Richard Meier will once again begin welcoming visitors to his Long Island City model warehouse, a 3600-square feet and features works from spanning the Pritzker Prize winner’s 40-year career.
Most prominent in the museum are large scale presentation models and study models of the Getty Center in Los Angeles, an institution widely regarded as Mr. Meier’s most ambitious project and one that required fifteen years to complete. The collection also includes the first model for the Smith House in Connecticut, one of the early works that established Mr. Meier’s reputation, a series of un-built projects such as a 2002 design for the World Trade Center Memorial Square in New York, prototypes for furniture and product design as well as collages and sculptures composed of wax elements, architectural model pieces and stainless steel.
Tours of the gallery are by appointment only and last approximately 45 minutes. Appointments can be made through Richard Meier & Partners Architects: firstname.lastname@example.org. The model museum is closed to the public during the winter months due to the climate’s impact on the models.
Richard Meier Model Museum, Long Island City, Richard Meier & Partners Architects
The disused skeleton of a building attracted the attention of a person passionate about architecture. This person envisaged making his home out of it. A few quality parts were retained to create the volume of the property interior. A brick wall was found and this was extended from the road and formed the interior wall of the hall and the kitchen. The wall also extended outside and enclosed the garden. The living room is as high as the building itself and the office is laid out on an upper level between the metal trusses. The bedrooms are more contained and are located within a large, container-like area. They each open out onto the garden at the side and the light in the wash rooms comes from the two interior bay windows. Raw materials are given pride of place, new items have been used for the ceiling or are cemented and the concrete flooring has been polished and reflects the light.
Kelle, Belgium, by Atelier d’Architecture Bruno Erpicum & Partners
The Garden Shelf by Lausanne-based firm Dreier Frenzel Architecture is a summer pavilion for a family in Geneva, Switzerland. composed of three, distinct volumes arranged in an offset manner, the small concrete structure directs its focal point to the immediate site – the garden – rather than the more distant view from the slope which it resides on.
Hugging the natural topography of the plot, the design scales down the garden in a terraced fashion. The individual boxes vary in size and host appropriate programs inside: the smallest form holds storage while the larger ‘rooms’ accommodate a kitchen and a spacious seating area. The interior is connected for the inhabitants to step up or down between functions. When not in use, a system of wooden shutters that run along the open faces enable the shelter to be enclosed.
Located on a northwesterly oriented beach fronting the Strait of Georgia. The site includes many second-growth douglas firs, a beech grove and a grassy meadow with good solar exposure. For over a thousand years this site was a summer camp location for the Lummi Indians, and due to its archeological significance, no footing excavation could take place on the site. Further, its location in a federally designated flood plain required that the structure be raised off the ground several feet. The design brief called for a very low-impact, easy to maintain summer home that provides necessary programmatic functions with minimum distractions from the land and the view.
Main and guest houses for an oceanfront site in Long Island, based on the postwar Case Study Houses built in California. Citation for Design in the 2006 AIA New York State Design Awards.
Montauk Residence, Long Island, by Pentagram
Conceived as a series of interconnected pavilions enclosing a garden, the courtyard-house typology is utilized to achieve private interiority within the suburban context. The strategic interplay of light and shadow, expansion and contraction, solidity and lightness is used to derive spatial richness.
The house incorporates fuel cell and solar panel technologies, passive cooling, greywater reclamation, and extensive use of reclaimed finish materials.
Courtyard Residence, by Aidlin Darling Design
The Punta House is located on an open lot, alongside a reservoir, in the countryside close to the city of Punta Del Leste, in Uruguay. From the get-go, the location of the residence on this open country wasteland imposed the challenge of creating private spaces and, to some degree, protected visually and climactically. The solution adopted, from the outset, was a one-level house which, on one side looked out to the waters of the reservoir; and, on the other, to an internal patio demarcated by stone walls, which end up defining all of the spaces of the house.
Situated in the midst of a parking lot, the residence features layers of pierced facades that slowly unveil the main structure and life within it. Thick wall circumscribe areas of the dwelling producing porous areas between interior and exterior, public and private. Designed to shelter but not visually enclose internal environments, the residence includes overlapping volumes that form sheltered courtyards and passageways that open inwards.
A series of white boxes, each unique in height and program are grouped together, creating a structure with intricate depth and illusion of space. inside, rooms continuously unfold and expand, creating an open and vertically integrated living environment. Platforms, bridges and small cubic forms interrupt the vast interior volume, adding a layer of complexity to the otherwise minimal space.
Home of a couple with a passion for architecture who were keen to make one of Düsseldorf’s rare ruins their own. The reconversion was closely overseen by the administrative authorities, since this old factory in the city centre miraculously avoided damage during the many bombings of World War II. Across from the coachman’s passageway are some garages that stand in front of the entrance court. The court is dotted with screens that flank the entrance and seclude off the “day patio”. The history of the city is reflected in the glass panels, reminding you of the building’s heritage. A facade made entirely of glass stands completely independently of the old structures, showing off their immense scale. The building is now protected against the elements and complies with energy performance requirements. The study opens boldly onto the garage and gym. The gloss painted furniture designed by architect Bruno Erpicum reflects the structural elements. A vast white space devoid of any accessories houses the sleeping accommodation in the conversion; the rotating door appears to be floating in the air. An enormous living room is arranged between the pilasters that are displayed with pride.
Düsseldorf, Germany, by Atelier d’Architecture Bruno Erpicum & Partners, Photography by Jean-Luc Laloux
Located in Alto do Lagoal, a neighborhood facing the sea in Lisbon, Portugal, the home sits nicely between two blues: the sky and sea. The House at Paço de Arcos by Jorge Mealha, unfolds a setting where solids and voids are in display for each other. The arrangement and span of the masses allows for interesting in-between spaces that not only allows light to penetrate the core of the development but also allows reflection as water and shadows bend the surfaces and maximizes its adjacencies. These reflections allows for a dramatic play and change of light throughout the day and give texture to the endless cement plaster walls that dress this house.