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Meier Beyond Autonomy
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Richard Meier Who is he?
Born in 1934, he graduated from Cornell University in 1957.
Started his own practice in 1963 having worked for both Skidmore, Owings and
Merril and Marcel Breuer
One of the New York Five, together with Peter Eisenman, Michael Graves,
Charles Gwathemy, John Hejduk. The five had a common allegiance
modernism, harking back to the works of Le Corbusier in the 20s and 30s.
In 1973 in an essay entitled Five on Five the Grays (Romaldo Giurgola, Allan
Greenberg, Charles Moore, Jaquelin Robertson and Robert Stern) attacked the
whites on the grounds that
The pursuit of the pure modernist aesthetic resulted in
unworkable buildings that were indifferent to site,
Indifferent to users and divorced from daily life.
He was awarded the Pritzker Prize in 1984 and the won the gold medal from
the Academy of Arts and he is a Senior Fellow of the Design Futures Council.
50 years and more than one seminal building a year.
Famous works include: Douglas House
Ghetty Centre
The Atheneum
Barcelona Museum of Modern Art
Frankfurt Museum of Decorative ArtsStadthaus, Ulm
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As Alberti says beauty consists in a rational integration of theproportions of all parts of a building in such a way that every part hasits absolutely fixed size and shape and nothing could be added or takenaway without destroying the harmony of the whole.
My rigor also is a search for clarity.
This search, for me, begins with the plan. The plan, which seems tohave been neglected of late, is in fact the key. The two dimensionalimage contains within it instructions for the three dimensional objectthat is the building. Together with the section, it generates thebuilding. While elevations pictorialise, the plan and section speak tothe architect about spatial ideas
Meier on his work method
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Museum of Decorative Arts Frankfurt 1979 - 1985
Stadthaus -Ulm 1986 - 1993
City Hall and Library 1987 - 1994
Barcelona Museum of Contemporary Art (MACBA) 1987 - 1995
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Museum of Decorative Arts Frankfurt 1979 - 1985
Analyse and determine the cube, multiply by four and twist through 3.5
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"Urban form evolves between type and incident,
fabric and discontinuity, history and the moment ofdesign. This dialogue strongly influenced the design of
the Museum for the Decorative Arts in Frankfurt. The
parti developed out of a notion of context that takes in
not only geographic features but also historical and
typological ones. In this sense, and in contrast to some of
the earlier buildings for more rural or less historic sites,the museum is emphatically a public and an urban
institution, a rejection of the modernist isolation of the
building as a free-standing object distanced from its
surrounds. The scheme here is meant to connect: to
respond to, enlarge, and reinforce the public context and
the urban fabric."
Meier on Frankfurt Museum of Decorative Arts
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Museum of Decorative Arts Frankfurt
First seminal project in Europe and the most significant of the 1980s
Deeply routed to site by the integration of the Villa Metzler and the
overlaying of its grid, with a rotated grid aligned with the adjacent River Main
Analysis of the near perfect cubic form of the Villa (17.6m) repeated to form
the primary ordering of the plan and then in elevation, determining the key
proportions of openings and fenestration.
Rotation is articulated through the use of circulation and elevational
treatment.
Its emphatic contextualism is one of the first examples of a rejection of the
modernist ideals of the isolation of architecture as a free standing object.
As a result, the building enlarges and reinforces the public context and urban
fabric; building and urban form are one.
The complex occupies just one end of the site, the rest been given over to
open public green space in order to connect two previously poorly related
parts of the city. This provides a further, cultural connection
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Museum of Decorative Arts Frankfurt 1979 - 1985
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Museum of Decorative Arts Frankfurt 1979 - 1985
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Stadthaus -Ulm 1986 - 1993
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Stadthaus -Ulm
Complex urban problems posed by Munsterplatz. Quoted as being one of
the most problematic sites in the country [Germany]
Ulm Munster Cathedral dominates the space and remains one of the few
historicically significant buildings following the 1944 bombings
More than a century of failed competitions (17 in total) and lack of public
support preceded Meiers design.
Critical appraisal of site lines, vistas and routes help to establish the critical
elements of the building
The new exhibit and assembly building has demonstrated how design and
building expertise, focused on one site-specific work, can completely
metamorphose the city and mediate modern form with historic contextMeier on Stadhaus, Ulm
The self-contained authority of this work derives from the way in which it
provides a modulated entry into the Munsterplpatz, in part through the
rhythmic syncopation of its mass running down one side of the cathedral
square, and in part through its tri-gabled glazed roof that caps the mass with a
profile reminiscent of Gothic form
Framption on Stadhaus, Ulm
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Stadthaus -Ulm 1986 - 1993
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Stadthaus -Ulm 1986 - 1993
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City Hall & Library, The Hague Netherlands 1986 - 1994
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By virtue of its extensive transparency the city hall reveals
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By virtue of its extensive transparency the city hall reveals
not only the structure of its organization but also the
essentially open character of the citys form of governance.
The building expresses civic dedication through contrasting
spatial and tectonic elements that shift constantly between
public and private, formal and informal, light and dark, solid
and void
Meier on City Hall and Library, The Hague
Barcelona Museum of Contemporary Art (MACBA) 1987 1995
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Barcelona Museum of Contemporary Art (MACBA) 1987 - 1995
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Barcelona Museum of Contemporary Art (MACBA)
A further development and departure of the modernist ethic, the design
responds to a number of views, vistas and routs, fitting tightly into an historic,
dark neighbourhood.
By contrast to the dark facades and labyrinthine street plan of the Barri
Gothic district, the museum stand s out as a symbol of rejuvenation and the
utopian dream, whilst, through its complexity it retains the character of the
area.
The glazed circulation zone forms both a barrier between the city and the
exibit, but also an intense dialogue between the historic forms of its context
and the building itself.
This building organises circulation in relation to its urban location. The Raval
district historically has been a subject of discussion and controversy, as it is an
area of enormous density with a high land occupancy rate. The design was
seen as a way to inject new life into a rundown district, for by being oppositeless elegant surroundings the museum openly connects with nearby structures.
I began the design of the museum by looking closely at the possibilities offered
by the site within this fabric of dense strets characterized by skewed sections
and ancient church domes. The compressed, low-scale mixture of commercial,
institutional, and residential buildings offered few spaces for pedestrian
activity [a cultural activity in Barcelona known as paseo]. There was no place
where people could meet, talk, sit, read, watch children play, or walk theirdogs. I wanted to create an open pedestrian plaza in front of the museum that
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