Analysis Richard Meier [PDF]

Zitiervorschau

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Source: http://architect.architecture.sk/richard-meier-architect/richard-meier-architect.php

THEMATICS

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 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 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 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 the building to its past; facilitate spontaneous exchanges; and affirm people’s identity.

173 - 176 Perry  Street Condoleum, 1999

Neugebauer House, 1995

United  States  Courthouse, Islip, 1993

Source: http://architect.architecture.sk/richard-meier-architect/richard-meier-architect.php

Canal +     Headquarters, 1988

Douglas House, 1971

Frankfurt Museum   for the   Decor. Arts, 1979

Barcelona    Museum     of  Contemporary Art, 1987

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 his own practice in 1963. 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 wellknown 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 Developmental Center in New York. All of these have received National Honor Awards from the American Institute of Architects (AIA). 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.

Jubilee Church, 1996

Chris Schilder Albert Mark Werner Huizing Marcel Mataheru Theo Weijs

BIOGRAPHY

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B

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North elevation

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Ground floor plan

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Second floor plan

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Section through rotunda A-A

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Jubilee Church

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South elevation

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Barcelona Museum of Contemporary Art

Architect Building analysis Realized works

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.

B

Section through typical gallaries B-B

Ground floor plan

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First floor plan

East section A-A

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North section B-B

B B

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C B

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E 

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A  B C D E F

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Adjecent

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Spatial relations Circulation elements

Spatial relations

Approach, frontal

Approach, frontal

Ching

D E

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B

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A  F 

E 

Spatial organizations, linear

Clark & Pause

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C

Circulation elements

Approach, frontal

Plan to section

Form compositions

Repetitive to unique

Spatial organizations, linear

Circulation elements

Natural light

Circulation to use

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Unit to whole

Massing

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Ground floor plan

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

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O P

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

I B J A K F

B A F

C D E

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

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B CM A L D EF

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NH C OG D P E

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

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O A. Corridor B. Employee rooms C. Exposition space D. Exposition Lspace E. Staircase F E F. Staircase G. Corridor Second floor planH Employee rooms I. Exposition space J. Exposition space K. Exposition space L. Corridor M Employee rooms N.Exposition space O. Exposition space P. Exposition space

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LF C

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First floor plan

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

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I Geometry

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

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M DN

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M I M C N B J L DO L A K F

E P

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G N H

O G

G P A

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M B

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A L F

K

A. Corridor B. Employee rooms C. Exposition space D. Exposition space E. Staircase F. Staircase G. Exposition space

B

C

Hierarchy

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Plan to section

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O D

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Circulation to use-space

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Conclusion Conclusion

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B A

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Unit to whole

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Conclusion Ground floor plan

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AE BF A

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Conclusion

K. Auditorium L. Office

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First floor plan

A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall G. Kitchen/toilets H Hall I. Office J. Hall K. Auditorium L. Office

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C

A B

A

A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall / kitchen / toilets

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BE

K L

B

A

Conclusion Conclusion

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HB

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B E

Conclusion

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A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall / kitchen / toilets

Conclusion

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A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall / kitchen / toilets

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has Affords

Affords

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Form

Performance

has

C

Museum of contemporary art 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 uvradiation. Therefore the light is always indirect. By placing horizontal panels on the façade Richard Meier creates the illusion of ‘horizontal’ sunrays. 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 works well with the play of light which occurs during the day. In the museum several different things happen. Some spaces are defined by their geometry. Others are defined by entering light or half panels. The circular exhibition space and the extruded free-form exhibition space are clearly defined by their geometry and placement. In the main part of the building spaces are defined by entering light and panels which create ‘semi-closed’ spaces

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B

has Affords

Operation

Performance

has

C

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Comparison

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A

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Church of the year 2000

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. 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.

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 with the direct light and the open space plan the color creates a sense of ‘heaven on earth’.

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 different areas, but not different spaces.

Richard Meier is known for his use of dynamic light. In the two analyzed projects we see two very different ways of using it.

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 Meier. The third theme of Richard Meier is place. Or maybe better, the things that make a space a place.

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.

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Jubilee Church

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Operation

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Hierarchy

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E Affords

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A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall G. Kitchen/toilets H Hall I. Office J. Hall K. Auditorium L. Office

D A EB F D E D E F B C C C

AE BF A

C

has

has

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L

A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall G. Kitchen/toilets H Hall I. Office Hall plan SecondJ.floor K. Auditorium L. Office

A

A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall G. Kitchen/toilets H Hall I. Office J. Hall K. Auditorium L. Office

B

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BB

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A

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Geometry

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D GA E B F D G E F HG I J LJ H K I H I K D E F G B J H I F E C C C D AE BF D GA E B F D A B D E A B C C C C J H J HK I H I H I L L L L

A. Staircase B. Church hall C. Staircase A. Staircase D. Hall/CorridorB. Church hall E. Office C. Staircase F. Hall D. Hall/Corridor G. Kitchen/toilets E. Office H Hall F. Hall I. Office G. Kitchen/toilets J. Hall H Hall K. Auditorium I. Office L. Office J. Hall

A. Staircase B. Church hall C. Staircase D. Hall/Corridor E. Office F. Hall G. Kitchen/toilets H Hall I. Office J. Hall K. Auditorium L. Office

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G

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A A

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C

has

Form

Additive and subtractive

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A D G Barcelona Museum of Contemporary Art F

D

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D

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C

B

B

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E I I

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A. Corridor B. Employee rooms C. Exposition space B D. Exposition space C E. Staircase F. Staircase G. Exposition space

D

B

HH A

KK

C

E

D G

A

F

C

F

C

E D

A. Corridor B. Employee rooms C. Exposition space D. Exposition space E. Staircase F. Staircase G. Exposition space

C

FF

I

P

A

G

H

A B

Symmetry and ballance

Repetitive to unique

G G

B

N

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LF

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Massing

K

C C

M

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P E

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J

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C K P

Natural light

A M

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F L EO

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D N C

B

GP

K A M DN

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N O B

Form compositions

Additive and subtractive

Parti

B

Approach, frontal

Symmetry and balance

Structure

C

Steadman

Circulation elements

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Structure

Conclusion Form Operation Performance

C

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Adjecent Interlocking

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A  B C D E F  G  H

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