But building the $2.25 million steel-and-glass structure he had in mind presented a number of challenges on Fire Island.
For starters, they had to dig 10 feet below sea level to bury the wood piles. Then they had to put a steel frame on top that could support 25 tons of glass.
Sam Wood, the contractor, had been working on Fire Island for 30 years and had never seen anything like it. “It’s built like a mini-skyscraper,” he said. — nytimes.com
Not unlike his buildings—with their uncompromising linearity, precise use of natural light, and stark white facades—Richard Meier is a striking figure. In his signature round spectacles, a perfectly pressed suit, and with that recognizable shock of white hair, the Pritzker Prize-winning modernist invited filmmaker Barbara Anastacio on a tour of the newly opened Richard Meier Model Museum. — NOWNESS
I saw him a week ago [Tuesday], and he was sitting at his desk going through some of the thousands of letters and notes that people have sent to him wishing him well. He just had this incredible spirit about him, this attitude that everything was going to be all right. He was amazing.” — Artinfo
The trend began a decade ago, when apartments in two towers on New York's Perry Street were snapped up by buyers like Calvin Klein and Martha Stewart.
"When Perry Street was sold, your name was kind of on the marquee," said Mason.
"That's right, for better or worse," laughed Pritzker Prize-winning architect Richard Meier. He is now working on a new high-end project on the ocean in Miami Beach. — CBS News
A special construction material keeps concrete whiter than white. — CNN
Architect Richard Meier's new residential building will feature his signature jutting planes and surfaces carved from white steel and glass. The 37 apartments, starting at about $2 million, are 73% sold even though ground won't be broken until June. The project, named Vitrvm, and the buzz surrounding it, is what you might expect from the designer of L.A.'s Getty Center except for one thing: It is in Bogotá, Colombia. — The Wall Street Journal
Creating a cohesive connection between a shingle cottage and Richard Meier-designed contemporary house in Mount Kisco was the goal of the current owners, who have owned the property for 25 years — The Wall Street Journal
Richard Meier is returning to his roots with two new developments in New Jersey, where he grew up. — The New York Times
A 28-year-old Richard Meier received his first and by far most modest commission from the artist Saul Lambert back in 1962. “Lambert had purchased a very small site on the ocean, on Fire Island,” says Meier, “and said, ‘We don’t have very much money—actually, we have $9,000 to spend on the construction of this house. Could you design something for us?’ ” — New York Magazine
Meier supplied the project’s master plan, doing without the sculptural gymnastics he’s known for -- at the Getty Museum in Los Angeles and elsewhere -- to keep costs down.
The firm designed a clean-lined four-story box, one of the first two buildings that have opened for the present school term.
Rough and smooth brick patterns echo a mix of clear and translucent glass to make a surface composition as rich as a Mondrian painting. — Bloomberg
Balancing Meier’s familiar white metal panels with a rich, iron spot brick, the architects were careful to break down the massing of the contemporary buildings, not exceeding a height of 60 feet in front, in keeping with the Newark Living Downtown Plan. — Architectural Record
You learn with experience the things that are not worth doing. Most architects think, no matter what, they can make something out of any commission. For example, I don’t do prisons or hospitals, or restoration work. I do know, by now, who I am. And by now at least clients come to us with their eyes open. They don’t expect something we don’t do. — Architectural Record
Richard Meier is the last of the New York Five architects to keep working in minimalist white. Now that theme will be towering over Tel Aviv - the American's luxury high-rise is almost finished. — Haaretz
I’m very happy to see all the works on display, and we’re busier now than we were then. We’re looking at things that we’re doing in the future. I think it’s good to be able to share so much of the work we have done that people wouldn’t otherwise come in contact with it. The exhibitions are good in that respect. We have all this stuff. Why keep it in the office? Send it out. — Artinfo
One of the real challenges, since we’re working in so many places—Mexico, Japan, Brazil—is understanding variations, both in terms of culture and context. It’s important to understand differences in scale and environment. — Architectural Digest
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