这栋房子位于东汉普顿一处占地三英亩的公寓里，靠近长岛的顶端，由一栋三层楼高的主建筑和一间相邻的客房组成。梅尔解释道：“从远处看，在陆地和天空的背景下，立方体的构图似乎变得扁平成了一个二维的形状。”1.为了利用地面上看不到的风景海岸线，以公共空间为主的上部两层都位于稍凹的私人底层之上。上半身的提升产生了一种失重的感觉，类似于勒·柯布西耶使用皮尔提斯时所取得的效果，但更有优雅和微妙之处。房子的阅读是一个整体，有智能的空洞，战略位置，以最佳的表达日光为内部。外观，其特点是一个突出的弯曲平面，是由垂直的，白色漆木壁板和穿孔的丝带窗口。

Situated on a flat, three-acre East Hampton property near the tip of Long Island, the house consists of a primary three-story structure and an adjoined guest house. Meier explains that “from a distance, the cubic composition appears to flatten into a two-dimensional shape against the background of land and sky.”1 In order to take advantage of the scenic coastline, which is not visible from the ground plane, the upper two levels of predominantly common space are elevated above a slightly recessed private ground floor. This lifting of the upper mass produces a sense of weightlessness similar to what Le Corbusier achieved with the use of pilotis, but with greater elegance and subtlety. The house reads as a monolithic mass with intelligent voids, strategically located to optimally articulate daylight for the interior. The exterior, which features a prominent curving plane, is clad with vertical, white-painted wood siding and perforated with ribbon windows.

 © Ezra Stoller/Esto

Ezra Stoller/Esto

 Middle Level Floor Plan

中层平面图

一个人通过与宾馆相连的外楼梯进入萨尔茨曼大厦，通往房屋中间层的高架人行道。毗邻入口走廊，宽敞而明亮的双高度居住空间只会被圆形的钢柱所打断。其中四根柱子围绕着餐厅下面的一个开口，这是唯一的三层高的空间。与起居空间相连的是主卧室，包括步入式壁橱、套间浴室和有盖的露台。在房子的中心，一个对角线楼梯连接到更低，更分隔的水平。这层私人楼层的木质承重墙将厨房、书房、两间浴室、四间卧室和前面提到的餐厅隔开。上层主要由一个露台所消耗，俯视下面的居住空间。一个外部螺旋楼梯提供了第四种循环方式，为这三个层次服务。

One enters the Saltzman House via an outside stair attached to the guesthouse that leads to an elevated walkway connecting to the middle level of the house.  Adjacent to the entry corridor, the spacious and abundantly day lit double-height living space is interrupted only by round steel columns.  Four of these columns surround an opening to the dining room below—the only triple-height volume.  Attached to the living space is the master bedroom, which includes a walk-in closet, ensuite bathroom, and covered terrace.  At the center of the house a diagonal stair connects to the lower, more compartmentalized level.  Wood load-bearing walls on this private level separate the kitchen, den, two bathrooms, four bedrooms, and the aforementioned dining room.  The upper level, largely consumed by a terrace, looks down over the living space below.  An external spiral stair provides a fourth method of circulation, which services all three levels.

 © Ezra Stoller/Esto

Ezra Stoller/Esto

迈尔早期的住宅，如萨尔茨曼宫，为他独特的、可辨认的风格奠定了一个明确的基础。审视萨尔茨曼住宅，可以发现白色、几何学、构图的层次性和复杂性，以及他对光线的处理；所有这些特征仍然存在于他的当代作品中。光-也许与他的作品最相关-决定了他的空间概念和形式。

The early residences of Meier, such as the Saltzman House, established a clear foundation for his unique and recognizable style.  Examining the Saltzman House one finds the use of white, geometry, the layering and sophistication of composition, and his treatment of light; all of these characteristics remain present in his contemporary projects.  Light—perhaps most relevant to his work—dictates his spatial concepts and forms.

1969年Saltzman House完工后不久，Meier就被称为“纽约五人”之一，这是一群建筑师，他们在物理上的接近性和对现代主义的共同奉献，把他们联系在了一起。在这五人中，梅耶特别不屈不挠地“追求现代建筑的本质”，后来他被授予1984年普利茨克奖(Pritzker Prize2)。他的风格是通过萨尔茨曼住宅(Saltzman House)等早期住宅发展而来的，在这个比较运动的哲学冲突司空见惯的时代，他为现代建筑发出了强烈的声音。与其他受后现代主义影响的建筑师相反，梅耶始终坚持他的现代主义理想。梅耶被认为是二十世纪最伟大的美国建筑师之一，与弗兰克·劳埃德·赖特和路易斯·卡恩并驾齐驱，他对这两位建筑师都非常钦佩。理查德·梅尔

Shortly after completion of the Saltzman House in 1969, Meier became known as one of the New York Five, a group of architects bound by both their physical proximity and mutual dedication to Modernism. Of the Five, Meier was particularly relentless in his “pursuit of the essence of modern architecture,” for which he was later awarded the 1984 Pritzker Prize.2 His style, developed through early residences such as the Saltzman house, delivered a strong voice for Modern architecture during a time when philosophical conflict of contrasting movements was commonplace. Contrary to other architects who became influenced by Postmodernism, Meier consistently stayed true to his Modernist ideals. Meier is considered to be one of the greatest American architects of the twentieth century alongside Frank Lloyd Wright and Louis Kahn, both of whom he has great admiration for. Richard Meier & Partners Architects remains a successful contemporary practice.

1 Allen，S.，Meier，R.Richard Meier Architect(纽约：Monacelli出版社，2000年)。2摘录自1984年普利茨克奖评审团引文。

1 Allen, S., Meier, R. Richard Meier Architect (New York: Monacelli Press, 2000). 2 Excerpt from the 1984 Pritzker Prize Jury Citation.

参考文献：Allen，S.，Meier，R.Richard Meier Architect(纽约：Monacelli出版社，2000年)。Jodidio，P.Richard Meier(科隆：Taschen，2013年)。Frampton，K.Richard Meier(伦敦：Phaidon出版社，2012年)。

References: Allen, S., Meier, R. Richard Meier Architect (New York: Monacelli Press, 2000). Jodidio, P. Richard Meier (Cologne: Taschen, 2013). Frampton, K. Richard Meier (London: Phaidon Press, 2012).

建筑师理查德·梅尔

Architects Richard Meier & Partners Architects Architect in Charge Richard Meier Project Year 1969 Photographs Ezra Stoller/Esto