Richard Meiers Architecture - Essay Example

Richard Meier’s Architecture The paper addresses the comparison between the design ideas besides the execution of the Getty Centre with the concepts in the other Utopian ideas of pure modernism. It depicts how Meier’s architecture matches up these ideas. On top of those there is also a discussion about one of the early architects by the name Richard Neutra. Lastly, there is the conclusion that summarizes the whole information in the study. Meier’s architecture closely matches up with the modern architecture. The types of colors, materials used, besides the functions of the Getty center both correspond to the modern architecture. To some extent, some of these diverge from these utopian ideas of pure modernism though not very much. Modernist architecture stress function. It tries to provide for particular needs rather than emulate nature. The Getty Center inhabits a thin, mountainous stretch high over the San Diego throughway in Los Angeles California. Protruding southward from the Santa Monica Mountains, the Getty’s acropolis-like physique gives magnificent views over the metropolis, the mountains and the oceanic. Meier has made use of the two ridges that occur naturally on the site. To some extent, he imitated nature in the design thus diverging in opinion with those utopian ideas on the said pure modernity. These ridges diverge from each other at an angle of 22.5 degrees (Williams, 56); they overlying two grids along the axes. These do an excellent job of defining the space of the campus while at the same time it also divides the import of the structure in it. Moreover, beside one axis stretch out the galleries and down the other axis recline the administrative buildings. Furthermore, Meier did put much emphasis on the two contending grids by constructing well-built view lines through the campus. Nonetheless, the primary north-south axis commences with the helipad and then comprises a thin walkway amid the auditorium and north structures. It then continues past the elevator kiosk to the tram position, via the rotunda, beyond the fortifications and hold up columns of the display pavilion. Moreover, finally there is a ramp further the west marquee and the central plot. Its consequent east-west visual axis commences with the edge of the academic wing of the Getty Research Institute (GRI), the walkway connecting the central garden with the GRI (Williams, 78). Furthermore the neglect to the azalea pool located in central garden, the walkway connecting the central garden with the west pavilion, and lastly the north wall of the west gazebo and the patio amid the south and east pavilions. All over the Museum there is a layering in segment flanked by paintings, enlighten by skylights on the crest floor plus artworks that are secured from ultraviolet light that is in the lower levels. Meier used very simple colors to bring the hygienic nature of the environs just like in the De Stjil. He incorporated elements of arts and design to increase the aesthetic value or rather the nature of the whole place. All through the campus, copious fountains present white noise as a background. The original design continues to be intact; nevertheless benches and fences are all around the plaza springs to put off guests from wading into the pools. In conformity with the American Disability Act (Jeffrey, 65), very many modifications have been implemented to conform to the modern architecture. The white color of the setting may diverge with the particular colors of Bauhaus that are somehow a specific set of colors flows through the display like a stream: a chief harmony of Cobalt, Vermillion and Lemon Yellow. And cement gray, cantaloupe, sea foam green plus an astoundingly solid blob of Rose Madder. On the other hand, De stjil uses another combination of colors that are red, yellow and blue. And it also uses some primary colors of white, grey, and black to bring simplicity in the whole setting. Besides, the works of De stjil evaded symmetry and gained aesthetic balance by just using the opposition (Williams, 57). The component of the movement exemplifies the second connotation of stijl: "a post, jamb or hold up". Moreover, that is most excellently demonstrated by the building of crossing joints, generally seen in carpentry. The carpentry may resemble some of the carpentry in the classrooms of the Getty research institute. The Getty construction conforms to most of these pure modern architectures in a variety of ways. It imitates less nature but rather presents its design in a manner that would otherwise create a room for more functions. For instance, Richard Meier’s plan conveys the seven mechanisms of the Getty Trust into a logical unity, although upholding their discrete distinctiveness. Moreover, the layout creates a dialogue connecting the angle of connection and some wavy forms. These are mostly derived from the outlines of the site inflected by the Throughway, the city grid and the natural scenery; the general parts relate to both the Los Angeles City besides mountains of Santa Monica. In that perspective, Meir borrowed much from nature thus diverging from the modernism as a principle of architecture. In as much as the whole place may be such scenic and naturally beautiful, he differed in opinion with that important principle. Actually the mountainous view of the mountain makes the whole museum to be fined visible from far. Nonetheless, it does not portray a good picture since we should not rely much on nature to make our works conspicuous to many people. Unlike Loos that highly discouraged patterns and ornaments, Meier used some patterns that brought some aesthetic value. Though, to some extent, he also didnt use a lot of patterns in his architectural view. He used some of the ornamental materials in the construction. There is much concern and emphasis on arts, unlike Bauhaus where Loos recommended less use of ornament materials. The smaller pavilion structures, linked by gardens, break down the scale of the museum familiarity permitting for pauses and promoting the relationship between the interior and exterior. Every pavilion huddle has its reception area with an adjoining stairway and elevator connecting the statue drawing, script, and photography gallery on the immediate floor to the pictures and photos on top. If mark much of Arts A 450-seat hall (Williams, 58), located west of the Getty Trust agency along with the Art History Information plan, end the east height. The loggias, pergolas, besides full height glazing at the exterior factors take of great advantage and importance of the Getty Conservation Institution, the Getty grant programs, and The Getty Center for Education due to the natural climate and environment. Moreover, along the more isolated and quiet western edge, where there is the Institute for Research for the History of Art plus the Humanities comprehend the complicated (Deal, 90). The whole design is scenic and more appealing to look at. I loved the whole situation. Meier also diverged in opinion another architect like Loo my incorporating pattern in the pool. As others viewed pattern as unmodern, he brought in such a way that the whole place looked too scenic. He created the patterns by altering the sizes of the rocks that he used. From the initial stages, the rocks are too big to be assumed as play homes of children and one cannot easily see the water. A person can just hear the splashing sounds of water behind the rocks and the scenario is too attractive. He varied the sizes of these rocks down the stream. As one moves along the pool, he created a situation where one feels a desire to see what is beyond the stones. The whole art is pleasing though may be contrary to other individuals who claim it is not modern. Neutra-Architect Richard Neutra was one of the most famous architects of his time (Hines, et/al, 15). He was ever eager to dispense all his skills and experience to his customers whenever called upon. However, a time he utilized detailed questionnaire to obtain vital information from his clients. However, much of Neutras artist was much of Arts, landscape beside realistic comfort. Neutra was integrated in the seminal one of the display on modern architecture. Neutra’s modified and flexible form of modernism created a sequence of individual homes and buildings that were and are extremely sought after. They made him one of the United States greatest and imperative mid-century modernists. Moreover, Neutra’s architecture that used pure geometry besides airy steel and glass developed to the subject of the iconic photos of Julius Schulman and came to stand for a whole son of designs in American. Neutra, who lived from the year 1892 to the year 1970, was taken as a prophet of clean, crisp modernism (Hines, 57). Moreover, most of his houses were in California and have enthused uncountable architects and encouraged conservationists in an area of the state disreputably quick to raze landmarks. The spaciously designed houses have a close relationship with other works like the Bauhaus that made use of enough space. Again the clean and the spacious design share a lot in common with the Getty Center. The clean, crisp modernisms are a replica of the Getty Center. One of the first works of Nutria in Los Angeles is one he did in the landscape architecture. Neutra gave a design of the garden of the one known Schindler beach house. Moreover, in the year 1922, he designed the Lovell house in the vast Los Angeles (Hines, 78). Other works in Los Angeles included Kelton apartments in the same city, Van Cleef residence among others. Conclusion In conclusion, architecture is a crucial field, and modernism is just one factor that tries to bring more positive change in it. Most of the artist stress on the importance of modernism in architecture and aim at improving design (Hines, et/al, 20). Moreover, the model reminds us that great people never die. Just like the mortal bodies of these people like Neutra might have rotten, the beautiful things they did are still very fresh in peoples mind. Architecture is the mother of the aesthetic nature of all cities. Again from these works we can conclude that man and nature are inseparable (Hines, 98). One can never separate from nature, no architecture goes without nature just like Neutra ones recorded. Works Cited Deal, Joe. Between Nature and Culture: Photographs of the Getty Center by Joe Deal. Los Angeles, CA: J. Paul Getty Museum, 1999. Print. Gropius, Walter. The New Architecture and the Bauhaus. Cambridge, Mass: M.I.T. Press, 2007. Print. Hines, Thomas S. Richard Neutra and the Search for Modern Architecture a Biography and History. Berkeley: University of California Press, 1994. Print. Hirsch, Jeffrey. Seeing the Getty Center: A Souvenir Book. Los Angeles: J. Paul Getty Trust, 1996. Print. Seibold, J.otto, and Vivian Walsh. Going to the Getty: A Book About the Getty Center in Los Angeles. Los Angeles: J. Paul Getty Museum, 1997. Print. Williams, Harold M. Making Architecture: The Getty Center. Los Angeles, CA: J. Paul Getty Trust, 1997. Print. Williams, Harold M. The Getty Center: Design Process. Los Angeles, Calif: J. Paul Getty Trust, 2011. Print. Read More