Me Oh Meier
Church of 2000_Richard Meier
"On the interior, it is evident the work on natural lighting, which comes through the gaps between the solid elements and brightens the whole space: main source of diffused light is the glass roof between the shells, but in early morning and late afternoon the sunlight penetrates the entrance facade and the altar facade, giving spectacular atmospheric effects.
The only varieties out off white tone is given by a suspended wood-frames wall, vertical and facing the most internal shell; while the importance of sacred furnishings is underlined by sculpted travertine blocks. All of the sacred furnishings and religious spaces are included in the composition through the continuity and dialogue of forms, and it contributes to the elegance of the project.
The distribution of different spaces is made clear by physical separations: the ferial chapel is at the side of the main hall, slightly separated by the foot of the last shell; the entrance is provided with a buffer space and a second door, on top of which is the organ, integrated in a sculpted cubic element."
Tor Tre Teste, Rome, Italy
"The importance of this project is to give value and attraction to the deepest and most far suburbs in Rome; the occasion came with the beginning of the new Millennium.
The Vicariato of Rome (diocese of Rome’s Bishop, the Pope) committed this work to show and highlight the basic role that architecture plays in holy and religious spaces, and to demonstrate that the connection with contemporary architecture is the key to improve quality of life in suburban areas. These were the goals that the project had to face.Richard Meier’s project won the international competition in 1996."
The Vicariato of Rome (diocese of Rome’s Bishop, the Pope) committed this work to show and highlight the basic role that architecture plays in holy and religious spaces, and to demonstrate that the connection with contemporary architecture is the key to improve quality of life in suburban areas. These were the goals that the project had to face.Richard Meier’s project won the international competition in 1996."
Original article at archdaily
One of the most memorable places I've visited, in terms of architecture anyways, was the Getty Centre in Los Angeles. Richard Meier is truly the master of space. The Church of 2000 posted here, is just another example of Meier's brilliant sensibility. This design of this church is based basic geometric elements of both the cube and the sphere and the interplay of the in-between shapes. Meier composes these elements in a way that creates both something monumental and something that has the appearence of being "light" and "airy". I put those two words in quotes, because not only does the building feel that way, it is that way. Natural light, both direct and diffused as well as shading have been carefully considered. I personally love the use of modern architecture on a sacred building like a church, esspecially when it is smartly executed. There was plenty of criticism offered up on the comments section of the archdaily page. Some people think looks dated, another comment suggested it's a crime for Meier to "rip off" refrigerators or something to that effect. I personally love the pristine, pure and sculptural form, and appreciate the way Meier respects and arranged every nook and cranny to create volumes of space.
"On the interior, it is evident the work on natural lighting, which comes through the gaps between the solid elements and brightens the whole space: main source of diffused light is the glass roof between the shells, but in early morning and late afternoon the sunlight penetrates the entrance facade and the altar facade, giving spectacular atmospheric effects.
The only varieties out off white tone is given by a suspended wood-frames wall, vertical and facing the most internal shell; while the importance of sacred furnishings is underlined by sculpted travertine blocks. All of the sacred furnishings and religious spaces are included in the composition through the continuity and dialogue of forms, and it contributes to the elegance of the project.
The distribution of different spaces is made clear by physical separations: the ferial chapel is at the side of the main hall, slightly separated by the foot of the last shell; the entrance is provided with a buffer space and a second door, on top of which is the organ, integrated in a sculpted cubic element."
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