Timeless quality

One of the most eminent contemporary American architects, Richard Meier has returned to Central Europe for a new office project in Prague.  In an exclusive interview with 'Eurobuild CEE', the Pritzker award winner tells us why he is steering away from the hottest real estate markets, what his future dream project is, and what is so special about the colour white

Mladen Petrov, 'Eurobuild CEE':  Welcome back. You are not exactly new to the region. Besides two projects in Prague, you were one of the world- famous architects invited to enter  designs for the Lilium Tower project in the centre of Warsaw, in a competition that was eventually won by Zaha Hadid but is currently on hold. What is your main impression of Warsaw?
Richard Meier : I have very fond memories of Warsaw. I was very happy to visit the city back in 2005. This is where I met two young Polish architects who gave me a very good tour of the city. I also gave a lecture to students while in Warsaw and was amazed by the wonderfully warm reception I received. The impression I got was that Warsaw is a grey city, in need of some good architecture. That said, the most important thing was that there was a lot of hope and optimism in the air.

According to your vision for the Lilium project, Warsaw was to be the location for a 121-storey skyscraper, which would possibly have been the tallest building in the CEE region.
This is just what I thought was appropriate given the context. Even though skyscrapers were new to the city I wasn't afraid to go that high. I did that in Prague, where my first project in the city was City Tower, completed in 2008 and the tallest building in the country at 109m. Prague is a city with a long architectural history. There has always been an appreciation for design there - product design, architectural design, graphic design... this is all part of the history of the city. I felt that working there was a real honour. I was pleased to be counted alongside the people who designed the beautiful Bauhaus houses in the city, as well as the landmark 19th century buildings. In Europe in general there is an appreciation of quality that doesn't necessarily exist in the same way in other parts of the world, and this is just one of the things that comes to mind when I think of European architecture.

Bringing contemporary design to an historic city so attached to the past - isn't this something of a contradiction? Are cities such as Prague open to such architecture?
I don't see this as a contradiction. We live in a continuum: continuity with the past is important, but we also have to move forward. Our latest assignment in Prague has been particularly challenging as it also meant addressing the historic beauty of Prague and at the same time creating a modern image of the city for its future. We need to think of the present, but also about the future.

Looking at your project portfolio, I couldn't help but notice that you are still not involved in the Middle East or Russia - two markets currently attracting the biggest names in contemporary architecture. This is, after all, where the action and - let's be honest about this - the money is. Why are you not there?
Well, I guess the Middle East and Russia are not interested in what we do. [Laughs.] They are primarily looking for something of the moment, something that doesn't necessarily have that timeless quality, and just representing a mere trend. Nevertheless, I do hope that the appeal of such buildings doesn't fade from view. Let's just say that these buildings represent something different from what we usually do.

You are one of the most eminent American architects, and as such you are ultimately a representative of American contemporary architecture. When going abroad with your projects, is introducing this architecture also part of your agenda?
No, not really.

What is then?
Sometimes I do say no to an investor. I certainly say so if I think that we are not allowed to do work that stands out. In such cases I am not afraid to say no. If this is just another building that could go to any other architectural practice, then it is just not for us. We are looking for something special, this is our thing. That special something we are looking for has to do with the place, and what it does for the city and its inhabitants, as public spaces for me should also be part of the project. So, the question we need to answer is, what kind of quality can we bring? There are two very important things for me when it comes to approaching a new project - the first is the context and the second is the client. Obviously, you can't produce a good building without a good client who has an understanding of architecture and what I do.

What are the differences between the American and the European markets in this regard?
The one big difference is that things take a little bit longer in Europe to complete than in the US. I am not saying that this is good or bad, but that it's just a fact of life. For a building of the same size we have two schedules. The usual schedule in America is probably half of that for a project in Europe. Also, in Europe I've noticed that public opinion has a tangible impact on the project, its shape and the chances of it being realised. People in Europe tend to criticise certain projects, especially those for public buildings - and this is something I haven't seen or experienced on the other markets I've been working in.

What is the story of your relationship with the colour white - your signature colour. When did you discover it professionally?
I discovered it when I designed my first building, back in 1963, a long time ago. For me white is the most wonderful colour.  It is simple: white reflects all colours, and through the colour white you can see all the colours of the rainbow. I'd like to say that the whiteness of white, nevertheless, is never just white.  It is almost always transformed by the light and that which is changing: the sky, the clouds, the sun and the moon.

Where else in the world are you dreaming of designing a building?
Without any doubt that would be New York City. I would really like to design a tall building in New York. I am not even fussy when it comes to the location - it could be anywhere in New York. There is still lots of room for tall buildings in the city. However, I don't think that New York is the best city in the world. Obviously, every city offers opportunities for architects, but I am dreaming of this project just because this is where I am. I live here and I love looking at the city from airplanes. The city is rapidly changing and we are seeing good and bad changes. When it comes to real estate development, though, I am not in favour of all the pretentious residential towers that developers have recently been putting up across the city.

Which is your favourite place  in New York?
That's easy: home, the upper side of Manhattan.

Let me re-phrase that question slightly. Which is your favourite building  in New York?
Probably that would be the Guggenheim Museum. My favourite building changes from time to time, but it always comes back to that museum building.

How big is Richard Meier & Partners  Architects now?
Sixty people work in our New York office and around 40 work in Los Angeles. I am constantly on the lookout for new talent to join the practice. Young architects in America now are very different, depending on where they went to school. In fact, students are different everywhere. One of the major recent changes is that everyone today is aware of the importance of sustainability and works very hard to create a project that will live up to these high standards. Sustainability is something no one can ignore today. The good news is that there is a lot of talent around when it comes to the young designers out there today. They remain somehow unique - I don't think that something like the universally good young architect exists: there are good Americans, good Europeans, and so on. They still represent the place where they live.

What's your take on contemporary architecture? Are there going to be more Burj-Khalifa type buildings going up, or will there rather be a return to buildings representing timeless quality?
It is really hard to say. It is a good question, but I am afraid I can't see into the future. Looking at the students and young architects I get to meet, however, I've got to say I am content that they are very energetic, hard-working and focused. They want to do good work. They want to see changes for the better.

Reviewing your portfolio of completed buildings many years after you first  started out, is there any project you would like to have done differently or modify?
No.

No?
No.

An American classic
For over four decades, Richard Meier, now 76 years old, has been synonymous with contemporary award-winning American architecture. The principles that guide his work are rooted in timeless, classical design issues such as site, order and the use of natural light. "Our primary site goal is to create a strong sense of ?place' by enhancing or transforming the existing site in a unique and provocative way," Meier says. In his buildings a limited palette of materials is used, with an emphasis on lightness, transparency and precision assembly. Natural light is considered by the studio the most fundamental element central to its work, and is as much a building material as concrete and stone. Harmonious proportion and scale are other fundamental considerations in the architect's work. Over the years, the projects designed by Richard Meier & Partners have received 30 National Honor Awards from the American Institute of Architects and over 50 from the New York AIA and other regional chapters. In 1984, Richard Meier received the Pritzker Architecture Prize - the most prestigious recognition in the world of architecture - for the High Museum of Arts in Atlanta, Georgia. The firm is well known for The Getty Center in Los Angeles, Jubilee Church in Rome, and the Charles and Perry Street Towers in New York City. The practice also has on its account almost 20 museums, including the Barcelona Museum of Contemporary Art and the more recent Burda and Arp Museums in Germany. Construction has begun on City Green Court in Prague, a Skanska office project, following the recent completion of the City Tower part of the master plan for a super block in Prague 4, also designed by the practice. Based on RM&P's master plan of the superblock on the Pankrác Plains, this once neglected area has now been revitalised into a multi-functional business and residential district. Currently, projects are underway in Central America, Europe and Asia, as well as the Rothschild Tower, a large residential tower in the heart of Tel Aviv.