Jacques Herzog Pierre de Meuron Christine Binswanger Ascan Mergenthaler Stefan Marbach Jason Frantzen Robert Hösl Andreas Fries Wim Walschap Simon Demeuse Olga Bolshanina Santiago Espitia Berndt Steffen Riegas Christoph Röttinger Martin Knüsel Tobias Winkelmann Harry Gugger (former) Esther Zumsteg (former)
Founders
Jacques Herzog Pierre de Meuron
Founded
1978
Location
Basel, Switzerland Berlin, Germany Munich, Germany New York City, USA San Francisco, USA London, UK Hong Kong, China
In addition to their architectural practice, Herzog and de Meuron served as professors at ETH Zürich from 1999 to 2018, where they co-founded ETH Studio Basel in 1999 alongside architects Roger Diener and Marcel Meili within the department of architecture. They have also held teaching roles as visiting professors at the Harvard University Graduate School of Design, with Jacques Herzog serving as a visiting tutor at the Cornell University College of Architecture, Art, and Planning.
Herzog & de Meuron was founded in Basel in 1978.[3] In 2001, Herzog & de Meuron were awarded the Pritzker Prize, the highest honor in architecture. Jury chairman J. Carter Brown commented, "One is hard put to think of any architects in history that have addressed the integument of architecture with greater imagination and virtuosity", in reference to HdM's use of exterior materials and treatments, such as silkscreened glass. Architecture critic and Pritzker juror Ada Louise Huxtable summarized HdM's approach stating, "They refine the traditions of modernism to elemental simplicity while transforming materials and surfaces through the exploration of new treatments and techniques."[4] The firm was listed as "one of the most admired design companies in the world" in The New York Times Magazine in 2006."[5]
As part of the urban development project known as HafenCity, the Hamburg government approved the construction of the Elbe Philharmonic designed by Herzog & de Meuron. On a former warehouse in the port of Hamburg, rises a huge glass sail that houses a large concert hall, offices, and a hotel, while the former warehouse is used as a parking structure. The inaugural concert was held in January 2017.[6]
1 October – 20 November 1988: Architektur Denkform, Architekturmuseum Basel, Switzerland
26 January – 24 March 1991: Contribution to Berlin Morgen. Ideen für das Hery Einer Grosstadt Berlin Zentrum at Deutsches Architektur-Museum, Frankfurt a. M., Germany
1 March – 7 April 1991: Architektur von Herzog de Meuron im Kunstverein München at Kunstverein München, Munich, Germany
26 May − 2 July 1994: Five Competition Entries at Swiss Institute, New York, New York, USA
12 October – 11 December 1994: Contribution to Bienal Internacional de Arte De São Paulo 22. Swiss Pavilion Architecture of Herzog & de Meuron Pavilhão Ciccillo Matarazzo, Parque do Ibirapuera, São Paulo, Brazil
8 March – 22 May 1995: Herzog & de Meuron, Une Exposition, conceived by Rémy Zaugg at Centre Pompidou, Paris, France
22 November 1996 – 9 January 1997: Architectures of Herzog & de Meuron. Portraits by Thomas Ruff at Peter Blum Gallery Soho, New York City, USA and 22 November 1996 –9 January 1997 at TN Probe Exhibition Space, Tokyo, Japan
31 May – 3 July 1997: Herzog & de Meuron. Zeischnungen Drawings at Peter Blum Gallery, Soho, New York, USA
12 May – 26 November 2000: Herzog & de Meuron – 11 Stations at Tate Modern[26] opening exhibition curated by Theodora Vischer in collaboration with Käthe Walserby at Tate Modern Turbine Hall, London
4 November 2000 – 11 February 2001: In Process curated by Philip Vergne, Walker Art Center, Minneapolis, MN, USA
2 March – 8 April 2001: Works in Progress. Projects by Herzog & de Meuron and by Rem Koolhaas /OMA at Fondazione Prada, Milan, Italy
23 October 2002 – 6 April 2003: Herzog & de Meuron. Archéologie de l'Imaginaire, curated by Philip Ursprung, Canadian Centre for Architecture, Montréal, Canada[27]
2004–2006 (multiple showings): An Exhibition by Schaulager Basel and Herzog & de Meuron at Schaulager Basel, Münchenstein, Switzerland
3 June – 5 August 2007: Studio as Muse. Design for the New Parrish at Parrish Art Museum, Southampton, NY, USA
10 January – 15 March 2008: Contribution to Hong Kong & Shenzhen Bi-City Biennale of Urbanism / Architecture: Refabricating City at Old Central Police Station Compound, Hong Kong, China
20 March – 4 October 2016: Material Future: The Architecture of Herzog & de Meuron and the Vancouver Art Gallery at Vancouver Art Gallery, Vancouver, Canada
10 September 2016 – 13 February 2017: Building Optimism: Public Space in South America at the Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, PA, USA
10 February – 1 May 2017: Elbphilharmonie Revisited at Hall for Contemporary Art, Deichtorhallen, Hamburg, Germany
13 June – 20 August 2017: Summer Exhibition 2017 at Architecture Gallery, Royal Academy of Arts, London, UK
Project 2017–2018; Show 14 January 2018: Language Restraint: Herzog & de Meuron for Prada. Collection Items for Prada Invites 2018, Milan, Italy
Project 2018; Show 4 May 2018: Herzog & de Meuron for Prada. Showspace for Prada Resort 2019 at Piano Factory, New York, New York, USA[29]
30 September – 20 November 2021: Exploring Songeun Art Space at ST International HQ and SONGEUN Art Space, Seoul, Korea[30]
24 October 2022 – 1 April 2023: Lusail Museum: Tales of a Connected World at Lusail Museum, Qatar[31]
1996 No. 6 Sensing the Future. The Architect as Seismograph: Contribution to the Venice Biennale International Pavilion at Giardini, Venice, Italy[33]
2008 No. 11 Architecture Beyond Building: Herzog & de Meuron and Ai Weiwei. Installation Piece at Italian Pavilion, Giardini, Venice, Italy[34]
2012 No. 13 Common Ground: Herzog & de Meuron. Elbphilharmonie – The construction site as a common ground of diverging interests at Arsenale Corderie, Venice, Italy[35]
2014 No. 14 Fundamentals: Lucius Burckhardt and Cedric Price – A Stroll Through A Fun Palace, Swiss Pavilion, Venice, Italy
Luis Fernández-Galiano (Ed.): Herzog & de Meuron 2003–2019. (Vol.2), Madrid, Arquitectura Viva SL, 12.2019.
Luis Fernández-Galiano (Ed.): Herzog & de Meuron 1978–2002. (Vol.1) Madrid, Arquitectura Viva SL, 12.2019.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografias. Herzog & de Meuron 2013–2017. Vol. No. 191–192, Madrid, Arquitectura Viva SL, 12.2016.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografías. Herzog & de Meuron 2005–2013. Vol. No. 157/158, Madrid, Arquitectura Viva SL, 09.2012.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografías. Herzog & de Meuron 2000–2005. Vol. No. 114, Madrid, Arquitectura Viva, 07.2005.
Luis Fernández-Galiano (Ed.): Arquitectura Viva. Herzog & de Meuron 1978–2007. 2nd rev. ed. Madrid, Arquitectura Viva, 2007.
Luis Fernández-Galiano (Ed.): Arquitectura Viva. Herzog & de Meuron. 1980–2000. Vol. No. 77, Madrid, Arquitectura Viva, 07.1999.
Dino Simonett: Herzog & de Meuron 001–500. Index of the Work of Herzog & de Meuron 1978–2019. Edited by: Dino Simonett, Herzog & de Meuron. Basel, Simonett & Baer, 2019
Fernando Márquez Cecilia; Richard Levene (Eds.): El Croquis. Herzog & de Meuron 2005–2010. Programme, Monument, Landscape. Vol. No. 152/153, Madrid, El Croquis, 2010.
Gerhard Mack, Herzog & de Meuron: Herzog & de Meuron. Elbphilharmonie Hamburg. Edited by: Herzog & de Meuron. Basel, Birkhäuser, 2018.
Herzog & de Meuron, Park Avenue Armory: Herzog & de Meuron Transforming Park Avenue Armory New York. Edited by: Gerhard Mack. Basel, Birkhäuser, 2014.
Tate Modern. Building a Museum for the 21st Century. Edited by: Chris Dercon and Nicholas Serota. London, Tate Publishing, 2016
Herzog & de Meuron + Ai Weiwei. Serpentine Gallery Pavilion 2012. Edited by: Sophie O'Brien with Melissa Larner and Claire Feeley. Exh. Cat. Serpentine Gallery Pavilion 2012. London, Koenig Books / Serpentine Gallery, 2012.
Work in Progress. Herzog & de Meuron's Miami Art Museum. Exh. Cat. Work in Progress: Herzog & de Meuron's Miami Art Museum. Miami Art Museum. 1 December 2007 – 6 April 2008. Miami, Miami Art Museum, 2007.
Expanding the Center. Walker Art Center and Herzog & de Meuron. Edited by: Andrew Bauvelt. Minneapolis, Walker Art Center, 2005.
Prada Aoyama Tokyo. Edited by: Germano Celant. 2nd ed. Milan, Progetto Prada Arte srl, 2003.
Roger Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Manuel Herz, Christian Schmid, Milica Topalovic: The Inevitable Specificity of Cities. Edited by: ETH Studio Basel. Zurich, Lars Müller Publishers, 2015.
Jacques Herzog, Pierre de Meuron, Manuel Herz: MetroBasel. Ein Modell einer europäischen Metropolitan-Region. Edited by: ETH Studio Basel. Basel, ETH Studio Basel, 2009.
Jacques Herzog, Pierre de Meuron: The Canary Islands. Open – Closed. An urban Research Study on the Canary Islands. ETH Studio Basel, Contemporary City Institute, Basel, 2007.
Exhibition catalogues, critical readings and focus statements
Herzog & de Meuron. Natural History. Edited by: Philip Ursprung. Exh. Cat. Herzog & de Meuron. Archaeology of the Mind. Canadian Centre for Architecture, Montreal. 23 October 2002 – 6 April 2003. Baden, Lars Müller, 2002
Jacques Herzog, Philip Ursprung, Jeff Wall: Pictures of Architecture. Architecture of Pictures. A Conversation between Jacques Herzog and Jeff Wall. Edited by: Cristina Bechtler. Vienna / New York, Springer, 2004.
Jacques Herzog, Pierre de Meuron: Treacherous Transparencies. Thoughts and observations triggered by a visit to the Farnsworth House. Barcelona, Actar Publishers / IITAC Press, 2016.
Roger Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Christian Schmid: Switzerland. An Urban Portrait. Birkhäuser, 2006. Vol. No. 1-4.
There have been a lot of discussions about whether Herzog & de Meuron has a specific style. Even though people have tried to describe an 'H&dM style', the office always declines to have one: In an interview, founding partner Jacques Herzog stated that Herzog & de Meuron "never aspired to anything that might be called a typical style of our own. […] To this day, we do not want to [design a series] of iconic buildings that would instantly communicate "Herzog & de Meuron" – as opposed to the new, specific location that can be created and communicated by a building. In that respect it's not wise to represent a style or a certain taste. We say that over and over again not out of modesty or to castigate ourselves but because we want to maintain our independence and because we are curious about new possibilities."[37]
Their recent work at Prada Tokyo, the BarcelonaForum Building, and the Beijing National Stadium for the 2008 Olympic Games suggest a changing attitude.[5] The shapes and forms of some of the works suggest art glass and objects d'art that one would see on a coffee table, like an art deco ashtray or quirky container for chocolates – a building becomes a blown-up version of desk art because the computer can do it, mimic the plasticity of the medium, and make it possible as a feat of engineering.
Herzog & de Meuron have faced criticism for their vision for migrant workers in Beijing during the construction of the Beijing National Stadium. In a July 2008 interview with the German magazine Der Spiegel, Jacques Herzog was criticised for not having done more to ensure the conditions under which migrant workers constructed the stadium by the interviewer, to which Jacques Herzog responded that the influence of the architect on the construction process is declining rapidly.[38]
On the other hand, some scholars, such as Deyan Sudjic, have stated that the very building of the stadium sent a signal from the Western architecture firm to the Chinese government to change societal norms.[39] However, others have argued that this statement would go with any stadium design, decreasing the potential of the signal.[40]
^Knöfel, Ulrike; Beyer, Susanne (30 July 2008). "Only an Idiot Would Have Said No". spiegel.de. Der Spiegel. Archived from the original on 2 October 2015. Retrieved 23 October 2019. Herzog: We can always exchange a few friendly words with the mayor, but the realities have changed in construction management. We are dealing with a world that, paradoxically enough, is often at odds with the architecture. On the one hand, the architect is highly respected, and architecture also has the capacity to bring about radical social change. On the other hand, the architect's influence on the course of construction is declining rapidly.
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