Richard Meier – författare

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.

This comprehensive volume documents Meier s work since 2011, featuring thirty residential, commercial, and civic projects in a variety of locales, including Manhattan, Beverly Hills, the Hamptons, Las Vegas, Hawaii, Mexico City, Tel Aviv, Rio de Janeiro, and Tokyo, among others. Extensively illustrated and was designed by the late renowned graphic designer Massimo Vignelli, it vividly conveys the purity and power of Meier s unique and celebrated vision. The development and significance of Meier s work is discussed in an authoritative introduction by the architectural historian Kenneth Frampton. The architect himself contributes a preface that offers firsthand insight into his thought processes and working methods. A biographical chronology and selected bibliography complete this exhaustive and lavish monograph on a modern American master.

Richard Meier, Architect: Volume 8 comprehensively documents Meier s work since 2017. This extensively illustrated presentation vividly conveys the purity and power of Meier s unique and celebrated vision. Thirty residential, commercial, and civic projects are featured in a dazzling variety of scales and locales, including Manhattan, Los Angeles, the Hamptons, Las Vegas, Mexico City, Tel Aviv, Rio de Janeiro, and Tokyo, among many other venues. The development and significance of Meier s work is discussed in authoritative essays by the distinguished architectural historian and curator Kurt W. Forster and world-renowned architect Alberto Campo Baeza. The architect himself contributes a preface that offers firsthand insight into his thought processes and working methods. A biographical chronology and selected bibliography complete this exhaustive and lavish monograph on a modern American master.

A comprehensive survey of the work of a master of modernist design today. Alberto Campo Baeza, one of contemporary architecture s most distinguished voices, is renowned for a body of work that exudes the power of radical simplicity. The architectural ideas expressed in his buildings have ranged in scale from such small but beautiful residential structures as the Ture?gano, Gaspar, and De Blas houses to cultural facilities such as Andalucia s Museum of Memory in Granada, an addition to his earlier achievement, the Caja General Bank Headquarters. All share an uncompromising dedication to simple composition and demonstrate the ways in which he so brilliantly deploys disciplined restraint to achieve architectural silence in the face of the clamor of the modern city. This monograph features projects spanning four decades of international architectural practice. Contributions by Richard Meier and David Chipperfield offer critical commentary on Campo Baeza s persistent quest for beauty and relevance through his adherence to simplicity and a deeply felt devotion to modernist principles of architecture.

Misadventure won the inaugural Picador Poetry Prize, and is Richard Meier’s first collection. Misadventure is a book about what we learn, and what we refuse to learn: although Meier’s poems are often deceptively quiet in their address, the reader will soon discover a poet capable of illuminating the darkest corners of our lives by the very lightest of touches, and an ear simultaneously attuned to the lyric poem and the cadence of real speech. The collection also contains some disarmingly tender poetry on the experience of fatherhood. Misadventure is about all the hope and hopelessness lurking just below the surface of things, in our rooms, tables, coats and gardens – and leaves them enriched and strange, under the transforming eye of a fine new talent.

Misadventure won the inaugural Picador Poetry Prize, and is Richard Meier’s first collection. Misadventure is a book about what we learn, and what we refuse to learn: although Meier’s poems are often deceptively quiet in their address, the reader will soon discover a poet capable of illuminating the darkest corners of our lives by the very lightest of touches, and an ear simultaneously attuned to the lyric poem and the cadence of real speech. The collection also contains some disarmingly tender poetry on the experience of fatherhood. Misadventure is about all the hope and hopelessness lurking just below the surface of things, in our rooms, tables, coats and gardens – and leaves them enriched and strange, under the transforming eye of a fine new talent.

Richard Meier’s first collection of poetry, Misadventure, won many admirers for its wry, wise and sharp-eyed insight into the minutiae of daily life. This, his second, Search Party, casts its net more widely – and looks at our experiences of being lost to others, as well as lost from ourselves. Many of the poems in this collection explore attempts to repair severed connections, or to forge links never properly established: from a father’s desperate search for his son missing at sea, to a child’s reaction to being denied a responsive gaze, and a footballer’s sublime (if optimistic) pass to a teammate – these poems address the nature of the distances between us. Most importantly, they also show the lengths to which we will go to ensure that these distances are closed, and that the most basic of our needs are met: to be seen, to be recognized – and ultimately, sought out and found by one another.

In the Pure Block of the Whole Imaginary pushes past the line and the fragment and toward the sentence, the thought trying to complete, the paragraph, a distinct passage. The poems, most a single paragraph, are comprised of several of the many things a paragraph is said to consist of, including, according to the OED: "a distinct passage or section of a text, usually composed of several sentences, dealing with a particular point, a short episode in a narrative, a single piece of direct speech, etc." The first poem in the project, though no longer the first in the book, was written while reading Francis Ponge's amazing The Making of Le Pre, which reproduces his notes toward the poem Le Pre alongside a translated type-written transcription. The form of the notes-crammed into every corner of the page, gathering observation, research, reading, quotations, anecdote-suggested a more inclusive way to think and write. The book, with its not-quite 50 prose poems, is also an imaginary completion, an echo or a shadow or shade, of Baudelaire's planned 100 Petits poèmes en prose. The book, then, became a project only after the fact, or in response to the fact, of the poems' emergence. The opening of each section-the first few words from each poem in that section-operate as a kind of descriptive table of contents for each section and also a poem of sorts, as those chapter headings often were novels of the past.

"Basking in the twilight of Late Romanticism, Meier ...finds the rays seductive but damaging ...Meier's sophisticated debut promises further developments."-Publishers Weekly on Terrain Vague Domesticity, nature, and heartbreak inhabit this seriously playful second collection. Through precise description and inventive vocabulary, Meier's poems are relentless in their efforts to sincerely address contemporary uncertainty and love. A great book for readers looking to rediscover Romantic poetry: "Embrace was a word first used of forts, / until the one body fell down inside the other body, and was lost."

In the poem-essays that comprise A Duration, writing is a physical act where writing and lived experience support one another in bodies—animal, plant, mineral, and word bodies—that are injured and heal, that die and continue in new forms, playing new roles. Here, in his fifth book, Richard Meier transmutes years of daily practices of attention—be it to a line spoken by Lear’s Fool, a train to Kingston, or  “red inside green stem below eight white petals in a spiral with space between them attached to the yellow center”—into mesmerizing trajectories through an always unfolding present. In the collapse of the border between writing and the body, A Duration, “play[s] both hearts with a heartbeat and kinship of place, time, mundanity in the continuous onrushing imagined joy.”

In this new collection of poem-essays, poet Richard Meier continues his inquiry into daily writings (first presented in 2023,A Duration), exploring the connections between days, moving forward and backward through time.Composed from daily writing practices and years of looping reductions and arrangements, this innovative work asks what it means to be in company. Accompanied in “this present tense that refuses no one” by an inter-generational cast of a nine-hour play, friends, strangers, trees, stones, animals, people in dreams and nightmares—and by readers of the book—Meier allows the present moment to widen and become a site of continuance: “unbranched, undivided, the whole movement of a whole body . . .free from the leaves of the grass and // revealed as a companion.”

In his debut volume, Richard Meier risks "an affront to the personal" by dismantling and reassembling the lyric "I." His poems demonstrate a dizzying grace while uncovering a terrain less vague than tremendously powerful. The emotional tenor of Meier's poems work with the strong intellect behind them to produce a captivating collection. Winner of the 2000 Verse Prize, selected by Tomaz Salamun.