At mid-career, Meier guides the viewer on a retrospective of his white buildings, from private houses of the 1960s to the Frankfurt and Atlanta Museums of the 1980s--all variations on his trademark spatial and planar treatment. His influences from Corbusier, Wright, Mies, and Baroque Germany are shown. Clients and colleagues offer opinions. At the end of the film Richard Meier stands on an empty hill in Brentwood (L.A.) speculating on the issues and controversies he will face in the design and realization of the Getty Center.
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There's been a relationship between that which is manmade, that which is the architecture, and that which is natural. And it seemed to me that the whiteness allowed for clarity. Allowed for the understanding of these elements without a blurring of them by a super-imposition of some other element. And the whiteness has always intensified that experience.