The 1967 Exhibition New York Five (NY5) on the work of five New York City architects, namely Peter Eisenman, Michael Graves, Charles Gwathmey, John Hejduk and Richard Meier, and the subsequent book Five Architects published in 1972, have indelibly stamped the course of the history of modern architecture of the late twentieth and early twenty-first century. Among this early work of NY5 the Meier's buildings were closer from all on the modernist aesthetic of the Corbusian form and in fact even the later buildings that Meier produced since then have all remained truest to this aesthetic. This work traces the history and logic of the evolution of Meier’s early language and its direct relationships to spatial and formal investigations of early-twentieth-century modernism as well as its direct reciprocal relationships with the rest of the NY5 languages. The departure for this inquiry of such centrifugal relationships between representation and formal analysis for the purposes of this work is Richard Meier’s Smith House, an early pivotal work, an acknowledged forerunner and embodiment of the full repertory of Meier formal strategies and language.