Master Architect

MASTER ARCHITECT
RICHARD MEIER
PROJECT BY :
MUNIRA J
T.Y.B.A.rch
RN: 09

PHILOSOPHY
Main concepts: Light, Color and
Place.
He designs in white with planes and
lines.
Main focus – placeness: “What is it
that makes a space a place.”
MASTER ARCHITECT
RICHARD MEIER
Born on October 12, 1934 in Newark, New Jersey
1957 – completed B .Arch at Cornell University in Ithaca
1984 – awarded the Pritzker Prize
1989 – awarded a royal gold medal by
the Royal Institute of British Architects
Main ﬁgure in the “New York Five”

THE SMITH HOUSE
MUSEUM OF DECORATIVE ARTS
DOUGLAS HOUSE
RESIDENTIAL ENDEAVOURS:
PUBLIC BUILDINGS

THE HIGH MUSEUM
OF ART, ATLANTA
GETTY CENTRE
LOS ANGELES

The Atheneum
CONST. PERIOD: 1976-1979
LOCATION: New harmony, Indiana
United states.
FUNCTION: Visitor center

CONTEXTUAL STUDY
SITE ANALYSIS
ACCESSIBILITY
FORM
PLANS
SECTIONS
ELEVATIONS
CIRCULATION MEDIUM
CIRCULATION PATTERN
VISUAL CONNECTIVITY
GEOMETRY OF STRUCTURE
STRUCTURE
MATERIAL
COLOUR SCHEME
NATURAL LIGHTING
LANDSCAPING
CRITICAL APPRECIATION
PRESENT STATE
CONTENT

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COMMERCIAL
INSTITUTIONAL
RESIDENTIAL
SITE
INFRASTRUCTURE OF THE TOWN
CHURCH , TOWN HALL , SCHOOLS ,
POLICE STATIONS , FIRE STATION ,
ELECTRICAL SUBSTATIONS , DRAINAGE
WATER TREATMENT PLANTS
NEW HARMONY , INDIANA
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TOPOGRAPHY: MINIMAL SLOPE
CLIMATE: TEMP RANGES FROM -6 TO 13 C FROM NOV -APRIL
TEMP RANGES FROM 20 TO 7.8 C FROM MAY -OCT
WIND DIRECTION: PREVAILING WINDS FLOW FROM NORTHWEST
TO SOUTHEAST.
SOIL TYPE : YAZOO LOAM , YAZOO CLAY , GRIFFIN CLAY
NEW HARMONY , INDIANA

ACCESS ROUTES
VIEWABILITY
S.W.O.T ANALYSIS
S: THE LOCATION ,
W: LOAMY SOIL DUE TO THE RIVER
O: AMPLE OF OPEN SPACES
T: FLOODS IN THE RIVER.
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ACCESSIBILITY
FROM THE PORT
FROM ROAD
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ACCESS
FROM LAND
THROUGH NEW
HARMONY
BRIDGE
ACCESS
FROM WATER
THROUGH
BOATS

GROUND LEVEL
RAMP
RECEPTION DESK
RAISED PODIUM
45 DEGREE
PLANE
WASHROOMS
STAIRCASE
(STRAIGHT)
STAIRCASE
(PORT)
STAIRCASE
(SQUARE)
STAIRCASE
(RECTANGLE )

SECOND LEVEL
EXHIBITIONS
THEATRE
STAIRCASE
(RECTANGLE )
STAIRCASE
(SQUARE)
STAIRCASE
(STRAIGHT)

THIRD LEVEL
DOUBLE HEIGHTED
THEATRE
BALCONY SEATS
(THEATRE )
STAIRCASE
(SQUARE)
STAIRCASE
(STRAIGHT)
STAIRCASE
(CIRCLE)
STAIRCASE
(RECTANGLE )

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A B
A’ B’
SECTION A A’
SECTION B B’ RAMP
RAMP
EXHIBITIONS
HALL
WASHROOMS
STAIRCASE
(RECTANGLE )
STAIRCASE
(RECTANGLE )
DOUBLE HEIGHTED
THEATRE

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C C
D D’
SECTION C C’
SECTION D D’
STAIRCASE
(CIRCLE)
STAIRCASE
(SQUARE)
STAIRCASE
(SQUARE )
STAIRCASE
(CIRCLE)
DOUBLE HEIGHTED
THEATRE
DOUBLE HEIGHTED
THEATRE
WASHROOMS

SOUTH SIDE
ELEVATION
SOUTH WEST
ELEVATION

NORTH WEST
ELEVATION
WEST SIDE
ELEVATION

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STAIRCASE (SQUARE), (STRAIGHT)
STAIRCASE (CIRCLE)
SECOND LEVEL PLAN
STAIRCASE (RECTANGLE)

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N SECOND LEVEL
FIRST LEVEL
ENTRANCE
EMPHASIS IS ON THE
ARCHITECTURAL
PROMENADE , I.E:
JOURNEY THROUGH THE
BUILDING.
‘’CIRCULATION IS THE MAIN
SPATIAL PROTAGONIST OF
THIS BUILDING AND THE
RAMP IS ITS MOST VITAL
ELEMENT’’

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THIRD LEVEL
ROOF LEVEL

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SECTION THROUGH ENTRY FOYER FACING EAST
SECTION THROUGH AUDITORIUM FACING WEST

GEOMETRY OF THE STRUCTURE
CONTINUITY
FOCUS CREATED ON THE ENTRANCE DOOR
CONTINUITY
GLASS GLAZED WINDOWS FOR VIEW OUTSIDE SOLID SURAFCE ON THE EXTREME END

MOVEMENT IN AND AROUND
THE STRUCTURE
INSPIRATION FROM BASIC SHAPES
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FIRST LEVEL
CIRCULAR COLUMNS
SHEAR WALL
LEGEND

WALL CLADDING :
FEETSTEEL FRAME FACE WITH
PORCELAIN-ENAMELED
PANELS
SIZE: 2’6’’ SQUARE PANELS
STRUCTURAL CONSTRUCTION :
STEEL AND R.C.C. CONSTRUCTION
TECHNIQUE
OTHER MATERIALS:
GLASS USED FOR WINDOW GLAZING
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EXHIBITION HALL
WALL PANELS
WALL PANELS - VIEW

‘’USE OF WHITE AS A SYMBOL OF PURITY BECAUSE
IT IS A COLOUR THAT CONTAINS ALL OTHERS
WHITE IS THE MOST WONDERFUL COLOUR OF ALL
BECAUSE WITHIN IT ONE CAN FIND EVERY
COLOUR OF RAINBOW
WHITE IS IN FACT THE COLOUR WHICH
INTENSIFIES THE PERCEPTION OF ALL OF THE
OTHER HUES THAT EXIST IN NATURAL LIGHT IN
NATURE.
ONLY AGAINST WHITE SURFACES THE PLAY OF
LIGHT, FORM , AND SPACE CAN BE ACCENTUATED ,
HEIGHTENING THE POWER OF VISUAL FORM ‘’
The colour white clariﬁes architectural concepts by
reﬂecting colours of site and shadow of form
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HIGH CONTRAST LIGHT STUDY

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IN THE PLAN, THE BUILDINGS
CROSS AXES CAN BE SEEN
EXTENDING BEYOND IT INTO THE
LANDSCAPE AND CONNECTING
WITH THE GRID OF THE TOWN TO
WELCOME VISITORS.
BY ROTATING ON AXIS SLIGHTLY
OFF CENTRE, A DYNAMIC TENSION
THAT IS REINFORCED BY THE
SHIFTING DIRECTIONS OF THE
PATH THREADING THROUGH A
VARIETY OF SPACES CONNECTED
BY RAMPS AND STAIRS

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THE WHOLE STRUCTURE IS RAISED ON A PODIUM
AND IS COMPLETELY SURROUNDED BY OPEN GREEN LAWN ON
ALL SIDES.
THE ARCHITECT TAKING AN INSPIRATION FROM CONCEPT OF
UTOPIAN SOCIETY HAS CREATED A STAND ALONE STRUCTURE IN
MIDDLE OF AN OPEN SPACE TO HONOUR THE HISTORY OF THE
TOWN.

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Completed in 1979, the Atheneum is an internationally
celebrated and award-winning example of modern
architecture. Notable for its light and clean spaces, the
Atheneum is a three-story building with a long ramp and
overlaying grids that provide beautiful views of the town,
Wabash River and surrounding countryside from just about
anywhere inside and on the spacious viewing deck on the roof.
It was designed so that visitors can take a specific path
through the building and then emerge into New Harmony
itself.
The Atheneum was a breakthrough commission in Richard
Meier’s career. It was his first major commission; and the model
and architectural drawings are now part of the permanent
architecture collection at New York’s Museum of Modern Art.
Construction began in 1975 and was completed in 1979.
Pedestrian circulation through the building is a continuous
experience all the way to the roof terrace and, from the ramp,
to the community beyond. The Atheneum has received
numerous design awards, including the Progressive
Architecture Award for 1979, the American Institute of
Architects Award in 1982, and AIA’s prestigious Twenty-five Year
Award in 2008.
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CONST. PERIOD:
1997-2003
LOCATION:
Tor tre teste, Rome , Italy
FUNCTION:
Community centre, Church
The Jubilee Church

CONTEXTUAL STUDY
SITE ANALYSIS
FORM
PLANS
SECTIONS
ELEVATIONS
CIRCULATION MEDIUM
CIRCULATION PATTERN
GEOMETRY OF STRUCTURE
STRUCTURE
MATERIAL
COLOUR SCHEME
NATURAL LIGHTING
LANDSCAPING
CRITICAL APPRECIATION
PRESENT STATE
CONTENT

TOPOGRAPHY: FLAT TERRAIN
CLIMATE: TEMP. RANGES FROM 17 TO 31 C FROM JUNE - SEPT
TEMP. RANGES FROM 22 TO 4 C FROM OCT - DEC
TEMP.RANGES FROM 14 TO 4 C FROM DEC - FEB
WIND DIRECTION : PREVAILING WINDS FLOW FROM SOUTH EAST TO
NORTH WEST
SOIL TYPE :CAMBISOL , ANDOSOL , REGOSOLS
TOR TRE TESTE NEIGHBOURHOOD , ROME

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RESIDENTIAL
UNITS
DOWNTOWN
ROME
SITE
-LOCATED IN SUBURBAN AREA OF ROME (9.6 km from
downtown rome).
-THE JUBILEE CHURCH SERVES A COMMUNITY OF EIGHT
THOUSAND RESIDENTS RESIDING IN THE 10 STOREY HIGH
BUILDINGS OF TOR TRE TESTE NEIGHBOURHOOD.
-THE GOAL WAS TO SHOW HOW CONTEMPORARY
ARCHITECTURE CAN BE A KEY TO IMPROVE THE QUALITY OF
LIFE IN THE SUBURBAN AREAS.
TOR TRE TESTE NEIGHBOURHOOD , ROME

MAIN ACCESS
VIEWABILITY
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S.W.O.T ANALYSIS
S: FOCAL POINT OF THE NEIGHBOURHOOD
W: OPENS TOWARDS MAIN ROAD ON THE WEST SIDE
O: COMMUNITY SPACES CAN BE CREATED
T: THE CHURCH MAY ATTRACT A HUGE AMOUNT OF
CROWD
PIAZZA

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FORM COMPOSITION
● THE PROPORTIONS OF THE COMPLEX ARE BASED
ON SERIES OF DISPLACED SQUARES AND FOUR
CIRCLES.
● THREE CIRCLES OF EQUAL RADIUS GENERATE THE
PROFILES OF THE THREE SHELLS THAT TOGETHER
WITH THE SPINE WALL MAKE UP THE BODY OF THE
CHURCH NAVE.
● THE CHURCH IS INSPIRED FROM NOAH’S ARCH WITH
THREE SAILS AND MOVING TOWARDS NORTH
● IT ALSO DISCRETELY IMPLIES THE HOLY TRINITY
GEOMETRY

GROUND LEVEL
MAIN PRAYER HALL
ALTAR
PRAYER HALL
MEDITATION
COURTYARD
STORAGE
PUBLIC
WASHROOM
STUDY ROOMS
STAIRCASE
LEADING TO
THE BELL
TOWER

FIRST LEVEL
MAIN PRAYER HALL
ALTAR
PRAYER HALL
WASHROOM
CHURCH OFFICE AND
ACCOUNTS /
RECORDS
STAIRCASE
LEADING TO
THE BELL
TOWER
MEDITATION
COURTYARD

SECOND LEVEL
MAIN PRAYER HALL
ALTAR
THREE ARCHES
WASHROOM
PASTOR RESIDENCES
STAIRCASE
LEADING TO
THE BELL
TOWER
MEDITATION
COURTYARD
COMMON ROOM
BALCONIES

ROOF PLAN
GLASS GLAZED ROOF
SKYLIGHTS
BELL TOWER
SKYLIGHT
TRUSS

EAST SECTION
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THE MAIN PRAYER
HALL / ALTAR
TRUSS
PASTOR RESIDENCES
CHURCH OFFICE AND
ACCOUNTS / RECORDS
BIBLE STUDY ROOMS
MEDITATION
COURTYARD
AUDITORIUM
KITCHEN

NORTH SECTION
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THE MAIN PRAYER
HALL ALTAR
STAIRCASE
CHOIR
STAND
TRUSS

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TRUSS
BELL TOWER
STAIRCASE LEADING
TO THE BELL TOWER
EAST ELEVATION
EAST ELEVATION

BALCONY
WEST ELEVATION
BELL TOWER
AUDITORIUM
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WEST ELEVATION

SOUTH ELEVATION
WEST ELEVATION
SOUTH -EASTERN ELEVATION
EAST ELEVATION

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VERTICAL CIRCULATION
THE RED HIGHLIGHTED
PORTION MARKS THE
MAJOR CIRCULATION
SPACES AND VERTICAL
CIRCULATION
ELEMENTS
CONNECTED TO THE
CORRIDOR
VERTICAL CIRCULATION
(STAIRCASES) ARE :
1)STAIRCASE TO THE BELL
TOWER
2)STAIRCASE TO THE
AUDITORIUM
3)STAIRCASE TO THE LIVING
QUARTERS OF THE PASTOR
1
2
3
GROUND LEVEL

CIRCULATION (GROUND LEVEL) CIRCULATION (2ND FLOOR)
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PUBLIC SPACES
PRIVATE SPACES
ZONING

G
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SYMMETRY AND
BALANCE
FORM COMPOSITION
ADDITIVES AND SUBTRACTIVE
HIERARCHY
MASSING

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STRUCTURE
SHEAR WALLS ARE
EXTENSIVELY USED
THROUGHOUT THE
STRUCTURE WITH NEW
TECHNOLOGY OF
CONSTRUCTING THE
SHELLS SEEN IN THE
ELEVATION
THE SHELLS WERE
CONSTRUCTED
USING WHITE BIANCA
TX MILLENIUM
CEMENT AND
PREFABRICATED
CURVED PANELS CONSTRUCTION OF THE SHELLS

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● THE MAIN MATERIALS ARE GLASS, ROMAN TRAVERTINE,
WHITE CONCRETE AND WOOD PANELLING.
● THE INTERIOR IS COVERED WITH ROMAN TRAVERTINE
MARBLE AND WOOD .
● A SERIES OF GLASS SKYLIGHTS BETWEEN THE SHELLS
FILTER INDIRECT LIGHT INTO JUBILEE CHURCH
INTERIOR
● THE OUTER SHELLS ARE MADE BY PREFABRICATED SELF
- SUBSTAINING CONCRETE PANELS , DOUBLE CURVED
(DIM: 40X40X80 CM) AND ASSEMBLED DRY.
● A NEW TYPE OF WHITE SELF CLEANING CEMENT
CALLED BIANCO TX MILLENNIUM WAS DESIGNED FOR
THIS PROJECT.
GLASS GLAZED ROOF CONCRETE PANELS

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WHITE IS MASTER ARCHITECT RICHARD MEIER’S
SIGNATURE COLOUR .
IN THE CHURCH THE COLOUR WORKS WELL FOR A
DIFFERENT REASON.
-WHITE HAS ALWAYS BEEN ASSOCIATED WITH THE
DIVINE , WITH CLEANLINESS AND SERENITY .
-WHEN COMBINED WITH DIRECT LIGHT AND OPEN
SPACES PLAN THE STRUCTURE GETS A SENSE OF
‘HAVEN ON EARTH’
THIS CREATES A DIVINE ATMOSPHERE SUITABLE FOR
CONTEMPLATION AND PRAYER

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SOURCES
IN PLAN
ELEVATION

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-GLAZED SKYLIGHTS SUSPENDED BETWEEN THE SHELLS
ARE LIT BY ZENITHAL SIDELIGHT AT NIGHT
-THE NAVE IS ENLIVENED BY CONSTANTLY CHANGING
PATTERNS OF LIGHT AND SHADE.
-THE LIGHT IS DIFFUSED OVER THE INNER VOLUME OF THE
JUBILEE CHURCH AND VARIES ACCORDING TO THE HOUR.
ALTAR
LIGHT POURING IN
ALTAR
SKYLIGHT

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G A REFLECTING POOL SYMBOLIZING THE ROLE PLAYED BY
WATER IN THE SACRAMENT OF BAPTISM CREATED ON THE
SOUTH WESTERN SIDE OF THE STRUCTURE .
THIS REFLECTING POOLS GETS FILLED SEASONALLY AND IS
PROVIDED WITH PROPER DRAINAGE SYSTEM

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“The most distinctive feature of the new Jubilee Church is the
three curved shell walls.”
“Jubilee Church is constructed from traditional Roman travertine
and white, marble-like concrete.”
● The commission was won in a competition against Tadao Ando, Santiago
Calatrava, Peter Eisenman and Frank Gehry. Meier was inspired by from
Alvar Aalto’s churches in Finland, and Frank Lloyd Wright’s Wayfairer’s
Chapel in the United States, as well as works by Le Corbusier.
● The plan is basically traditional, with a nave, altar, side chapel and
confessional booths, and accommodates about 264 parishioners, with 240
seated in the main nave, and 24 in the day chapel. The site is approached
from the housing complex to the east via a paved piazza, and a parking lot
to the west.
● There are two courts separated by a walkway between the church and the
four-level community centre, which is more minimalist in design. A top-lit
four-storey atrium connects the two, although the community centre is
planned in a contrasting L-shape. The northernmost court contains a
recreational garden with a terrace and the second has a pool symbolising
the baptismal ceremony, and is also a space for mediation.
● The freestanding sails, which symbolise the Holy Trinity, are designed to
withstand heat, wind and earthquakes. The main ‘spine’ wall on the right, or
north, contains the space.

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● -In May 2017, a survey was run to measure the ageing process of the
church especially with regards to the innovative solutions developed.
Overall, the church was technically developed with the intention of testing
the TX millennium for the ﬁrst time
● -Analysis showed the level of decay of the materials and some technical
issues regarding mainly, but not exclusively, the impact of acid rain on the
exterior façade of the building.
● -Acid Rain Effects produce a dry black deposition of Sulphur Dioxide
together with Oxides of Nitrogen on building surfaces.
Conclusion:
This study highlighted that the high level of decay noticeable only fourteen
years after the opening of the building is caused by a combination of the
following factors:
● Construction details not adjusted to acid rain effects such as the lack of
extended ﬂashing with drip edges;
● Engineering process focused mainly on the non-standard elements of the
design, such as the concrete shells,.

THANK YOU
MY GOAL IS PRESENCE , NOT ILLUSION.
MY MEDIATION ARE ON SPACE , FORM , LIGHT AND
HOW TO MAKE THEM.
MY STYLE IS SOMETHING THAT IS BORN OUT OF
CULTURE AND PROFOUNDLY CONNECTED WITH
PERSONAL EXPERIENCE.
~RICHARD MEIER

Master Architect

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