Richard Meier built a career on a single, uncompromising color: white — not a warm ivory but a cool, luminous field that reveals itself only through silver-gray gradations and cast shadow. Porcelain-enamel steel panels, articulated on a strict square grid of fine mullion lines, catch raking daylight and split into sunlit plane and blue-gray shadow.

From the Smith and Douglas Houses to the High Museum and the Getty Center, the discipline never wavers: large flat white surfaces, razor-thin gridlines, glass and brise-soleil rhythm, and abundant negative space. Whiteness here is a structural act, not a finish.