P. Exposition space
G. Corridor G. Corridor
B C H
G. Corridor
I M N E. Staircase G. Exposition space F
A
J. Hall B D E F G
F
A. Staircase
A BE Conclusion
C
H Employee rooms H Employee rooms H Employee rooms E
B. Church hall
F
G
F. Staircase A. Staircase
I. Exposition space
J. Exposition space
I. Exposition space
J. Exposition space
I. Exposition space
J. Exposition space
G. Exposition space
Conclusion
C
K. Auditorium
C C
F
C. Staircase A B D F B. Church hall
A D G
K. Exposition space
J L O
K. Exposition space
A D
K. Exposition space
G J L O B C B C B C
L. Office E C
D. Hall/Corridor C. Staircase
L. Corridor
M Employee rooms
L. Corridor
M Employee rooms
L. Corridor
M Employee rooms
A. Staircase
B. Church hall
A. Staircase
B. Church hall
A. Staircase
B. Church hall C HH
E. Office D. Hall/Corridor
F E C
C. Staircase A. Staircase C. Staircase
C
N.Exposition space N.Exposition space N.Exposition space C. Staircase F. Hall / kitchen / toilets E. Office
F E
O. Exposition space

K
O. Exposition space

P
O. Exposition space
A
A. Corridor
A
D. Hall/Corridor
D. Hall/CorridorB. Church hall D. Hall/Corridor

H I J HK I J H KI J K A

G P A D
E. Office
P. Exposition space P. Exposition space
F E
P. Exposition space
K D G G B. Employee rooms
D E. Office C. Staircase E. Office B F. Hall / kitchen / toilets

D E F
F. Hall
J
D. Hall/Corridor F. Hall
H I K A B
C. Exposition space F. Hall
D. Exposition space G. Kitchen/toilets
E. Office G. Kitchen/toilets
G. Kitchen/toilets H Hall
E. Staircase F. Hall H Hall
H Hall
F. Staircase I. Office
I. Office
J. Hall
G. Kitchen/toilets I. Office
L L L
F E
J. Hall
A. Corridor F E G. Exposition space
F E J. Hall
K. Auditorium
H Hall
K. Auditorium I. Office
L. Office J. Hall
K. Auditorium
L. Office L
B. Employee rooms L. Office Conclusion
C. Exposition space K. Auditorium

C
A. Staircase
D. Exposition space L. Office
B. Church hall
E. Staircase C. Staircase
F. Staircase
G. Corridor
A B D AE BF D A EB F D E F D. Hall/Corridor
E. Office

D E F
H Employee rooms
A B
F. Hall / kitchen / toilets
I. Exposition space
J. Exposition space
K. Exposition space
L. Corridor B C C C C
M Employee rooms
N.Exposition space C
Barcelona Museum of Contemporary Art
O. Exposition space

G A D
Jubilee Church
P. Exposition space

F E

has has has has has has

Affords Affords Affords Affords
Conclusion Form Operation Performance

Form Operation Performance Form Operation Performance

has has has has

A B C A B C A B C A B C A B C A B C

Museum of contemporary art Comparison Church of the year 2000

The museum in Barcelona is a unique case in a sense. For a museum light is a natural enemy. Sensitive artwork must be protected from harmful uv- light The church is at the opposite end of the possibilities of light. The use of light in the church is more straightforward. The light enters vertically and direct.
radiation. Therefore the light is always indirect. By placing horizontal panels on the façade Richard Meier creates the illusion of ‘horizontal’ sunrays. Richard Meier is known for his use of dynamic light. In the two analyzed projects we see two very different ways of using it. In contrary to the museum the light is a natural friend to the church. It’s use creates a divine atmosphere suitable for contemplation and prayer.
As the day progresses the angle of the light changes, giving a very dynamic effect without threatening the delicate art.

In the case of the museum of contemporary art the color works great because it doesn’t distract from the featuring art. It’s a very neutral color which color In the church, the color works well for a different reason. White has always been associated with the divine, with cleanliness and serenity. Combined
works well with the play of light which occurs during the day. When faced with the oeuvre of Richard Meier one immediately notices one thing: the color. White is the most pre-dominant color used by Richard with the direct light and the open space plan the color creates a sense of ‘heaven on earth’.
Meier.
In the museum several different things happen. Some spaces are defined by their geometry. Others are defined by entering light or half panels. The place In contrast to the museum the spaces are not closed by panels. Instead the space breaks through their geometric shapes. The panels still serve to define
circular exhibition space and the extruded free-form exhibition space are clearly defined by their geometry and placement. In the main part of the The third theme of Richard Meier is place. Or maybe better, the things that make a space a place. different areas, but not different spaces.
building spaces are defined by entering light and panels which create ‘semi-closed’ spaces
conclusion
In conclusion one can say that Richard Meier is a man who stands by his themes. He elegantly shows how a small set of principals can be used in very
different ways and produce two unique buildings while retaining the obvious hand of the architect.