Herzog & de Meuron - The Complete Works, Volume 4
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Transcript of 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
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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
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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
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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
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+7,10
+10,78
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RND 160
18 16 14 12 10 8 6 4 2
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RND 160
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1
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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
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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
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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
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Beto
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A A
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19 18 17 16 15 14 12 11 910 8 7 6 5 4 3 2 113
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FS18
- 19
FS15
- 16
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FS C-D
FS D-E
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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
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reich
Süd
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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
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169_DT_0004_001_FENSTER 169_DR_0301_NR103
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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
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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
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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.
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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
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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
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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
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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.
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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
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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
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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.
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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.
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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.
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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.
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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.
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Pro
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Co
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Oec
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Ele
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G,
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erla
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arch
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en,
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witz
erla
nd
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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
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No
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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
P.118 Project / P.198 Plans
329
No.178 Prada AoyamaTokyo, Japan
330
P.118 Project / P.198 Plans
331
No.178 Prada AoyamaTokyo, Japan
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
348
349
No. 226 National Stadium, The Main Stadium for the 2008 Olympic GamesBeijing, China
350
351
No. 226 National Stadium, The Main Stadium for the 2008 Olympic GamesBeijing, China