Light Years

An Exclusive Interview with Richard Meier as He Celebrates Half a Century of Architectural Innovation

Five decades of ambitious work has firmly established Richard Meier as a leading figure of contemporary American design. To celebrate the semi-centennial of the New York-based architect's practice, Taschen is publishing Meier, a comprehensive special edition of the Philip Jodidio-edited monograph that chronicles his entire body of work. Along with Peter Eisenman, Charles Gwathmey, Michael Graves and John Hejdukell, Meier was a member of the ‘New York Five,’ a controversial group of architects who believed in the purity of architectural modernism, as pioneered by the likes of Le Corbusier. He is responsible for such eminent buildings as the sprawling Getty Center in Los Angeles and Rome’s iconic Jubilee Church. His work shows a deep concern for the ways in which light informs space and has won him plaudits from the American Institute of Architects and the prestigious Pritzker Prize. 

How would you say your approach to architecture has changed over the past 50 years?
Richard Meier: The principles that guide the work in our office are rooted in timeless, classical design issues such as context, site, order, and the use of natural light. We are always interested and fascinated by the natural light of every place and how it then translates into light and open buildings.

Looking back on your body of work, do any projects stand out as favorites? Are there any with particular personal significance?
RM: I studied Architecture at Cornell University, and, after working in the offices of Davis Brody, Skidmore, Owings & Merrill and Marcel Breuer, I started my own practice in my studio apartment in New York City. A year later, in 1967, I received a commission to design the Smith House in Connecticut, a project that marked the beginning of my career. The opportunity to design and build the Smith House clarified my ideas about the making of space, and the house attracted a certain amount of attention that made it possible to take on additional projects.

Tell us about your fascination with the color white.
RM: As far as I am concerned, white is all colors. If I look through my office window, and there is a brightness to the sky, one appreciates the density of that blue sky against the whiteness in my office; one appreciates all the colors of nature more clearly, by looking at the way in which the whiteness sort of bounces that color all around us.

What do you think is most quintessentially American in your designs?
RM: 
Fundamentally, my meditations are on space, form and light. My goal is presence, not illusion. I pursue it with unrelenting vigor and believe that is the heart and soul of architecture. Openness and clarity are characteristics that represent American architecture at its best, and they are the principles that I hope to bring to every design endeavor.

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  • MORE RICHARD MEIER
    MORE RICHARD MEIER

    Richard Meier x Massimo Vignelli

    On the Edge of Modernism With the Master Architect and the Genius Designer

    Illustrious modernist Richard Meier and multi-disciplinary creator Massimo Vignelli reflect on their respective crafts, city life, and enduring friendship in this mesmeric film by Johnnie Shand Kydd. Shot at the minimalist offices of Richard Meier & Partners on 10th Avenue and West 36th Street, the two powerhouses discuss their collaboration on the firm’s forthcoming monograph, Richard Meier, Architect Volume 6, chronicling the stark, white, rationalist buildings that define the firm’s aesthetic. The Pritzker Prize laureate's most notable projects include the Getty Center in L.A., the Barcelona Museum of Contemporary Art, and more recently, the two glass-and-steel towers on Perry Street in New York’s West Village that Martha Stewart, Ian Schrager, Calvin Klein, and Nicole Kidman have all called home. Vignelli, too, has left a significant mark on Manhattan, having famously designed the New York subway map and signage, in addition to working on everything from packaging and furniture design to corporate identities for clients like BMW, Barney’s, Xerox and American Airlines. “Architects need to have a certain arrogance, a sense of self-belief,” posits Shand Kydd. “A designer, however, has to be more collaborative. Consequently, Meier and Vignelli have very different natures, but like all very talented people, they both look forward and not back.” Here Meier nonetheless looks to his present city, and beyond, to reveal his select few architectural necessities.

    RICHARD MEIER’S TOP FIVES

    Favorite buildings around the world:
    Notre Dame du Haut in Ronchamp
    Le Thoronet Abbey in Provence
    Ryōan-ji in Kyoto
    Fatehpur Sikri in Agra
    The Guggenheim Museum in New York City

    Favorite spaces in New York:
    The plaza at the Seagram Building
    The Metropolitan Museum of Art
    Central Park
    The Guggenheim Museum
    My apartment

    Things every architect should own:
    A good supply of General’s Draughting Pencils
    A Keuffel & Esser ruler
    A 9 - 8 1/2 ft long work table
    A white shirt and a black suit
    A black Porsche 911

    (Read More)
  • ON REPLAY
    ON REPLAY

    Collecting is a Wonderful Illness

    Simon de Pury and Daphne Guinness in Conversation, Part One

    Auctioneer and art world impresario Simon de Pury sits down with friend and cultural patron Daphne Guinness to speak about connoisseurship and collecting in part one of a double-bill feature by filmmaker Johnnie Shand Kydd. Chairman and Chief Auctioneer of renowned auction house Phillips de Pury & Company, De Pury is often referred to as “the Mick Jagger of the auction world,” due to his lively auctioning style. Fluent in English, French, German and Italian, the Swiss-born dealer also owns an important private collection of contemporary art, acquired over several decades spent with gavel in hand. “Simon is obviously a grand seducer, and there was this wonderful element of flirtation going on,” says Shand Kydd of the tète-à-tète, “You can't fake that kind of chemistry." De Pury splits his time between London and New York, where he will preside over the sale of a Willem de Kooning estimated at $15m and a $12m Jean-Michel Basquiat at Phillips de Pury’s latest contemporary art auction this Thursday. “Collecting is a very personal and private occupation,” explains De Pury. “One does not necessarily wish to divulge one's passions.” That said, NOWNESS coaxed De Pury into revealing five of his favorite pieces from his collection. 

    A group of Italian 1950s plastic Disney characters that I found in a small antiques shop in Rome. I collect high and low. All works I buy tickle my curiosity when I see them first, and in my private collection I do not rank anything by price.
     
    The desk, chair, lamp and Universe logo from the Star Trek movie that I bought from Pierre Passebon at the first or second Design Miami fair. After having seen one slick piece of pure and beautiful design after the other, it was very refreshing to stumble across something fun and leftfield.
     
    One of Helmut Newton’s nudes, shot at Chateau Marmont, was the first photograph I ever bought. Since being a teenager I worshipped his work. I bought it in an auction in London and was forbidden to hang it by my first wife when I brought it home.
     
    I’ve been obsessed with Christopher Wool's work ever since I first saw it in the Whitney Biennial in the early 90s. I have been fortunate enough to acquire several works of his at a time when it was still quite accessible. I love his most recent work with which he proves he is one of the Greats.
     
    My most recent purchase is a large drip work by Piotr Uklanski. There is great variety in his work and he never ceases to surprise me.
     

    (Read More)

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