Five architects: Eisenman, Graves, Gwathmey, Hejduk, Meier

Five Architects, originally published in 1975, grew out of a meeting of the CASE group (Conference of Architects for the Study of the Environment) held at the Museum of Modern Art in 1969. The purpose of this gathering was to exhibit and criticize the work of five architects--Eisenman, Graves, Gwathmey, Hejduk, and Meier--who constituted a New York school, and who are now among the most influential architects working today. The buildings shown here have more diversity than one might expect from a school, but share certain properties of form, scale, and treatment of material. Collectively, their work makes a modest claim: it is only architecture, not the salvation of man and the redemption of the earth. No matter how varied their individual theories and visions, all five architects simply share a passion for the art of architecture. Providing complete drawings and photographic documentation, this collection also includes a comparative critique by Kenneth Frampton, an Introduction by Colin Rowe that suggests a still broader context for the work as a whole, and two short texts in which individual positions are outlined. Now back in print, Five Architects serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it twenty years ago.

Five Architects: Eisenman, Graves, Gwathmey, Hejduk, Meier

Literature & Fiction

Graves, Michael

Eisenman, Peter

HEJDUK, John

Meier, Richard

Gwathmey, Charles

United States

Oxford University Press

One of America's most eminent architects tells us what it was like to undertake the architectural commission of the century: the building of the Getty Center in Los Angeles. Writing with wit and passion and in engrossing detail, Richard Meier takes us behind the scenes of the thirteen-year-long, one-billion-dollar project. We follow Meier from 1957 when, just out of Cornell, he traveled to Europe for a grand tour and to seek work with two of his architectural heroes, Le Corbusier and Alvar Aalto, and through to his early years in New York with Marcel Breuer. After Meier established his own private practice, we see him designing public housing and the private houses that expressed his distinctive modernist style of pure geometric line, of whiteness, and open spaces flooded with light. We also see him, in time, designing such important art centers as the Museum of Decorative Arts in Frankfurt, the High Museum of Art in Atlanta, and the Museum of Contemporary Art in Barcelona. And then--in 1984--the Getty Center. Meier tells us how he was selected from more than thirty architects, after a lengthy and involved series of interviews, to design the cultural campus on the spectacular 110-acre site overlooking the Santa Monica Mountains and the Pacific Ocean. The Getty was a new cultural institution, and Meier worked with the program directors to design the buildings that would serve them best. In the beginning, neither he nor the Getty had any idea of the complications in store for them. Each of the Center's six components, including the Getty Museum, had its own set of priorities. Meier faced two important contradictory challenges: the creative and the practical. His task was to design a series of buildings that would stand as architectural masterpieces. But, at the same time, he had to deal with myriad specific demands and limitations imposed not only by his client, but also by the local homeowners, who were alarmed by the specter of a vast complex arising in their midst. As a result, the design process itself was not completed until 1991, when the drawings and large-scale model of the Center were finally unveiled to the press. But Meier's task had scarcely begun. The sheer scale and complexity of the project, and the number of people involved in every decision, continued to mean constant revisions. As construction moved ahead, Meier lived on the site, yet commuted to his New York office to manage ongoing European projects, while in his new office in Los Angeles, the population of architects handling the Getty grew to more than a hundred. Although the Center's design had been agreed on, much negotiation lay ahead before questions of material, color, and landscaping were at last settled. Finally, in 1996, almost half of the Center was ready to be occupied, and Meier could see that the work--carried out by the many architects, engineers, technicians, craftsmen, and builders for thirteen years--was well on its way to being completed. Meier's fascinating book, chronicling the creation of one of the cultural monuments of our time, is a unique record of the art and process of building in this century, and an important contribution to architectural history.

Building the Getty

Arts & Photography

Architecture

KNOPF

This book provides a fascinating history of the planning, design, and construction of the six-building Getty Center in Los Angeles, one of the great cultural complexes to be built in our time. Writing with wit and passion, Richard Meier takes us behind the scenes of the thirteen-year-long, one-billion-dollar project.

University of California Press

Book by Meier, Paul, Meier, Richard

Family Foundations

Meier, Paul

Parenting & Relationships

Baker Pub Group

Sex in the Christian Marriage

Minirth, Frank

Merier, Lorrane

Religion & Spirituality

This book of sixty-two Bible studies presents a comprehensive and healthy approach to Christian living.

The Healthy Christian Life

Hawkins, Don

Richard Meier, Architect, Vol. 2: 1985-1991

Documents recent work by one of the original New York Five architects

Rizzoli

The third in a series of Rizzoli monographs on Richard Meier, this volume comprehensively documents the numerous and varied works created since 1992 by one of America's most important architects and a winner of the Pritzker Prize for Architecture. This extensively illustrated presentation, designed by Massimo Vignelli, conveys the purity and power of Meier's celebrated work. Twenty-three projects in all are featured, including federal buildings and courthouses in Islip, New York, and Phoenix, Arizona; the Barcelona Museum of Contemporary Art; the Museum of Television and Radio in Beverly Hills; the Church of the Year 2000 in Rome; and the widely acclaimed Getty Center in Los Angeles. The development and significance of Richard Meier's work is discussed in two essays by the distinguished architectural historians and critics Kenneth Frampton and Joseph Rykwert. A postscript by Arata Isozaki, a biographical chronology, and a selected bibliography complete the monograph.

Richard Meier, Architect, Vol. 3: 1992-1998

American Dream documents the Houses at Sagaponac, a groundbreaking architecture project initiated by real estate developer Harry J. Brown. The project features homes designed by internationally recognized architects on a 10-acre site near the tip of Long Island. THe region has nurtured modern housing in previous decades, and the weekend homes and artist studios of the 1960s and 1970s serve as early precursors to the project. Additonal sources of inspiration for the Sagaponac houses include Case Study Houses in California commissioned by Arts + Architecture magazine in the 1950s and the famed 1927 Weissenhof Siedlung experimental housing in Stuttgart, Germany. Pritzker Prize-winning architect Richard Meier is creative advisor to the initiative and is also designing one of the houses. Meier collaborated with Brown on architect selection, bringing together well-known figures like Michael Graves, Philip Johnson, and Richard Rogers with acclaimed younger practitioners, including Gisue and Mojgan Jariri, Jesse Reiser and Nanako Umenoto, Lindy Roy, and Deborah Berke. The designs of all the Sagaponac Houses are illustrated in full-color and are accompanied by floor plans, architectural drawings, and computer renderings.

American Dream: The Houses at Sagaponac: Modern Living in the Hamptons

Gordon, Alastair

Brown Jr., Harry (Coco) Joe

Rizzoli International Publications

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