RICHARD MEIER

( COMMUNICATION IDEAS
OF THE JUBILEE CHURCH )

MICHELLE HAY | ARCHITECTURAL THEORIES + CONCEPTS | FALL 2013

(
“WHITE IS THE MOST WONDERFUL
COLOR BECAUSE WITHIN IT YOU
CAN SEE ALL THE COLORS OF
THE RAINBOW. THE WHITENESS OF
WHITE IS NEVER JUST WHITE; IT IS
ALMOST ALWAYS TRANSFORMED
BY LIGHT AND THAT WHICH IS
CHANGING; THE SKY, THE CLOUDS,
(
THE SUN AND THE MOON.”
- RICHARD MEIER
 INTRODUCTION
THESIS
Richard Meier is recognized as a late modernist due to
his extension of the visual language of Le Corbusier. In
particular, his Jubilee Church in Rome, Italy (2003), is designed
with aspects of abstraction, projection, weighing and layering.

BACKGROUND
Richard Meier is a late modernist architect born in 1934 in New
Jersey. After earning a bachelor of architecture from Cornell
University in 1957, he went to work for firms including, Skidmore,
Owings and Merrill in 1959 and then for Marcel + Partners in
1963. Today he has offices in Manhattan and Los Angeles, with
major projects in Taiwan, Italy, Germany, Turkey and Brazil.

1
 INTRODUCTION
COMMUNICATION IDEAS
Richard Meier extends modernism with the use of sim-
plistic forms, pure values, graceful logic and geometric
shapes which fit together perfectly. Meier stated that he
believed “modernism suits our time: architecture is about
making space with linear, planar and abstracted forms
with opaque and transparent surfaces.” (Stephens, 2013)

EXPANSION OF LE CORBUSIER
Greatly influenced by Le Corbusier, Meier “refines his
principles of geometrical progression by playing with
structure, space and elements of formal precision.” (Furuto,
2013) In the Jubilee Church, Meier uses the idea of a free
facade, open floor plan and ribbon windows in new light.

THE ABSENCE OF COLOR

The use of white, or absence of color, is a key aspect of
Meier’s architecture. He is grounded on the belief that
light can be used as the “main material to give form to
orderly, sculptural and linear architecture.” (Furuto, 2013)

“A Meier building is a sensuous experience

before it is anything else. It is an exploration of
solid and void and light and texture, and an essay
on composition. Every Richard Meier building is
visually compelling, they are deeply beautiful.”
- Paul Goldenberger, The New Yorker, 2009

2
 CASE STUDY

OVERVIEW
The Jubilee Church
is a Catholic church
and c o m m u n i t y
center built in Rome,
Italy in 2003. For the
new Millennium, the
Vatican wanted to
“show and highlight
the basic role that
architecture plays
Jubilee Church Sketch | Rome, Italy | 2003
in holy and religious
spaces by founding 50 new churches in Rome. Meier explained that
the design concept of the Jubilee Church is based on the “contrast
between the cube and the sphere and the clean division, or
connection point, is the main space of the church.” (Richard Meier, 2009)

3
 CASE STUDY
ABSTRACTION

EXTERIOR
The prominent abstraction on the
exterior, the three concrete, curved shell
walls, were abstracted from the idea of the
Holy Trinity - God in three persons as the
Father, Son, and Holy Spirit. Their structural
idea derives from a sphere being cut in half.

INTERIOR
The interior design composition was an
abstraction of the circle, square and grid. The
pews are arranged in traditional formation,
while a sense of movement succumbs the
occupant when the curved concrete walls
connects with the angled glass ceiling tiles.

FEATURE
The traditional pipe organ resides in an
extended, grid cubical, which is supported
by a piloti. This structure is a three dimensional
extension of the gridded glass window wall.
Although this organ pulpit contains elements
of its surrounding structures, it stands out
amongst the wood paneling, stone and glass.

4
 CASE STUDY
PROJECTION
EXTERIOR
Projections of geometric shapes
occupy the exterior of the church. The
three curved shell walls are sliced and then
projected up into the sky. Opposite of the
three walls is a singular horizontal plane wall.
All of these structural features project lines
that extend beyond the physical church

INTERIOR
Traditionally centered in the church
sanctuary lies the crucifix. This cross is
suspended in front of box with vertical
lines leading back to window, leaving the
symbolic illusion of the crucifix being lifted up.

FEATURE
Natural light is projected through the
gaps between the solid structural wall
elements in the pipe organ pulpit. Light
weaves through the geometric shapes,
projecting the space with brightness, giving
the impression that it expands with more light.

5
 CASE STUDY
WEIGHING
EXTERIOR
The heaviest aspects of the church lie in the
three concrete walls. These suggest heavy
weight as there are no surface openings;
however, the curved glass enclosing
between the walls break it up, leaving the
overall structure with a sense of airiness.

INTERIOR
The window walls, open floor plan
and ceiling height give the feeling of
lightness, as if one is outside. The surrounding
supportive walls are heavy in their stature,
yet light with their white and the light reflects
off their surface. The abundance of space
gives meaning to all the light that enters.

FEATURE
The pipe organs are raised upon their own
stage, ahead from the windows, paneling,
and surrounding walls. The single
piloti on the right gives the illusion of
lightness, as if that is the only structural
element maintaining this prominent piece.

6
 CASE STUDY
LAYERING

EXTERIOR
The most prominent layering of the church
occurs on the exterior with the three
curved walls. These shell-like walls give the
illusion they could be flattened to fit on
top of one another. The floor-to-ceiling
window walls add another layer between.

INTERIOR
The layering of the exterior walls is also
brought to the interior. Outside of the
sanctuary lies the halls with floor-to-ceiling
glass which are stacked upon one-another.
Smaller references to layering can also be
spotted in the windows behind the crucifix.

FEATURE
Elements of layering are also found in the
extended organ pulpit. The structure of
the pulpit is a rectangle that has sections
removed, exposing the internal remnants
and frame, as if layers were pulled back.

7
 CONCLUSION

Although the Jubilee Church is not designed in a traditional

format, this modern space has helped the Catholic Church
move forward in various artistic and social senses. Through the
expansion of Le Corbusier’s ideas of a free facade,
an open floor plan and ample natural light, Richard
Meier creates this simplistic form that exemplifies the
aspects of abstraction, projection, weighing and layering.

ASPECTS EXTERIOR INTERIOR FEATURE

Three walls as Circle, square Gridded

Holy Trinity and grid window
ABSTRACTION extension

Three walls Suspended Natural light

extend beyond crucifix projection
PROJECTION church

Three heavy Open floor Single piloti of

concrete walls plan, window lightness
WEIGHING walls and
ceiling height

Geometrical Stacking of Exposed

layering of windows traditional
LAYERING three walls throughout rectangle

8
 REFERENCES
TEXT
Din, E. D. (2008). Emergent symmetries: A group theoretic analysis of an exemplar of
late modernism. ProQuest. Retrieved on Dec. 8, 2013 from http://books.google.
com/books?id=8v2TxCXo0hcC&dq=richard meier key aspects&source=gbs_
navlinks_
(Din, 2008)

Furuto, A.“‘Richard Meier – architecture and design’ retrospective exhibition” 27

Mar 2013. ArchDaily. Retrieved on Dec 8, 2013. <http://www.archdaily.
com/?p=347545>
(Furuto, 2013)

Minner, K. (2011, OCTOBER 10). Richard Meier: retrospective. Retrieved on November

19, 2013 from http://www.archdaily.com/175121/
(Minner, 2011)

Richard Meier & Partners Architects. (2009, April 19).Church of 2000 / Richard Meier &
partners architects. Retrieved on November 19, 2013 from http://www.archdaily.
com/20105/church-of-2000-richard-meier/
(Richard Meier & Partners Architects, 2009)

Stephens, S. (2013, August 20). Newsmaker: Richard Meier. Retrieved on November 12,
2013 from http://archrecord.construction.com/news/2013/08/130820-Newsmak
er-Richard-Meier
(Stephens, 2013)

IMAGES
Frances, S. (2012). Richard meier and partner architects llp. Retrieved on Decmber 10,
2013 from http://www.richardmeier.com/www/#/projects/architecture/visu
al/3/132/0/
(Frances, 2012)

Karchmer, A. (2013). Alan karchmer architectural photographer. Retrieved on Decem

ber 10, 2013from http://www.alankarchmer.com/index.php#mi=2&pt=1&pi=1000
0&s=11&p=7&a=0&
(Karchmer, 2013)

Junker, B. (2010). Chiesa dio padre misericordioso (jubilee church). Retrieved on De

cember 10, 2013 from http://architourist.pbworks.com/w/page/13599631/Chiesa
Dio Padre Misericordioso (Jubilee Church)
(Junker, 2010)