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 Germanlanguage 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, broadcasting, 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 AG Basel ∙ Boston ∙ Berlin P.O. Box 133, CH-4010 Basel, Switzerland Part 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 987654321 www.birkhauser.ch

Contents P. 7

Foreword Introduction Buildings and Projects 1997–2001 P. 9

P. 23

P.132

P. 24

No.155

No.184

e er

pra a le

art

No.185

New York, New York, USA

pra a

P. 30

ra

li h re i e

Oakville, California, USA

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No.187

pra a leva ella

P.142

No.160

No.190

la a

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Deptford, London, UK

Barcelona, Spain

P. 46

p ert e a ta

No.182

No. 201

ai a a ri

r

pla a e e pa a e a ta r

Santa Cruz de Tenerife, Canary Islands, Spain

r

Madrid, Spain

No. 204

rei pit

Basel, Switzerland

No.164

a el

P.162

tea

Santa Cruz de Tenerife, Canary Islands, Spain

No. 205

allia

P. 62

are a

Munich-Fröttmaning, Germany

No.165

reha

Basel, Switzerland

P.169

a el

P. 68

Plans Texts Herzog & de Meuron Work Chronology Appendix Images P. 219

tt

li rar

Cottbus, Germany P. 74

No.168 /174

helvetia patria St. Gallen, Switzerland

P. 80

No.169

ha la er

Münchenstein/Basel, Switzerland

No.173

e

San Francisco, California, USA

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P. 96

No.175

al er art

Minneapolis, Minnesota, USA

e ter

P.104

No.176

re e t ire a

Pomerol, France

a

i er

P.112

No.177

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

P.118

No.178

pra a a

Tokyo, Japan P.126

er pa

Binningen, Switzerland

a

P. 247

P. 289

P. 88

a

a

P.156

P. 54

No.181

ar el

P.150

No.163

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Montevarchi, Arezzo, Italy

P. 40

No.189

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New York, New York, USA

No.158

No.166

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Terranuova, Arezzo, Italy

a

Foreword

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 retrospect: 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 architecture 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’ launching 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 marginalized 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 paradigmatic 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

7

©2008

I M A G E © 2 0 0 8 G E O C O N T E N T / I M A G E © 2 00 8 D I G I T A L G L O B E / I M A G E © 2 0 0 8 F L O T R O N / P E R R I N J A Q U E T — 47 °3 1‘ 4 2 . 40 “ N / 7° 36 ‘ 3 7 . 9 0“ E

©2008

I M A G E © 2 0 0 8 G E O C O N T E N T / I M A G E © 2 00 8 D I G I T A L G L O B E / I M A G E © 2 0 0 8 F L O T R O N / P E R R I N J A Q U E T — 47 °3 1‘ 4 2 . 40 “ N / 7° 36 ‘ 3 7 . 9 0“ E

Münchenstein/Basel Switzerland 1998–2003

No. 169

C au a

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

81

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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 internationally. 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.

H E R Z O G & D E M E U R O N , 2008

82

No. 169 Schaulager

Fluvial gravel and art storage provided aesthetic inspiration.

169 _ R F A R _ 010 6 _ 512

169 _ R F S B _ 0000 _ 500 _ H O C H W A S S E R _ K

16 9 _ R F N L _ 0 0 0 0 _ 5 3 4 _ S A N D _ K

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.

169 _ S I _ 9909 _ 700 _ B S _ A I R V I E W

16 9 _ S I _ 0 310 _ 5 0 3 _ S I T - E G

16 9 _ S I _ 0204 _ 701 _ BAS E L- STA DT

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

169 _ R F A R _ 010 6 _ 510

169 _ R F A R _ 0106 _ 511

16 9 _ M O _ 010 6 _ 513

169 _ M O _ 0002 _ 055

169 _ M O _ 0002 _ 054

16 9 _ M O _ 020 9 _ 035

169 _ M O _ 0002 _ 008

16 9 _ M O _ 0 0 0 3 _ 0 5 6

83

16 9 _ M O _ 010 6 _ 515

16 9 _ M O _ 010 6 _ 514

16 9 _ M O _ 0 2 0 9 _ 0 41

16 9 _ M O _ 0 2 0 9 _ 0 57

16 9 _ M O _ 0 0 0 3 _ 017

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

169 _ D R _ 0101 _ 500 _ A N A L Y S I S

169 _ M O _ 0106 _ 506

16 9 _ M O _ 010 6 _ 5 01

169 _ M O _ 0106 _ 504

16 9 _ M O _ 010 6 _ 5 0 8

16 9 _ M O _ 0101 _ 513

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

169 _ C O _ 010 7 _ 5 01 _ S T Y R O

169 _ C O _ 0107 _ 502 _ S T Y R O

16 9 _ C I _ 010 4 _ 0 21 _ F R E E F O R M

169 _ C O _ 0107 _ 503 _ S T Y R O

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.

169 _ C O _ 0201 _ 500

169 _ C O _ 0000 _ 0 01 _ K R A T Z E N

169 _ C O _ 0107 _ 513

169 _ C O _ 0212 _ 510

169 _ S A _ 0 2 0 6 _ 5 0 2 _ M E T - P A N E L S

84

16 9 _ C O _ 0 2 01 _ 5 0 5

169 _ C O _ 010 8 _ 5 0 3

16 9 _ S A _ 0 4 0 3 _ 5 01 _ M 0 0 8 9 _ W Z P R E _ K

169 _ S A _ 0 2 0 6 _ 5 0 7 _ M E T - P A N E L S

No. 169 Schaulager

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

9

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60 62.71 m2 +6.80 +6.72 B: Monobeton W: Beton roh/Gips gestr.

D: Beton roh

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1O 601 B: W: D:

BF:

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Schiebetür Lagerzellen raumhoch mit Entrauchungsöffnung Schiebetür Lagerzellen Höhe 3m

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Laurenz-Stiftung Basel, Präsidentin Frau Maja Oeri, Amselstrasse 10, 4059 Basel 169 - Ein Schaulager für die Emanuel Hoffmann - Stiftung, Ruchfeldstrasse 19, 4142 Münchenstein 1. Obergeschoss 169-1-103-A

Datum

02.02.2000

1 / 100

Format

A0

Herzog & de Meuron Rheinschanze 6, 4056 Basel, info@herzogdemeuron.ch, Tel. 061 385 57 57, Fax 061 385 57 58 GSG Projekt Partner Grenzacherstrasse 30, 4058 Basel, gsg@projektpartner.ch, Tel. 061 686 95 00, Fax 061 686 95 05

49.87 25

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Projekt 3.775

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Allfällige Differenzen sind unverzüglich der Bauleitung zu melden!

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Revisionen:

Positionsänderung Türe Sekretariat Ä nderung W C-Trennw and W aschraum/W C Sanitärzelle A ktualisierung Position W and zw . Besprechung bzw . Lounge / Lager A ktualisierung M edienraum A ktualisierung Leichtbauw and V orhangstauraum, M öblierung K opierraum

Sämtliche Masse sind Rohmasse und vom Unternehmer zu prüfen!

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.

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Elektrobodendosen vorbereitet

Datum:

Y 12.06.2002 Y 17.06.2002 Y 15.07.2002 15.11.2002 09.01.2003

Alle Masse sind in Meter und Zentimeter angegeben!

Türhöhen beziehen sich auf ok fertig Boden und uk roher Sturz

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Leichtbauwand mit Dampfsperre Verstärkungsplatten auf Lagerzellwänden

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77

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1.00 2.20

20

Gewindehülse (Decke) Abwasseranschluss (Boden/W and) Auslass Lüftung (Boden) Sprinkler (Decke) Steckdose (Decke) Steckdose (Boden) Elektrokanal (Boden)

Leichtbauwand auf Rohfussboden

FS

20 20

2.99

PU-Beschichtung PU-Anstrich PU-Anstrich

Installationen:

Installationsschachtwand F60 mit Revisionstüren

75

+6.80

m2 +6.72 1O 20111.37 B: W: D:

A bkürzungen : WD W and-Durchbruch WS W and-Schlitz Decken-Durchbruch DD DS Decken-Schlitz -E Elektro -H Heizung -L Lüftung -K Kälte -S Sanitär ok Oberkante uk Unterkante

Ortbeton als Sichtbeton ausgebildet mit W andverkleidung geschiftet, Gesamtdicke 7 cm Leichtbauwand im Ausstellungsbereich Leichtbauwand F60 Leichtbauwand F60 mit Metallverkleidung perforiert.

Leichtbauwand F60 mit Vorsatzschale

34.96

BF:

2.26

1.79

1.00 2.20 WC Damen

15

4.20 25

2.20

15 20

45

30

1.82 5

20

3.66 m2 +6.80 +6.72

PU-Beschichtung PU-Anstrich PU-Anstrich

W andaufbauten : Aussenwand mit Innenwandverkleidung : W andverkleidung geschiftet 7 cm Ortbetonwand 30 cm beidseitig unsichtbar Fugenlose Abdichtungsbahn Dämmung 10 cm Noppenbahn ( Drainage) 2 cm Stampfbeton 30 cm Ortbeton beidseitig verkleidet mit Wandverkleidung, geschiftet, 7 cm QS D-E

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

10.30

1O 203

2.92

12 10 2.60 7

2

50

385

Tableau 6x25x15

115

20 1.24

2.58

1.24

1.00 2.20

1.535

48.27 m2 +6.80 +6.72 Monobeton Zementputz Zementputz

1O 190 B: W: D:

FS

1.01

4.10 FS18 - 19

169 _ D T _ 0004 _ 0 01 _ F E N S T E R

1.53 25

4.00

7.08

1O 101

182.89 m2 +6.80 +6.72 Eichenriemen Gipswand gestrichen Beton roh

1O 104

RND 180

30

LS 18-19

19

E 30

WS-E 70x54x10 UK. = +7.83

FB=+6.80 RB=+6.72

2

Plannummer

2.67

71 75

Treppe 1 BF:

F

1.83 25 10 5

1.35 2.25

WS 8/8

145

17.70 BF:

B: W: D:

15

58.05 m2 +6.80 +6.72 Monobeton B: W: Gipswand gestrichen Beton roh D: BF:

82

20

1.06

Behin. W C

1.65

8.00

Entladen

84.05 m2 +6.80 +6.72 Monobeton Gipswand gestrichen Beton roh

1.00 2.20

15

3.09 75

1.18

30

31

1O 501 B: W: D:

5.34

Grundriss EG - Süd

50

3.77

6.06 2.935

20

185 115 20 40

5.57

1.35 10 5

13* 29/17=3.77

WS 8/8

1.705 145 F= +4.42 R= +4.38 ok Brüstung + 7.80

6x25x15cm 25 25

10 35 20 1.25

50

20

20 20

645

5.00 72

6.08

1.81

Tableau

94 2.32

15

15

76 5

2.06 5

51

885

83 5 20

20

20

1.60

9.09

50

40

42.04 m2 +6.80 +6.72 Eichenriemen Gipswand gestrichen/Glas Beton roh

28

20 Glasabschluss T 30

35 7.515

7.765

7.00

6.13

20

20

20

7.50

30

4

B: W: D:

20

50

525 75

R=

50

20

1.65

31 10 10

40 5

80 2.20

BF:

B: W: D:

55.14 m2 +6.80 +6.72 Eichenriemen Gipswand gestrichen Beton roh

1O 615 B: W: D:

2.63

5.00

7.50

20

15

1.06

50

5.285

7.57

BF:

1.545

1.545

11.64

20

2.00

30

15

90

20

1.00 2.20

3.54

185

225

20

A rchiv & Bibliothek

55.59 m2 +6.80 +6.72 Monobeton Gipswand gestrichen Beton roh

1O 302 B: W: D:

1.25 2.20

3.54 145

3.01 3.98

3.20

60

80 2.20

20

1.25 2.20

20 235 1.195

30 7

20

5.27 m2

1.53 75

35

18

18

18

72

3.09 4.02

465

20

+6.80 +6.72 Monobeton Gipswand gestrichen Gipsdecke gestrichen

Treppe und Wände in Sichtbeton

54

425

Tableau 6x25x15cm

11.80

1O 502

Büro 8 7.085

7.485

2.90

7.915

30

14 25

14 25

Lounge

16

25

25

4.78 m2

1O 191 B: W: Beton gestrichen D:

1O 600

20

35

145

2.60

30

30 20

72

A

54

RND 220

BF:

LED 1

1.25 2.20

Schleuse B: W: D:

BF:

5.52

P

1.20 7

9* 29=2.61

7.915

1.20 20

72

Achse Stütze

3.70

27.77

M edienraum

34.26 m2 +6.80 +6.72 PU-Beschichtung Gipswand gestrichen Gipsdecke gestrichen

Temperatur: 18 °C relative Feuchte: 20-30 %

30 3.44

2.31

2.84

1O 193

12 7 67 3.98 2010 72 30 1.20 1.20

RND 160

Achse A

Fassadenschnitt Süd

50

30

25

94 2.22

1.70

P-Lift

20

28

3.70

50

Vorhangschiene

11.80

5.57

BF:

2.84

2.92

Sichtbeton

40

50

Treppe 2

20.97m2 +6.80 +6.72 B: Monobeton W: Beton roh/Gips gestr.

D: Beton roh

LED 3

7.80

1O 500 B: W: D:

7.50

30

KL

13 Media 1

20

BF:

A nsicht Innen

555

K orridor

20

7 39

-0.78

B

44

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

50

7.86

LED 2

BF:

C

Eichenriemen Gipswand gestrichen/Glas Streckmetall

25

2.635

+6.80 +6.72

1O 607

Media 2

2.10

Rackraum

4.915

20

20

7.115 60

13.01 m2 +6.80 +6.72 Monobeton Gipswand gestrichen Gipsdecke gestrichen

1O 501 B: W: D:

60 1.195

BF:

QS-CD

-0.39 -0.45

7.50

30

30

20 1.195

BF:

92

76.00 m2

BF:

B: W: D:

35

50

Serverraum 2.91

4.85

M edienarchiv

18

20

7.57

92

35

1.195

EG

1.53 75

7.82

3.295

30

18.20

+0,30 ±0,00

14 25

6.345

+0.30 ±0.00

2.60

7.515

Sickerrohr PE-Rohr d=50mm (System Geberit)

72

5.57

Besprechung Seminar

50

BF:

18

30

15.36

1.01

30

14.15

30

5

FS C-D

17.825

12 5 68 75 51

25

50

5

15 20

18 11.695

50

17.72

25

1.07 18 7.125

7.125

7.765

6.915 2.67 15.36

72

D

7.50

+6.80 = 291.80 m ü.M

R=

20

2.70

W assersammler im Gefälle PE-Rohr d=57mm Fixierung an Jordalschiene

50

+6.80 +6.72

Monobeton Gipswand gestrichen Beton roh

15

3.39

1.25 2.20

1O 100 B: W: D:

Kabine 270/ 700/ 380cm 10 T Nutzlast

35

Ablaufstutzen aus Messing

7.515

7.50

267.53 m2

BF:

27.81 m2

1O 192 B: W: Beton gestrichen D:

+1,45

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

6.99 25

12 30

10

3.70

K unstlift BF:

2.67

30

40

3.70

28

50

25

7.50

50

50

R=

7.50

1.00 2.20

18

1.07

50

50

3.015 20

13 2.84

2.77

30

1.06 7

40

61

7.57

62.98 m2 +6.80 +6.72 Monobeton Beton roh/Gips gestr.

Beton roh

1O 102 B: W: D:

Mittelachse Fensterband

80

61

K orridor

2.84

1.25 2.20

Sichtbeton

1.61

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

BF:

FS D-E

6.0 8 25

6.52 75

5 6.295 2.19

3.39

Fluchtkor.

QS D-E

7.70/5.

5

7.515

145

80 2.20

2.885

30

2.67

7 39

2.92

72

E

+2,60

7

20

+2.60 Stahlstützen Innen RND 220 auf Achsen A/8, A/10, A/16

Broncefarbanstrich bei Sturz und Brüstung mit abdichtender W irkung

LED-Bild wand

4.00

675

30

1.25 2.20

2.885

B: W: D:

KW F

G

2.73 75

12.00

Luftraum

1O 194

675

Stahlstütze Betonfassade Aussen

39.26 m2 +6.80 +6.72 Monobeton Beton roh/Gips gestr.

Beton roh

6 75

8.20

4.00

Treppe 3 BF:

52 25

35

11

30

15.88

72 5 22 75 7 1.20 7 1.01 30

6

9.33

7

1.50

74.18

14.73

1.20

30 30

72

G

A nsicht A ussen

19.975

2.92 8.20

2.85

L

5

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

+9.40

Stahlstütze Innen

20.36 75

3.39

1.25 2.20

d 7.70/5.80

18

M

1.07

7 39

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

50

10.155

7.16

35

1.07

1.06 7 2.84

2.92

30

LED-Bildwan

+6.80 +6.72

Monobeton Beton roh/Gips gestr.

Beton roh

1.25 2.20

Stahlstütze Betonfassade Innen

14 25

7 30 2.60 1.01

19.20 m2

1O 195 B: W: D:

10.405

Treppe 4 BF:

FS L-M

L

7.16

2.755

9* 29=2.61

30 1.20 7 6 7 1.20

72

M Stahlstütze Betonfassade Innen

6.415

7.665

145 145

2.87

10.155

10.585

12

2.87

2010

30

2.OG

+10,78

30

+11,56

+11.48

+10.78

2.84

+11.56

4

5.00

145

1.725

4.00

30

Treppe und Wände in Sichtbeton

1.83

72

72

93 75

N

3

2

1

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

Elektro

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

Klimatechnik

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

Sanitärplaner

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

169 Schaulager Ruchfeldstrasse Münchenstein _ N R10 3 BL 16 9 _ D R _4142 0 3 01 Fensterfassade 1 : 100 A3 Datum 3.4.2000 HER ZOG & DE M EUR ON Rheinschanze 6

169 _ C O _ 0101 _ 506

CH-4056 Basel

Fax 061 385 57 58

Tel. 061 385 57 57

169 _ C O _ 0107 _ 505

16 9 _ C O _ 010 8 _ 5 0 5

169 _ C O _ 0 210 _ 543

16 9 _ C O _ 010 7 _ 5 0 8

169 _ C O _ 0107 _ 506

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

169 _ C P _ 0305 _ 703 _ R W

169 _ C P _ 0405 _ 735 _ M S

16 9 _ C P _ 0 4 0 5 _ 74 0 _ M S

169 _ C P _ 0305 _ 704 _ R W

169 _ C P _ 0405 _ 723 _ M S

16 9 _ C P _ 0 3 0 4 _ 7 0 2 _ C H R

169 _ C P _ 0305 _ 726 _ R W

169 _ C P _ 0305 _ 705 _ R W

16 9 _ C P _ 0 4 0 5 _ 72 7 _ M S

16 9 _ C P _ 0 3 0 5 _ 72 8 _ R W

169 _ C P _ 0305 _ 707 _ R W

85

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

169 _ C P _ 0402 _ 725 _ M N

169 _ C P _ 0 4 0 2 _ 72 3 _ M N

169 _ C P _ 0405 _ 773 _ M S

169 _ C P _ 0405 _ 755 _ M S

16 9 _ C P _ 0 4 0 5 _ 7 7 7 _ M S

16 9 _ C P _ 0 4 0 2 _ 731 _ M N

169 _ C P _ 0305 _ 748 _ R W

169 _ C P _ 0402 _ 743 _ M N

169_CP_0305_747_RW

16 9 _ C P _ 0 3 0 5 _ 712 _ R W

169 _ C P _ 0305 _ 713 _ R W

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.

169 _ C P _ 0305 _ 721 _ R W

169 _ C P _ 0405 _ 785 _ M S

16 9 _ C P _ 0 4 0 5 _ 7 8 6 _ M S

169 _ C P _ 0305 _ 745 _ R W

169 _ C P _ 0405 _ 797 _ M S

16 9 _ C P _ 0 3 0 5 _ 716 _ C H R

16 9 _ C P _ 0 3 0 6 _ 7 0 3 _ A L

169 _ C P _ 0405 _ 788 _ M S

169 _ C P _ 0305 _ 744 _ R W

169 _ C P _ 0 3 0 5 _ 74 6 _ R W

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P.188 Plans / P. 309 Images

No. 169 Schaulager

The Emanuel Hoffmann Foundation has agreed to make its works of art available to the Kunstmuseum Basel on permanent loan. The foundation, which was instrumental in enabling 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 already 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 having to be unpacked, moved or subjected to changes of temperature or humidity. The only works to be allocated permanent rooms are the large-scale installations Rattenkönig

by Katharina Fritsch and Untitled (1995-1997) by Robert Gober, neither of which can be transported without considerable 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 focusing 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-public 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 determined 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 roughcast 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 interior 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. Visitors arriving here are welcomed by the grand gesture of a facade that sweeps inwards from the ground line in a trapezoidal shape spanning the full height of the building, creating 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 externally. 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-andtake between reality and illusion. For this seemingly floating 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 entering, 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 exhibitions. 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. Visitors 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 distinctly sober. The colors are determined by the materials.

The flooring on both exhibition levels consists of unfinished oak, as in Tate Modern in London. The ceilings, spanning more than eighteen meters, are thermally activated by heating loops, while the parapets of the warehouse 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 transitions between ceiling and walls in a way that dissipates all sense of spatial enclosure.

This magical reduction is complemented by biomorphic details. The surface of the facade is reiterated throughout the building like a leitmotif. The steel panels cladding the entrance to the administrative wing and the truck delivery 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 variation 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 nonEuclidean forms of nature is actually produced by computer 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 rightangled 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.

87

©2008

I M AG E © D I G I TA L E A R T H T E C H N O LO GY — 3 5 ° 3 9 ‘ 4 9 . 6 2“ N / 13 9 ° 4 2 ‘ 51 .78 “ E

©2008

I M AG E © D I G I TA L E A R T H T E C H N O LO GY — 3 5 ° 3 9 ‘ 4 9 . 6 2“ N / 13 9 ° 4 2 ‘ 51 .78 “ E

Tokyo Japan 2000–2003

No.178

rada ao ama

A House and a Plaza When 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 discovered 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.

119

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 complexity. 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 Display The Prada Aoyama project has consistently focused on questions related to perception, i.e., viewing, showing, looking, 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 Display After 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

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No.178

Prada Aoyama

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 Experience The 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 technologies 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 atmosphere here as compared with the rest of the building.

E XC E R P T F R O M : H E R Z O G & D E M E U R O N , P R A D A AOYA M A TO K YO . H E R ZO G & D E M EU R O N , P R O G E T TO P R A DA A R T E , 2 N D A DVA N C E D A N D R E V I S E D E D I T I O N , M I L A N 2003.

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

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

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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.

No.178

Prada Aoyama

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

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

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

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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 horizontal pipes create an artificial ambience.

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No.178

Aoyama has become the fashionable heart of Tokyo, teeming with designer outlets and the flagship stores of international 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 commissioned 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 predominantly two- and three-story buildings of the neighborhood. 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 adjacent 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 reminiscent 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, looking 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 unobstructed 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 material. 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. Higher 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 Versicherungen 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 individual elements of the display system, in the form of low-level tables that provide an easy overview of the products, the

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 themselves. Amid all this openness, the three horizontal steel tubes that reinforce the structure create intimate zones while their outer surfaces serve as projection screens. Inside the tubes, there are changing rooms and waiting areas for shoppers’ companions that have all the comfort and spaciousness of private boudoirs, individualized by selected 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 experiences into their architectural concept. The gaze drifts uninterrupted 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 observation 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 building 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 vertical access cores with two scissor stairs attached, the three horizontal tubes and the facade all form a seamlessly interconnected load-bearing system. With the exception of the glazing, there is no element that is not part of the loadbearing structure. Perhaps it is this enormous concentration of elements that has allowed the architects to conjure an underlying sense of instability as well. The lozengeshaped 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 somehow “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 tables 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 ranges from the overtly synthetic to the profoundly natural, hyperbolically expressed in the ponyskin-covered clothes rails. Strikingly different as its presence may be, this building relates to the human senses in a way that makes it seem pleasantly familiar. It is as unpretentious and perfectly cut as an exquisitely tailored garment and, just like such a garment, it provides both protection and freedom of movement.

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Prada Aoyama

©2008

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©2008

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Munich-Fröttmaning Germany 2001–2005

No. 205

allianz arEna

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. Jakob Park, the home turf of FC Basel. It was there that we tested our ideas on ourselves to see which mechanisms are most effective 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.

H E R Z O G & D E M E U R O N , 2008

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

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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.

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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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Color study, montage and lighting for the air cushions.

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No. 205 Allianz Arena

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

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

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The Allianz Arena forms a volume around the playing field, incorporating cascading stairways, a cantilevered 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.

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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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No. 205 Allianz Arena

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 international 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 project. By creating a distinctive structure that reflects the social 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 central 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 emotional 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 functional reinforced concrete structure, with no details to distract from the overall sense of space. The concrete parapets and steel railings in front of and behind the seating are robustly 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 effect. Spanning the audience seating at a height of fifty meters 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 stadium. Whereas the right angles and cantilevered roof of the earlier stadium in Basel are an almost physically tangible metaphor of a monitor, Herzog & de Meuron have created a similar effect in Munich by darkening the underside of the roof with the aid of pale grey fabric blinds rather 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 channeled 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 hierarchical 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 contemporary 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 outside 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 parking 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 landscaping echoing the grassy expanses of the nearby Fröttmaninger Heide, channels the flow of visitors in a processional 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 pathways 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 designed 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 hightech 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 framework 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 sophisticated 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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Herzog & de Meuron

How Do Cities Differ?

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 indistinguishable 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 uncontrollable. Reality has suddenly become real again.

And finite.

BEFORE THE WAR A Munich, Odeonsplatz B 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

241

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

in the course of the centuries before they were

The vulnerable beauty of American cities appears

leveled by wartime bombing into uniform rubble.

more radiant and seductive than ever before,

Those differences have continued to become

but now with a touch of the specifically museum-

more and more pronounced, even putting their

like quality of something that has survived.

stamp, by way of simulation, on newly emerging

The American city, an urban model from times

neighborhoods.

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 60 YEARS LATER A Munich, Odeonsplatz B Frankfurt am Main, skyline (and old town)

was under control.

These menacing forces do not flare up on

Take Frankfurt and Munich. The former

remote uninhabited islands in the ocean;

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

they concentrate on the city, as platform and stage,

tently taken the initiative in forging ahead and

and throw it entirely off balance, forcing upon it a

using their city as a platform for trade, business

painful confrontation with its own historical

and urban services; the latter a city of princely

transience and vulnerability. Cities have always

tradition, with a royal line that reinvented itself

been subject to immanent, existential threats:

in the eighteenth and nineteenth centuries

sieges, conflagration, famine, rape, the plague,

after the model of its Italian counterparts and

earthquakes, raids, floods, gangs, unemployment,

essentially recreated a piece of Italy on German

outages, organized crime.

soil. Postwar Frankfurt chose to start with

Every city grows and takes shape in relation

a tabula rasa and opted for a vertical skyline;

to its own specific scenario of menace, which

Munich remained loyal to the imagery imported

emerges in the course of its history, channeling it

from the royal court and followed a path

into an unmistakable and inescapable pattern.

of reconstruction and historical simulation.

Not a single city has ever succeeded in liberating

Frankfurt (tabula rasa) vs. Munich (recon-

itself from the real, simulated and cultivated

struction, historical simulation). Expressions of

bonds of its local context in order to reinvent

cultural and cultivated difference. It almost seems

itself. Not even after real and radical catastrophes.

as if the bombing had brought to light a

On the contrary, the reconstruction of Germany’ s

specific urban character which had hitherto lain

cities after the war aptly illustrates how much

dormant. Just think of Rotterdam, Beirut or

the (ideal) picture that cities had of themselves

Jerusalem’ s new quarters in comparison to those

varied, leading to equally varied scenarios

in Tel Aviv. Every city cultivates and internalizes

of reconstruction. The differences between them

defense mechanisms against the sediment

were greater than any that had marked cities

of real and imagined threats that have accumulated

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How Do Cities Differ?

Herzog & de Meuron

through time. As Baudrillard puts it, for want

ually distinctive. They drift into a self-

of a real catastrophe, one must resort to

referential focus, immersing themselves in

simulation to induce equally great or even

their own self-contained world. They become

greater catastrophes.

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.

WAR DAMAGE A Munich, Residenzstraße and Odeonsplatz B Frankfurt am Main, old town

Mass evacuation, gas-attack exercises,

Finite City? Real City? Specific City?

“Finite city” sounds too tautological

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

and misleading because it plays to those who

mafia. The carpet of nuclear-bomb shelters,

believe that a culture of immortality

sprawling through Switzerland’s underground

is approaching. “Real City” is ambiguous

like an invisible replica of above-ground

because we are then looking only at the

civilization, is a characteristically Swiss form

physical reality of the city and we certainly

of urbanism. Possible only in a country

don’t want to open the Pandora’s Box

where the withdrawal mentality and the need

of a discourse on reality. Nor does “Specific

for security have acquired an almost hysteri-

City” fit the bill, unless the specifics

cal reality.

target the mental morphologies and transfor-

What all of these defense strategies and

mations that are causing cities to become

scenarios have in common is that they do

increasingly wrapped up in themselves. How

bring about a specific modification of the city.

about the Idiomorphic City. Or the Idio-

Preventative or corrective interventions have

syncratic City? Or perhaps even the Idiotic

a real and lasting effect on the reality of urban

City, given that we are incapable of

development. A kind of substratum results.

grasping this most complex and interesting of

This substratum is not immediately apparent

all things ever created by human hand?

and sometimes not even visible, precisely

The Ideal City abdicated ages ago, as have Aldo

because it is much more invasive than mere

Rossi’s Rational City, Rem Koolhaas’s Generic

folkloristic details or decorative frills.

City and Venturi’s Strip. Not to mention

It has a profound, formative and programmatic

Le Corbusier’s Ville Radieuse. All of these

effect on the artificial and natural topography

attempts to describe the city, to comprehend

of cities.

and reinvent it, were both necessary

Hence, far from becoming increasingly

and useful. But today they leave us cold. Like

uniform, generic or even faceless, cities

water under the bridge, they no longer

are actually becoming more and more individ-

concern us. We cannot relate to them because

243

How Do Cities Differ?

Herzog & de Meuron

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

Yet the Twin Towers affect every city and their

time has come to relinquish our longing for

destruction affects urban dwellers everywhere.

labels, to abandon manifestos and theories. They

Terrorists see in them the destruction of a

don’ t hit the mark; they simply brand the

symbol; urban dwellers see in them a massive

author for life. There are no theories of cities;

attack on their neighborhoods and their

there are only cities.

homes. The specific, the unique, that which

All cities have one thing in common:

distinguishes us from others, the indestructible:

their decline and ultimate disappearance. Para-

all these have become vulnerable, and so

doxically, the potential that determines the

we have to protect ourselves. Time and again.

fundamental difference between individual cities

But how? The best protection would be

lies in this single common denominator,

to aspire to “indistinguishability,” the “Indistin-

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

guishable City.” And that is the greatest

City planners have long ceased being instrumental

illusion of all.

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.

244

JACQUES HERZOG, PIERRE DE MEURON, 2003.

INTRODUCTORY TEXT TO THE COURSE OF STUDY ON THE CITIES OF NAPLES – PARIS – THE CANARY ISLANDS – NAIROBI AT THE ETH STUDIO BASEL – CONTEMPORARY CITY INSTITUTE. FIRST PUBLISHED IN SPANISH: JACQUES HERZOG, „TERROR SIN TEORÍA. ANTE LA ‚CIUDAD INDIFERENTE‘“, IN: H&DEM. DEL NATURAL, ARQUITECTURA VIVA 91, MADRID 2003, P.128.

Project Team (Continuation) · Anna Fuchs · Reto Oechslin · Patrick Remund

258

Project Team Partners · Jacques Herzog · Pierre de Meuron · Harry Gugger Project Architects · Philippe Fürstenberger (Associate) · Cornel Pfister Project Team · Senta Adolf · Nicole Hatz · Ines Huber · Jürgen Johner · Carmen Müller · Katja Ritz · Marc Schmidt · Florian Stirnemann · Lukas Weber · Martin Zimmerli

Client · Laurenz Foundation, Basel, Switzerland

Project Phases Concept Design · 1998

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architects · Jean-Frédéric Luscher · Sacha Marchal

An existing apartment on the top floor of a two-family home was to be completely modernized and enlarged by adding an extension to the west facade. The apartment opens out onto a west-facing deck with three floor-to-ceiling sliding doors. The existing dormers on the opposite side have been linked to create a skylight. Herzog & de Meuron

BasEl, switzErland

Planning General Planning · ARGE GP Herzog & de Meuron / · GSG, Basel, Switzerland Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Construction Managment · GSG Projekt Partner AG, Basel, Switzerland Structural Engineering · Zachmann + Pauli Bauingenieure, Basel, Switzerland Mechanical Engineering · Amstein & Walthert AG, Zürich, Switzerland Electrical Engineering · Selmoni AG, Basel, Switzerland

Building Data Gross Floor Area · 20,000 sqm Building Dimensions · Length: 74.18 m · Width: 55.34 m + 18.04 m · Height: 22.35 m (above level 0.00)

Uwe Fachin / Boris Philippsen, Gipstrockenbau, Winterthur 2005 • Schaulager, Herzog & de Meuron, in: Le Moniteur Architecture, Béton, 2005 • Schaulager. Laurenz Foundation, in: Jornal Arquitectos 220 – 221, 2005 • Pierre Nebel, Comment Bâle est devenue la ville la plus dynamique de Suisse. Les projets qui ont transformé Bâle, in: L’Hebdo 7 / 2005 • Francis Rambert, Architecture Tomorrow, Paris 2005 • Fumiko Suzuki / Sachiko Tamashige, Museum of tomorrow. Schaulager, in: Casa Brutus 62, 2005 • Wang Lu, Container in the Context, in: Time and Architecture, Shanghai 92, 2006 • The 21st Century Architectural Hits, in: Architektura 10 / 2005 • Architettura Basilea, in: Ottagono 194, 2006 • Schaulager, Basel, Switzerland, 2003, in: World Architecture 195, 2006 • Philip Jodidio, Herzog & de Meuron. Schaulager Münchenstein, in: Architecture in Switzerland, Köln 2006 • Victoria Newhouse, Schaulager, in: ib., Towards a New Museum – Expanded Edition, New York 2006 • Schaulager, Laurenz Foundation, in: a+u 8 / 2006 • Schaulager, Laurenz Foundation, in: El Croquis 2006 • Joachim Fischer, Architektur neues Basel, Berlin 2007 • Ib., Architektur neue Schweiz, Berlin 2007 • Herzog & de Meuron, in: Building Review, Peking, 340, 2007 • Qu’est-ce que l’architecture aujourd’hui?, Boulogne 2007 • Schaulager Art Warehouse, Basel, in: AV 2007.

Specialists / Consultants Facade Consulting · Emmer Pfenniger Partner AG, Münchenstein, Switzerland Lighting · Amstein & Walthert AG, Zürich, Switzerland Acoustics · Martin Lienhard, Langenbruck, Switzerland Traffic Consultant · Rapp Ingenieure + Planer AG, Basel, Switzerland

Two glass wings on the Girtannersberg St. Gallen. in: area 69, 2003 • Neue Lesart, in: IndustrieBAU 1 / 2003 • Matthias Gasser, Fenster und Leuchten, in: Faktor Licht 4 / 2003 • Nina Baisch, Architekturführer Bodensee, Sulgen / Zurich 2004 • Herzog & de Meuron, Pipe Office, in: Lightning fields 1, 2004 • Max Wechsler, Adrian Schiess – Farbräume Luzern 2004 • AV 114, Madrid 2005 • Two Glass Wings on the Girtannersberg, in: a+u 8 / 2006 • Helvetia Patria Headquarters, St. Gallen, in: AV 2007.

Building Dimensions · Length south wing: 61.80 m / east wing: 35.80 m · Width south wing: 9.00 m / east wing: 9.00 m

designed the interior in the style of a large and cozy wooden trinket box reminiscent of the plywood house with a puppet theater from the early days of their practice. Plaster walls and beams were removed to create a large open space, partitioning off only the bathroom and one small room. A built-in storage space clad in wood runs along the entire entrance side. The kitchen and toilet are housed in a wooden box that looks like a piece of furniture. The flooring and walls, as well as the kitchen fittings and even the toilet are all clad in wood, while glass has been chosen for the wet room.

in: Art 6 / 2003 • Hans-Joachim Müller, Wie man das Museum schützt, indem man kein Museum baut, in: Basler Zeitung 22 . 5 . 2003 • Andrea Nussbaum, Herzog & de Meuron. Schaulager Schweiz.

“Am Ort neu erfinden,” in: architektur . aktuell 9 / 2003 • Georg Schmidt, Schaulager. Eine Beilage der Basler Zeitung, 24 . 5 . 2003 • Lorette Coen, Le Schaulager®, boîte à outils au service de l’art contemporain, in: Le Temps 24 . 5 . 2003 • Rahel Marti, Schweizermeister im Schwergewicht, in: Hochparterre 12 / 2003 • Piled up arts, in: AV 91, 2003 • Thomas Wagner, Abstellen statt Ausstellen, in: Frankfurter Allgemeine Zeitung, 24 . 5 . 2003 • A new type of Space for Art, in: Dialogue 10 / 2004 • Artiste! Mets les voiles! Art pour l’Art, in: Techniques & Architecture 469, 2004 • Jean-François Caille, Détails, textures et matières, in: Le Moniteur Architecture 147, 2004 • Jeremy Melvin, Schaulager Laurenz Foundation, in: Architectural Design 74, 2004 • Paul von Naredi-Rainer, Schaulager für die Emanuel Hoffmann-Stiftung, in: Entwurfsatlas Museumsbau, Berlin 2004 • Stanislaus von Moos, Überlegungen vom Schaulager der Emanuel Hoffmann-Stiftung in Basel von Herzog & de Meuron, in: Architektur weiterdenken, Werner Oechslin zum 60. Geburtstag, Zürich 2004 • Steven Wassenaar, Museum als kijkpakhuis, in: de Architect 4 / 2004 • AV 114, Madrid 2005 • Nicolai de Ponti, Architects in Basel, in: OfX 87, 2005 • Herzog & de Meuron, Schaulager® Laurenz Stiftung, Münchenstein, in:

1998 No.170 rEfurBishMEnt of an officE floor

Bibliography • Ilka & Andreas Ruby, Herzog & de Meuron, in: Daniela Colafranceschi (ed.) Land&Scape Series, Barcelona 2007 • Christoph Heim, Basel bekommt ein „Schaulager“ für Kunst, in: Basler Zeitung 17 . 11 . 1999 • Schaulager® for the Emanuel Hoffmann Foundation, in: a+u 2 / 2002 • Schaulager® for the Emanuel Hoffmann Foundation, in: El Croquis 2002 • Ursprung 2002 • Herzog & de Meuron. Les architectes du stockage, in: Beaux Arts Magazine 230, 2003 • Judit Solt, Erdiges Faszinosum, in: tec 21, 25 / 2003 • Hubertus Adam, Schaulager in Basel.

Herzog & de Meuron, in: Baumeister 9 / 2003 • Chiara Baglione, Herzog & de Meuron, Schaulager per la Fondazione Emanuel Hoffmann Münchenstein, Basilea, Svizzera, in: Casabella 717 – 718 / 2003 • Aaron Betsky, Hybrid house, in: Architecture 10 / 2003 • José, Cristina, Un almacén para el arte, in: Vanidad 100, 2003 • Bice Curiger / Jacqueline Burkhardt, Die Erfindung des Schaulager®, in: Parkett 67, 2003 • Oliver Elser, Schaulager, Basel, in: Bauwelt 33, 2003 • Luis Fernández-Galiano, Herzog & de Meuron, from Nature, in: AV 91, 2003 • Kurt W. Forster, Tra fiume e fumo. Un emporio per l’arte contemporanea a Basilea, in: Il Giornale dell’archittetura 7 / 2003 • Werner Huber, Lager zum Schauen, in: Hochparterre Beilage 6 – 7 / 2003 • Fulvio Irace, H&deM, in: Abitare 431, 2003 • Benedikt Kraft, Im Lager nachsehen, in: DBZ 7 / 2003 • Jacques Lucan, Eine Werkstatt des Schauens, in: Werk 7 / 8 2003 • Gerhard Mack, Trutzburg mit Öffnungszeiten,

Project Phases Project · 1998 – 1999 Construction · 2000 – 2003

Electrical Engineering · Bühler + Scherler AG, St. Gallen, Switzerland Landscape Design · Vogt Landschaftsarchitekten, Zürich, Switzerland de Meuron. La Luce Flessibile di Pipe, in: Interni 526, 2002 • Gerhard Mack, Reflexion und Transparenz. Zwei Bauten für Helvetia Patria St. Gallen.

Eine Architektur von Herzog & de Meuron, in: Privatdruck Helvetia Patria, St. Gallen 2002 • Judit Solt, Blühende Fantasie, in: tec 21 35 / 2002 • Two wings of glass on the Girtannersberg, in: El Croquis 2002 • Rudolf Vögtlin, Modulare Fassade als Kaleidoskop. Erweiterung Hauptsitz Helvetia Patria, St. Gallen, in: Fassade. Façade 4 / 2002 • Hubertus Adam, Gebrochene Wirklichkeit, in: archithese 1 / 2003 • Herzog & de Meuron

MünchEnstEin / BasEl, switzErland

1998–2003 No.169 schaulagEr

Bibliography • Stanislaus von Moos, Herzog & de Meuron Schein und Verletztheit, in: ib., Lesearten. Texte zur Architektur – unter anderem, Zurich 1989 • Hubertus Adam, Modular y vivo: Sede de Helvetia Patria, St. Gallen, in: AV 96, 2002 • Ib., St. Gallen. Erweiterung Hauptsitz Helvetia Patria, in: Bauwelt 35, 2002 • Die zwei neuen Erweiterungsbauten der Helvetia Patria Versicherungen in St. Gallen. Reflexion und Transparenz, in: Bau Info 8 / 2002 • Frank Kaltenbach, Bürohäuser. Ausnahmegebäude mit Regelgrundrissen, in: Detail Konzept 9, 2002 • Giovanni Lauda, Herzog &

No. 168 (Continuation)

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

259

Project Team Partners · Jacques Herzog · Pierre de Meuron · Harry Gugger Project Architect · Mathis Tinner (Associate) Project Team · Renata Arpagaus · Jayne Barlow, Thomas Jacobs · Orna Marton

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architects · Jürgen Johner (Associate) · Reto Oechslin Project Team · Sarosh Anklesaria · Gerrit Sell · Camillo Zanardini

Bibliography • Alexander Hosch, Licht, Kamera, Architektur, in: Architectural Digest 6 / 2002 • Studios for Two Artists, in: a+u 8 / 2006.

Project Phases Project · 1998 – 2000 Construction · 2000 – 2002

Planning General Planning · Beers Dalmac, Houston, USA Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Partner Architect · Booziotis & Company Architects, Dallas, Texas, USA Structural Engineering · Datum Engineering Inc., Dallas, Texas, USA HVAC Engineering · Ove Arup & Partner, London, UK Plumbing Engineering · Ove Arup & Partner, London, UK Electrical Engineering · Ove Arup & Partner, London, UK

Client · Thomas Ruff, Düsseldorf, Germany · Andreas Gursky, Düsseldorf, Germany

Planning Architect Planning · Herzog & de Meuron, Basel, Switzerland Construction Management · Thomas Pluschke, Düsseldorf, Germany Structural Engineering · Bernd Jeschonneck, Meerbusch, Germany MEP Engineering · Roland Besten, Mönchengladbach, Germany Landscape Design · Tita Giese, Düsseldorf, Germany

Specialists / Consultants Facade Consulting · Ingenieurbüro Ludwig + Mayer, Berlin, Germany

Building Data Site Area · 980 sqm Gross Floor Area · 900 sqm Gross Volume · 4,341 cubic meters

Ricola building in Mulhouse and Rémy Zaugg’s studio in Pfastatt, it differs from all of them in one small but crucial point: the architects have broken down the horizontal structure into a series of decks on the second floor and verandas on the first, some protruding, others set back from the facade like loggias. The overall effect lends the extension the air of a huge piece of furniture, anticipating their later architectural showcases for the de Young Museum. Andreas Gursky’s new house, added on to one side of the old transformer station, is clad, like parts of the Basel REHAB, in a layer of solid wood staves that act as adjustable sunshades in front of the fully glazed rear facade and give the annex an archaic dimension that contrasts sharply with the smallscale volumes of the industrial building. The interiors of the two separate studio-cumapartment buildings are designed as an architecturally compelling sequence of alternately vast and intimate spaces. Andreas Gursky’s studio, in particular, with its 5.5meter-high ceiling and its floor area of 15.5 x 16 meters, is of a scale more likely to be equated with a museum than a private home.

1999 • Georg Schmidt, Ohne Herzog & de Meuron, in: Basler Zeitung 23 . 11 . 1999 • Ulrike Zophoniasson-Baierl, Lebendig, attraktiv und möglichst duchlässig, in: Basler Zeitung 21 . 1 . 1999.

Building Data Building Footprint · 13,935 sqm

foremost public art museum. It is prominently situated within the University of Texas campus, built to Cesar Pelli’s 1994 masterplan. Being placed at one of the main entrances to the campus and in proximity to the Texas State Capitol, the museum marks an interface between the city and the university. Herzog & de Meuron used this location as an opportunity to open up the campus, turning the new Blanton Museum into a place of meeting and interaction and – like the redevelopment of the Dijon university campus, which was sparked by the wish to incorporate a new museum building – thereby helping to enhance the structure of an otherwise architecturally unremarkable campus.

Although the plans were already well advanced, the architects sensationally withdrew from the project when, during the conservative backlash in the run-up to the election of George W. Bush as president, the political authorities led by a Republican senator insisted that the new museum be built in the style of the existing 1920s/30s buildings on the campus.

in: Austin American Statesman 13 . 10 . 1999 • Jessica Carter, Marching About Architecture, in: The Austin Chronicle 3 . 12 . 1999 • Thaddeus DeJesus, Regents battle architects over museum plan, in: The Daily Texan 13 . 10 . 1999 • Lisa Germany, UT Regents Resist Herzog Plan, in: Texas Architect 9 / 10

Client · The University of Texas System · Jack Blanton Museum of Art, Austin, Texas, USA

A disused Dusseldorf urban railway transformer station had been used as artists’ studios for a number of years. When the artists working there were given the opportunity of purchasing this historically significant industrial building, two of them – Thomas Ruff and Andreas Gursky – asked Herzog & de Meuron to convert their share, situated mainly in the second layer of the intricately structured complex. The architects left the historically listed brick facade with its huge iron gates virtually unchanged and extended the back of the building towards a new courtyard and garden designed by Dusseldorfbased artist Tita Giese. Using wood and floor-to-ceiling glazing, they created a large facade featuring verandas and loggias. While this approach is in many ways reminiscent of the apartment buildings in the backyards of Hebelstrasse in Basel and the Rue des Suisses development in Paris, and also has echoes of the cantilevered roofs of the

düssEldorf, gErManY

1998–2002 No.172 studios for two artists

Bibliography • Robert Faires, Blanton Architect Named, in: The Austin Chronicle 25 . 12 . 1998 • Bringing Texas up to date, in: The Economist 19 . 6 . 1999 • Erfolgreiche Schweizer, in: db 3 / 1999 • Herzog & de Meuron, in: Hochparterre 3 / 1999 • Michael Barnes, Round 2 on UT museum design,

Project Phases Competition · 1998

Designing a new building for the Jack S. Blanton Art Museum in Austin was one of the first public sector commissions received by Herzog & de Meuron in the USA. Established in 1963, the museum has an eclectic collection of some 12,000 artifacts spanning the history of western civilization from the Renaissance to the present day; it contains prints and drawings from the 15th to the 20 th centuries alongside holdings that range from Baroque art to contemporary American and Latin American art. Brought together from a number of separate collections, they would be presented under one roof for the first time on a proposed floor area of 9,300 sq.m. In their winning design proposal, the architects concentrated on a layout that would emphasize the central location of the planned museum, in which the park-like grounds dovetail with the building. Founded in 1963, the institution is conceived as a place of scholarly research and as Austin’s

austin, tExas, usa

1998 No.171 JacK s. Blanton MusEuM of art

No. 171 No. 172

262

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architect · Jean-Frédéric Lüscher (Associate) Project Team · Blanca Castañeda · Patrick Heiz

Collaboration · Herzog & de Meuron, Basel, Switzerland · Rem Koolhaas /OMA, Rotterdam, Netherlands Project Team Partners · Jacques Herzog · Pierre de Meuron · Harry Gugger Project Architect · Mathis Tinner (Associate) Project Team · François Charbonnet · Anja Ehrenfried · Christopher Pannett · Stefan Segessenmann · Adrien Verschuere

nEw YorK, nEw YorK, usa Client · Ian Schrager Hotels, New York, NY, USA

Planning Lead Design Architect · Herzog & de Meuron, Basel, Switzerland · Rem Koolhaas /OMA, Rotterdam, Netherlands Associate Architect · Architecture Research Office LLP, New York, USA · Early Phase: HLW, New York, USA Structural Engineering · LERA, New York, USA Quantity Surveyor · Gardiner & Theobald Inc., New York, USA MEP Engineering · Arup, New York, USA

Planning Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Associate Architect · Agence Epure, Libourne, France MEP Engineering · Designphase: ZPL Ingenieure, Basel, Switzerland · Ausführungsphase: Seret Conseil, Canejan, France

Specialists / Consultants Facade Consulting · Israel Berger & Associates Inc, New York, USA · Emmer Pfenninger Partner AG, Münchenstein, Switzerland

Building Data Gross Floor Area · 1,000 sqm Building Dimensions · Length 28.44 m · Width 23.44 m · Height 6.35 m

Building Data Site Area · 1,655 sqm

Sachiko Tamashige, Museum of tomorrow: Schaulager, in: Casa Brutus 62, 2005 • Katharina Tielsch, Ein Dialog, in: Architektur, System Technik Funktion 5 / 2005 • Frances Tuverno, Walker Art Center, in: Interni 557, 2005 • Hubertus Adam, Adaption und Transformation, in: archithese 2 / 2006 • Chiara Baglione, Herzog & de Meuron. Ampliamento del Walker Art Center, Minneapolis, in: Casabella 741, 2006 • Herzog & de Meuron, in: GA Dokument 89 / 2006 • Philip Jodidio, Walker Art Center, in: ib: Architecture Now! Cologne 2006 • Victoria Newhouse, Towards a New Museum.

Expanded Edition, New York 2006 • Walker Art Center, in: a+u 8 / 2006 • Walker Art Center, in: El Croquis, 2006 • Dominique Errard / Laurent Miguet, “L’architecture améliore les conditions de vie des hommes,” in: Le Moniteur 5387, 2007 • Expansion of the Walker Art Center, Minneapolis, in: AV 2007 • Herzog & de Meuron, in: Building Review, Peking, 340, 2007 • Herzog & de Meuron: un musée par an! in: D’Architectures 160, 2007 • Christian Holl / Klaus Siegele, Metallfassaden. Vom Entwurf bis zur Ausführung, Munich 2007 • Christine Killory / René Davids, Details in Contemporary Architecture, New York 2007 • Museum of Modern Arts, in: Archidea 35, 2007.

No. 177

Project Phases Concept Design · 2000 – 2001 Schematic Design · 2001

Client · Christian Moueix and Cherise Moueix, Libourne, France

• Robert Ivy / Sarah Amelar, Two by Two, in: Architectural Record 7 / 2005 • Andrea Köhler, Ideenschmiede am Mississippi, in: Neue Zürcher Zeitung, 23 . 5 . 2005 • Justin Korhammer, Hyperexpressiviteit en minimalisme, in: de Architect 7 – 8 / 2005 • Annette Lecuyer, Extending Electicism, in: The Architectural Review 1302, 2005 • Steven Litt, The New Serenity, in: Art News 104, 2005 • Linda Mack, Design deviates from reserve of the original building, in: Star Tribune 15 . 4 . 2005 • Cathy Madison, Walker Art Center. Art Spaces, in: Walker Art Center, London 2005 • Duccio Malagamba, Walker Art Center, Minneapolis: Herzog & De Meuron in: Diseño Interior 8 / 2005 • Cathleen McGuigan, Walker on the Wild Side, in: Newsweek 13 . 3 . 2005 • Justin McGuirk, Only in America could you find a museum on an eight-lane highway, in: icon 25, 2005 • Andrew Mead, Herzog & de Meuron go west, in: The Architects’ Journal 2005 • Jordan Mejias, Avantgarde, barock, in: Frankfurter Allgemeine Zeitung, 2 . 5 . 2005 • Joan Rothfuss / Elizabeth Carpenter, Walker Art Center Collections.

Bits & Pieces put together to present a semblance of a whole, Minneapolis 2005 • Raymund Ryan, Herzog & de Meuron. The Walker Art Center, in: domus 881, 2005 • Ronnie Self, Herzog & de Meuron au Midwest …

Contextuels?, in: Architecture Intérieure Cree 321, 2005 • Fumiko Suzuki /

Synchronization and Animation · Dataton AB, Linköping, Sweden Motion Graphics · Walker Art Center, Minneapolis, USA Glass Curtain Wall · Interclad, Biggin Hill, UK · U.A.D. Group, New York, USA Exterior Cladding · Manufacturer: Lilja Inc, Eden Prairie, USA. · Installer: M.G. McGrath, Maple Wood, USA Interior Walls · Manufacturer: Armourcoat, USA · Fabricator, Installer: MinuteOgle, USA

P.104 Project / P.196 Plans

2000–2001 No.177 astor placE hotEl

Bibliography • Emmanuel Caille, Dans le Palais du Vendangeur, in: D’Architectures 137, 2004 • Herzog & de Meuron: Hosanna, in: archithese 3 / 2004.

Project Phases Project · 2001 Construction · 2002

poMErol, francE

2001–2002 No.176 rEfEctoirE

Bibliography • AV 77, 1999 • Pierre Fédida, Le corps du vide, in: Pages paysages 9, 2002 • More than a Museum, in: Walker Art Center Calendar, Minneapolis 2002 • Larry Millett, Architects turn down volume on Walker addition, in: St. Paul Pioneer Press 17 . 4 . 2002 • Ursprung 2002 • Walker Art Center, in: a+u 2 / 2002 • Walker Art Center, in: El Croquis 2002 • Two American museums, in: AV 91, 2003 • Elaine Louie, The new is in, the old is out, in: The New York Times 29 . 1 . 2004 • Walker Art Center, Inventing the 21st Century Arts Center, Minneapolis 2004 • Minneapolis makes a statement, in: The New York Times 15 . 4 . 2005 • An Ice Cube with attitude, in: Star Tribune, 15 . 4 . 2005 • Sarah Amelar, Herzog & de Meuron expand Minneapolis’s Walker Art Center with quirky new volumes spun from the original building’s tight spiral, in: Architectural Record 7 / 2005 • AV 114, Madrid 2005 • Andrew Blauvelt (ed.), Walker Art Center. Expanding the Center: Walker Art Center and Herzog & de Meuron, Minneapolis / New York 2005 • Aric Chen, Dalla notte al giorno, in: Rassegna 80, 2005 • Douglas Davis, The Museum of the Third Kind, in: Art in America 6 – 7 / 2005 • Thomas Fisher, The museum of chance, in: Architecture, 6 / 2005 • Kurt Walter Forster, Polyhedral personality, in: Log, 6, 2005 • Herzog & de Meuron. The Walker Art Center, in: Domus 881, 2005

No. 175 (Continuation)

No. 176 P.112 Project / P.197 Plans

Project Phases Project · 2000 – 2002 Construction · 2001 – 2003

toKYo, Japan

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architects · Stefan Marbach (Associate) · Reto Pedrocchi · Wolfgang Hardt Project Team · Luca Andrisani · Andreas Fries · Yuko Himeno · Hiroshi Kikuchi · Shinya Okuda · Daniel Pokora · Georg Schmid · Mathis Tinner Prada Project Team · Miuccia Prada · Patrizio Bertelli · Giuseppe Polvani · Andrea Scapecchi · Fulvio Grignani · Marysia Woroniecka · Mauro Fabbri · Mirco Pallanti · Marco Mugnaini · Daisuke Hashimoto · Shigeru Watanabe · Moreno Morini · Fabrizio Cillian

2000–2003 No.178 prada aoYaMa EpicEntEr

Bibliography • Luis Fernández-Galiano / David Kohn, Corazón de neon.

Americanos y europeos reinventan New York, in: AV 76, 2001 • Ricola-Europe SA, Production and Storage, Architects’ Edition 2001

OMA Project Team Partners · Rem Koolhaas · Dan Wood Project Architect · David Moore Project Team · Hans Focketyn · Alain Fouraux · Stan Vandriessche · Fenna Haakma Wagenaar

Client · PRADA Japan Co., Ltd., Tokyo, Japan

Planning Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Associate Architects · Takenaka Corporation, Tokyo, Japan: Michio Jinushi, Kenji Takeshima, Shinobu Chiba, Shuji Ishikawa, Ken Kurita Structural Engineering · Takenaka Corporation, Tokyo, Japan: Yoshio Tanno, Hirokazu Kozuka, Masayoshi Nakai, Masato Ohata · WGG Schnetzer Puskas, Basel, Switzerland: Heinrich Schnetzer HVAC Engineering · Takenaka Corporation, Tokyo, Japan: Yasuhiro Shiratori, Seijirou Furuya, Bumpei Magori · Waldhauser Haustechnik, Basel, Switzerland: Mario Regis Electrical Engineering · Takenaka Corporation, Tokyo, Japan: Yasuhiro Shiratori, Seijirou Furuya, Bumpei Magori Landscape Design · Herzog & de Meuron, Basel, Switzerland

• Jonathan Mahler, Gotham Rising, in: Talk 4, 2001 • Hotel Astor Place, in: El Croquis 131 / 132, 2006.

Specialists / Consultants Facade Consulting · Emmer Pfenninger Partner AG, Münchenstein, Switzerland Lighting · Arup Lighting, London, UK: Andrew Sedgwick, Jeff Shaw Fire Protection · Takenaka Corporation, Tokyo, Japan: Yoshiyuki Yoshida, Naohiro Takeichi, Tsutomu Nagaoka, Toshihiko Nishimura Large-Scale Store Law · Takenaka Corporation, Tokyo, Japan: Masahiro Hioki, Kanji Matsushita, Yasuko Inukai General Contractor · Takenaka Corporation, Tokyo, Japan: Makoto Hoshino, Toshiki Okazaki, Toshihito Kurosawa, Kazuhiro Abe, Hideyuki Takahashi, Katsuto Ninomiya Curtain Wall Subcontractor · Josef Gartner GmbH, Gundelfingen, Deutschland Subcontractors · Gartner Japan K.K. · Kawada Industries, Inc. · Hitachi Metals Techno, Ltd. · Oiles Corporation · Stairx Co., Ltd. · Ishimaru Co., Ltd., · Okuju Co., Ltd. · Japan Insulation Co., Ltd. · Nichias Corporation · Sanwa Shutter Corporation · Nihon Kentetsu Co., Ltd. · From To Inc., · Teraoka Auto - Door System Co., Ltd. · Minemura Kinzoku Koji Co., Ltd. · Kaken Material Co., Ltd. · Oki Glass Co., Ltd. · Nippon Sheet Glass D&G System Co., Ltd. · Taiyo Kogyo Corporation · Asahi Kizai Corporation · TAK living Corporation · Sato Kogyo Co., Ltd. · Toyotsu Housing Co., Ltd. · Asahi Kousan Corporation · Schindler Elevator K.K. · Kandenko Co., Ltd. · Taikisya Ltd. · Saikyu Kogyo Co., Ltd · TAK E-HVAC Co., Ltd Snorkel · Matsushita Electric Industrial Co., Ltd., Japan · John Lay Electronics AG (Panasonic Schweiz), Switzerland · Scharff Weisberg, USA

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

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Project Team Partners · Jacques Herzog · Pierre de Meuron · Harry Gugger Project Architects · Peter Ferretto (Associate) · Carlos Gerhard (Associate) · Stefan Marbach (Associate) · Benito Blanco Project Team · Heitor Garcia Lantaron · Estelle Grosberg · Pedro Guedes · Michel Kehl · Miguel Marcelino · Gabriela Mazza · Beatrice Noves Salto · Margarita Salmeron · Stefano Tagliacarne

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architect · Erich Diserens (Associate) Project Team · Thomas Arnhardt · Matthieu Brutsaert · Sarah Cremin · Gustavo Espinoza · Jeanne-Françoise Fischer · Hans Focketyn · Eik Frenzel · Philip Fung · Marcin Grala · Hendrik Gruss · Verena Lindenmayer · Julian Löffler · Monika Losos · Christian Andreas Müller · Sarah Righetti · Werner Schmidt · Christian Schühle · Günter Schwob · Stefan Segessenmann

Bibliography • Valentin Kessler / Patrick Marcolli, Neue Regierung denkt über den Tag hinaus, in: Basler Zeitung 28 . 9 . 2005.

Project Phases Study · 2001 – 2005

Planning Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Associate Architect · Mateu i Bausells Arquitectura, Madrid, Spain Project Management · Servihabitat, Barcelona, Spain · Construcción i Control, Barcelona, Spain General Contractor · Ferrovial Agroman, Madrid, Spain Structural Engineering · WGG Schnetzer Puskas Ingenieure, Basel, Switzerland · NB35, Madrid, Spain MEP Engineering · Urculo Ingenieros, Madrid, Spain

Client · F. Hoffmann-La Roche AG, Basel, Switzerland

Building Data Site Area · building site: 1,934 sqm · plaza: 650 sqm Building Footprint · 1,400 sqm Gross Floor Area · 11,000 sqm Building Dimensions · Length 44.00 m · Width 37.00 m · Height 28.00 m

Madrid, in: a+u 8 / 2006 • CaixaForum-Madrid, in: El Croquis, 2006 • Herzog y de Meuron Un muro vegetal frente al Real Jardín Botánico, in: AV 107 – 108, 2006 • CaixaForum Building, Madrid, in: AV 2007 • Project Navi, in: Nikkei Architecture 12 / 2007 • Klaus Englert, Paseo del Arte, Madrid, in: Deutsche Bauzeitung 7 / 2007 • Herzog & de Meuron, in: Building Review, Peking, 340, 2007 • Herzog & de Meuron: un musée par an! in: D’Architectures 160, 2007.

Specialists / Consultants Facade Consulting · Emmer Pfenninger Partner AG, Basel, Switzerland · ENAR, Madrid, Spain Lighting · Arup Lighting, London, UK Acoustics · Audioscan, Barcelona, Spain Green Wall · Herzog & de Meuron in Kollaboration mit Patrick Blanc, Künstler-Botanist, Paris, France Green Wall Consultant · Benavides & Lapèrche, Madrid, Spain

together. The open space, recovered by building vertically, could then be landscaped as a continuation of the park, which would thus extend right up to the historic ensemble designed by the Roche company’s in-house architect Otto Rudolf Salvisberg. The architects also envision redeveloping Grenzacherstrasse to include greenery and wider pavements. Setting back the boundary fences and visually opening up the ground floor areas facing the street would transform this busy thoroughfare into a pleasant area that links the company grounds to the city more effectively. For the northern zone, where Herzog & de Meuron have already constructed Building 92 (no. 100) and Building 95 (no. 225), the architects proposed structures of differing heights and floor plan that lend rhythm and variety to the complex as a whole. Hence, the buildings along Wettsteinstrasse are lower in keeping with the residential housing opposite, while the building height increases to 40 meters towards the center of site, allowing round-the-clock production to be concentrated within the grounds. These individual proposals are not integrated into a fixed structure in the manner of a masterplan, but provide inter-related variations that give the company scope for a flexible response to future needs by introducing different architectural patterns.

convertirse en CaixaFórum-Madrid, in: El País, 11 . 2 . 2003 • Pedro Blasco, Otro museo más en el Prado, in: El Mundo 2003 • Raul Cancio, Edificio de Caixa Fórum en el paseo del prado, in: El País 182 / 2003 • Luis FernándezGaliano, Caja de sorpresas, in: El País.com 8 . 2 . 2003 • Thaïs Gutiérrez, CaixaForum desembarca a Madrid, in: AVUI 2003 • Miguel Angel Trenas, Madrid tendrá un CaixaForum en la zona del museo del Prado, in: La Vanguardia 2003 • AV 114, Madrid 2005 • François Chaslin, Bajo el signo de la globalización / In the Global Scene, in: AV 113, 2005 • CaixaForum-

Client · Obra Social Fundación “La Caixa,” Madrid, Spain · Caixa d’Estalvis i Pensions de Barcelona, Barcelona, Spain

The Roche healthcare company wanted to explore the possibilities of developing its Basel grounds to accommodate extensions and new strategic functions. The busy thoroughfare of Grenzacherstrasse cuts through the grounds, and so Herzog & de Meuron drew up a study that divides the site into a northern and a southern zone, each with its own specific approach to development. First of all, the site usage was to be streamlined so that the southern zone on the Rhine would be allocated to managerial and administrative offices, while the northern zone would accommodate the production, research and storage facilities. This made the elongated buildings fringing Solitüde Park in the southern zone available for upward extension to open up the site towards the Rhine.

After experimenting with a variety of highrise structures, the architects came up with the solution of the office highrise designated as Building 1, where 2400 members of staff previously working in offices scattered throughout the city could be brought

BasEl, switzErland

2001–2005 No. 202 urBan studY

Bibliography • La Caixa de Herzog y de Meuron en Madrid, in: AV 87, 2002 • Herzog & de Meuron veredeln Luzern. Neues Hotelprojekt, in: Bilanz 1 . 5 . 2002 • B. Cia / C. Serra, Queremos construir grandes torres, in: El País 14 . 9.2002 • F. Samaniego, Cumbre de arquitectos estrella en Madrid sobre el futuro paseo del Prado, in: El País 17 . 9 . 2002 • Herzog & de Meuron. CaixaForum en el paseo del Prado, in: AV 89 – 90, 2003 • La Fundació la Caixa construye un entro social y cultural en El Prado, in: El Mundo 2003 • Un edificio industrial “levitará” para

Project Phases Project · 2001 – 2003 Realization · 2003 – 2008

Madrid, spain

2001–2008 No. 201 caixaforuM Madrid

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

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Project Team Partners · Jacques Herzog · Pierre de Meuron · Christine Binswanger Project Architects · Mathis Tinner (Associate) · Gabriella Bertozzi Project Team · António Branco · Jacqueline Gäbel · Jean-Frédéric Luscher · Stefano Tagliacarne · Marco Volpato

Client · Davines S.p.A. Parma, Italy

Project Team Partners · Jacques Herzog · Pierre de Meuron Project Team · Jeanne Françoise Fischer · Christian Müller · Gerrit Sell · Noélie Sénéclauze

Project Team Partners · Jacques Herzog · Pierre de Meuron · Robert Hösl Project Architect · Tim Hupe Project Team · Andreas Beier · Felix Beyreuther · Sven Bietau · Jean-Claude Cadalbert · Georgios Chaitidis · Gregor Dietrich · Alex Fhtenakis · Katja Fiebrandt · Eric Frisch · Martin Fröhlich · Hans Gruber · Nikolai Happ · Roman Harbaum · Claudia von Hessert · Uta Kamps · Sebastian Koch · Sebastian Massmann · Christoph Mauz · Kai Merkert · Beatriz Noves Salto · Matthias Pektor · Daniel Reisch · Roland Rossmaier

MünchEn-fröttManing, gErManY

Project Phases Competition · 2001 – 2002 Schematic Design · 2002 Design Development · 2002 Construction Documents · 2002 – 2004 Construction · 2002 – 2005

Client · Allianz Arena - München Stadion GmbH Clubs · FC Bayern München · TSV 1860 München General Contractor · Alpine Bau Deutschland GmbH, Eching, Germany

Planning General Planning · HVB Immobilien AG, Munich, Germany Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Structural Engineering · Arup, Manchester, UK · Sailer Stepan Partner, Munich, Germany · Kling Consult, Krumbach, Germany · Walter Mory Maier, Basel, Switzerland · IB Haringer, Munich, Germany Mechanical Engineering · TGA Consulting, Munich, Germany Landscape Design · Vogt Landschaftsarchitekten, Zürich, Switzerland

• Georg Schmidt, Auf dem Broadway durch den Dreispitz, in: Basler Zeitung 31 . 10 . 2002 • An der Grenze beider Basel, in: Hochparterre 1 – 2 / 2003 • Lilian Pfaff, Basel, Hochhausdebatte Schweiz, in: archithese 3 / 2003 • Ib., Manhattan, Soho und Queens in Basel?, in: Werk 1 – 2 / 2003

Client · Christoph Merian Stiftung, Basel, Switzerland · Finanzdepartement Basel-Stadt, Basel, Switzerland · Baudepartement Basel-Stadt, Basel, Switzerland

Specialists / Consultants Facade Consulting · R+R Fuchs, Munich, Germany Traffic · Kling Consult, Krumbach, Germany Fire Protection · hhpberlin, Berlin, Germany Lighting · Werning Tropp Schmidt, Munich, Germany

Building Data Site Area · 310,000 sqm Building Footprint · 37,600 sqm Gross Floor Area · 171,000 sqm Building Dimensions · Length 227.00 m · Width 258.00 m · Height 50.00 m · Circumference 840.00 m · Dimension of esplanade 133.00 m × 600.00 m ETFE Skin The 65,500 sqm exterior facade of the Allianz Arena, is comprised of 2,874 rhombic-shaped pneumatic cushions made from ETFE-film that can be backlighted by fluorescent tubes and colored in white, blue and red.

Capacity · Total: 69,901 capacity undercover (including executive boxes and business seats) · Lower tiers: 20,000 seats · Middle tiers: 24,000 seats · Upper tier: 22,000 seats

• Valentin Kessler / Patrick Marcolli, Neue Regierung denkt über den Tag hinaus, in: Basler Zeitung 28 . 9 . 2005 • Richtplan Dreispitz 2006, Baudepartement Basel-Stadt 2006.

headquarters with a sense of artifice that reflects the processing of natural materials in cosmetics: a large roof binds the complex and creates shady outdoor spaces and walkways through the grounds. Instead of huge logos, the halls have transparent walls that allow drivers on the thruway glimpses of the production process in much the same way that the liquids shimmer through the large containers in which they are processed and stored. This water metaphor also returns in the fluid patterns of the extruded metal cladding and in the landscaped grounds with their plants and pools, designed in collaboration with Michel Desvigne, which catch the eye when passing along the highway.

The theme of nature continues in the exhibition pavilion with its airy, organic partition walls of suspended fabrics made of pressed rather than woven fibers.

No. 204 P.156 Project

2001–2005 No. 205 allianz arEna

Bibliography • André Bideau, Ein Befreiungsschlag für Basel? in: Neue Zürcher Zeitung 6 . 12 . 2002 • Herzog & de Meuron, Vision Dreispitz.

Eine städtebauliche Studie, Basel 2002 / 2003 • Urs Rist, Dreispitz-Areal soll vielfältiger genutzt werden, in: Basler Zeitung 22 . 1 . 2002

Project Phases Urban Study · 2001 – 2002 Revision · 2003

BasEl, switzErland

2001–2 002, 2003 No. 204 BasEl drEispitzarEal, urBan studY

Project Phases Concept Design and Permit Drawings · 2002 – 2003

In 1996, the Davines cosmetics firm launched a number of new product lines to be supplied direct from Parma to select hairdressing salons and spas. The new complex between a highway and a stream was to incorporate production, storage, distribution and management facilities while at the same time projecting the company’s image as a manufacturer of natural products using natural processes. Herzog & de Meuron structured this considerable volume into a complex of separate buildings recalling the farmsteads of the Po Valley and Tuscany, and thus paying homage to the rural surroundings and Parma’s agricultural heritage. At the same time, they imbued the new company

parMa, italY

2002–2003 No. 203 davinEs hEad officE

No. 203 No. 205 P.162 Project / P. 214 Plans / P. 342 Images

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St. Gallen, Switzerland

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Helvetia Patria

P. 80 Project / P.188 Plans

M端nchenstein/Basel, Switzerland

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Schaulager

P. 80 Project / P.188 Plans

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Schaulager

M端nchenstein/Basel, Switzerland

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Schaulager

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M端nchenstein/Basel, Switzerland

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Schaulager

P.118 Project / P.198 Plans

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Tokyo, Japan

No.178

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Prada Aoyama

P.118 Project / P.198 Plans

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Tokyo, Japan

No.178

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Prada Aoyama

P.118 Project / P.198 Plans

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Tokyo, Japan

No.178

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Prada Aoyama

P.162 Project / P. 214 Plans

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Munich-Frรถttmaning, Germany

No. 205 Allianz Arena

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P.162 Project / P. 214 Plans

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Munich-Frรถttmaning, Germany

No. 205 Allianz Arena

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Beijing, China

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

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Beijing, China

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

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