Tutorial Exercise 4

Meier’s Church of 2000 Critique

University of
Huddersfield
Sadiq Maiwada

U0959182

28th October 2010

Lecturer: Jon Bush

The dawn of the new millennium evoked plenty of emotional responses from those

who would witness it. It was regarded as a sign for rebirth, new beginnings and

reinvigoration for the human spirit. This date was particularly important to those of

the Christian faith as it marks the commencement of the third Christian millennium.

In celebration of this occasion, the Diocese of Rome commissioned the construction

of a church for the new era. This church, planned for 400 worshipers with a budget of

€5 million, would be located in the Tor Tre Teste suburb of Rome. The architect for

this grand undertaking was determined through a competition between six world

renowned designers. The winner, Richard Meier, whose previous works include

Atlanta’s High Museum, the Museum of Contemporary Art in Barcelona & the Getty

Centre in Los Angeles, was chosen due to his being a firm believer in classic 20 th

century modernism principles whilst still being able to impress with stylistic

experimentation.

The resulting building, completed in 2003, indicates a new direction for the architect,

according to Jean Arbuste (2000). The design splits the site with the church in the

southern portion, dominated by three curvilinear walls (sails) of white pre-cast

concrete and a rectilinear community centre to the north. According to Meier the

three “sails” are meant to represent the “Trinity” of the Christian Faith, which are “the

Father, the Son and the Holy Spirit”. These sails give the church a sculptural looks

which have been similarly expressed by building like the Opera House at Sydney or

the TWA terminal building. These ‘sails’ articulate different spaces within the

building, such as the main sanctuary, weekend chapel and the baptistery.

True to the modernist movement of the past, the design lays emphasis on bold

geometric shapes, plenty of light infused spaces and a combination of transparent

and opaque white surfaces. Meier’s copious use of glass volumes in the design is
reminiscent of the style used by Le Corbusier and gives the church a great sense of

openness. The East facade consists of a vertical glass wall and the roof is a skylight

running the entire length of the building. The glass in the design is supported

independently by the reinforced concrete ‘sails’. This enables a unique play of light,

with light flooding the interior through the glass walls in the daytime, whilst at night it

moves up from the base of the building and spills onto the “sails”.

One of the main priorities in the design of the church was to minimise the used of

mechanical equipment, hence the church would be ventilated naturally. Fortunately

the design allowed for an economical use of space in this regard, with air flowing in

through an underground chamber in which the steel cables for the curved concrete

walls were being post-tensioned. According to project architect John Eisler, “the goal

was to create a church that doesn’t fight with the environment; the forms are closely

related to that precept”.

Apart from the glass and white concrete surfaces used in the construction, travertine

from a Tivoli quarry in northern Rome was also incorporated into the building. Jean

Arbuste of L’Architecture Demain felt this use of material endows the feeling of

contemporary materiality and also evokes a sense of permanence and links the

church to the past.

On the whole, Meier’s design for the church of the year 2000 has been said to

animate the landscape with classical elegance firmly rooted in modernist tradition.

From the outside it looks like a futuristic ship and the view from within the complex

reveals a love of looking out. It is Arbuste’s opinion that the design is a well gauged

work of architecture which enhances the locality and embraces the neighbourhood.

He believes it is symbolic, very open and instantly identifiable.

On his use of white surfaces and light, Meier states, “The important thing in a place

of worship is the relationship between the supplicant and his Creator. The best way

to enhance that experience is through the manipulation of surfaces and natural light

which focuses your perception.... the changing light of nature is best reflected by the

colour white,”(cited by Arbuste, 2000).

Despite all the praises the church has received, it has been given its share of

negative criticism. One such critic, Duncan G. Stroik (1999), mentions how Meier

could have taken this opportunity to create a church with a piazza, which is

considered one of Rome’s great artistic glories, to grant some identity to the Tor Tre

Teste neighbourhood’s anonymity like the many great piazzas and fountains have

done to several others.

Stroik, who is an associate professor of architecture at the University of Notre Dame

in New York, also fells that the church failed in its function as a place refuge and

welcome for the intended pilgrims for the Jubilee. It’s overall form and articulation

does not evoke a sense of journey and arrival, in fact the church does not have any

exterior indicator which could instantly identify it as a place of worship, not even a

cross. The glass walls pilgrims pass through cannot give a sense of sanctuary that

thick sheltering walls provide. Also he mentions how internally, the shape of the

rooms and the contrasting materials tend to take focus away from what should be

the centralising elements such as the alter of the cross.

It is Striok's opinion that the church, in these modern days of television, stage and

art, requires of form of meaningful expression; a need for greater attention to

traditional imagery as oppose to giving it less.

“In its earthly state the Church need places where the community can gather

together. Our visible churches, holy places, are images of the Holy city, the heavenly

Jerusalem, toward which we are making our way on pilgrimage”

Catechism of the Catholic Church, 1198

In conclusion, allow me to say I believe the Meier’s design is truly an exceptional

piece of modern architecture. The materials used and the lighting allow it to call

attention to itself and be a beacon to the Neighbourhood. One issue is the fact that at

first glance it does not advertise itself as a place of worship but rather as an

exhibition hall of sorts, hence it would draw in worshippers primarily on the strength

of the publicity it receive, which I believe is plenty. While I admire Meier’s non-

conventional approach and his desire to reinvent the church, it would have helped to

incorporate some more traditional element into the building’s facade if nothing else.

But then again new beginnings were the selling point of the new millennium.
Bibliography

Arbuste, J. (2000) The Church of the Year 2000, Translated from French by Jon Bush,
L’Architecture Demain, April 1st 2000.

Frampton, K. (1999) Richard Meier, Architect 1992-99 (vol. 3) Rizzoli International

Publications, New York

Meier, R. (1996) in “Nel Segno del Guibileo” (In the Name of the Jubilee) published by Opera
Romana per la Preservazione della Fede e la Provvista di Nouve Chise in Roma
(Organisation for the Preservation of Faith and the Provision of New Churches in Rome)

Stroik, D. (1999), Modernism Triumphs in the Eternal City, The Catholic Herald, September
1999

Arcspace.com (2010) Richard Meier – Jubilee Church. [Online] Available at

<http://www.arcspace.com/architects/meier/church2000/>

Floornature.com (2010) Richard Meier, The Church of 2010, Rome. [Online] Available at
<http://www.floornature.com/progetto.php?id=4117&sez=30>

Giannotti, A. (2009) Church of 2000/Richard Meier. [Online] Available at

<http://www.archdaily.com/20105/church-of-2000-richard-meier/>