richard meier - beyond autonomy (1)

Download Richard Meier - Beyond Autonomy (1)

Post on 14-Apr-2018

220 views

Category:

Documents

2 download

Embed Size (px)

TRANSCRIPT

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    1/33

    Meier Beyond Autonomy

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    2/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    3/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    4/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    5/33

    Museum of Decorative Arts Frankfurt 1979 - 1985

    Analyse and determine the cube, multiply by four and twist through 3.5

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    6/33

    "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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    7/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    8/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    9/33

    Museum of Decorative Arts Frankfurt 1979 - 1985

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    10/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    11/33

    Museum of Decorative Arts Frankfurt 1979 - 1985

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    12/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    13/33

    Stadthaus -Ulm 1986 - 1993

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    14/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    15/33

    Stadthaus -Ulm 1986 - 1993

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    16/33

    Stadthaus -Ulm 1986 - 1993

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    17/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    18/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    19/33

    City Hall & Library, The Hague Netherlands 1986 - 1994

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    20/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    21/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    22/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    23/33

    By virtue of its extensive transparency the city hall reveals

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    24/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    25/33

    Barcelona Museum of Contemporary Art (MACBA) 1987 - 1995

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    26/33

    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

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    27/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    28/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    29/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    30/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    31/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    32/33

  • 7/30/2019 Richard Meier - Beyond Autonomy (1)

    33/33