herzog & de meuron - the complete works, volume 4

Translated from the German:• Ishbel Flett, Edinburgh (Gerhard Mack)• Catherine Schelbert, Hertenstein/Weggis (Herzog & de Meuron)

• Layout and Cover Design Volumes 1 and 2: Meissner & Mangold, Basel• Redesign and Cover Colors Volume 3: Rémy Zaugg, Pfastatt, France, in cooperation with Katharina Erich, Basel• Concept and Redesign Volume 4: Ludovic Balland Design Office, Basel• Design and typesetting Volume 4: Ludovic Balland, Natacha Kirchner, Claudio Casutt• Lithography: Georg Sidler, Schwyz• Scans pp. 290–352: Sturm AG, Muttenz• Project Team Volume 4: Herzog & de Meuron, The kitchen Jacques Herzog, Pierre de Meuron Esther Zumsteg, Iela Herrling Bettina Back, Dara Huang, Mai Komuro, Donald Mak, Leonardo Perez Alonso, Nicolas Probst, Valerie Fischer Solorzano, Catharina Weis

• Library of Congress Control Number: 2008936276

• Bibliographic information published by the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de.

• This book is also available in the original German-language edition (ISBN 978-3-7643-8639-9).

• This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broad-casting, reproduction on microfilms or in other ways, and storage in data bases.For any kind of use, permission of the copyright owner must be obtained.

© 2009 Birkhäuser Verlag AGBasel ∙ Boston ∙ BerlinP.O. Box 133, CH-4010 Basel, SwitzerlandPart of Springer Science+Business Media

Printed on acid-free paper produced from chlorine-free pulp. TCF ∞

Printed in Germany

ISBN: 978-3-7643-8640-5

9 8 7 6 5 4 3 2 1

www.birkhauser.ch

Contents

P. 24No. 155

e er art

New York, New York, USA

P. 30No. 158

ra li h re i e e Oakville, California, USA

P. 40No. 160

la a Deptford, London, UK

P. 46No. 163

p ert e a ta r

No. 182 pla a e e pa a

e a ta r Santa Cruz de Tenerife, Canary Islands, Spain

P. 54No. 164

tea Santa Cruz de Tenerife, Canary Islands, Spain

P. 62No. 165

reha a el Basel, Switzerland

P. 68No. 166

tt li rar Cottbus, Germany

P. 74No. 168/174

helvetia patria St. Gallen, Switzerland

P. 80No. 169

ha la er Münchenstein/Basel, Switzerland

P. 88No. 173

e e San Francisco, California, USA

P. 96No. 175

al er art e ter Minneapolis, Minnesota, USA

P.104No. 176

re e t ireNo. 189

h a a i er Pomerol, France

P.112No. 177

a t r pla e New York, New York, USA

P.118No. 178

pra a a a a Tokyo, Japan

P.126No. 181

a er pa Binningen, Switzerland

P.132No. 184

pra a le re Terranuova, Arezzo, Italy

No. 185pra a e r New York, New York, USA

No. 187pra a leva ella Montevarchi, Arezzo, Italy

P.142No. 190

r ar el a Barcelona, Spain

P.150No. 201

ai a r a ri

Madrid, Spain

P.156No. 204

rei pit a el Basel, Switzerland

P.162No. 205

allia are a Munich-Fröttmaning, Germany

P.169

PlansP. 219

Texts Herzog & de MeuronP. 247

Work Chronology AppendixP. 289

Images

P. 7

Foreword P. 9

Introduction P. 23

Buildings and Projects 1997–2001

7

A few months before the third volume of the Complete Works was published, Tate Modern in London opened its doors. With the conversion of this former power station on the banks of the Thames, Herzog & de Meuron, already highly respected by their peers, were catapulted to the very top of the international architectural league. The achievements of Jacques Herzog and Pierre de Meuron were subsequently recognized with the most prestigious of all public accolades, the 2001 Pritzker Prize and the 2007 Praemium Imperiale. For the Basel-based team, this new situation opened up many opportunities that have had an impact on the continuation of the Complete Works. The fourth volume therefore presents a number of changes. The most important of these changes applies to the main section of the book, where the architects comment on projects from their own experience. This is followed in each case by a selection of sketches, models, plans and photographs from the archives, which are put into a broader context by an analytical editorial text. Selected plans have been redrawn and organized in sequence especially for this publication. The visual opulence of the buildings is illustrated in a separate section without commentary. This departure from the previous layout offers readers a whole new approach to each of the projects, ranging from analytical study to casual observation. To ensure readability, given the complexity involved, we have chosen on this occasion to publish two separate volumes in English and German. The proven basic structure of introduction, main section, selected theoretical texts by the architects and a comprehensive work chronology has been retained. For technical reasons, the project details have been updated to no later than 31 December 2007. This publication covers the work of Herzog & de Meuron from 1997 – 2001. No attempt has been made to categorize the projects into specific periods, as these invariably involve a mix of pragmatic and fundamental considerations that do not encompass overlaps and long-term developments. At the same time, the selection of works covered also makes sense in retro-spect: Vol. 1 presents the architects’ early work up to 1988, based on the underlying approach of a recherche architecturale—including the impact of architecture as a medium of perception, the significance of nature and the natural sciences, and a phenomenological approach to archi-tecture and urban planning. This aspect of the architects’ oeuvre was eloquently summed up in the Architektur Denkform exhibition at the Architekturmuseum Basel. Vol. 2 covers the period 1989 – 1991, in which the exploration of materials continues with the architects’ launch-ing of and experimenting with the “box” concept as a strategic vehicle for a reductive approach that offers a sense of direction in a time of arbitrary, postmodern plurality. A case in point is the design for the private museum housing the Goetz Collection in Munich. In the years 1992 to 1996, covered in Vol. 3, the architects demonstrate the feasibility of a reductive vocabulary as a means of achieving a new slant not only on revised modernism but also on such margin-alized aspects as ornament, expression and monumentality. The period covered by this, the fourth volume in the series, shows how the strategies already adopted have developed their full potential, culminating in the topographical architecture discussed by the editor in his introductory essay. Focusing so clearly on the subject matter has called for a tough approach to selecting par-adigmatic projects and buildings. Based on the architects’ customary system of numbering their projects chronologically upon accepting a commission, the years 1997– 2001 show the highest concentration of completed buildings in the history of Herzog & de Meuron so far. Since we have chosen neither to curtail the period covered in this volume nor to split it into two shorter volumes, some of the projects are mentioned only in the Work Chronology. These include the Kunsthaus Aargau and the marketing building for the Ricola company in Laufen. No exhibitions appear in the main section, even though the Natural History show at the Canadian Centre for Architecture in Montreal and its accompanying catalogue constitute a major survey of Herzog & de Meuron’s work. Instead, they are discussed in greater detail in the Work Chronology. Because of the global nature of Herzog & de Meuron’s architectural activities, it is no longer possible for one individual to have a full grasp of all the material involved. And so, more than ever before, this volume involves the collaborative effort of many people. First and foremost, I owe a debt of gratitude to Jacques Herzog and Pierre de Meuron for their unstinting willingness to discuss the material and provide constructive criticism of the texts. I am equally grateful to their partners Harry Gugger, Christine Binswanger, Robert Hoesl, Ascan Mergenthaler and Stefan Marbach, as well as a number of other coworkers, for their input and ideas. I would like especially to thank Esther Zumsteg and her team, who gave so much support in so many ways, and without whom this book would never have been published. Sincere thanks also go in equal measure to Iela Herrling for her project organization and to Ludovic Balland, who was chosen by Herzog & de Meuron to develop the new graphic design. I also wish to thank Ishbel Flett and Catherine Schelbert for translating the texts into English and, last but not least, the publishing house of Birkhäuser Verlag, which afforded us such freedom in the planning and design of the book. July 2008 Gerhard Mack

Foreword

©2

00

8IM

AG

E ©

20

08

GE

OC

ON

TE

NT

/ IM

AG

E ©

20

08

DIG

ITA

LG

LO

BE

/ I

MA

GE

© 2

00

8 F

LO

TR

ON

/PE

RR

INJA

QU

ET

— 4

7°3

1‘4

2.4

0“N

/ 7

°36

‘37

.90

“E

81

Maja Oeri called up one day—she was chair of the Emanuel Hoffman Foundation at the time—and asked us if we wanted to build a Schaulager. A Schaulager—what’s

that? Maja presented a proposal for the storage, research and display of contemporary art that was completely new, meaning that there were absolutely no architectural or typological precedents for such a building. That makes the Schaulager a curatorial and architectural prototype.

We started by creating a layout of the collection that the building was meant to house and saw that it ranges from very small to extremely large-format works, and that on the whole, works of art seem to be getting bigger. One of our first thoughts was a building like one of those advent calendars with little doors that you open up for twenty-four days before Christmas. You would walk into the building and see this gigantic calendar, like a kind of screen where you could make a selection in order to see the work of your choice. As in an automated warehouse, a forklift with an electronic arm would transport you to the work. But the idea wasn’t technically feasible and, as it turned out, the client wouldn’t have supported it anyway. The discretion of the current solution is preferable because the extent of the collection is not instantly visible. When you walk into the building you see the exhibition galleries on the first floor and the floor below but you don’t see the storage area at all, to begin with. You walk into the building knowing that works of art are stored there, but you don’t know how many or where they are. They are not accessible to everybody as in a museum, but only to people who make an appointment. It’s like a study center or a library of rare books.

The location chosen by the clients was the Dreispitzareal to the south, an area in Basel that is undergoing substantial urban change. Until recently most of the buildings there housed duty-free goods. The area was not accessible to the public and was essentially a small, densely packed city of warehouses. In the planning phase, the clients took a very pragmatic approach to the Schaulager as a massive warehouse, much like the others in the neighborhood, except that art would be stored there instead of bananas, coffee beans or furniture.

It was the clients and not we who chose to locate their project in the southern part of the city, a location that is the perfect complement to the Vitra Campus in Weil and the Beyeler

No. 169

C au a rMünchenstein/BaselSwitzerland1998–2003

©2

00

8IM

AG

E ©

20

08

GE

OC

ON

TE

NT

/ IM

AG

E ©

20

08

DIG

ITA

LG

LO

BE

/ I

MA

GE

© 2

00

8 F

LO

TR

ON

/PE

RR

INJA

QU

ET

— 4

7°3

1‘4

2.4

0“N

/ 7

°36

‘37

.90

“E

82

Foundation in Riehen to the north of this trinational metropolitan city. All three cultural institutions are the result of private initiative and have acquired an importance that resonates interna-tionally. They supplement traditional public institutions, which are situated in the old city centers as in Zürich or Bern, and therefore restrict perception of the city to this one downtown area. In addition to their importance as cultural institutions, they therefore make a significant contribution to overcoming boundaries, an especially vital factor in a border town like Basel, and they enhance the trinational metropolitan nature of the city. It’s almost as if extremely sophisticated urban planning and strategic goals had inspired the choice of location.

When we started thinking about windows for the offices and the other work areas, we realized that the conventional right-angled shape would not do. The earthy mass of the building called for a completely different solution, especially in order to prevent the entire weightiness and inertia that emanates from the structure as a whole from being undermined. We experimented with crushed sheet-metal cylinders that we pressed into slabs of plaster and noticed that the resulting negative forms looked like cracks in the earth. Inspired by this impression, we decided to pursue the idea especially since sheet-metal cylinders can be turned on their central axis and used over and over as formwork elements in a linear sequence. The resulting negative looks different each time. By using the sheet-metal cylinders more than once, we hoped to come up with a cost effective and technically simple implementation of this complex shape.

What’s more, we liked the idea of getting interchangeable and visually deceptive formal results from two completely unrelated processes—on the one hand, the violent and intentional process of crushing a sheet-metal cylinder and, on the other, the natural process of cracks forming in gravelly soil on the surface of the earth.

At pretty much the same time that we were trying to deal with this band of windows, digital technology had just reached the point of being able to cut foamed material into complex three-dimensional shapes. So we eliminated the sheet-metal cylinders and simulated and optimized the cracked shape on the computer. For the first time, we had no qualms about jettisoning the archaic idea—so ingrained in the minds of architects since the pouring of concrete burst in on modernism—of working with repetitive and reusable formal elements.HERZOG & DE MEURON, 2008

169_RFAR_0106_512

169_RFNL_0000_534_SAND_K

169_RFSB_0000_500_HOCHWASSER_K

169_S I_0204_701_BASE L- STADT

169_SI_9909_700_BS_AIRVIEW 169_SI_0310_503_SIT-EG

169_RFAR_0106_510 169_RFAR_0106_511

169_MO_0209_057169_MO_0209_035 169_MO_0209_041

169_MO_0106_513

169_MO_0002_055 169_MO_0106_515 169_MO_0106_514

169_MO_0002_054

169_MO_0002_008 169_MO_0003_056 169_MO_0003_017

83

Fluvial gravel and art storage provided aesthetic inspiration.

The client chose a corner of the Dreispitz, a former goods depot with a motley array of warehouses in the south of Basel, as the site for the new Schaulager.

The Schaulager prototype evolved from the idea of a screen with apertures, serviced by forklifts, into an irregular series of custom-designed rooms.

No. 169 Schaulager

169_MO_0101_513

169_MO_0106_508169_DR_0101_500_ANALYSIS 169_MO_0106_506 169_MO_0106_501

169_MO_0106_504

169_CI_0104_021_FREEFORM169_CO_0107_501_STYRO

169_CO_0107_502_STYRO 169_CO_0107_503_STYRO

169_CO_0107_513169_CO_0201_500 169_CO_0201_505 169_CO_0108_503

169_CO_0000_001_KRATZEN 169_CO_0212_510 169_SA_0206_502_MET-PANELS

169_SA_0403_501_M0089_WZPRE_K 169_SA_0206_507_MET-PANELS

84

The fissures of the ribbon windows look like ripped paper or cracked earth.

The form is photogrammetrically scanned and processed, allowing polystyrene negative molds to be serially produced with cutting edge computer technology.

The polystyrene elements are inserted into the formwork and then, when the concrete is released, the soft parts are removed and frottages made of the surface for interior paneling.

A nsicht A ussen

EG

2.OG

A nsicht Innen

Fassadenschnitt Süd

Grundriss EG - Süd

A

Fassadenschnitt Süd

1.OG

Stahlstützen Innen RND 220 auf Achsen A/8, A/10, A/16

Stahlstützen Aussen RND 160 auf Achsen A/7, A/13

Ablaufstutzen aus Messing

W assersammler im GefällePE-Rohr d=57mmFixierung an Jordalschiene

SickerrohrPE-Rohr d=50mm(System Geberit)

Broncefarbanstrichbei Sturz und Brüstungmit abdichtender W irkung

Broncefarbanstrichbei Sturz und Brüstungmit abdichtender W irkung

Stahlstützen Aussen RND 160 auf Achsen A/8, A/12,A/14

Ablaufstutzen aus Messing

W assersammler im GefällePE-Rohr d=57mmFixierung an Jordalschiene

SickerrohrPE-Rohr d=50mm(System Geberit)

Mittelachse Fensterband

Stahlstütze Innen RND 200 auf Achse A/6

Stahlstützen Innen RND 180 auf Achsen A/8, 10, 12, 14, 16

Mittelachse Fensterband

810 9

Stah

lstü

tze

B eto

nfas

sade

Aus

sen

Stah

lstü

tze

Inne

n

Stah

lst ü

tze

Inn e

n

8 109

Stah

lstü

tze

Beto

nfas

sade

Inne

n

Stah

lstü

tze

Bet o

nfas

sade

Inne

n

A3 3.4.2000Datum

H E R Z O G & D E M E U R O NRheinschanze 6 CH-4056 Basel Fax 061 385 57 58 Tel. 061 385 57 57

169 Schaulager Ruchfeldstrasse 4142 Münchenstein BLFensterfassade 1 : 100

±0,00

+0,30

+11,56

+6,80

+6,02

+7,10

+10,78

+2,60

+9,40

+11.48

-0.39

-0.45

+6.02

+7.10

+0.30

+10.78

±0.00

+6.80

-0.78

+11.56

+2.60

+9.40

+1,45

+8,25

Achse Stütze

Achse A

RND 1 60

RND 22 0 RND

180

RND 160

18 16 14 12 10 8 6 4 2

RND

160

RND

200

RND 200

RND 180

RND 160

5.00

5.00

71 75 4.10 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00

34.9

675

21.1

025

13.8

65

1.032

5

4.00

4.00

4.00

4.00

3.92

50.9775

9580 2.

20

72 2.67 30 1.01 30 49.87 25

3518

1218

35

2.20

52.

615

52.

85

9580 2.20

2010 12

30 1.207 6

7 1.20 1425

5.00

55.34

5.34 50.00

5.00

2.88

55

2.19

5

1010

1.00

2.20

20

1.00

2.20

20

1.002.20

5 2.675 5 1.002.20

5 2.675

35 7.66 25 3.775 20 3.775 25 3.775 20 3.775 25 3.775 20 3.775 25 3.775 20 3.775 25 3.775 20 3.775 25 3.875

30 35 11.695 18 19.83 33

35 11.695 18 7.82 18 7.86 30 3.70 30 35

2.81

2.63

5.28

5

2

105 105

401.

002.

201.

535

20 11.80 20 5.52

15 5.31 15

1025

1.52

152.

0830

2.20

151.

6020

203.

0975

154.

2025

2052

575

2040

20

28

20 1.82 5 15 1.50 30 95 7 95 7 95 20 95 7 95 20 2.66 5 20

28

2540

28

251.

5263

301.

504

2.26

1576

583

520

90 2.002.65

9020

775 1.002.20

1.00

2.20

885

20 16 11.64 20

20 1.002.20

20 1.002.20

4515

20 1.002.20

1.79 20 20 1.002.20

77

25 92

3080 2.20

675 1.252.20

6757

30

2010 12

30 1.20 7 6 7 1.20 1425

72 675 1.252.20

675 7

1.252.20

20

235

1.19

560

1.19

560

1.19

560

1.19

530

5 92 2.91 92

201.

252.

20

2.00

204.

915

1.252.20

82

1.00

2.20

20

5 1.002.20

5 2.675

5.23

520

2.00

5.23

520

2.00

5.23

520

2.00

1.98 1.002.20

79525

795 1.002.20

1.98 2082 1.00 1.955 25

80

2.10 13 5.57

3.20

313.

295

31

201.

6520

20 40 520

4 9.09 2.06 5 20

R= 1

1

R= 11

R= 50

R= 50

R= 50

WS-S 92/92/21UK. = +7.46

WS-E 70x54x10UK. = +7.83

WS-S 92/92/21UK. = +7.46

WS-S 92/92/21UK. = +7.46

WS-S 92/92/21UK. = +7.46

WS-S 92/92/21UK. = +7.46

WS-S 92/92/21UK. = +7.46

M obile W andM ontage W and nach Fertigstellung Parkett

Lounge

ok Brüstung + 7.80

Sich

tbet

on

F= +4.42R= +4.38

44

Luftraum

59.0°

24.40 m2

Elektro

Klimatechnik

Sanitärplaner

Bauingenieure

Amstein & Walthert, Leutschenbachstrasse 45, 8050 Zürich, Tel.01/ 305 91 11, Fax 01/ 305 92 14

Amstein & Walthert, Leutschenbachstrasse 45, 8050 Zürich, Tel.01/ 305 91 11, Fax 01/ 305 92 14

GSG Projekt Partner

Bauherrschaft

Datum

Herzog & de Meuron

Format

Grenzacherstrasse 30, 4058 Basel, [email protected], Tel. 061 686 95 00, Fax 061 686 95 05

Projekt

Planinhalt

Plannummer

Massstab

ARGE GP

Laurenz-Stiftung Basel, Präsidentin Frau Maja Oeri, Amselstrasse 10, 4059 Basel

A. Zachmann / H. Pauli, Flughafenstrasse 20, 4056 Basel, Tel. 061/ 382 23 24, Fax 061/ 382 23 18

± 0.00 = 285.00 m.ü.M .

N

Sämtliche Masse sind Rohmasse und vom Unternehmer zu prüfen!

Allfällige Differenzen sind unverzüglich der Bauleitung zu melden!

Alle Masse sind in Meter und Zentimeter angegeben!

Türhöhen beziehen sich auf ok fertig Boden und uk roher Sturz

Fenstermasse beziehen sich von ok fertig Boden bis ok Fensterbank bzw.uk roher Sturz

Koten beziehen sich auf ±0.00 = fertig Boden Erdgeschoss = 285 m. ü. M.

QS H

QS D-E

QS-CD QS-CD

QS D-E

QS H

LS 1

7-18

LS 1

8-19

Treppe und Wändein Sichtbeton

Sich

tbet

on

Treppe und Wändein Sichtbeton

Tabl

eau

6x25

x15

Tableau6x25x15cm

FB=+6.80RB=+6.72

LS 1

8-19

LS 1

7-18

EichenriemenGipswand gestrichen/Glas

Beton roh

Betonsturz Innen d= 200mm

Fassadenflucht

Fass

aden

fluch

t

Beto

nstu

rz In

nen

d= 3

00m

m

A A

K

I

19 18 17 16 15 14 12 11 910 8 7 6 5 4 3 2 113

N

M

K

I

N

M

L

G

H

E

F

D

C

B

L

G

H

E

F

D

C

B

19 18 17 16 15 14 12 11 910 8 7 6 5 4 3 2 113

A A

K

I

19 18 17 16 15 14 12 11 910 8 7 6 5 4 3 2 113

N

M

K

I

N

M

L

G

H

E

F

D

C

B

L

G

H

E

F

D

C

B

19 18 17 16 15 14 12 11 910 8 7 6 5 4 3 2 113

FS L-M

FS18

-19

FS18

- 19

FS15

- 16

FS5

- 6

FS A-B

FS C-D

FS D-E

FS D-E

FS C-D

FS 1

5-16

WS 8/8 WS 8/8

LED

-Bild

wan

d 7.

70/5

.80

LED-Bildwand 7.70/5.80

169 - Ein Schaulager für die Emanuel Hoffmann - Stiftung, Ruchfeldstrasse 19, 4142 Münchenstein

Selmoni AG, St.Alban- Vorstadt 106, 4006 Basel, Tel.061/ 287 42 10, Fax 061/ 287 42 73

Rheinschanze 6, 4056 Basel, [email protected], Tel. 061 385 57 57, Fax 061 385 57 58

A01 / 100

+6.80 = 291.80 m ü.M

Fens

terö

ffnun

g Bü

robe

reich

Süd

ostfa

ssad

e =

21.1

0 m

Fensteröffnung Bürobereich Südfassade = 50 m

Fassadenbeton Innen

2.20

Tableau6x25x15cm

Datum: Revisionen: Visum:

Leichtbauwand mit Dampfsperre

Leichtbauwand auf Rohfussboden

Aussenwand mit Innenwandverkleidung :

Fugenlose Abdichtungsbahn

W andaufbauten :

Wandverkleidung geschiftet 7 cmOrtbetonwand 30 cm beidseitig unsichtbar

Dämmung 10 cmNoppenbahn ( Drainage) 2 cmStampfbeton 30 cm

Ortbeton beidseitig verkleidet mit Wandverkleidung, geschiftet, 7 cm

Ortbeton als Sichtbeton ausgebildet mit Wandverkleidunggeschiftet, Gesamtdicke 7 cm

Leichtbauwand im Ausstellungsbereich

Leichtbauwand F60

Leichtbauwand F60 mit Metallverkleidung perforiert.

Installationsschachtwand F60 mit Revisionstüren

Leichtbauwand F60 mit Vorsatzschale

Verstärkungsplatten auf Lagerzellwänden

Beschriftung/Hinweise/Bemassung Leichtbauwände

DD

-K

UnterkanteOberkante

Kälte

Wand-Durchbruch

A bkürzungen :

Decken-Durchbruch

WDWS

HeizungLüftung

W and-Schlitz

Sanitär

-H-L

-EDS Decken-Schlitz

Elektro

ukok

-S

Gewindehülse (Decke)Abwasseranschluss (Boden/Wand)Auslass Lüftung (Boden)Sprinkler (Decke)Steckdose (Decke)Steckdose (Boden)

Installationen:

Elektrokanal (Boden)

Symbole: Symbole:

Elektrobodendosen vorbereitet

Elektrobodendosen ausgeführt

Schiebetür Lagerzellen raumhoch mit Entrauchungsöffnung

Schiebetür Lagerzellen Höhe 3m

62.98 m2

B:W:D:

A rchiv & Bibliothek

Lager

1O 190

1 7̀05.96 m2

+6.72+6.80

1O 191

MonobetonBeton roh/Gips gestr.

Beton roh

K orridor267.53 m2

+6.72

39.26 m2

BF:

B:W:D:

Treppe 4


Beton roh

19.20 m2

1O 195 +6.80+6.72

1O 194 +6.80+6.72


Beton roh

1O 000 +6.72Monobeton

Gipswand gestrichenBeton roh

Beton gestrichen1O 102 +6.80

Treppe 3

+6.72

Fluchtkor.BF:

B:W:D:

62.71 m2

1O 103

20.97m2

Fluchtkor.


Beton roh

BF:

B:W:D:

+6.72+6.801O 193

BF:

B:W:D:

1O 192

Kabine 270/ 700/ 380cm10 T Nutzlast


Beton roh

BF:

B:W:D:

P-Lift4.78 m2

Treppe 2

BF:

B:W:D:

Beton gestrichen

MonobetonGipswand gestrichen

Beton roh

48.27 m2

BF:

B:W:D:

+6.80

+6.80

1O 203

BF:

PU-BeschichtungPU-AnstrichPU-Anstrich

BF:

B:W:D:

+6.80

1O 100

+6.72

1O 607

B:W:D:

Behin. W C

Entladen

1O 101

27.81 m2

B:W:D:

BF:K unstlif t

+6.8058.05 m2

+6.72Monobeton


BF:

B:W:D:

MonobetonZementputzZementputz

11.37 m2

B:W:D:

BF:

B:W:D:

Treppe 1

+6.80

W C Herren

Putzraum

B:W:D:

BF:Kopieren

1O 301 +6.72

1O 300

BF:

+6.72+6.80

PU-BeschichtungGipswand gestrichen

Gipsdecke gestrichen

Garderobe

1O 204

3.66 m2

+6.80

8.41 m2


3.08 m2

B:W:D:

BF:

+6.72+6.80

1O 2027.49 m2


Serverraum13.01 m2

BF:

+6.72+6.80

1O 501

B:W:D:

+6.80

BF:

+6.72+6.80

+6.80

+6.72

BF:

B:W:D:

84.05 m2

EichenriemenGipswand gestrichen/Glas

Streckmetall

+6.72

Besprechung SeminarBF:

B:W:D:

1O 30255.59 m2

+6.72Monobeton


MonobetonGipswand gestrichen

Beton roh

1O 501

+6.80

76.00 m2

1O 502 +6.72

+6.80+6.72

BF:

B:W:D:

M edienraum

Temperatur: 18 °Crelative Feuchte: 20-30 %

34.26 m2+6.80+6.72

BF:

B:W:D:

M edienarchiv

1O 500PU-Beschichtung

Gipswand gestrichenGipsdecke gestrichen

5.27 m2BF:

B:W:D:

Schleuse

K orridor


Beton roh

Büro 5

1O 6101O 612

Büro 6

BF:

B:W:D:

+6.80 +6.80+6.80+6.72

BF:

B:W:D:

Büro 855.14 m2

1O 615Eichenriemen


+6.80+6.721O 614

+6.72

BF: 27.32 m2

182.89 m2

A rbeitsbereich 1BF:

B:W:D:

+6.80+6.72

+6.80+6.72

BF:

B:W:D:

EichenriemenGipswand gestrichen

Beton roh

Büro 727.27 m2

1O 61320.22 m2


Streckmetall

1O 6081O 611BF:

B:W:D:

+6.80+6.72

+6.72

BF:

B:W:D:


Beton roh

27.27 m2

20.22 m2


Streckmetall

A rbeitsbereich 2 1O 605

Büro 3

+6.80+6.72A rbeitsbereich 3

20.22 m2


Streckmetall

BF:

B:W:D:

B:W:D:


Beton roh

27.27 m2


Beton roh

27.27 m2


Beton roh

+6.80

1O 104 +6.80+6.72

Büro 4

+6.80+6.72

BF:

B:W:D:


Beton roh

27.27 m2

1O 609 +6.80+6.72

BF:

B:W:D:


Beton roh

Büro 2

BF:

1O 604

+6.72

BF:

1O 601B:W:D:

1O 603

B:W:D:

+6.80+6.72

BF:

B:W:D:


Beton roh

Büro 127.27 m2

101.91 m2


Beton roh

Gla

sabs

chlu

ss T

30

42.04 m2BF:

B:W:D:

1O 600 +6.80+6.72

Installationsschacht

Teeküche

B:W:D:

28.80 m2

1O 200BF:

+6.72+6.80


Gipsdecke gestrichen

Vorhangschiene

MonobetonGipswand gestrichenGipsdecke gestrichen

MonobetonGipswand gestrichenGipsdecke gestrichen

WC Damen

1O 201PU-Beschichtung

PU-AnstrichPU-Anstrich

B:W:D:

BF:

+6.72+6.80

KL

KW

KW

P

1. Obergeschoss

02.02.2000169-1-103-A

Datum: Revisionen: Visum:

30.19 m2

1O 602 +6.80+6.72

BF:

B:W:D:


Beton roh

Sekretariat

2.20

LED 2

LED 3

Media 1

Media 2

LED 1

Rackraum

Empfang Bürozone

Aktualisierung M edienraum mz

saY 12.06.2002 Positionsänderung Türe SekretariatsaY 17.06.2002 Änderung W C-Trennw and W aschraum/W C SanitärzellesaY 15.07.2002 A ktualisierung Position W and zw . Besprechung bzw . Lounge / Lager

mz09.01.2003 Aktualisierung Leichtbauw and Vorhangstauraum, M öblierung K opierraum 15.11.2002

RND 180

RND 180

RND 180

5

757.

185

2010 50

2.77

207.

0835

307.

515

525

3517

.665

5017

.70

5010

.155

72 2.67 1.61 7.57 50 7.50 50 7.50 50 3.70 30 3.70 30 7.50 50 7.50 50 17.825

2.92

465

6.52

7517

.63

7519

.975

2.92

465

6.52

7552

257.

765

2.92

6.43

1.08

57.

765

2.92

7.66

554

47.88 25

20.3

675

93 75 4.00

20.3675

20.3 6 75

41.

83

25

1012

6.99

2552

25

4.00 555

7.51

5

7.00

3.39 61

2.10

12.00

4.00 3.075 925

7.51

5

8.00

6.43

1.08

5

4.00 4.00 1.2625 2.73 75

2.10

54

1.705 145 3.77 145

185

115

2.58

115

385

18

2.87

145

2.75

51.

725

54

72 4.10 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 4.00 3.06 25 93 75

547.

915

18.2

018

.20

18.2

010

.585

54

547.

915

2.92

7.51

57.

765

2.92

7.51

57.

765

2.92

7.51

57.

765

2.92

7.66

554

74.1

8

18

6.085

8.20

6.0 8 25

6.08

5

8.20

6.08

25

1012

6.29 17

25

258.

0020

6.13

2015

50 502.

6750

17.7

050

2.67

1.20 20 1.20 7

72 2.60 730

1.0130

35 35.055 12 7.67 25 93 75

72 2.607 30

1.0130

35

181.

545

2.90

3.54

2.84

15.3

62.

843.

015

9.33

3.01

52.

8415

.36

2.84

721.

545

145

9*29

=2.6

114

52.

877

1.06

1.25

2.20

397

7.56

530

3030

6.89

57

1.06

1.25

2.20

39713

2.88

514

53.

771.

503.

7714

52.

885

137

1.06

1.25

2.20

397

15.3

67

2.31

397

3.54

145

9*29

=2.6

114

51.

545

18

7230

7.08

520

402.

8430

306.

345

3030

306.

915

2040

2.84

3030

6.29

530

3030

6.96

520

402.

8430

306.

595

307.

265

602.

8430

306.

415

3072

727.

485

503.

4414

.15

612.

7720

14.7

337

132.

7714

.93

5010

.155

72

72 3.98 30 7.57 50 7.50 50 7.50 50 7.50 50 7.50 50 7.50 50 3.75

5.57 50 1.70 25 1.81 13* 29/17=3.77 50 1.352.25

30 1.53 25

2.70

27.7730

465 3.013.98

22515

15

2.00

2.65

7325

3075

7.14

520

1.06

1.25

2.20

1.06

207.

115

207.

125

181.

071.

252.

201.

0715

.88

1.25

2.20

1.07

1814

.45

181.

071.

252.

201.

0718

7.16

3572

1.00

6.90

520

3.37

207.

115

207.

125

183.

3918

14.4

518

3.39

1814

.45

183.

3918

7.16

3572

72 2.67 30 1.01 30 7.57 50 7.50 50 7.50 50 3.70 30 425 3.094.02

185 30 7.50 50 7.50 50 5.57 50 5.68 1.1425

10.3

035

1020

1.25

252.

935

201.

2420

1.24

507

2.60

17.72 12 5 68 75 51 942.22

2525 6.08 1.35 1.8325

72 2.60 1425 1.53 75 35 4.85 20 2.635 20 7.80 20 11.80 20 20 645 1.18 15 1.65 15 2.99 20 1.97 20 60 2.06520

5.52 20 50

2015

7.72

7510

.435

7.76

518

.20

18.2

010

.405

1854

72 1.20 76

7 1.20 772 5 22 75

1.0130

35

72 2.60 1425 1.53 75

20 50 51 942.32

2525 6.06 2

169_DT_0004_001_FENSTER 169_DR_0301_NR103

169_CO_0101_506 169_CO_0107_505

169_CO_0210_543 169_CO_0107_506

169_CO_0108_505 169_CO_0107_508

169_CP_0305_703_RW

169_CP_0305_707_RW

169_CP_0305_705_RW

169_CP_0305_704_RW

169_CP_0405_727_MS

169_CP_0405_735_MS

169_CP_0405_723_MS

169_CP_0405_740_MS

169_CP_0305_726_RW

169_CP_0305_728_RW

169_CP_0304_702_CHR

85

The window fissures and floor plan emphasize the solidity of the storage facility.

The earthy monolith of the Schaulager stands out against its surroundings, its concave white facade beckoning those who enter.

No. 169 Schaulager

169_CP_0402_723_MN

169_CP_0402_743_MN

169_CP_0402_725_MN

169_CP_0305_713_RW

169_CP_0405_777_MS

169_CP_0405_773_MS 169_CP_0405_755_MS 169_CP_0402_731_MN

169_CP_0305_748_RW 169_CP_0305_747_RW

169_CP_0305_712_RW

169_CP_0305_716_CHR169_CP_0405_797_MS

169_CP_0305_746_RW169_CP_0305_744_RW

169_CP_0305_721_RW 169_CP_0405_785_MS 169_CP_0405_786_MS

169_CP_0305_745_RW

169_CP_0306_703_AL

169_CP_0405_788_MS

86

Open gallery spaces on the ground and lower levels:cafe, delivery area, auditorium and permanent rooms.

In the restricted-access areas of the upper floors the rooms for storage and presentation of the collection are individually customized to suit specific materials and groups of works.

87

The Emanuel Hoffmann Foundation has agreed to make its works of art available to the Kunstmuseum Basel on perma-nent loan. The foundation, which was instrumental in en-abling Europe’s first museum for contemporary art to open in 1980, nevertheless has a severe shortage of space—a situation further compounded by the enormous dimensions of much of today’s emerging art. And so, instead of building yet another museum, with all that that entails, in a city al-ready blessed with many such institutions as a result of its longstanding humanist tradition, the idea of the Schaulager was born. It is an innovative new concept for storing art in a warehouse building equipped with all the conservationist, climatic and security technology of an art depot, but with the difference that the works are stored in a way that allows them to be viewed at any time upon request—without hav-ing to be unpacked, moved or subjected to changes of tem-perature or humidity. The only works to be allocated per-manent rooms are the large-scale installations Rattenkönig by Katharina Fritsch and Untitled (1995-1997) by Robert Gober, neither of which can be transported without consid-erable logistical effort. As well as providing works on loan to museums and source material for academic researchers, the Schaulager itself aims to make lasting and high-profile contributions to the international art discourse. To this end, it organizes conferences and a major annual exhibition fo-cusing on one or more important artists in the collection. Instead of a city-center venue, the Laurenz Foundation has commissioned a building on the outskirts of Basel—at the Münchenstein duty-free warehouse complex on the boundary between the cantons Basel Stadt and Basel Land. This complex is associated predominantly with trade and commerce and has hitherto had no connections with the world of art, apart from a handful of bonded-storage and forwarding facilities.

The design by Herzog & de Meuron relates to the dual nature of this building project: the secure storage of art works on the one hand and, on the other, the semi-pub-lic character of the institution. Both of these factors have been developed on a site-specific basis. The polygonal building of shimmering brown concrete, its form deter-mined by the perimeter at the front of the plot of land on which it is constructed, seems to grow out of the gravelly soil, which the architects have echoed visually in the rough-cast surface of the facade. The unusually earthy look of the facade has been achieved by using a retarder that keeps the wall soft for an hour when stripping the formwork, so that loose particles can be chipped off. To prevent water ingress into the resulting crevices, which might cause cracking, the concrete has mica added to it to promote silting.

The earthy walls on four of the building’s five sides function as a thermal mass that helps to regulate the inte-rior climate. Above all, however, they lend the building the closed, heavy-duty appearance of a warehouse. The large volume, interrupted by only a few apertures, and with no outward indication of the positions of the interior floors and ceilings, has the commanding presence of a monolith amid the car ramps and logistics centers that surround it, opening up only towards the street and the tram stop. Vis-itors arriving here are welcomed by the grand gesture of a facade that sweeps inwards from the ground line in a trap-ezoidal shape spanning the full height of the building, cre-ating three walls in brilliant white that look like enormous cinema screens, with monitors embedded on either side on which the institution can project images and videos ex-ternally. This indentation also creates a small public space that is accessed by stepping through a gatehouse. The scale of the gatehouse reflects the rows of housing on the other side of the street and the tramline, and forms part of a passageway that leads visitors from the peripheral urban world into the enclosed space of the Schaulager. The main entrance is integrated into a low-level ribbon of glass, above which the entrance facade, supported by only two pillars, seems to float. With this, the architects have added

a touch of fragility to an otherwise monumental structure, while at the same time introducing a paradoxical give-and-take between reality and illusion. For this seemingly float-ing wall is in fact a steel lattice construction that plays an important load-bearing role for much of the building.

This visual confusion of spatial perception, together with the ambivalence generated by alternating gestures of opening and closing, continues inside the building. On en-tering, all is openness and broad expanse. The Schaulager rises to its full height of twenty-eight meters. The lower and ground floor levels provide a total area of 3360 sqm, which can be partitioned as required for temporary exhibi-tions. The lower level houses the two permanently installed works by Katharina Fritsch and Robert Gober. Above this publicly accessible area, three floors housing the works of the Emanuel Hoffmann Foundation jut into the room at right angles like huge shelves. They provide a total area of 7240 sqm fitted with niches that can be extended freely as required for the presentation of the works in the collection, arranged according to the materials used. Each niche has a sliding door and can be accessed only on request. Visi-tors with a valid interest in seeing the respective works are given a programmed key that opens only the doors to those works they have specifically requested. Museum guards are not required.

Outside the warmth of the concrete facade exudes an air of biomorphic opulence, while the interior is dis-tinctly sober. The colors are determined by the materials. The flooring on both exhibition levels consists of unfin-ished oak, as in Tate Modern in London. The ceilings, spanning more than eighteen meters, are thermally acti-vated by heating loops, while the parapets of the ware-house levels, seen from below, are of exposed concrete, with neon tubes embedded in them to provide a pure white light that suffuses the corners of the rooms and the transi-tions between ceiling and walls in a way that dissipates all sense of spatial enclosure.

This magical reduction is complemented by biomor-phic details. The surface of the facade is reiterated through-out the building like a leitmotif. The steel panels cladding the entrance to the administrative wing and the truck de-livery area borrow their undulating form directly from the rough surface of the concrete shell: a panel is pressed in the manner of a frottage and then scanned in to be used as the basis for milling the mold. Inside the building, this basic panel recurs in the wall cladding of the lecture auditorium, where purple seating creates a distinctive atmosphere. The two narrow ribbons of windows quote one of the iconic hallmarks of modernism, albeit in a cleverly refined varia-tion using modular biomorphic shapes: they gnaw through the concrete of the facade like gaping cracks, forming their own landscapes of bars and waves. Technically, this was achieved, after much experimentation in plaster, through the photogrammetric scanning of a little copper cylinder, which was then digitally processed and transposed into polystyrene negative molds. The biomorphic modulations of the ceilings and walls in the lobby, reading area and cafe have all been generated from the data for the window apertures. Spherical lamps by Jasper Morrison have been pressed into the protuberances like sugar balls in cookie dough. What appears to be derived directly from the non-Euclidean forms of nature is actually produced by com-puter software and cutting-edge manufacturing processes. The clear-cut geometries and swelling biomorphic forms are different results of a single method in which it makes no fundamental difference whether an element is right-angled or has an irregular surface; the calculation may be more or less complex, but both are mass produced and assembled. From the reception area, the gaze is drawn through a large glass window to the delivery hall that runs directly behind it like a canal flowing through the building. Even those who come here only for an exhibition can sense the warehouse atmosphere.

P.188 Plans / P. 309 Images No. 169 Schaulager

©2

00

8IM

AG

E ©

DIG

ITA

L E

AR

TH

TE

CH

NO

LOG

Y —

35

°39

‘49

.62

“N /

13

9°4

2‘5

1.7

8“E

119

TokyoJapan2000–2003

No.178

rada ao ama

A House and a PlazaWhen we started designing the Tokyo store, our initial observation of the site revealed two things. On the

one hand, the extreme heterogeneity of the area freed us from the need to meet any contextual requirements, and on the other, the site was surrounded by a low-rise type of building. No square meter had been left unoccupied.

That inspired us to do two things: we wanted to become more visible, which meant somehow higher and, in addition, we wanted to create the kind of public space often seen in Europe, which meant not building on part of the land. This open area was later called a “plaza,” i.e., a place where people can go and spend some time, even without visiting the store. The building could become an attraction due not only to its visibility, but also to the plaza’s potential as a meeting point.

When we started analyzing the zoning laws, we discov-ered a rather complex virtual machinery, which literally shaped the permitted building volume. We began moving this volume around on the site. The more it was moved towards the free corner, the more the open space that had been envisioned from the very beginning was defined. The building itself became a kind of hybrid of odd shapes; it became freer, and also more exposed, more visible, while the plaza became more intimate.

Through this process, it acquired a kind of crystal form. We loved the different ways one could interpret the volume left over by the zoning. It shifted from being a crystal to being a typical, in fact prototypical, house; it was also a “bursa,” which is a typology for a bag, a precious bag. Ultimately, the building was treated like a plant, placing it where the best conditions could be found for it to grow into what we wanted it to become.

The decision to build a narrow, tall building led to an extremely visual, sculptural shape, but also a very simple and immediately recognizable one. The shape was to have a distinctive and simple character. The form could be interpreted in different ways: like a crystal, or a simple house, depending on the angle from which the building is seen.

©2

00

8IM

AG

E ©

DIG

ITA

L E

AR

TH

TE

CH

NO

LOG

Y —

35

°39

‘49

.62

“N /

13

9°4

2‘5

1.7

8“E

120

Inside the building, the space is fluid, with connections between each of the stories so that visitors do not really distinguish between floors but perceive the building as one continuous space. All these ambitions resulted in great technical complex-ity. In terms of structure, glazing and fire safety regulations, the building ended up being one of the most complex structures in Japan.

The horizontal tubes are like telescopes. They are not only structural, they act as viewing corridors by directing people’s attention to the city around the building. The whole building is an instrument of perception.

Three-In-One The Prada Aoyama store is the first building by

Herzog & de Meuron in which the structure, space and facade form a single unit. The vertical cores, the horizontal tubes, the floor slabs and the facade grilles define the space, yet at the same time they are the structure and the facade. This means that every single visible part of the building (except for the glass) is structure, space and facade all at the same time.

A Topography of DisplayThe Prada Aoyama project has consistently focused

on questions related to perception, i.e., viewing, showing, look-ing, exhibiting. These perceptual processes refer to the architectural project itself and, from there, to the entire city, to Prada products and to people passing by.

The concept was a natural consequence of the basic issues of perception that are raised: How does one show a product and where? The structure of the building provided the answer to the topographical question because its structural elements also generate sites of presentation.

The tubes are like caves, like a special topographical feature of a landscape that cultivates an undisturbed, intimate atmosphere. The fitting rooms are at the ends of the tubes between glass walls that alternate between transparency and opaqueness, sharpness and blurring. In the tubes the glass of the facade is translucent, with small sections of clear glass offering a privileged view of the Tokyo cityscape.

The Tools of DisplayAfter having first studied the forms of presentation

developed by Prada—the standardized glass display cases and shelving, which have acquired iconic status through Andreas Gursky’s famous photographs—we wanted to develop

121

a slightly more “primitive,” more archaic form of presentation, somewhat like a market stall perhaps.

After experimenting with their shape and heights, we came to the conclusion that the tables should be low enough to be viewed in their entirety from above. It became clear that they should have an impact as independent objects. The edges of these “table-objects” were therefore rounded to soften their shape and make the act of walking around them even “smoother.” The tables led to the development of a bench type, which is also illuminated from within.

The Prada ExperienceThe IT projects that were proposed and developed for the

flagship store in Tokyo can be divided into two categories, Projections and Snorkels.

The tubes constitute an essential element in the spatial and structural organization of the project. Originally, they were to be variously colored, but in the course of the planning process, they came to share the same homogeneous color concept as the other structural elements. Suddenly, it occurred that instead of using color as a distinguishing feature, one could project images, adding an element of change to the static constancy of the surfaces. The projections would ultimately become a constituent of the architecture inside the building.

Snorkels are the second place where information tech-nologies are being used. The idea was to create snorkel-like elements that transport images, sound and light. An important factor was that the snorkels could be used for different purposes, which ultimately determined the features, shape and size of the screen, as well as the final product.

The development of the snorkel led to the possibility not only of presenting the content of the Epicenter in New York at any time, but also of taking a different direction in the future.

As for the contents, it seemed more obvious to use these individually accessible IT units to focus on the Prada collections. The snorkels also function as Sound Showers in the tubes, where they generate an intimate space that is separate from the acoustic background elsewhere. With more individual acoustic control, it is possible to evoke an entirely different atmo-sphere here as compared with the rest of the building. E XC E R PT F R O M: H E R Z O G & D E M E U R O N, PRADA AOYAMA TOKYO. HERZOG & DE MEURON , P R O G ETTO P R ADA ARTE, 2N D ADVAN C E D AN D R EVI S E D E D IT I O N, M I LAN 2003.

No.178 Prada Aoyama

178_S I_0001_500_K

178_S K_0001_001_TU B E_C O R E

178_S K_0001_002_FACAD E 178_S K_0209_008

178_M O_0001_009_B1 178_M O_0001_013_C1

178_M O_0304_253_6

178_M O_0002_021_LANTE R N 178_M O_0106_008_KOMOTESANDO st.tokyo tower

MIYUKI st.

height of neighbourhood buildings

AOYAMA cemetery

178_M O_0002_122

178_M O_0304_243_4

178_S K_0304_502_2584

178_C I_030403_001_U N F-VI EW_K

178_M O_0202_024

178_M O_0205_002178_S K_0001_001_TU B E_C O R E

178_M O_0202_077 178_M O_0202_102

122

The new building is located in a heterogeneous district of predominantly low-rise buildings.

The crystalline tower, evoking the shape of a bag or a traditional house, is essentially a logical consequence of the complex local building regulations.

The vertical access cores and horizontal pipes are linked to form a load-bearing system. In the models, the pipes create quiet zones within the fluid sequence of spaces

178_M U_0009_030

178_M U_0102_052_D I S P LAY 178_M U_0202_002_TAB LE

178_M U_0000_501_17_K 178_M U_0211_105_TE XTU R E M U P 178_M U_0211_020_P-VI S IT_K

178_M U_0304_501_3675_K178_M U_0210_014_ARWTEST_K

178_D R_0202_012178_D R_0202_007_S ECTI O N S

178_C O_0304_507_TAK_KA_K 178_C O_0304_508_TAK_KA_K 178_C O_0212_501_P PS

178_C O_0209_504_TAK_KA_K

178_C O_0208_503_TAK_HT_K178_C O_0205_500_TAK_KA_K178_C O_0212_505_TAK_KA_K

178_C O_0206_501_TAK_KA_K 178_C O_0208_502_TAK_KA_K

178_C O_0302_506_TAK_KA_K

123

Models of the glass facade, moss cladding, snorkels and presentation counters in the Basel studio.

The diamond-shaped panes of glass are the fa-cade’s external echo of the horizontal pipes within, which form separate interior spaces, each with its own functions and aesthetic qualities.

The earthquake-proof steel structure unifi es the facade and interior space.

No.178 Prada Aoyama

178_C P_0306_774_N P

178_C P_0306_779_N P

178_C P_0306_790_N P 178_C P_0306_792_N P

178_C P_0307_701_C H R

178_C P_0307_702_C H R

178_C P_0307_712_C H R178_C P_0307_700_C H R

178_C P_0306_773_N P

178_C P_0308_704_S B

178_C P_0306_713_N P

178_C P_0310_729_M S 178_C P_0707_725_I B_0474 178_C P_0707_751_I B_0646

178_C P_0707_763_I B_0714 178_C P_0707_720_I B_0425 178_C P_0707_814_I B_1093 178_C P_0707_804_I B_1035

178_C P_0707_754_I B_0666178_C P_0306_760_N P

178_C P_0707_706_I B_0330178_C P_0707_731_I B_0512

178_C P_0306_730_N P178_C P_0306_739_N P

124

The building is striking for its height, its sculptural glass shell and the new plaza.

The diamond-shaped panes of glass provide vistas of the city as if through a lens; the displays show the merchandise. The cabinet-like spaces of the hori-zontal pipes create an artificial ambience.

125

seating, the snorkels for various IT gizmos showing catwalk défilés and films, and networking the company’s stores worldwide, have all been designed by the architects them-selves. Amid all this openness, the three horizontal steel tubes that reinforce the structure create intimate zones while their outer surfaces serve as projection screens. In-side the tubes, there are changing rooms and waiting areas for shoppers’ companions that have all the comfort and spaciousness of private boudoirs, individualized by select-ed background soundtracks. At the same time, the tubes act as periscopes through which the city of Tokyo can be viewed from different directions, complemented by private glimpses of the outside world from the changing rooms. This building, which opens up to its surroundings like no other in the neighborhood, focuses the gaze as precisely as an optical instrument. Fashion and shopping are all about looking, presentation, choosing, trying on and buying. Herzog & de Meuron have given these activities a spatial structure and have integrated a variety of sensual experi-ences into their architectural concept. The gaze drifts un-interrupted from product range to cityscape and back again, so that the process of selecting and viewing that is involved in shopping merges with the casual, drifting ob-servation of the surroundings that is the mark of the flaneur. Perception becomes the mode within which the individual can oscillate between thoughtful reflection and consumer behavior.

The sense of openness that characterizes this build-ing is created by its extreme structural density, its lightness of form by a steel frame that melds space, structure and facade into a single entity in a way that the architects have perhaps achieved before only in their private museum for the Goetz Collection in Munich. The ceilings, the four verti-cal access cores with two scissor stairs attached, the three horizontal tubes and the facade all form a seamlessly inter-connected load-bearing system. With the exception of the glazing, there is no element that is not part of the load-bearing structure. Perhaps it is this enormous concentra-tion of elements that has allowed the architects to conjure an underlying sense of instability as well. The lozenge-shaped steel mesh that encases the building, filled with panes of glass, is in itself structurally instable, gaining its rigidity only from the fact that the ceilings are integrated into a system of large triangles that cannot be seen at first glance. This heightens the feeling that the building is some-how “unreal” and creates, especially in earthquake-prone Japan, a sense of unease, the more so since the protective base isolation, which supports the weight of the building and the plaza, is visible only to the expert eye.

Once inside the building, this vague sense of unease is quickly dissipated by a distinctly tactile use of material. From the hand-applied velvety pale beige covering that adorns the walls and load-bearing elements to floors of oak, concrete and velour, from the fiberglass display ta-bles and seating to the suspended resin registers and the rubber-clad adjustable arms of the lamps and snorkels, from the silicon door handles and clothes hangers to the bonelike steel beams in the VIP area under the roof, the architects have consistently opted for a syntax that rang-es from the overtly synthetic to the profoundly natural, hyperbolically expressed in the ponyskin-covered clothes rails. Strikingly different as its presence may be, this build-ing relates to the human senses in a way that makes it seem pleasantly familiar. It is as unpretentious and per-fectly cut as an exquisitely tailored garment and, just like such a garment, it provides both protection and freedom of movement.

Aoyama has become the fashionable heart of Tokyo, teem-ing with designer outlets and the flagship stores of interna-tional labels, where every building ekes out the maximum floor space the site can provide, with scant regard for the surrounding area. When Herzog & de Meuron were com-missioned to design an “epicenter” store for Prada, they defied this almost autistic approach to development by creating a building whose gesture of openness is more in keeping with the European urban tradition. They organized the required floor space of 2800 sqm into a six-story tower that is considerably higher and more visible than the pre-dominantly two- and three-story buildings of the neighbor-hood. Significantly, this also allowed them to leave half the site unbuilt, so that over the underground storage and infrastructure facility, there is a public plaza with benches where passers-by can relax. Herzog & de Meuron have structured the narrow, sloping site on an intersection as a landscape and have separated the plaza from the adja-cent buildings with a steel boundary wall that frames the entrances to the administrative offices and the basement showroom. Faced with stitched-on areas of living moss that are irrigated from the back and form a pattern reminis-cent of both European minimal art and traditional Japanese gardens, the boundary wall thus melds the culture of the company with that of the host country.

The polygonal steel-and-glass tower set in a corner of this landscaped site continues this interaction with the city. For one thing, its angled profile makes the glass-skinned building change its appearance from every viewpoint, look-ing at times like a crystal, at others like a traditional house and sometimes even like a shopping bag. The eave heights differ from corner to corner. The facade, with a kink on one side, adds a new dimension to the tradition of modernism. Mies van der Rohe used glass in his Farnsworth House as a membrane that made the boundary between interior and exterior practically invisible, allowing for an entirely unob-structed view and creating the illusion of an uninterrupted spatial flow. Herzog & de Meuron, on the other hand, have treated the facade of the Prada store as a space in its own right, wresting new compositional potential from the mate-rial. The glazing elements, set in a diamond-shaped grid, differ individually. On the lower area of the ground floor, they are concave, allowing passers-by to see the products on display in the basement as though through lenses. High-er up, flat and convex panes make the facade appear as an independent space that seems to breathe in and out like a living creature. The glass tower is at once a huge window display and triggers a wide variety of associations from an aquarium or a jewelry display cabinet to the bulbous glass of old Parisian arcades, or even a huge lantern lighting the street by night. What the architects have achieved with their imprinted glass facades for the Spitalapotheke Basel, their tilted window elements for the Helvetia Patria Versicherun-gen headquarters in St. Gallen, or their undulating glass walls for the Kramlich Residence in California, to name but a few of their projects, culminates here in a transparency that is accomplished not by negating the material, but by designing and structuring it in three dimensions.

The topographical concept of the exterior also applies inside, to the space that unfolds behind this glass facade. Each floor has its own distinctive character. The ceiling of the ground floor curves into a balustrade, opening up a view of the area below. The space flows freely through all the floors of the building, inviting visitors to stroll through a landscape of diverse materials and sceneries. The individ-ual elements of the display system, in the form of low-level tables that provide an easy overview of the products, the

P.198 Plans / P. 326 Images No.178 Prada Aoyama

©2

00

8IM

AG

E ©

20

08

GE

OC

ON

TE

NT

/ IM

AG

E ©

20

08

AR

EO

WE

ST

— 4

8°1

3‘7

.53

“N /

11

°37

‘26

.88

“E

163

Everything we know about soccer stadiums comes from our childhood experiences and observations—and from what we ourselves inevitably suffered through.

The perspective of the blindly passionate fan has clearly influenced our stadium projects, most especially our own stadium, St. JakobPark, the home turf of FC Basel. It was there that we tested our ideas on ourselves to see which mechanisms are most effec-tive in a stadium. Our overriding concern was to find out whether architecture can actually enhance the intensity of watching a soccer match.

In many new arenas, the main target has been increased comfort: better seating, VIP boxes and more food stands selling sushi instead of hotdogs. That aspect was not our main concern, however, because the success of certain old and even ugly stadiums, especially in England, apparently doesn’t depend on how comfortable or luxurious they are. Much more important is their impact in terms of myth, the mystique of the soccer club, its history, its victories and even its defeats, the just and, above all, the unjust, undeserved moments that fate serves up to the fans.

One such place, a world-class iconic soccer stadium, is Anfield Road in Liverpool. From the outside it’s actually an ugly stadium; it’s been expanded and modified several times, making the exterior look rather makeshift as a whole. But it has a certain ramshackle charm and the rough-edged atmosphere of the working-class neighborhood.

Stadiums acquire the aura of myth through emotional ties that evolve over generations between a club and the neighborhood, city and people to which it belongs. That is not something architecture can achieve; architecture can only support and also suffer the consequences when it becomes the setting for the dramatic events of soccer, or is itself affected by disasters like structural collapse, earthquakes or attacks.

Although scenarios of a bygone or apocalyptic world will never serve in designing a modern soccer stadium, they did offer us substantial and fruitful insight. We worked out a few basic principles that seem utterly self-evident but that have never been implemented as an overall package: the relentless proximity of spectator and player, the spatial enclosure with an opaque roof as well as the precise dramaturgy of streams of visitors through the use of light and color. HERZOG & DE MEURON, 2008

Munich-FröttmaningGermany2001–2005

No. 205

allianz arEna©

20

08

IMA

GE

© 2

00

8 G

EO

CO

NT

EN

T /

IMA

GE

© 2

00

8 A

RE

OW

ES

T —

48

°13

‘7.5

3“N

/ 1

1°3

7‘2

6.8

8“E

205_RF_0209_003205_RF_0209_008_M_BARNEY205_RF_0209_005 205_RF_0209_006

205_SI_0209_013

205_SI_0209_005_PLAN

205_SI_0209_008 205_SI_0209_009

205_SI_0209_004_AREA 205_CI_0506_500_SITE-F IN

205_MO_0111_025205_MO_0308_500_ESPLMOD_PPT

205_MO_0407_015_FASSADE

205_MO_0407_017_OBERTEIL

205_MO_0111_011 205_MO_0111_022205_MO_0111_017

205_MU_0301_509_MU001 205_MU_0310_014_MU002 205_MU_0311_610

164

A bowl, a cabaret, an opera stage, a roll of yarn: examples of spaces that focus on the center.

The site of the stadium lies to the south of Munich in a relatively undefined place between moorland and city, next to a highway intersection and a garbage dump with a windmill.

Models of the access route to the stadium as a moorland pathway covering one of Europe’s biggest car parks, the stadium as a self-contained body, with lighting and air-cushion cladding.

Color study, montage and lighting for the air cushions.

205_CI_0209_015_FLYING 205_CI_0209_061_ZEPPELIN

205_CI_0502_500

205_DR_0210_011_3D_OVERVIEW

205_DT_0506_500_FACADE

205_CO_0306_952_BD

205_CO_0403_703_MSG

205_CO_0410_725_MSG

205_CO_0410_710_MSG

205_CO_0410_730_MSG

205_CO_0305_718_BD-MSG

205_CO_0305_701_BD-MSG 205_CO_0402_700_MSG_HIGH

205_CO_0311_701_MSG_HIGH 205_CO_0405_708_MSG_HIGH

205_CO_0410_712_MSG

205_CO_0502_712_MSG 205_CO_0410_732_MSG

205_CO_0410_731_MSG

No. 205 Allianz Arena

165

An earlier proposal includes a zeppelinlike element to close the roof.

The stadium as a closed shell with integrated boxes and air-cushion fixtures.

The Allianz Arena forms a volume around the playing field, incorporating cascading stairways, a canti-levered roof and steel structures with air cushions; pathways wind along over the roof of the car park.

205_CP_0506_700_DM

205_CP_0506_758_GH205_CP_0506_710_PARO

205_CP_0506_706_DM

205_CP_0601_706_ROHA 205_CP_0506_767_GH

205_CP_0506_755_GH 205_CP_0506_760_GH

205_CP_0506_730_DM

205_CP_0505_722_MSG

205_CP_0505_549_HDM

205_CP_0508_743_RH

205_CP_0508_713_RH

205_CP_0508_729_RH

205_CP_0505_725_MSG 205_CP_0506_728_DM 205_CP_0508_746_RH

205_CP_0505_714_MSG

205_CP_0508_728_RH

205_CP_0509_720_RH 205_CP_0509_712_RH

205_CP_0508_724_RH

205_CP_0509_706_RH_K

205_CP_0508_714_RH

166

The stadium as a body of light, in three changing colors, hovering in the landscape.

The processional-like pathway over the car park roof, the corridors and stairways to the tiers, the car park entrances, and the VIP zone with its ceiling in creditcard gold.


167

The soccer stadium designed by Herzog & de Meuron for Munich teams FC Bayern München and TSV 1860 München, where the opening game of the 2006 World Cup was held, may justly be regarded as a milestone in the recent history of stadium design. Not only have the architects created a functional sports arena that meets the highest of interna-tional standards, they have also succeeded in redefining this particular architectural challenge in a way that takes it far beyond the traditional realm of a civil engineering pro-ject. By creating a distinctive structure that reflects the so-cial significance of the sport today, they have put the focus firmly on a key aspect of the game of soccer. In this respect, they have embraced the English tradition of a dedicated soccer stadium—such as Anfield Road in Liverpool—that does not double as a light athletics track. At the same time, just as they did with their very first soccer stadium, built for FC Basel in 2002 and extended for the Euro 2008, they have made the contact between the fans and the players a cen-tral concern. The fans come to the stadium to watch the game played on the grass field, to support their team and, hence, to bond emotionally in shared identity. The players may be out to score points, but they are also fighting for the recognition and support of their fans, whose response can do so much to inspire or thwart their efforts. This emotion-al and visual bond should be fostered as much as possible and nothing should distract from it.

With this in mind, Herzog & de Meuron have wrapped the stadium around the field like a protective shell that is discreet enough to ensure that all attention is focused on the grass rectangle. The stadium takes the form of a func-tional reinforced concrete structure, with no details to dis-tract from the overall sense of space. The concrete parapets and steel railings in front of and behind the seating are ro-bustly functional and designed to withstand the surge of fans. Unlike the Basel stadium, the seating here is not brightly colored. The stable, double-shell seats, in three styles for the different seating categories, are of a neutral silver tone, so that only the fans themselves stand out. The three tiers are arranged to ensure the best possible view from each of the 66,000 seats, so that even in the upper tiers the actual distance between the viewer and the field seems to shrink, creating an atmosphere of direct proximity.

The roof plays an important role in creating this ef-fect. Spanning the audience seating at a height of fifty me-ters above the ground, it channels all the light onto the field and at the same time acts as an acoustic sounding board that further intensifies the atmosphere in the sta-dium. Whereas the right angles and cantilevered roof of the earlier stadium in Basel are an almost physically tan-gible metaphor of a monitor, Herzog & de Meuron have created a similar effect in Munich by darkening the under-side of the roof with the aid of pale grey fabric blinds rath-er like those on the tennis courts of Wimbledon, and by opening up the inner zone like a camera lens so that the rectangular grass field shines like a screen. In the opening above the field, the sky appears like a framed image. The tiers of seating and the openings to the walkways between are designed in a way that the circulation of air is chan-neled downwards to ensure optimum ventilation of the grass. When the players come up through the tunnel onto the field, they are physically surrounded by the fans. The stadium enclosure embraces the entire event like an ancient Roman arena.

The seating arrangements, designed to avoid a hier-archical structure as much as possible, intrinsically reflect an awareness of soccer’s social significance. The game is

a mass phenomenon that is becoming increasingly popular among all walks of life, in which the solidarity of the fans momentarily sweeps aside class differences. As in con-temporary opera, in which the focus is on the stage action, all sections of society come together. Herzog & de Meuron have accommodated this interaction between community and difference by creating separate entrance systems for VIPs and especially by providing a ring of private boxes that can be rented, individually appointed and used for purposes unrelated to the game. They have positioned the boxes so discreetly between the second and third tiers that they detract as little from the sense of community among the fans as the 3,500 leather-upholstered business-class seats backed by a 2,000-capacity restaurant area, which caters to these ticket holders as well as the users of the boxes. The social status of the game is also reflected out-side the stadium, in the road leading up to it. Fans arriving by metro walk up to the stadium along a rising 600-meter path through landscaped grounds concealing Europe’s biggest parking lot, with a capacity of ten thousand park-ing spaces. The path then curves around the arena and down to another parking facility for two hundred buses and coaches.

This esplanade, with its deliberately low-key land-scaping echoing the grassy expanses of the nearby Frött-maninger Heide, channels the flow of visitors in a proces-sional path towards the stadium, which rises up before them as a large, clear form, only to disappear from sight again almost mysteriously in a hollow. The curving path-ways are a pragmatic way of spreading out the crowds before and after a game, while at the same time creating a topography that provides a tangible sense of the game as a contemporary form of social cult. Even before they see the game they have come to watch, visitors experience the place in a flowing movement that takes them from the esplanade path to the cascade of steps that wraps around the perimeter of the stadium, the open walkways with their kiosks, shops and restaurants, and into the inner seating area. The effect is like a ritual initiation prior to the actual event, blending diversity and reduction with a carefully weighed balance reminiscent of the painstaking design of a Japanese Shinto temple.

Perceptibility is also the central theme of the outer shell that encloses the Munich stadium. Located near the site of a landfill with a wind turbine and a major highway intersection, it does not seek to fit in with its surroundings, but to redefine the place. For this, the architects have de-signed a radiant object whose sheer mass dissolves in the lightness of its ever-changing appearance. The concrete body is surrounded by a steel frame with gas-filled cushions of the kind initially used for greenhouses and later in high-tech architecture. There are 2874 diamond-shaped cushions measuring eight by four meters aligned in 1435 different sets of mirrored pairs, printed on the outside with a pattern of white dots and backlit by neon tubes in three different colors, so that they sometimes appear semi-transparent and sometimes opaque, giving glimpses of the metal frame-work and the visitors milling on the walkways inside. Red and blue are the colors of the two home teams, showing who is playing at any given time, while neutral white is used when the national team is playing. Only slightly more so-phisticated lighting technology would have been needed to allow the separately controllable air-cushions to be used as the world’s biggest pixel facade. The light falls through the foil as through a screen, echoing the field itself, which seems to glow up at the viewers during the game.

P. 214 Plans / P. 342 Images

N

0 5 10

3

4

1

1 5

1

1

188

1:700

No. 169 Schaulager

S1

Münchenstein/Basel, SwitzerlandP. 80 Project / P. 309 Images

Section S1: through storage and exhibitionBasement plan: 1 storage 3 exhibition 4 Katharina Fritsch 5 Robert Gober

N

0 5 10

3

1

1

1

2

1

7

7

8

631

7

9

8

10

11

12

189

1:700

No. 169 SchaulagerMünchenstein/Basel, SwitzerlandP. 80 Project / P. 309 Images

1st floor plan: 1 storage 2 administration 7 voidGround floor plan: 1 storage 3 exhibition 6 gatehouse 7 void 8 entrance 9 tickets/cafe 10 delivery 11 seminar room

12 auditorium

N

0 5 10

0 10m5

2

1

3

198

1:350

No. 178 Prada Aoyama

S1

Tokyo, JapanP.118 Project / P. 326 Images

Section S1: through the stairwayBasement plan: 1 shop 2 cashier 3 storage

N

0 5 10

1

4

5

1

6

66

1

199

1:350

No. 178 Prada AoyamaTokyo, JapanP.118 Project / P. 326 Images

3rd floor plan: 1 shop2nd floor plan: 1 shop 6 changing roomGround floor plan: 1 shop 4 plaza 5 external access

N

0 510

3

7

5

1

3

2

4

214

1:1300


S1

Munich-Fröttmaning, GermanyP.162 Project / P. 342 Images

Ground floor plan: 1 soccer field 2 seating 3 VIP area 4 kiosk 5 promenade 7 parking

N

0 510

1

2

3

5

6

215

1:1300

No. 205 Allianz ArenaMunich-Fröttmaning, GermanyP.162 Project / P. 342 Images

5th floor plan: 1 soccer field 2 seating 3 VIP area 5 promenade 6 esplanade

It seemed there was nothing more to be said:

history was finished. Reality was an illusion,

a fiction, a simulation. Cities had become

interchangeable, a blind, bland and indistin-

guishable backdrop for the one remaining

urban activity—shopping. We thought that

virtualization and simulation would rob cities

of their bodies and souls, ultimately

sucking them up in a kind of body snatching.

End of history. Eternal life. But the body

snatching was all in the mind of a single

generation of thinkers and urbanists.

So what happened? Nature made a comeback.

Out of nowhere? And terrorism returned.

History rolls on, unstoppable and uncontrol-

lable. Reality has suddenly become real again.

And finite.

B E F O R E T H E W A RA Munich, OdeonsplatzB Frankfurt am Main, c. 1900

Terrorism is not an illusion; it is not a

simulation. It has a very real impact on cities

and city dwellers. The physical damage

may be patched up, but the aftershocks keep

coming. The source of the shocks, as in

terrorism, is countered homeopathically, as it

were, using like to combat like. Suddenly

terrorism is omnipresent, physically and

How Do Cities Differ?

Herzog & de Meuron

241

242

mentally, on the streets and in people’s minds.

The vulnerable beauty of American cities appears

more radiant and seductive than ever before,

but now with a touch of the specifically museum-

like quality of something that has survived.

The American city, an urban model from times

gone by.

On Sunday, 27 September 2003, a power

failure plunged much of Italy into darkness.

Rome experienced a notte nera, a black night.

Out of nowhere. Worse yet, that very night

was scheduled to be a notte bianca, a white night

of open doors and brightly illuminated museums.

Nature, in all its sublime rawness, quite

literally reappeared overnight, a menacing force

that people had been lulled into believing

was under control.

These menacing forces do not flare up on

remote uninhabited islands in the ocean;

they concentrate on the city, as platform and stage,

and throw it entirely off balance, forcing upon it a

painful confrontation with its own historical

transience and vulnerability. Cities have always

been subject to immanent, existential threats:

sieges, conflagration, famine, rape, the plague,

earthquakes, raids, floods, gangs, unemployment,

outages, organized crime.

Every city grows and takes shape in relation

to its own specific scenario of menace, which

emerges in the course of its history, channeling it

into an unmistakable and inescapable pattern.

Not a single city has ever succeeded in liberating

itself from the real, simulated and cultivated

bonds of its local context in order to reinvent

itself. Not even after real and radical catastrophes.

On the contrary, the reconstruction of Germany’ s

cities after the war aptly illustrates how much

the (ideal) picture that cities had of themselves

varied, leading to equally varied scenarios

of reconstruction. The differences between them

were greater than any that had marked cities

in the course of the centuries before they were

leveled by wartime bombing into uniform rubble.

Those differences have continued to become

more and more pronounced, even putting their

stamp, by way of simulation, on newly emerging

neighborhoods.

6 0 Y E A R S L A T E RA Munich, Odeonsplatz B Frankfurt am Main, skyline (and old town)

Take Frankfurt and Munich. The former

a city of burghers, of citoyens, who have consis-

tently taken the initiative in forging ahead and

using their city as a platform for trade, business

and urban services; the latter a city of princely

tradition, with a royal line that reinvented itself

in the eighteenth and nineteenth centuries

after the model of its Italian counterparts and

essentially recreated a piece of Italy on German

soil. Postwar Frankfurt chose to start with

a tabula rasa and opted for a vertical skyline;

Munich remained loyal to the imagery imported

from the royal court and followed a path

of reconstruction and historical simulation.

Frankfurt (tabula rasa) vs. Munich (recon-

struction, historical simulation). Expressions of

cultural and cultivated difference. It almost seems

as if the bombing had brought to light a

specific urban character which had hitherto lain

dormant. Just think of Rotterdam, Beirut or

Jerusalem’ s new quarters in comparison to those

in Tel Aviv. Every city cultivates and internalizes

defense mechanisms against the sediment

of real and imagined threats that have accumulated

243

through time. As Baudrillard puts it, for want

of a real catastrophe, one must resort to

simulation to induce equally great or even

greater catastrophes.

W A R D A M A G EA Munich, Residenzstraße and Odeonsplatz B Frankfurt am Main, old town

Mass evacuation, gas-attack exercises,

barricades, terror—anti-terror, mafia—anti-

mafia. The carpet of nuclear-bomb shelters,

sprawling through Switzerland’s underground

like an invisible replica of above-ground

civilization, is a characteristically Swiss form

of urbanism. Possible only in a country

where the withdrawal mentality and the need

for security have acquired an almost hysteri-

cal reality.

What all of these defense strategies and

scenarios have in common is that they do

bring about a specific modification of the city.

Preventative or corrective interventions have

a real and lasting effect on the reality of urban

development. A kind of substratum results.

This substratum is not immediately apparent

and sometimes not even visible, precisely

because it is much more invasive than mere

folkloristic details or decorative frills.

It has a profound, formative and programmatic

effect on the artificial and natural topography

of cities.

Hence, far from becoming increasingly

uniform, generic or even faceless, cities

are actually becoming more and more individ-

ually distinctive. They drift into a self-

referential focus, immersing themselves in

their own self-contained world. They become

specific, like a singular species, with all

the attendant fascination, as well as the

unbearable and inevitable self-absorption and

idiosyncrasy. This specificity applies to

and permeates all cities. It describes their

ugliness and their beauty, their culture,

subculture and lack of culture, their rise and

decline, their real catastrophes and

threats as well as their simulation and

substitution. Such is their inevitability and

finiteness.

Finite City? Real City? Specific City?

“Finite city” sounds too tautological

and misleading because it plays to those who

believe that a culture of immortality

is approaching. “Real City” is ambiguous

because we are then looking only at the

physical reality of the city and we certainly

don’t want to open the Pandora’s Box

of a discourse on reality. Nor does “Specific

City” fit the bill, unless the specifics

target the mental morphologies and transfor-

mations that are causing cities to become

increasingly wrapped up in themselves. How

about the Idiomorphic City. Or the Idio-

syncratic City? Or perhaps even the Idiotic

City, given that we are incapable of

grasping this most complex and interesting of

all things ever created by human hand?

The Ideal City abdicated ages ago, as have Aldo

Rossi’s Rational City, Rem Koolhaas’s Generic

City and Venturi’s Strip. Not to mention

Le Corbusier’s Ville Radieuse. All of these

attempts to describe the city, to comprehend

and reinvent it, were both necessary

and useful. But today they leave us cold. Like

water under the bridge, they no longer

concern us. We cannot relate to them because

How Do Cities Differ? Herzog & de Meuron

244

they refer to a world that is no longer ours. The

time has come to relinquish our longing for

labels, to abandon manifestos and theories. They

don’ t hit the mark; they simply brand the

author for life. There are no theories of cities;

there are only cities.

All cities have one thing in common:

their decline and ultimate disappearance. Para-

doxically, the potential that determines the

fundamental difference between individual cities

lies in this single common denominator,

in the specific threat that is the lot of all cities.

City planners have long ceased being instrumental

in creating difference. If today’ s planners

want to contribute to the transformation of cities,

they will have to become accomplices and adepts

of this potential threat. In even more pointed

terms, they should adopt the single-mindedness

and accuracy of the terrorists. Their work will

have to be unprejudiced, a blank sheet, devoid of

theory and—as we have seen—fathomless.

It will have to address the physical, built reality

of the city, where the life of the city is as

unmistakably manifest as climate change is

legible in the drill cores of polar scientists. Only

there—in the physical body of the city—can we

also discover examples of the neuralgic spots

that Barthes called the punctum with respect to

the photograph and Baudrillard “worthwhile

targets“ with respect to the Twin Towers.

When the Towers were struck with the

precision of a surgical operation, the bumbling

helplessness of contemporary urban construction

was instantly made manifest. Hardly ever

do urban projects truly impact and change cities;

they serve only to retain the status quo.

They merely multiply what is already there. Urban

development today does not begin with Barthe’s

punctum and it does not seek the most

worthwhile targets; it occurs wherever a plot of

land happens to be or become available.

Yet the Twin Towers affect every city and their

destruction affects urban dwellers everywhere.

Terrorists see in them the destruction of a

symbol; urban dwellers see in them a massive

attack on their neighborhoods and their

homes. The specific, the unique, that which

distinguishes us from others, the indestructible:

all these have become vulnerable, and so

we have to protect ourselves. Time and again.

But how? The best protection would be

to aspire to “indistinguishability,” the “Indistin-

guishable City.” And that is the greatest

illusion of all.

JACQUES HERZOG, P IERRE DE MEURON, 2003.INTRODUCTORY TEXT TO THE COURSE OF STUDY ON THE CIT IES OF NAPLES – PARIS – THE CANARY ISLANDS – NAIROBI AT THE ETH STUDIO BASEL – CONTEMPORARY CITY INSTITUTE.

F IRST PUBLISHED IN SPANISH: JACQUES HERZOG, „TERROR SIN TEORÍA. ANTE LA ‚C IUDAD INDIFERENTE‘“ , IN : H&DEM. DEL NATURAL , ARQUITECTURA VIVA 91, MADRID 2003, P .128.

How Do Cities Differ? Herzog & de Meuron

Bib

liogr

aphy

• St

anis

laus

von

Moo

s, H

erzo

g &

de

Meu

ron

Sche

in u

nd

Verle

tzth

eit,

in: i

b., L

esea

rten.

Tex

te z

ur A

rchi

tekt

ur –

unt

er a

nder

em, Z

uric

h 19

89 •

Hub

ertu

s A

dam

, Mod

ular

y v

ivo:

Sed

e de

Hel

vetia

Pat

ria, S

t. Gal

len,

in

: AV

96, 2

002

• Ib.

, St. G

alle

n. E

rwei

teru

ng H

aupt

sitz

Hel

vetia

Pat

ria, i

n:

Bau

wel

t 35,

200

2 • D

ie z

wei

neu

en E

rwei

teru

ngsb

aute

n de

r Hel

vetia

Pat

ria

Vers

iche

rung

en in

St. G

alle

n. R

eflex

ion

und

Tran

spar

enz,

in: B

au

Info

8 / 2

002

• Fra

nk K

alte

nbac

h, B

üroh

äuse

r. A

usna

hmeg

ebäu

de m

it R

egel

grun

dris

sen,

in: D

etai

l Kon

zept

9, 2

002

• Gio

vann

i Lau

da, H

erzo

g &

de M

euro

n. L

a Lu

ce F

less

ibile

di P

ipe,

in: I

nter

ni 5

26, 2

002

• Ger

hard

Mac

k,

Refl

exio

n un

d Tr

ansp

aren

z. Zw

ei B

aute

n fü

r Hel

vetia

Pat

ria S

t. Gal

len.

Ei

ne A

rchi

tekt

ur v

on H

erzo

g &

de

Meu

ron,

in: P

rivat

druc

k H

elve

tia P

atria

, St

. Gal

len

2002

• Ju

dit S

olt,

Blü

hend

e Fa

ntas

ie, i

n: te

c 21

35 /

2002

• T

wo

win

gs o

f gla

ss o

n th

e G

irtan

ners

berg

, in:

El C

roqu

is 2

002

• Rud

olf

Vögt

lin, M

odul

are

Fass

ade

als

Kal

eido

skop

. Erw

eite

rung

Hau

ptsi

tz H

elve

tia

Patri

a, S

t. Gal

len,

in: F

assa

de. F

açad

e 4 /

2002

• H

uber

tus

Ada

m,

Geb

roch

ene

Wirk

lichk

eit,

in: a

rchi

thes

e 1 /

2003

• H

erzo

g &

de

Meu

ron

Two

glas

s w

ings

on

the

Girt

anne

rsbe

rg S

t. Gal

len.

in: a

rea

69, 2

003

• N

eue

Lesa

rt, in

: Ind

ustri

eBA

U 1

/ 200

3 • M

atth

ias

Gas

ser,

Fens

ter u

nd

Leuc

hten

, in:

Fak

tor L

icht

4 / 2

003

• Nin

a B

aisc

h, A

rchi

tekt

urfü

hrer

B

oden

see,

Sul

gen /

Zur

ich

2004

• H

erzo

g &

de

Meu

ron,

Pip

e O

ffice

, in:

Li

ghtn

ing

field

s 1,

2004

• M

ax W

echs

ler,

Adr

ian

Schi

ess

– Fa

rbrä

ume

Luze

rn 2

004

• AV

114,

Mad

rid 2

005

• Tw

o G

lass

Win

gs o

n th

e G

irtan

ners

-be

rg, i

n: a

+u

8 / 20

06 •

Hel

vetia

Pat

ria H

eadq

uarte

rs, S

t. Gal

len,

in: A

V 20

07.

Pro

ject

Tea

m (

Co

ntin

uati

on)

· Ann

a Fu

chs

· R

eto

Oec

hslin

· P

atric

k R

emun

d

Ele

ctri

cal E

ngin

eeri

ng· B

ühle

r + S

cher

ler A

G,

St. G

alle

n, S

witz

erla

ndLa

ndsc

ape

Des

ign

· Vog

t Lan

dsch

afts

arch

itekt

en,

Züric

h, S

witz

erla

nd

Bui

ldin

g D

imen

sio

ns· L

engt

h so

uth

win

g: 6

1.80

m /

ea

st w

ing:

35.

80 m

· W

idth

sou

th w

ing:

9.0

0 m

/ea

st w

ing:

9.0

0 m

No.

168

(Con

tinua

tion)

Bib

liogr

aphy

• Ilk

a &

And

reas

Rub

y, H

erzo

g &

de

Meu

ron,

in:

Dan

iela

Col

afra

nces

chi (

ed.)

Land

&Sc

ape

Serie

s, B

arce

lona

200

7

• Chr

isto

ph H

eim

, Bas

el b

ekom

mt e

in „S

chau

lage

r“ fü

r Kun

st, i

n: B

asle

r Ze

itung

17 . 11

. 1999

• Sc

haul

ager

® fo

r the

Em

anue

l Hof

fman

n Fo

unda

tion,

in

: a+

u 2

/ 200

2 • S

chau

lage

r® fo

r the

Em

anue

l Hof

fman

n Fo

unda

tion,

in

: El C

roqu

is 2

002

• Urs

prun

g 20

02 •

Her

zog

& d

e M

euro

n. L

es a

rchi

tect

es

du s

tock

age,

in: B

eaux

Arts

Mag

azin

e 23

0, 2

003

• Jud

it So

lt, E

rdig

es

Fasz

inos

um, i

n: te

c 21

, 25

/ 200

3 • H

uber

tus

Ada

m, S

chau

lage

r in

Bas

el.

Her

zog

& d

e M

euro

n, in

: Bau

mei

ster

9 /

2003

• C

hiar

a B

aglio

ne, H

erzo

g &

de M

euro

n, S

chau

lage

r per

la F

onda

zione

Em

anue

l Hof

fman

n M

ünch

enst

ein,

B

asile

a, S

vizz

era,

in: C

asab

ella

717

– 71

8 / 2

003

• Aar

on B

etsk

y, H

ybrid

ho

use,

in: A

rchi

tect

ure

10 /

2003

• Jo

sé, C

ristin

a, U

n al

mac

én p

ara

el a

rte,

in: V

anid

ad 10

0, 2

003

• Bic

e C

urig

er /

Jacq

uelin

e B

urkh

ardt

, Die

Erfi

ndun

g de

s Sc

haul

ager

®, i

n: P

arke

tt 67

, 200

3 • O

liver

Els

er, S

chau

lage

r, B

asel

, in

: Bau

wel

t 33,

200

3 • L

uis

Fern

ánde

z-G

alia

no, H

erzo

g &

de

Meu

ron,

from

N

atur

e, in

: AV

91, 2

003

• Kur

t W. F

orst

er, T

ra fi

ume

e fu

mo.

Un

empo

rio

per l

’arte

con

tem

pora

nea

a B

asile

a, in

: Il G

iorn

ale

dell’a

rchi

ttetu

ra 7

/ 20

03

• Wer

ner H

uber

, Lag

er z

um S

chau

en, i

n: H

ochp

arte

rre

Bei

lage

6 –

7 / 2

003

• F

ulvi

o Ira

ce, H

&de

M, i

n: A

bita

re 4

31, 2

003

• Ben

edik

t Kra

ft, Im

Lag

er

nach

sehe

n, in

: DB

Z 7 /

200

3 • J

acqu

es L

ucan

, Ein

e W

erks

tatt

des

Scha

uens

, in:

Wer

k 7 /

8 2

003

• Ger

hard

Mac

k, T

rutz

burg

mit

Öff

nung

szei

ten,

in: A

rt 6

/ 200

3 • H

ans-

Joac

him

Mül

ler,

Wie

man

das

Mus

eum

sch

ützt

, in

dem

man

kei

n M

useu

m b

aut,

in: B

asle

r Zei

tung

22 .

5 . 2

003

• A

ndre

a N

ussb

aum

, Her

zog

& d

e M

euro

n. S

chau

lage

r Sch

wei

z.

“Am

Ort

neu

erfin

den,”

in: a

rchi

tekt

ur . a

ktue

ll 9

/ 200

3 • G

eorg

Sch

mid

t, Sc

haul

ager

. Ein

e B

eila

ge d

er B

asle

r Zei

tung

, 24 .

5 . 2

003

• Lor

ette

Coe

n,

Le S

chau

lage

r®, b

oîte

à o

utils

au

serv

ice

de l’

art c

onte

mpo

rain

, in:

Le

Tem

ps 2

4 . 5

. 200

3 • R

ahel

Mar

ti, S

chw

eize

rmei

ster

im S

chw

erge

wic

ht,

in: H

ochp

arte

rre

12 /

2003

• Pi

led

up a

rts, i

n: A

V 91

, 200

3 • T

hom

as W

agne

r, A

bste

llen

stat

t Aus

stel

len,

in: F

rank

furte

r Allg

emei

ne Z

eitu

ng, 2

4 . 5

. 200

3

• A n

ew ty

pe o

f Spa

ce fo

r Art,

in: D

ialo

gue

10 /

2004

• A

rtist

e! M

ets

le

s vo

iles!

Art

pour

l’A

rt, in

: Tec

hniq

ues

& A

rchi

tect

ure

469,

200

4

• Jea

n-Fr

anço

is C

aille

, Dét

ails

, tex

ture

s et

mat

ière

s, in

: Le

Mon

iteur

A

rchi

tect

ure

147,

200

4 • J

erem

y M

elvi

n, S

chau

lage

r Lau

renz

Fou

ndat

ion,

in

: Arc

hite

ctur

al D

esig

n 74

, 200

4 • P

aul v

on N

ared

i-Rai

ner,

Scha

ulag

er fü

r di

e Em

anue

l Hof

fman

n-St

iftun

g, in

: Ent

wur

fsat

las

Mus

eum

sbau

, Ber

lin 2

004

• Sta

nisl

aus

von

Moo

s, Ü

berle

gung

en v

om S

chau

lage

r der

Em

anue

l H

offm

ann-

Stift

ung

in B

asel

von

Her

zog

& d

e M

euro

n, in

: Arc

hite

ktur

w

eite

rden

ken,

Wer

ner O

echs

lin z

um 6

0. G

ebur

tsta

g, Z

üric

h 20

04 •

Stev

en

Was

sena

ar, M

useu

m a

ls k

ijkpa

khui

s, in

: de

Arc

hite

ct 4

/ 20

04 •

AV

114,

M

adrid

200

5 • N

icol

ai d

e Po

nti,

Arc

hite

cts

in B

asel

, in:

OfX

87,

200

5

• Her

zog

& d

e M

euro

n, S

chau

lage

r® L

aure

nz S

tiftu

ng, M

ünch

enst

ein,

in:

Uw

e Fa

chin

/ B

oris

Phi

lipps

en, G

ipst

rock

enba

u, W

inte

rthur

200

5

• Sch

aula

ger,

Her

zog

& d

e M

euro

n, in

: Le

Mon

iteur

Arc

hite

ctur

e, B

éton

, 20

05 •

Scha

ulag

er. L

aure

nz F

ound

atio

n, in

: Jor

nal A

rqui

tect

os 2

20 –

221

, 20

05 •

Pier

re N

ebel

, Com

men

t Bâl

e es

t dev

enue

la v

ille

la p

lus

dy

nam

ique

de

Suis

se. L

es p

roje

ts q

ui o

nt tr

ansf

orm

é B

âle,

in: L

’Heb

do

7 / 2

005

• Fra

ncis

Ram

bert,

Arc

hite

ctur

e To

mor

row

, Par

is 2

005

• F

umik

o Su

zuki

/ S

achi

ko T

amas

hige

, Mus

eum

of t

omor

row

. Sch

aula

ger,

in

: Cas

a B

rutu

s 62

, 200

5 • W

ang

Lu, C

onta

iner

in th

e C

onte

xt, i

n:

Tim

e an

d A

rchi

tect

ure,

Sha

ngha

i 92,

200

6 • T

he 2

1st C

entu

ry A

rchi

tect

ural

H

its, i

n: A

rchi

tekt

ura

10 / 2

005

• Arc

hite

ttura

Bas

ilea,

in: O

ttago

no 19

4, 2

006

• Sch

aula

ger,

Bas

el, S

witz

erla

nd, 2

003,

in: W

orld

Arc

hite

ctur

e 19

5, 2

006

• P

hilip

Jod

idio

, Her

zog

& d

e M

euro

n. S

chau

lage

r Mün

chen

stei

n, in

: A

rchi

tect

ure

in S

witz

erla

nd, K

öln

2006

• Vi

ctor

ia N

ewho

use,

Sch

aula

ger,

in

: ib.

, Tow

ards

a N

ew M

useu

m –

Exp

ande

d Ed

ition

, New

Yor

k 20

06

• Sch

aula

ger,

Laur

enz

Foun

datio

n, in

: a+

u 8 /

2006

• Sc

haul

ager

, Lau

renz

Fo

unda

tion,

in: E

l Cro

quis

200

6 • J

oach

im F

isch

er, A

rchi

tekt

ur n

eues

Bas

el,

Ber

lin 2

007

• Ib.

, Arc

hite

ktur

neu

e Sc

hwei

z, B

erlin

200

7 • H

erzo

g &

de

Meu

ron,

in: B

uild

ing

Rev

iew

, Pek

ing,

340

, 200

7 • Q

u’es

t-ce

que

l’a

rchi

tect

ure

aujo

urd’

hui?

, Bou

logn

e 20

07 •

Scha

ulag

er A

rt W

areh

ouse

, B

asel

, in:

AV

2007

.

No

.16

9 19

98–

2003

sch

au

la

gE

rM

ün

ch

En

stE

in / B

asE

l, s

wit

zE

rl

an

dP

roje

ct P

hase

sP

roje

ct· 1

998

– 19

99

Co

nstr

ucti

on

· 200

0 –

2003

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g

· Pie

rre

de M

euro

n · H

arry

Gug

ger

Pro

ject

Arc

hite

cts

· Phi

lippe

Für

sten

berg

er

(Ass

ocia

te)

· Cor

nel P

fiste

rP

roje

ct T

eam

· Sen

ta A

dolf

· N

icol

e H

atz

· Ine

s H

uber

· J

ürge

n Jo

hner

· C

arm

en M

ülle

r · K

atja

Ritz

· M

arc

Schm

idt

· Flo

rian

Stirn

eman

n · L

ukas

Web

er

· Mar

tin Z

imm

erli

Clie

nt· L

aure

nz F

ound

atio

n,

Bas

el, S

witz

erla

nd

Pla

nnin

gG

ener

al P

lann

ing

· AR

GE

GP

Her

zog

& d

e M

euro

n /

· GSG

, Bas

el, S

witz

erla

ndLe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

ndC

ons

truc

tio

n M

anag

men

t· G

SG P

roje

kt P

artn

er A

G,

Bas

el, S

witz

erla

ndS

truc

tura

l Eng

inee

ring

· Zac

hman

n +

Pau

li B

auin

geni

eure

, B

asel

, Sw

itzer

land

Mec

hani

cal E

ngin

eeri

ng· A

mst

ein

& W

alth

ert A

G,

Züric

h, S

witz

erla

ndE

lect

rica

l Eng

inee

ring

· Sel

mon

i AG

, Bas

el, S

witz

erla

nd

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· Em

mer

Pfe

nnig

er P

artn

er A

G,

Mün

chen

stei

n, S

witz

erla

ndLi

ghti

ng· A

mst

ein

& W

alth

ert A

G,

Züric

h, S

witz

erla

ndA

cous

tics

· Mar

tin L

ienh

ard,

La

ngen

bruc

k, S

witz

erla

ndTr

affi

c C

ons

ulta

nt· R

app

Inge

nieu

re +

Pla

ner A

G,

Bas

el, S

witz

erla

nd

Bui

ldin

g D

ata

Gro

ss F

loo

r A

rea

· 20,

000

sqm

B

uild

ing

Dim

ensi

ons

· Len

gth:

74.

18 m

· W

idth

: 55.

34 m

+ 18

.04

m· H

eigh

t: 22

.35

m (a

bove

leve

l 0.0

0)

An

exis

tin

g ap

artm

ent o

n th

e to

p fl

oo

r of a

two

-fam

ily h

om

e w

as to

be

com

ple

tely

mo

d-

ern

ized

an

d en

larg

ed b

y ad

din

g an

ext

ensi

on

to th

e w

est f

acad

e. T

he

apar

tmen

t op

ens

ou

t o

nto

a w

est-

faci

ng

dec

k w

ith

thre

e fl

oo

r-to

-cei

ling

slid

ing

do

ors

. Th

e ex

isti

ng

do

r-m

ers

on

the

op

po

site

sid

e h

ave

bee

n lin

ked

to c

reat

e a

skyl

igh

t. H

erzo

g &

de

Meu

ron

des

ign

ed th

e in

teri

or

in th

e st

yle

of a

larg

e an

d co

zy w

oo

den

trin

ket b

ox r

emin

isce

nt o

f th

e p

lyw

oo

d h

ou

se w

ith

a p

up

pet

th

eate

r fr

om

th

e ea

rly

day

s o

f th

eir

pra

ctic

e. P

last

er

wal

ls a

nd

bea

ms

wer

e re

mo

ved

to c

reat

e a

larg

e o

pen

sp

ace,

par

titi

on

ing

off

on

ly t

he

bat

hro

om

an

d o

ne

smal

l ro

om

. A b

uilt

-in

sto

rag

e sp

ace

clad

in w

oo

d r

un

s al

on

g t

he

enti

re e

ntr

ance

sid

e. T

he

kitc

hen

an

d to

ilet a

re h

ou

sed

in a

wo

od

en b

ox t

hat

loo

ks li

ke

a p

iece

of f

urn

itu

re. T

he

flo

ori

ng

and

wal

ls, a

s w

ell a

s th

e ki

tch

en fi

ttin

gs

and

even

th

e to

ilet a

re a

ll cl

ad in

wo

od

, wh

ile g

lass

has

bee

n ch

ose

n fo

r th

e w

et r

oo

m.

No

.170

1998

rE

fu

rB

ish

ME

nt

of

an

of

fic

E f

lo

or

Ba

sEl

, sw

itz

Er

la

nd

Pro

ject

Pha

ses

Co

ncep

t D

esig

n· 1

998

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g· P

ierr

e de

Meu

ron

Pro

ject

Arc

hite

cts

· Jea

n-Fr

édér

ic L

usch

er· S

acha

Mar

chal

258

No. 169 P. 80 Project / P.188 Plans / P. 309 Images No. 170

Des

ign

ing

a n

ew b

uild

ing

for

the

Jack

S. B

lan

ton

Art

Mu

seu

m in

Au

stin

was

on

e o

f th

e fi

rst

pu

blic

sec

tor

com

mis

sio

ns

rece

ived

by

Her

zog

& d

e M

euro

n i

n t

he

US

A. E

stab

-lis

hed

in 1

963,

the

mu

seu

m h

as a

n ec

lect

ic c

olle

ctio

n o

f so

me

12,0

00 a

rtif

acts

sp

ann

ing

th

e h

isto

ry o

f wes

tern

civ

iliza

tio

n fr

om

th

e R

enai

ssan

ce t

o th

e p

rese

nt d

ay; i

t co

nta

ins

pri

nts

an

d d

raw

ing

s fr

om

th

e 15

th t

o t

he

20th c

entu

ries

alo

ng

sid

e h

old

ing

s th

at r

ang

e fr

om

Bar

oq

ue

art t

o co

nte

mp

ora

ry A

mer

ican

an

d La

tin

Am

eric

an a

rt. B

rou

gh

t to

get

her

fr

om

a n

um

ber

of s

epar

ate

colle

ctio

ns,

they

wo

uld

be

pre

sen

ted

un

der

on

e ro

of f

or

the

firs

t tim

e o

n a

pro

po

sed

flo

or

area

of 9

,300

sq

.m. I

n th

eir

win

nin

g d

esig

n p

rop

osa

l, th

e ar

chit

ects

co

nce

ntr

ated

on

a la

you

t th

at w

ou

ld e

mp

has

ize

the

cen

tral

loca

tio

n o

f th

e p

lan

ned

mu

seu

m, i

n w

hic

h t

he

par

k-lik

e g

rou

nd

s d

ove

tail

wit

h t

he

bu

ildin

g. F

ou

nd

ed

in 1

963,

th

e in

stit

uti

on

is

con

ceiv

ed a

s a

pla

ce o

f sc

ho

larl

y re

sear

ch a

nd

as

Au

stin

’s

fore

mo

st p

ub

lic a

rt m

use

um

. It

is p

rom

inen

tly

situ

ated

wit

hin

th

e U

niv

ersi

ty o

f Te

xas

cam

pu

s, b

uilt

to

Ces

ar P

elli’

s 19

94 m

aste

rpla

n.

Bei

ng

pla

ced

at

on

e o

f th

e m

ain

en

-tr

ance

s to

th

e ca

mp

us

and

in p

roxi

mit

y to

th

e Te

xas

Sta

te C

apit

ol,

the

mu

seu

m m

arks

an

inte

rfac

e b

etw

een

the

city

an

d th

e u

niv

ersi

ty. H

erzo

g &

de

Meu

ron

use

d th

is lo

cati

on

as

an

op

po

rtu

nit

y to

op

en u

p th

e ca

mp

us,

turn

ing

the

new

Bla

nto

n M

use

um

into

a p

lace

o

f mee

tin

g an

d in

tera

ctio

n an

d –

like

the

red

evel

op

men

t of t

he

Dijo

n u

niv

ersi

ty c

amp

us,

w

hic

h w

as s

par

ked

by

the

wis

h to

inco

rpo

rate

a n

ew m

use

um

bu

ildin

g –

ther

eby

hel

p-

ing

to

en

han

ce t

he

stru

ctu

re o

f an

oth

erw

ise

arch

itec

tura

lly u

nre

mar

kab

le c

amp

us.

A

lth

ou

gh

the

pla

ns

wer

e al

read

y w

ell a

dva

nce

d, t

he

arch

itec

ts s

ensa

tio

nal

ly w

ith

dre

w

fro

m t

he

pro

ject

wh

en, d

uri

ng

th

e co

nse

rvat

ive

bac

klas

h in

th

e ru

n-u

p t

o t

he

elec

tio

n

of

Geo

rge

W. B

ush

as

pre

sid

ent,

th

e p

olit

ical

au

tho

riti

es le

d b

y a

Rep

ub

lican

sen

ato

r in

sist

ed t

hat

th

e n

ew m

use

um

be

bu

ilt in

th

e st

yle

of

the

exis

tin

g 19

20s /

30s

bu

ildin

gs

on

the

cam

pu

s.

No

.171

1998

Jac

K s

. Bl

an

to

n M

usE

uM

of

ar

ta

ust

in, t

Ex

as,

usa

Pro

ject

Pha

ses

Co

mpe

titi

on

· 199

8

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g· P

ierr

e de

Meu

ron

· Har

ry G

ugge

rP

roje

ct A

rchi

tect

· Mat

his

Tinn

er (A

ssoc

iate

)P

roje

ct T

eam

· Ren

ata

Arp

agau

s · J

ayne

Bar

low

, Tho

mas

Jac

obs

· Orn

a M

arto

n

Clie

nt· T

he U

nive

rsity

of T

exas

Sys

tem

· Jac

k B

lant

on M

useu

m o

f Art,

A

ustin

, Tex

as, U

SA

Pla

nnin

gG

ener

al P

lann

ing

· Bee

rs D

alm

ac, H

oust

on, U

SALe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

ndP

artn

er A

rchi

tect

· Boo

ziotis

& C

ompa

ny A

rchi

tect

s,

Dal

las,

Tex

as, U

SAS

truc

tura

l Eng

inee

ring

· Dat

um E

ngin

eerin

g In

c.,

Dal

las,

Tex

as, U

SA

HV

AC

Eng

inee

ring

· Ove

Aru

p &

Par

tner

, Lon

don,

UK

Plu

mb

ing

Eng

inee

ring

· Ove

Aru

p &

Par

tner

, Lon

don,

UK

Ele

ctri

cal E

ngin

eeri

ng· O

ve A

rup

& P

artn

er, L

ondo

n, U

K

Bui

ldin

g D

ata

Bui

ldin

g F

oo

tpri

nt· 1

3,93

5 sq

m

Bib

liogr

aphy

• R

ober

t Fai

res,

Bla

nton

Arc

hite

ct N

amed

, in:

The

Aus

tin

Chr

onic

le 2

5 . 12

. 1998

• B

ringi

ng T

exas

up

to d

ate,

in: T

he E

cono

mis

t 19

. 6 . 19

99 •

Erfo

lgre

iche

Sch

wei

zer,

in: d

b 3 /

1999

• H

erzo

g &

de

Meu

ron,

in

: Hoc

hpar

terr

e 3 /

1999

• M

icha

el B

arne

s, R

ound

2 o

n U

T m

useu

m d

esig

n,

in: A

ustin

Am

eric

an S

tate

sman

13 . 10

. 1999

• Je

ssic

a C

arte

r, M

arch

ing

Abo

ut

Arc

hite

ctur

e, in

: The

Aus

tin C

hron

icle

3 . 12

. 1999

• Th

adde

us D

eJes

us,

Reg

ents

bat

tle a

rchi

tect

s ov

er m

useu

m p

lan,

in: T

he D

aily

Tex

an 13

. 10 . 19

99

• Lis

a G

erm

any,

UT

Reg

ents

Res

ist H

erzo

g Pl

an, i

n: T

exas

Arc

hite

ct 9

/ 10

1999

• G

eorg

Sch

mid

t, O

hne

Her

zog

& d

e M

euro

n, in

: Bas

ler Z

eitu

ng

23 . 11

. 1999

• U

lrike

Zop

honi

asso

n-B

aier

l, Le

bend

ig, a

ttrak

tiv u

nd m

öglic

hst

duch

läss

ig, i

n: B

asle

r Zei

tung

21 . 1

. 1999

.

A d

isu

sed

Du

ssel

do

rf u

rban

rai

lway

tra

nsf

orm

er s

tati

on

had

bee

n u

sed

as a

rtis

ts’ s

tu-

dio

s fo

r a

nu

mb

er o

f yea

rs. W

hen

the

arti

sts

wo

rkin

g th

ere

wer

e g

iven

the

op

po

rtu

nit

y o

f pu

rch

asin

g th

is h

isto

rica

lly s

ign

ifica

nt i

nd

ust

rial

bu

ildin

g, t

wo

of t

hem

– T

ho

mas

Ru

ff

and

An

dre

as G

urs

ky –

ask

ed H

erzo

g &

de

Meu

ron

to c

on

vert

thei

r sh

are,

sit

uat

ed m

ain

-ly

in t

he

seco

nd

laye

r o

f th

e in

tric

atel

y st

ruct

ure

d co

mp

lex.

Th

e ar

chit

ects

left

th

e h

is-

tori

cally

list

ed b

rick

fac

ade

wit

h it

s h

ug

e ir

on

gat

es v

irtu

ally

un

chan

ged

an

d ex

ten

ded

th

e b

ack

of t

he

bu

ildin

g to

war

ds

a n

ew c

ou

rtya

rd a

nd

gar

den

des

ign

ed b

y D

uss

eld

orf

-b

ased

art

ist

Tit

a G

iese

. Usi

ng

wo

od

an

d fl

oo

r-to

-cei

ling

gla

zin

g, t

hey

cre

ated

a la

rge

faca

de

feat

urin

g ve

ran

das

an

d lo

gg

ias.

Wh

ile th

is a

pp

roac

h is

in m

any

way

s re

min

isce

nt

of

the

apar

tmen

t b

uild

ing

s in

th

e b

acky

ard

s o

f H

ebel

stra

sse

in B

asel

an

d th

e R

ue

des

S

uis

ses

dev

elo

pm

ent

in P

aris

, an

d a

lso

has

ech

oes

of

the

can

tile

vere

d r

oo

fs o

f th

e

Ric

ola

bu

ildin

g in

Mu

lho

use

an

d R

émy

Zau

gg

’s s

tud

io in

Pfa

stat

t, it

dif

fers

fro

m a

ll o

f th

em i

n o

ne

smal

l b

ut

cru

cial

po

int:

th

e ar

chit

ects

hav

e b

roke

n d

ow

n t

he

ho

rizo

nta

l st

ruct

ure

in

to a

ser

ies

of

dec

ks o

n t

he

seco

nd

flo

or

and

ver

and

as o

n t

he

firs

t, s

om

e p

rotr

ud

ing

, oth

ers

set

bac

k fr

om

th

e fa

cad

e lik

e lo

gg

ias.

Th

e o

vera

ll ef

fect

len

ds

the

exte

nsi

on

th

e ai

r o

f a

hu

ge

pie

ce o

f fu

rnit

ure

, an

tici

pat

ing

th

eir

late

r ar

chit

ectu

ral

sho

wca

ses

for

the

de

Yo

un

g M

use

um

. An

dre

as G

urs

ky’s

new

ho

use

, ad

ded

on

to o

ne

sid

e o

f th

e o

ld t

ran

sfo

rmer

sta

tio

n, i

s cl

ad, l

ike

par

ts o

f th

e B

asel

RE

HA

B, i

n a

laye

r o

f so

lid w

oo

d s

tave

s th

at a

ct a

s ad

just

able

su

nsh

ades

in

fro

nt

of

the

fully

gla

zed

rea

r fa

cad

e an

d g

ive

the

ann

ex a

n ar

chai

c d

imen

sio

n th

at c

on

tras

ts s

har

ply

wit

h th

e sm

all-

scal

e vo

lum

es o

f th

e in

du

stri

al b

uild

ing

. Th

e in

teri

ors

of t

he

two

sep

arat

e st

ud

io-c

um

-ap

artm

ent

bu

ildin

gs

are

des

ign

ed a

s an

arc

hit

ectu

rally

co

mp

ellin

g s

equ

ence

of

alte

r-n

atel

y va

st a

nd

in

tim

ate

spac

es.

An

dre

as G

urs

ky’s

stu

dio

, in

par

ticu

lar,

wit

h i

ts 5

.5-

met

er-h

igh

ceili

ng

and

its

flo

or

area

of

15.5

x 1

6 m

eter

s, is

of

a sc

ale

mo

re li

kely

to

be

equ

ated

wit

h a

mu

seu

m th

an a

pri

vate

ho

me.

No

.172

1998

–20

02

stu

dio

s f

or

tw

o a

rt

ist

sd

üss

El

do

rf

, gE

rM

an

Y

Pro

ject

Pha

ses

Pro

ject

· 199

8 –

2000

Co

nstr

ucti

on

· 200

0 –

2002

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g· P

ierr

e de

Meu

ron

Pro

ject

Arc

hite

cts

· Jür

gen

John

er (A

ssoc

iate

)· R

eto

Oec

hslin

Pro

ject

Tea

m· S

aros

h A

nkle

saria

· G

errit

Sel

l· C

amill

o Za

nard

ini

Clie

nt· T

hom

as R

uff,

D

üsse

ldor

f, G

erm

any

· And

reas

Gur

sky,

D

üsse

ldor

f, G

erm

any

Pla

nnin

gA

rchi

tect

Pla

nnin

g· H

erzo

g &

de

Meu

ron,

B

asel

, Sw

itzer

land

Co

nstr

ucti

on

Man

agem

ent

· Tho

mas

Plu

schk

e,

Düs

seld

orf,

Ger

man

yS

truc

tura

l Eng

inee

ring

· Ber

nd J

esch

onne

ck,

Mee

rbus

ch, G

erm

any

ME

P E

ngin

eeri

ng· R

olan

d B

este

n,

Mön

chen

glad

bach

, Ger

man

yLa

ndsc

ape

Des

ign

· Tita

Gie

se,

Düs

seld

orf,

Ger

man

y

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· Ing

enie

urbü

ro L

udw

ig +

May

er,

Ber

lin, G

erm

any

Bui

ldin

g D

ata

Sit

e A

rea

· 980

sqm

G

ross

Flo

or

Are

a· 9

00 s

qmG

ross

Vo

lum

e· 4

,341

cub

ic m

eter

s

Bib

liogr

aphy

• A

lexa

nder

Hos

ch, L

icht

, Kam

era,

Arc

hite

ktur

, in

: Arc

hite

ctur

al D

iges

t 6 / 2

002

• Stu

dios

for T

wo

Arti

sts,

in: a

+u

8 / 20

06.

259

No. 171 No. 172

Syn

chro

niza

tio

n an

d

Ani

mat

ion

· Dat

aton

AB

, Li

nköp

ing,

Sw

eden

Mo

tio

n G

raph

ics

· Wal

ker A

rt C

ente

r,

Min

neap

olis

, USA

Gla

ss C

urta

in W

all

· Int

ercl

ad, B

iggi

n H

ill, U

K· U

.A.D

. Gro

up, N

ew Y

ork,

USA

Ext

erio

r C

ladd

ing

· Man

ufac

ture

r: Li

lja In

c,

Eden

Pra

irie,

USA

.· I

nsta

ller:

M.G

. McG

rath

, M

aple

Woo

d, U

SAIn

teri

or

Wal

ls· M

anuf

actu

rer:

Arm

ourc

oat,

USA

· F

abric

ator

, Ins

talle

r: M

inut

eOgl

e, U

SA

Bib

liogr

aphy

• A

V 77

, 199

9 • P

ierr

e Fé

dida

, Le

corp

s du

vid

e, in

: Pag

es

pays

ages

9, 2

002

• Mor

e th

an a

Mus

eum

, in:

Wal

ker A

rt C

ente

r Cal

enda

r, M

inne

apol

is 2

002

• Lar

ry M

illet

t, A

rchi

tect

s tu

rn d

own

volu

me

on

Wal

ker a

dditi

on, i

n: S

t. Pau

l Pio

neer

Pre

ss 17

. 4 . 2

002

• Urs

prun

g 20

02

• Wal

ker A

rt C

ente

r, in

: a+

u 2 /

2002

• W

alke

r Art

Cen

ter,

in: E

l Cro

quis

200

2 • T

wo

Am

eric

an m

useu

ms,

in: A

V 91

, 200

3 • E

lain

e Lo

uie,

The

new

is in

, th

e ol

d is

out

, in:

The

New

Yor

k Ti

mes

29 .

1 . 20

04 •

Wal

ker A

rt C

ente

r, In

vent

ing

the

21st

Cen

tury

Arts

Cen

ter,

Min

neap

olis

200

4 • M

inne

apol

is

mak

es a

sta

tem

ent,

in: T

he N

ew Y

ork

Tim

es 15

. 4 . 2

005

• An

Ice

Cub

e w

ith

attit

ude,

in: S

tar T

ribun

e, 15

. 4 . 2

005

• Sar

ah A

mel

ar, H

erzo

g &

de

Meu

ron

expa

nd M

inne

apol

is’s

Wal

ker A

rt C

ente

r with

qui

rky

new

vol

umes

spu

n fr

om

the

orig

inal

bui

ldin

g’s

tight

spi

ral,

in: A

rchi

tect

ural

Rec

ord

7 / 20

05

• AV

114,

Mad

rid 2

005

• And

rew

Bla

uvel

t (ed

.), W

alke

r Art

Cen

ter.

Expa

ndin

g th

e C

ente

r: W

alke

r Art

Cen

ter a

nd H

erzo

g &

de

Meu

ron,

Min

neap

olis

/ N

ew Y

ork

2005

• A

ric C

hen,

Dal

la n

otte

al g

iorn

o, in

: Ras

segn

a 80

, 200

5

• Dou

glas

Dav

is, T

he M

useu

m o

f the

Thi

rd K

ind,

in: A

rt in

Am

eric

a 6

– 7 / 2

005

• Tho

mas

Fis

her,

The

mus

eum

of c

hanc

e, in

: Arc

hite

ctur

e,

6 / 20

05 •

Kur

t Wal

ter F

orst

er, P

olyh

edra

l per

sona

lity,

in: L

og, 6

, 200

5

• Her

zog

& d

e M

euro

n. T

he W

alke

r Art

Cen

ter,

in: D

omus

881

, 200

5

• Rob

ert I

vy / S

arah

Am

elar

, Tw

o by

Tw

o, in

: Arc

hite

ctur

al R

ecor

d 7 /

2005

• A

ndre

a K

öhle

r, Id

eens

chm

iede

am

Mis

siss

ippi

, in:

Neu

e Zü

rche

r Zei

tung

, 23

. 5 . 2

005

• Jus

tin K

orha

mm

er, H

yper

expr

essi

vite

it en

min

imal

ism

e,

in: d

e A

rchi

tect

7 –

8 / 2

005

• Ann

ette

Lec

uyer

, Ext

endi

ng E

lect

icis

m, i

n:

The

Arc

hite

ctur

al R

evie

w 13

02, 2

005

• Ste

ven

Litt,

The

New

Ser

enity

, in

: Art

New

s 10

4, 2

005

• Lin

da M

ack,

Des

ign

devi

ates

from

rese

rve

of th

e or

igin

al b

uild

ing,

in: S

tar T

ribun

e 15

. 4 . 2

005

• Cat

hy M

adis

on, W

alke

r Art

Cen

ter.

Art

Spac

es, i

n: W

alke

r Art

Cen

ter,

Lond

on 2

005

• Duc

cio

Mal

agam

ba, W

alke

r Art

Cen

ter,

Min

neap

olis

: Her

zog

& D

e M

euro

n in

: D

iseñ

o In

terio

r 8 / 2

005

• Cat

hlee

n M

cGui

gan,

Wal

ker o

n th

e W

ild S

ide,

in

: New

swee

k 13

. 3 . 2

005

• Jus

tin M

cGui

rk, O

nly

in A

mer

ica

coul

d yo

u

find

a m

useu

m o

n an

eig

ht-la

ne h

ighw

ay, i

n: ic

on 2

5, 2

005

• And

rew

Mea

d,

Her

zog

& d

e M

euro

n go

wes

t, in

: The

Arc

hite

cts’

Jou

rnal

200

5 • J

orda

n M

ejia

s, A

vant

gard

e, b

aroc

k, in

: Fra

nkfu

rter A

llgem

eine

Zei

tung

, 2 . 5

. 200

5

• Joa

n R

othf

uss /

Eliz

abet

h C

arpe

nter

, Wal

ker A

rt C

ente

r Col

lect

ions

. B

its &

Pie

ces

put t

oget

her t

o pr

esen

t a s

embl

ance

of a

who

le, M

inne

apol

is

2005

• R

aym

und

Rya

n, H

erzo

g &

de

Meu

ron.

The

Wal

ker A

rt C

ente

r,

in: d

omus

881

, 200

5 • R

onni

e Se

lf, H

erzo

g &

de

Meu

ron

au M

idw

est …

C

onte

xtue

ls?,

in: A

rchi

tect

ure

Inté

rieur

e C

ree

321,

2005

• Fu

mik

o Su

zuki

/

Sach

iko

Tam

ashi

ge, M

useu

m o

f tom

orro

w: S

chau

lage

r, in

: Cas

a B

rutu

s 62

, 20

05 •

Kat

harin

a Ti

elsc

h, E

in D

ialo

g, in

: Arc

hite

ktur

, Sys

tem

Tec

hnik

Fu

nktio

n 5 /

2005

• Fr

ance

s Tu

vern

o, W

alke

r Art

Cen

ter,

in: I

nter

ni 5

57, 2

005

• Hub

ertu

s A

dam

, Ada

ptio

n un

d Tr

ansf

orm

atio

n, in

: arc

hith

ese

2 / 20

06

• Chi

ara

Bag

lione

, Her

zog

& d

e M

euro

n. A

mpl

iam

ento

del

Wal

ker A

rt C

ente

r, M

inne

apol

is, i

n: C

asab

ella

741

, 200

6 • H

erzo

g &

de

Meu

ron,

in: G

A D

okum

ent 8

9 / 20

06 •

Phili

p Jo

didi

o, W

alke

r Art

Cen

ter,

in: i

b: A

rchi

tect

ure

Now

! Col

ogne

200

6 • V

icto

ria N

ewho

use,

Tow

ards

a N

ew M

useu

m.

Expa

nded

Edi

tion,

New

Yor

k 20

06 •

Wal

ker A

rt C

ente

r, in

: a+

u 8 /

2006

• W

alke

r Art

Cen

ter,

in: E

l Cro

quis

, 200

6 • D

omin

ique

Err

ard /

Laur

ent

Mig

uet,

“L’a

rchi

tect

ure

amél

iore

les

cond

ition

s de

vie

des

hom

mes

,” in

: Le

Mon

iteur

538

7, 2

007

• Exp

ansi

on o

f the

Wal

ker A

rt C

ente

r, M

inne

apol

is,

in: A

V 20

07 •

Her

zog

& d

e M

euro

n, in

: Bui

ldin

g R

evie

w, P

ekin

g, 3

40, 2

007

• H

erzo

g &

de

Meu

ron:

un

mus

ée p

ar a

n! in

: D’A

rchi

tect

ures

160,

200

7

• Chr

istia

n H

oll /

Kla

us S

iege

le, M

etal

lfass

aden

. Vom

Ent

wur

f bis

zur

A

usfü

hrun

g, M

unic

h 20

07 •

Chr

istin

e K

illor

y / R

ené

Dav

ids,

Det

ails

in

Con

tem

pora

ry A

rchi

tect

ure,

New

Yor

k 20

07 •

Mus

eum

of M

oder

n A

rts,

in: A

rchi

dea

35, 2

007.

No.

175

(Con

tinua

tion)

No

.176

2001

–20

02

rE

fE

ct

oir

Ep

oM

Er

ol

, fr

an

cE

P

roje

ct P

hase

sP

roje

ct· 2

001

Co

nstr

ucti

on

· 200

2

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

Pro

ject

Arc

hite

ct· J

ean-

Fréd

éric

Lüs

cher

(A

ssoc

iate

)P

roje

ct T

eam

· Bla

nca

Cas

tañe

da

· Pat

rick

Hei

z

Clie

nt· C

hris

tian

Mou

eix

and

C

heris

e M

ouei

x, L

ibou

rne,

Fra

nce

Pla

nnin

gLe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

ndA

sso

ciat

e A

rchi

tect

· Age

nce

Epur

e,

Libo

urne

, Fra

nce

ME

P E

ngin

eeri

ng· D

esig

npha

se: Z

PL In

geni

eure

, B

asel

, Sw

itzer

land

· Aus

führ

ungs

phas

e:

Sere

t Con

seil,

Can

ejan

, Fra

nce

Bui

ldin

g D

ata

Gro

ss F

loo

r A

rea

· 1,0

00 s

qmB

uild

ing

Dim

ensi

ons

· Len

gth

28.4

4 m

· W

idth

23.

44 m

· H

eigh

t 6.3

5 m

Bib

liogr

aphy

• Em

man

uel C

aille

, Dan

s le

Pal

ais

du V

enda

ngeu

r,

in: D

’Arc

hite

ctur

es 13

7, 2

004

• Her

zog

& d

e M

euro

n: H

osan

na,

in: a

rchi

thes

e 3 /

2004

.

No

.177

2000

–20

01

ast

or

pl

ac

E h

ot

El

nE

w Y

or

K, n

Ew

Yo

rK

, usa

P

roje

ct P

hase

sC

onc

ept

Des

ign

· 200

0 –

2001

Sch

emat

ic D

esig

n· 2

001

Co

llab

ora

tio

n· H

erzo

g &

de

Meu

ron,

B

asel

, Sw

itzer

land

· Rem

Koo

lhaa

s /O

MA

, R

otte

rdam

, Net

herla

nds

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g

· Pie

rre

de M

euro

n · H

arry

Gug

ger

Pro

ject

Arc

hite

ct· M

athi

s Ti

nner

(Ass

ocia

te)

Pro

ject

Tea

m· F

ranç

ois

Cha

rbon

net

· Anj

a Eh

renf

ried

· Chr

isto

pher

Pan

nett

· Ste

fan

Sege

ssen

man

n· A

drie

n Ve

rsch

uere

Clie

nt· I

an S

chra

ger H

otel

s,

New

Yor

k, N

Y, U

SA

Pla

nnin

gLe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

nd· R

em K

oolh

aas /

OM

A,

Rot

terd

am, N

ethe

rland

sA

sso

ciat

e A

rchi

tect

· Arc

hite

ctur

e Re

sear

ch O

ffice

LLP

, N

ew Y

ork,

USA

· Ear

ly P

hase

: HLW

, New

Yor

k, U

SAS

truc

tura

l Eng

inee

ring

· LER

A, N

ew Y

ork,

USA

Qua

ntit

y S

urve

yor

· Gar

dine

r & T

heob

ald

Inc.

, N

ew Y

ork,

USA

ME

P E

ngin

eeri

ng· A

rup,

New

Yor

k, U

SA

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· Isr

ael B

erge

r & A

ssoc

iate

s In

c,

New

Yor

k, U

SA· E

mm

er P

fenn

inge

r Par

tner

AG

, M

ünch

enst

ein,

Sw

itzer

land

Bui

ldin

g D

ata

Sit

e A

rea

· 1,6

55 s

qm

262

No. 176 P.104 Project / P.196 Plans No. 177 P.112 Project / P.197 Plans

Bib

liogr

aphy

• Lu

is F

erná

ndez

-Gal

iano

/ D

avid

Koh

n, C

oraz

ón d

e ne

on.

Am

eric

anos

y e

urop

eos

rein

vent

an N

ew Y

ork,

in: A

V 76

, 200

1 • R

icol

a-Eu

rope

SA

, Pro

duct

ion

and

Stor

age,

Arc

hite

cts’

Edi

tion

2001

• Jon

atha

n M

ahle

r, G

otha

m R

isin

g, in

: Tal

k 4,

200

1 • H

otel

Ast

or P

lace

, in

: El C

roqu

is 13

1 / 13

2, 2

006.

O

MA

Pro

ject

Tea

mP

artn

ers

· Rem

Koo

lhaa

s· D

an W

ood

Pro

ject

Arc

hite

ct· D

avid

Moo

reP

roje

ct T

eam

· Han

s Fo

cket

yn

· Ala

in F

oura

ux

· Sta

n Va

ndrie

ssch

e · F

enna

Haa

kma

Wag

enaa

r

No

.178

2000

–20

03

pr

ad

a a

oY

aM

a E

pic

En

tE

rt

oK

Yo

, Ja

pan

P

roje

ct P

hase

sP

roje

ct· 2

000

– 20

02C

ons

truc

tio

n· 2

001 –

200

3

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g

· Pie

rre

de M

euro

nP

roje

ct A

rchi

tect

s· S

tefa

n M

arba

ch (A

ssoc

iate

)· R

eto

Pedr

occh

i· W

olfg

ang

Har

dtP

roje

ct T

eam

· Luc

a A

ndris

ani

· And

reas

Frie

s· Y

uko

Him

eno

· Hiro

shi K

ikuc

hi· S

hiny

a O

kuda

· Dan

iel P

okor

a· G

eorg

Sch

mid

· Mat

his

Tinn

erP

rada

Pro

ject

Tea

m· M

iucc

ia P

rada

· Pat

rizio

Ber

telli

· G

iuse

ppe

Polv

ani

· And

rea

Scap

ecch

i · F

ulvi

o G

rigna

ni

· Mar

ysia

Wor

onie

cka

· Mau

ro F

abbr

i · M

irco

Palla

nti

· Mar

co M

ugna

ini

· Dai

suke

Has

him

oto

· Shi

geru

Wat

anab

e · M

oren

o M

orin

i · F

abriz

io C

illia

n

Clie

nt· P

RA

DA

Jap

an C

o., L

td.,

To

kyo,

Jap

an

Pla

nnin

gLe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

ndA

sso

ciat

e A

rchi

tect

s· T

aken

aka

Cor

pora

tion,

To

kyo,

Jap

an:

Mic

hio

Jinu

shi,

Ken

ji Ta

kesh

ima,

Sh

inob

u C

hiba

, Shu

ji Is

hika

wa,

K

en K

urita

Str

uctu

ral E

ngin

eeri

ng· T

aken

aka

Cor

pora

tion,

To

kyo,

Jap

an:

Yosh

io T

anno

, Hiro

kazu

Koz

uka,

M

asay

oshi

Nak

ai, M

asat

o O

hata

· WG

G S

chne

tzer

Pus

kas,

B

asel

, Sw

itzer

land

: H

einr

ich

Schn

etze

rH

VA

C E

ngin

eeri

ng

· Tak

enak

a C

orpo

ratio

n,

Toky

o, J

apan

: Ya

suhi

ro S

hira

tori,

Sei

jirou

Fur

uya,

B

umpe

i Mag

ori

· Wal

dhau

ser H

aust

echn

ik,

Bas

el, S

witz

erla

nd:

Mar

io R

egis

Ele

ctri

cal E

ngin

eeri

ng· T

aken

aka

Cor

pora

tion,

To

kyo,

Jap

an:

Yasu

hiro

Shi

rato

ri, S

eijir

ou F

uruy

a,

Bum

pei M

agor

iLa

ndsc

ape

Des

ign

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

nd

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· Em

mer

Pfe

nnin

ger P

artn

er A

G,

Mün

chen

stei

n, S

witz

erla

ndLi

ghti

ng· A

rup

Ligh

ting,

Lon

don,

UK

: A

ndre

w S

edgw

ick,

Jef

f Sha

wF

ire

Pro

tect

ion

· Tak

enak

a C

orpo

ratio

n,

Toky

o, J

apan

: Yo

shiy

uki Y

oshi

da,

Nao

hiro

Tak

eich

i,

Tsut

omu

Nag

aoka

, To

shih

iko

Nis

him

ura

Larg

e-S

cale

Sto

re L

aw· T

aken

aka

Cor

pora

tion,

To

kyo,

Jap

an:

Mas

ahiro

Hio

ki, K

anji

Mat

sush

ita,

Yasu

ko In

ukai

Gen

eral

Co

ntra

cto

r· T

aken

aka

Cor

pora

tion,

To

kyo,

Jap

an:

Mak

oto

Hos

hino

, Tos

hiki

Oka

zaki

, To

shih

ito K

uros

awa,

K

azuh

iro A

be, H

idey

uki T

akah

ashi

, K

atsu

to N

inom

iya

Cur

tain

Wal

l Sub

cont

ract

or

· Jos

ef G

artn

er G

mbH

, G

unde

lfing

en, D

euts

chla

ndS

ubco

ntra

cto

rs· G

artn

er J

apan

K.K

. · K

awad

a In

dust

ries,

Inc.

· H

itach

i Met

als

Tech

no, L

td.

· Oile

s C

orpo

ratio

n · S

tairx

Co.

, Ltd

. · I

shim

aru

Co.

, Ltd

.,

· Oku

ju C

o., L

td.

· Jap

an In

sula

tion

Co.

, Ltd

. · N

ichi

as C

orpo

ratio

n · S

anw

a Sh

utte

r Cor

pora

tion

· Nih

on K

ente

tsu

Co.

, Ltd

. · F

rom

To

Inc.

, · T

erao

ka A

uto

- Doo

r Sys

tem

C

o., L

td.

· Min

emur

a K

inzo

ku K

oji C

o., L

td.

· Kak

en M

ater

ial C

o., L

td.

· Oki

Gla

ss C

o., L

td.

· Nip

pon

Shee

t Gla

ss D

&G

Sy

stem

Co.

, Ltd

. · T

aiyo

Kog

yo C

orpo

ratio

n · A

sahi

Kiza

i Cor

pora

tion

· TA

K li

ving

Cor

pora

tion

· Sat

o K

ogyo

Co.

, Ltd

. · T

oyot

su H

ousi

ng C

o., L

td.

· Asa

hi K

ousa

n C

orpo

ratio

n

· Sch

indl

er E

leva

tor K

.K.

· Kan

denk

o C

o., L

td.

· Tai

kisy

a Lt

d.

· Sai

kyu

Kog

yo C

o., L

td

· TA

K E

-HVA

C C

o., L

tdS

nork

el· M

atsu

shita

Ele

ctric

Indu

stria

l Co.

, Lt

d., J

apan

· J

ohn

Lay

Elec

troni

cs A

G

(Pan

ason

ic S

chw

eiz)

, Sw

itzer

land

· Sch

arff

Wei

sber

g, U

SA

➞

263

No. 178 P.118 Project / P.198 Plans / P. 326 Images

No

. 20

1 2001

–20

08

ca

ixa

fo

ru

M M

ad

rid

Ma

dr

id, s

pain

P

roje

ct P

hase

sP

roje

ct· 2

001 –

200

3R

ealiz

atio

n· 2

003

– 20

08

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

· Har

ry G

ugge

rP

roje

ct A

rchi

tect

s· P

eter

Fer

retto

(Ass

ocia

te)

· Car

los

Ger

hard

(Ass

ocia

te)

· Ste

fan

Mar

bach

(Ass

ocia

te)

· Ben

ito B

lanc

oP

roje

ct T

eam

· Hei

tor G

arci

a La

ntar

on

· Est

elle

Gro

sber

g · P

edro

Gue

des

· Mic

hel K

ehl

· Mig

uel M

arce

lino

· Gab

riela

Maz

za· B

eatri

ce N

oves

Sal

to· M

arga

rita

Salm

eron

· Ste

fano

Tag

liaca

rne

Clie

nt· O

bra

Soci

al F

unda

ción

“La

Cai

xa,”

Mad

rid, S

pain

· Cai

xa d

’Est

alvi

s i P

ensi

ons

de

Bar

celo

na, B

arce

lona

, Spa

in

Pla

nnin

gLe

ad D

esig

n A

rchi

tect

· Her

zog

& d

e M

euro

n,

Bas

el, S

witz

erla

ndA

sso

ciat

e A

rchi

tect

· M

ateu

i B

ause

lls A

rqui

tect

ura,

M

adrid

, Spa

inP

roje

ct M

anag

emen

t· S

ervi

habi

tat,

Bar

celo

na, S

pain

· C

onst

rucc

ión

i Con

trol,

B

arce

lona

, Spa

inG

ener

al C

ont

ract

or

· Fer

rovi

al A

grom

an,

Mad

rid, S

pain

Str

uctu

ral E

ngin

eeri

ng· W

GG

Sch

netz

er P

uska

s

Inge

nieu

re, B

asel

, Sw

itzer

land

· NB

35, M

adrid

, Spa

inM

EP

Eng

inee

ring

· Urc

ulo

Inge

nier

os,

Mad

rid, S

pain

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· Em

mer

Pfe

nnin

ger P

artn

er A

G,

Bas

el, S

witz

erla

nd· E

NA

R, M

adrid

, Spa

inLi

ghti

ng· A

rup

Ligh

ting,

Lon

don,

UK

Aco

usti

cs· A

udio

scan

, Bar

celo

na, S

pain

Gre

en W

all

· Her

zog

& d

e M

euro

n

in K

olla

bora

tion

mit

Patri

ck B

lanc

, K

ünst

ler-

Bot

anis

t, Pa

ris, F

ranc

e G

reen

Wal

l Co

nsul

tant

· Ben

avid

es &

Lap

èrch

e,

Mad

rid, S

pain

Bui

ldin

g D

ata

Sit

e A

rea

· bui

ldin

g si

te: 1

,934

sqm

· pla

za: 6

50 s

qm

Bui

ldin

g Fo

otpr

int

· 1,4

00 s

qm

Gro

ss F

loo

r A

rea

· 11,0

00 s

qm

Bui

ldin

g D

imen

sio

ns· L

engt

h 44

.00

m

· Wid

th 3

7.00

m

· Hei

ght 2

8.00

m

Bib

liogr

aphy

• La

Cai

xa d

e H

erzo

g y

de M

euro

n en

Mad

rid, i

n: A

V 87

, 20

02 •

Her

zog

& d

e M

euro

n ve

rede

ln L

uzer

n. N

eues

Hot

elpr

ojek

t,

in: B

ilanz

1 . 5

. 200

2 • B

. Cia

/ C. S

erra

, Que

rem

os c

onst

ruir

gran

des

torr

es,

in: E

l Paí

s 14

. 9.2

002

• F. S

aman

iego

, Cum

bre

de a

rqui

tect

os e

stre

lla e

n M

adrid

sob

re e

l fut

uro

pase

o de

l Pra

do, i

n: E

l Paí

s 17

. 9 . 2

002

• Her

zog

& d

e M

euro

n. C

aixa

Foru

m e

n el

pas

eo d

el P

rado

, in:

AV

89 –

90,

20

03 •

La F

unda

ció

la C

aixa

con

stru

ye u

n en

tro s

ocia

l y c

ultu

ral

en E

l Pra

do, i

n: E

l Mun

do 2

003

• Un

edifi

cio

indu

stria

l “le

vita

rá” p

ara

conv

ertir

se e

n C

aixa

Fóru

m-M

adrid

, in:

El P

aís,

11 . 2

. 200

3 • P

edro

Bla

sco,

O

tro m

useo

más

en

el P

rado

, in:

El M

undo

200

3 • R

aul C

anci

o, E

dific

io d

e C

aixa

Fór

um e

n el

pas

eo d

el p

rado

, in:

El P

aís

182 /

2003

• Lu

is F

erná

ndez

-G

alia

no, C

aja

de s

orpr

esas

, in:

El P

aís.

com

8 . 2

. 200

3 • T

haïs

Gut

iérr

ez,

Cai

xaFo

rum

des

emba

rca

a M

adrid

, in:

AVU

I 200

3 • M

igue

l Ang

el T

rena

s, M

adrid

tend

rá u

n C

aixa

Foru

m e

n la

zon

a de

l mus

eo d

el P

rado

, in:

La

Vang

uard

ia 2

003

• AV

114,

Mad

rid 2

005

• Fra

nçoi

s C

hasl

in, B

ajo

el s

igno

de

la g

loba

lizac

ión /

In th

e G

loba

l Sce

ne, i

n: A

V 11

3, 2

005

• Cai

xaFo

rum

-

Mad

rid, i

n: a

+u

8 / 20

06 •

Cai

xaFo

rum

-Mad

rid, i

n: E

l Cro

quis

, 200

6 • H

erzo

g y

de M

euro

n U

n m

uro

vege

tal f

rent

e al

Rea

l Jar

dín

Bot

ánic

o, in

: A

V 10

7 –

108,

200

6 • C

aixa

Foru

m B

uild

ing,

Mad

rid, i

n: A

V 20

07 •

Proj

ect

Nav

i, in

: Nik

kei A

rchi

tect

ure

12 / 2

007

• Kla

us E

ngle

rt, P

aseo

del

Arte

, M

adrid

, in:

Deu

tsch

e B

auze

itung

7 / 2

007

• Her

zog

& d

e M

euro

n, in

: B

uild

ing

Rev

iew

, Pek

ing,

340

, 200

7 • H

erzo

g &

de

Meu

ron:

un

mus

ée

par a

n! in

: D’A

rchi

tect

ures

160,

200

7.

Pro

ject

Pha

ses

Stu

dy· 2

001 –

200

5

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

Pro

ject

Arc

hite

ct· E

rich

Dis

eren

s (A

ssoc

iate

)P

roje

ct T

eam

· Tho

mas

Arn

hard

t · M

atth

ieu

Bru

tsae

rt · S

arah

Cre

min

· G

usta

vo E

spin

oza

· Jea

nne-

Fran

çois

e Fi

sche

r · H

ans

Fock

etyn

· E

ik F

renz

el

· Phi

lip F

ung

· Mar

cin

Gra

la

· Hen

drik

Gru

ss

· Ver

ena

Lind

enm

ayer

· J

ulia

n Lö

ffler

· M

onik

a Lo

sos

· Chr

istia

n A

ndre

as M

ülle

r · S

arah

Rig

hetti

· W

erne

r Sch

mid

t · C

hris

tian

Schü

hle

· Gün

ter S

chw

ob

· Ste

fan

Sege

ssen

man

n

Clie

nt· F

. Hof

fman

n-La

Roc

he A

G,

Bas

el, S

witz

erla

nd

Bib

liogr

aphy

• Va

lent

in K

essl

er / P

atric

k M

arco

lli, N

eue

Reg

ieru

ng d

enkt

üb

er d

en T

ag h

inau

s, in

: Bas

ler Z

eitu

ng 2

8 . 9

. 200

5.

Th

e R

och

e h

ealt

hca

re c

om

pan

y w

ante

d t

o e

xplo

re t

he

po

ssib

iliti

es o

f d

evel

op

ing

its

B

asel

gro

un

ds

to a

cco

mm

od

ate

exte

nsi

on

s an

d n

ew s

trat

egic

fun

ctio

ns.

Th

e b

usy

tho

r-o

ug

hfa

re o

f Gre

nza

cher

stra

sse

cuts

thro

ug

h th

e g

rou

nd

s, a

nd

so H

erzo

g &

de

Meu

ron

d

rew

up

a st

ud

y th

at d

ivid

es th

e si

te in

to a

no

rth

ern

and

a so

uth

ern

zon

e, e

ach

wit

h it

s o

wn

spec

ific

app

roac

h to

dev

elo

pm

ent.

Fir

st o

f all,

the

site

usa

ge

was

to b

e st

ream

lined

so

th

at t

he

sou

ther

n zo

ne

on

the

Rh

ine

wo

uld

be

allo

cate

d to

man

ager

ial a

nd

adm

inis

-tr

ativ

e o

ffice

s, w

hile

th

e n

ort

her

n zo

ne

wo

uld

acc

om

mo

dat

e th

e p

rod

uct

ion

, res

earc

h

and

sto

rag

e fa

cilit

ies.

Th

is m

ade

the

elo

ng

ated

bu

ildin

gs

frin

gin

g S

olit

üd

e P

ark

in t

he

sou

ther

n z

on

e av

aila

ble

fo

r u

pw

ard

ex

ten

sio

n t

o o

pen

up

th

e si

te t

ow

ard

s th

e R

hin

e.

Aft

er e

xper

imen

tin

g w

ith

a va

riet

y o

f h

igh

rise

str

uct

ure

s, t

he

arch

itec

ts c

ame

up

wit

h

the

solu

tio

n o

f th

e o

ffice

hig

hri

se d

esig

nat

ed a

s B

uild

ing

1, w

her

e 24

00 m

emb

ers

of

staf

f p

revi

ou

sly

wo

rkin

g i

n o

ffice

s sc

atte

red

th

rou

gh

ou

t th

e ci

ty c

ou

ld b

e b

rou

gh

t

tog

eth

er. T

he

op

en s

pac

e, r

eco

vere

d b

y b

uild

ing

vert

ical

ly, c

ou

ld t

hen

be

lan

dsc

aped

as

a c

on

tin

uat

ion

of t

he

par

k, w

hic

h w

ou

ld th

us

exte

nd

rig

ht u

p to

the

his

tori

c en

sem

ble

d

esig

ned

by

the

Ro

che

com

pan

y’s

in-h

ou

se a

rch

itec

t Ott

o R

ud

olf

Sal

visb

erg

. Th

e ar

chi-

tect

s a

lso

en

visi

on

red

evel

op

ing

Gre

nza

cher

stra

sse

to in

clu

de

gre

ener

y an

d w

ider

p

avem

ents

. Set

tin

g b

ack

the

bo

un

dar

y fe

nce

s an

d v

isu

ally

op

enin

g u

p t

he

gro

un

d

flo

or

area

s fa

cin

g t

he

stre

et w

ou

ld t

ran

sfo

rm t

his

bu

sy t

ho

rou

gh

fare

into

a p

leas

ant

area

that

lin

ks th

e co

mp

any

gro

un

ds

to th

e ci

ty m

ore

eff

ecti

vely

. Fo

r th

e n

ort

her

n zo

ne,

w

her

e H

erzo

g &

de

Meu

ron

hav

e al

read

y co

nst

ruct

ed B

uild

ing

92 (n

o. 1

00) a

nd

Bu

ildin

g

95 (

no

. 225

), th

e ar

chit

ects

pro

po

sed

stru

ctu

res

of d

iffe

rin

g h

eig

hts

an

d fl

oo

r p

lan

that

le

nd

rh

yth

m a

nd

var

iety

to

th

e co

mp

lex

as a

wh

ole

. Hen

ce, t

he

bu

ildin

gs

alo

ng

Wet

t-st

ein

stra

sse

are

low

er in

kee

pin

g w

ith

the

resi

den

tial

ho

usi

ng

op

po

site

, wh

ile th

e b

uild

-in

g h

eig

ht

incr

ease

s to

40

met

ers

tow

ard

s th

e ce

nte

r o

f si

te, a

llow

ing

rou

nd

-th

e-cl

ock

p

rod

uct

ion

to b

e co

nce

ntr

ated

wit

hin

th

e g

rou

nd

s. T

hes

e in

div

idu

al p

rop

osa

ls a

re n

ot

inte

gra

ted

into

a fi

xed

stru

ctu

re in

the

man

ner

of a

mas

terp

lan

, bu

t pro

vid

e in

ter-

rela

ted

va

riat

ion

s th

at g

ive

the

com

pan

y sc

op

e fo

r a

flex

ible

res

po

nse

to fu

ture

nee

ds

by

intr

o-

du

cin

g d

iffe

ren

t arc

hit

ectu

ral p

atte

rns.

No

. 20

2 20

01–

2005

ur

Ba

n s

tu

dY

Ba

sEl

, sw

itz

Er

la

nd

274

No. 201 P.150 Project / P. 210 Plans / P. 337 Images No. 202

Pro

ject

Pha

ses

Co

ncep

t D

esig

n an

d

Per

mit

Dra

win

gs· 2

002

– 20

03

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

· Chr

istin

e B

insw

ange

rP

roje

ct A

rchi

tect

s· M

athi

s Ti

nner

(Ass

ocia

te)

· Gab

riella

Ber

tozz

iP

roje

ct T

eam

· Ant

ónio

Bra

nco

· Jac

quel

ine

Gäb

el· J

ean-

Fréd

éric

Lus

cher

· Ste

fano

Tag

liaca

rne

· Mar

co V

olpa

to

Clie

nt· D

avin

es S

.p.A

. Par

ma,

Ital

y

No

. 20

4 20

01–

2 00

2, 2

003

Ba

sEl

dr

Eis

pit

za

rE

al

, ur

Ba

n s

tu

dY

Ba

sEl

, sw

itz

Er

la

nd

Pro

ject

Pha

ses

Urb

an S

tudy

· 200

1 – 2

002

Rev

isio

n· 2

003

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

Pro

ject

Tea

m· J

eann

e Fr

anço

ise

Fisc

her

· Chr

istia

n M

ülle

r · G

errit

Sel

l · N

oélie

Sén

écla

uze

Clie

nt· C

hris

toph

Mer

ian

Stift

ung,

B

asel

, Sw

itzer

land

· Fin

anzd

epar

tem

ent B

asel

-Sta

dt,

Bas

el, S

witz

erla

nd· B

aude

parte

men

t Bas

el-S

tadt

, B

asel

, Sw

itzer

land

Bib

liogr

aphy

• A

ndré

Bid

eau,

Ein

Bef

reiu

ngss

chla

g fü

r Bas

el?

in: N

eue

Zürc

her Z

eitu

ng 6

. 12 . 2

002

• Her

zog

& d

e M

euro

n, V

isio

n D

reis

pitz

. Ei

ne s

tädt

ebau

liche

Stu

die,

Bas

el 2

002 /

2003

• U

rs R

ist,

Dre

ispi

tz-A

real

so

ll vi

elfä

ltige

r gen

utzt

wer

den,

in: B

asle

r Zei

tung

22 .

1 . 20

02

• Geo

rg S

chm

idt,

Auf

dem

Bro

adw

ay d

urch

den

Dre

ispi

tz, i

n: B

asle

r Zei

tung

31

. 10 . 2

002

• An

der G

renz

e be

ider

Bas

el, i

n: H

ochp

arte

rre

1 – 2

/ 200

3

• Lili

an P

faff

, Bas

el, H

ochh

ausd

ebat

te S

chw

eiz,

in: a

rchi

thes

e 3 /

2003

• I

b., M

anha

ttan,

Soh

o un

d Q

ueen

s in

Bas

el?,

in: W

erk

1 – 2

/ 200

3

• Val

entin

Kes

sler

/ Pat

rick

Mar

colli

, Neu

e R

egie

rung

den

kt ü

ber d

en T

ag

hina

us, i

n: B

asle

r Zei

tung

28 .

9 . 2

005

• Ric

htpl

an D

reis

pitz

200

6,

Bau

depa

rtem

ent B

asel

-Sta

dt 2

006.

No

. 20

5 20

01–

2005

al

lia

nz

ar

En

aM

ün

ch

En

-fr

öt

tM

an

ing

, gE

rM

an

YP

roje

ct P

hase

sC

om

peti

tio

n· 2

001 –

200

2S

chem

atic

Des

ign

· 200

2D

esig

n D

evel

opm

ent

· 200

2C

ons

truc

tio

n D

ocu

men

ts· 2

002

– 20

04C

ons

truc

tio

n· 2

002

– 20

05

Pro

ject

Tea

m

Par

tner

s· J

acqu

es H

erzo

g · P

ierr

e de

Meu

ron

· Rob

ert H

ösl

Pro

ject

Arc

hite

ct· T

im H

upe

Pro

ject

Tea

m· A

ndre

as B

eier

· F

elix

Bey

reut

her

· Sve

n B

ieta

u· J

ean-

Cla

ude

Cad

albe

rt · G

eorg

ios

Cha

itidi

s · G

rego

r Die

trich

· A

lex

Fhte

naki

s · K

atja

Fie

bran

dt

· Eric

Fris

ch

· Mar

tin F

röhl

ich

· Han

s G

rube

r · N

ikol

ai H

app

· Rom

an H

arba

um· C

laud

ia v

on H

esse

rt· U

ta K

amps

· Seb

astia

n K

och

· Seb

astia

n M

assm

ann

· Chr

isto

ph M

auz

· Kai

Mer

kert

· Bea

triz

Nov

es S

alto

· M

atth

ias

Pekt

or

· Dan

iel R

eisc

h · R

olan

d R

ossm

aier

Clie

nt· A

llian

z A

rena

- M

ünch

en

Stad

ion

Gm

bHC

lub

s· F

C B

ayer

n M

ünch

en· T

SV 18

60 M

ünch

enG

ener

al C

ont

ract

or

· Alp

ine

Bau

Deu

tsch

land

Gm

bH,

Echi

ng, G

erm

any

Pla

nnin

gG

ener

al P

lann

ing

· HVB

Imm

obili

en A

G,

Mun

ich,

Ger

man

yLe

ad D

esig

n A

rchi

tect

· Her

zog

& de

Meu

ron,

B

asel

, Sw

itzer

land

Str

uctu

ral E

ngin

eeri

ng· A

rup,

Man

ches

ter,

UK

· Sai

ler S

tepa

n Pa

rtner

, M

unic

h, G

erm

any

· Klin

g C

onsu

lt,

Kru

mba

ch, G

erm

any

· Wal

ter M

ory

Mai

er,

Bas

el, S

witz

erla

nd· I

B H

arin

ger,

M

unic

h, G

erm

any

Mec

hani

cal E

ngin

eeri

ng· T

GA

Con

sulti

ng,

Mun

ich,

Ger

man

yLa

ndsc

ape

Des

ign

· Vog

t Lan

dsch

afts

arch

itekt

en,

Züric

h, S

witz

erla

nd

Spe

cial

ists

/ C

ons

ulta

nts

Fac

ade

Co

nsul

ting

· R+

R F

uchs

, M

unic

h, G

erm

any

Traf

fic

· Klin

g C

onsu

lt,

Kru

mba

ch, G

erm

any

Fir

e P

rote

ctio

n· h

hpbe

rlin,

Ber

lin, G

erm

any

Ligh

ting

· Wer

ning

Tro

pp S

chm

idt,

M

unic

h, G

erm

any

Bui

ldin

g D

ata

Sit

e A

rea

· 310

,000

sqm

Bui

ldin

g Fo

otpr

int

· 37,

600

sqm

Gro

ss F

loo

r A

rea

· 171

,000

sqm

Bui

ldin

g D

imen

sio

ns· L

engt

h 22

7.00

m

· Wid

th 2

58.0

0 m

· Hei

ght 5

0.00

m· C

ircum

fere

nce

840.

00 m

· Dim

ensi

on o

f esp

lana

de

133.

00 m

× 6

00.0

0 m

ETF

E S

kin

The

65,5

00 s

qm e

xter

ior f

acad

e

of th

e A

llian

z A

rena

, is

com

pris

ed

of 2

,874

rhom

bic-

shap

ed

pneu

mat

ic c

ushi

ons

mad

e fr

om

ETFE

-film

that

can

be

back

light

ed

by fl

uore

scen

t tub

es a

nd c

olor

ed

in w

hite

, blu

e an

d re

d.C

apac

ity

· Tot

al: 6

9,90

1 cap

acity

und

erco

ver

(incl

udin

g ex

ecut

ive

boxe

s an

d

busi

ness

sea

ts)

· Low

er ti

ers:

20,

000

seat

s · M

iddl

e tie

rs: 2

4,00

0 se

ats

· Upp

er ti

er: 2

2,00

0 se

ats

➞

In 1

996,

th

e D

avin

es c

osm

etic

s fi

rm l

aun

ched

a n

um

ber

of

new

pro

du

ct l

ines

to

be

sup

plie

d d

irec

t fr

om

Par

ma

to s

elec

t h

aird

ress

ing

salo

ns

and

spas

. Th

e n

ew c

om

ple

x b

etw

een

a h

igh

way

an

d a

stre

am w

as t

o in

corp

ora

te p

rod

uct

ion

, sto

rag

e, d

istr

ibu

tio

n

and

man

agem

ent f

acili

ties

wh

ile a

t th

e sa

me

tim

e p

roje

ctin

g th

e co

mp

any’

s im

age

as

a m

anu

fact

ure

r of n

atu

ral p

rod

uct

s u

sin

g n

atu

ral p

roce

sses

. Her

zog

& d

e M

euro

n st

ruc-

ture

d th

is c

on

sid

erab

le v

olu

me

into

a c

om

ple

x o

f sep

arat

e b

uild

ing

s re

calli

ng

the

farm

-st

ead

s o

f th

e P

o V

alle

y an

d Tu

scan

y, a

nd

thu

s p

ayin

g h

om

age

to th

e ru

ral s

urr

ou

nd

ing

s an

d P

arm

a’s

agri

cult

ura

l her

itag

e. A

t th

e sa

me

tim

e, t

hey

im

bu

ed t

he

new

co

mp

any

hea

dq

uar

ters

wit

h a

sen

se o

f art

ifice

that

refl

ects

the

pro

cess

ing

of n

atu

ral m

ater

ials

in

cosm

etic

s: a

larg

e ro

of b

ind

s th

e co

mp

lex

and

crea

tes

shad

y o

utd

oo

r sp

aces

an

d w

alk-

way

s th

rou

gh

the

gro

un

ds.

Inst

ead

of h

ug

e lo

go

s, th

e h

alls

hav

e tr

ansp

aren

t wal

ls th

at

allo

w d

rive

rs o

n th

e th

ruw

ay g

limp

ses

of t

he

pro

du

ctio

n p

roce

ss in

mu

ch th

e sa

me

way

th

at th

e liq

uid

s sh

imm

er th

rou

gh

the

larg

e co

nta

iner

s in

wh

ich

they

are

pro

cess

ed a

nd

st

ore

d. T

his

wat

er m

etap

ho

r al

so r

etu

rns

in t

he

flu

id p

atte

rns

of

the

extr

ud

ed m

etal

cl

add

ing

and

in th

e la

nd

scap

ed g

rou

nd

s w

ith

thei

r pla

nts

an

d p

oo

ls, d

esig

ned

in c

olla

b-

ora

tio

n w

ith

Mic

hel

Des

vig

ne,

wh

ich

cat

ch t

he

eye

wh

en p

assi

ng

alo

ng

th

e h

igh

way

. T

he

them

e o

f nat

ure

co

nti

nu

es in

th

e ex

hib

itio

n p

avili

on

wit

h it

s ai

ry, o

rgan

ic p

arti

tio

n

wal

ls o

f su

spen

ded

fab

rics

mad

e o

f pre

ssed

rat

her

than

wo

ven

fib

ers.

No

. 20

3 20

02–

2003

da

vin

Es

hE

ad

of

fic

Epa

rM

a, i

ta

lY

275

No. 204 P.156 Project No. 205 P.162 Project / P. 214 Plans / P. 342 ImagesNo. 203

308

No.168 / 174 Helvetia PatriaSt. Gallen, SwitzerlandP. 74 Project / P.186 Plans

309

No.169 SchaulagerMünchenstein/Basel, SwitzerlandP. 80 Project / P.188 Plans

312

No.169 SchaulagerP. 80 Project / P.188 Plans

313

No.169 SchaulagerMünchenstein/Basel, Switzerland

314

P. 80 Project / P.188 Plans

315

No.169 SchaulagerMünchenstein/Basel, Switzerland

326

P.118 Project / P.198 Plans

327

No.178 Prada AoyamaTokyo, Japan

328


329


330


331


342

P.162 Project / P. 214 Plans

343

No. 205 Allianz ArenaMunich-Fröttmaning, Germany

346

P.162 Project / P. 214 Plans

347

No. 205 Allianz ArenaMunich-Fröttmaning, Germany

349

No. 226 National Stadium, The Main Stadium for the 2008 Olympic GamesBeijing, China

351

No. 226 National Stadium, The Main Stadium for the 2008 Olympic GamesBeijing, China

herzog & de meuron - the complete works, volume 4

Documents

e new york

art new york

basel design

basel redesign

e oakville

a4el basel

e e4paa

redesign volume