The Analysis of the Architectural Languages of Herzog & de Meuron via Regionalism, Materials, and Patterns
Abstract
In contemporary architecture, architects have been pursuing architectural languages to express various experiences and impressions visually, psychologically, and physically. The analysis of the architectural language of Herzog and de Meuron aims to divide their language into elements that can show architectural characteristics such as materials, patterns, and forms. The objective of this paper is to understand the flow and trend of contemporary architecture through the analysis of examples of works applying their experimental architectural language. As a methodology, there is a synchronous analysis of the architectural characteristics of German-speaking architects in Switzerland and their works. Diachronically, the era of Herzog and de Meuron's architecture spanned the 1980s, 1990s, and 2000s. The result showed that first, in terms of materials, ordinary materials that we use daily, such as concrete, glass, and wood, were used to express the building more richly and energetically. However, they did not experiment with new things but sought to find hidden inner qualities in these familiar materials. Second, they used a pattern language with formative meaning by applying various studies and experiments. Natural images, not sensuous and stimulating, were planned to fit the regional and spatial purpose. Third, in terms of form, it can be seen that they thoroughly considered the external environment and influence, functionality, harmonious arrangement, and variability.
References
Brooks, N. E., & Toth, J. (Eds.). (2007). The Mourning After: Attending the Wake of Postmodernism (Vol. 40). Rodopi. 23-41.
Brown, A. (2011, July). Accounting for autonomy: Locating architecture in the exhibitions of Herzog & de Meuron and OMA-AMO. In Audience: Proceedings of the 28th International Conference of the Society of Architectural Historians, Australia and New Zealand (SAHANZ), Brisbane, QLD, Australia, Society of Architectural Historians, Australia and New Zealand (SAHANZ) (pp. 7-10).
Castro, A. (2017, June). Geometry and Digital Technologies in the Architecture of Herzog & de Meuron. The Project for the Stamford Bridge Stadium in London. In International Conference Geometrias: Thinking, Drawing, Modelling (pp. 13-28). Springer, Cham.
Castro, A. (2020). Geometry and Digital Technologies in the Architecture of Herzog & de Meuron. The Project for the Stamford. Thinking, Drawing, Modelling: GEOMETRIAS 2017, Coimbra, Portugal, June 16–18, 326, 13.
Castro, A. (2021). The Modelling Process of the Tate Modern Brick Facade by Herzog & de Meuron. Nexus Network Journal, 23(4), 1039-1053.
Chevrier, J. F. (2016). De Bâle-Herzog & de Meuron. Birkhäuser. 42-51.
Davidts, W. (2016). A ziggurat of brick and concrete: Tate Modern and the museum in the 21st century. In Tate Modern: building a museum for the 21st century (pp. 46-63). Tate Publishing.
de Meuron, H. (2008). Allianz Arena. In Transparent Plastics (pp. 122-129). Birkhäuser Basel.
Del Prete, M. (2015). Herzog & De Meuron: Vitrahaus. Herzog & De Meuron: Vitrahaus, 8-13.
Diener, R., Herzog, J., Meili, M., De Meuron, P., & Schmid, C. (2013). Switzerland–an Urban Portrait: Vol. 1: Introduction; Vol. 2: Borders, Communes–a Brief History of the Territory; Vol. 3: Materials. Walter de Gruyter. 44-53.
Drago, N. (2021). Scenic design as a field for experimentation by architects: the set designs by Herzog & De Meuron and Morphosis. DRAMATIC ARCHITECTURES. THEATRE AND PERFORMING ARTS IN MOTION., (1), 127-143.
Finch, P. (1996). Herzog and de Meuron unveils Bankside plan. Architects' Journal, 203(10), 8-9.
Grootveld, Marius (2021). Wohnhäuser St. Alban-Tal Basel (CH). Retrieved from https://journals.open.tudelft.nl/dash/article/view/5099
Hall, M. (2006, August). Through a slot, darkly: when the Museum of Modern Art in New York asked the architects Herzog & de Meuron to curate an exhibition drawn from its permanent collection, it may not have expected the slap in the face that has resulted. In Apollo (Vol. 164, No. 534, pp. 11-12). Apollo Magazine Ltd..
Hartman, H. (2016). Alternative Visions of the Brazilian City: In conversation with Herzog & de Meuron Senior Partner Ascan Mergenthaler. Architectural Design, 86(3), 80-87.
Herzog, J. (1989). Herzog & de Meuron. Gustavo Gili. 88-93.
Herzog, J., & de Meuron, P. (1989). The Hidden Geometry of Nature: Six Projects. Assemblage, (9), 81-107.
Herzog, J., & de Meuron, P. (1992). Firmitas. Herzog & de Meuron, 1996, 222-225.
Huber, D., & Rogier, F. (1989). The Hidden and the Apparent: Comments on the Work of Jacques Herzog and Pierre de Meuron. Assemblage, (9), 114-117.
Ketcham, D. (2005). the de Young in the 21st century: a museum by Herzog & de Meuron. Thames & Hudson. 32-38.
Kipnis, J. (1997). The Cunning of Cosmetics: a personal reflection on the architecture of Herzog and de Meuron. El Croquis, 84.
Kuitenbrouwer, P. (2009). 40BOND New York Herzog & de Meuron Architekten AG. DASH| Delft Architectural Studies on Housing, (02), 60-67.
Lee, M. K. (2015). Study on Characteristics of Body Sense in Contemporary Architectural Design-Focused on Works of Herzog & de Meuron, Steven Holl, Peter Zumthor, Kuma Kengo. Korean Institute of Interior Design Journal, 24(1), 82-92.
Lim, S. H. (2014). On Tactile Sense and Depth in Sapce-focused on Herzog & De Meuron's Architecture. Journal of the Architectural Institute of Korea Planning & Design, 30(2), 187-194.
Liñán, L. J. (2018). From Icon to Diagram: Serpentine Gallery Pavilion 2012, Herzog & De Meuron and Ai Weiwei. Cuadernos de Proyectos Arquitectónicos, (8), 179-182.
Lira, O. (2014). Armería en Park Avenue, por Herzog & De Meuron. ARQ (Santiago), (88), 18-25.
Mack, G. (1996). Herzog & de Meuron: The Complete Works. Birkhäuser Verlag. 34-48.
Mack, G. (2014). Herzog & de Meuron Transforming Park Avenue Armory New York. In Herzog & de Meuron Transforming Park Avenue Armory New York. Birkhäuser.
Manolopoulou, Y. (2009). Repetition to monochrome: surfaces for picture making by Herzog & de Meuron and Ellsworth Kelly. The Journal of Architecture, 14(3), 407-420.
Marianne Burkhalter + Christian Sumi. (1997). AA Files, 34, 56–63. http://www.jstor.org/stable/29544069
Moneo, R., de Meuron, P., Eisenman, P., Ghery, F. O., Herzog, J., Koolhaas, R., ... & Venturi, R. (2004). Inquietud teórica y estrategia proyectual en la obra de ocho arquitectos contemporáneos. Barcelona: Actar. 201-224.
Moore, R. (2015). Two decades of Herzog & de Meuron. The Architectural Review, 3, 79-89.
Na, H. N., & Park, B. M. (2017). A Study on the inflow of Sunlight through the Active Building Skin-Focusing on Works of Herzog & de Meuron. Korean Institute of Interior Design Journal, 26(4), 30-41.
Park, M. Y. (2022). A Study on the Complex Perception of Architecture by Herzog and de Meuron-The Influence of Minimal Art and Pop Art. Journal of the Architectural Institute of Korea, 38(1), 109-120.
Peters, B. (2013). Realising the Architectural Idea: Computational Design at Herzog & De Meuron. Architectural Design, 83(2), 56-61.
Piccarolo, G. (2016). Herzog & de Meuron, Feltrinelli Porta Volta, Milano. 64-72.
Quesada-García, S. (2018). Herzog & de Meuron o la (renovada) mimesis de la naturaleza. RA: Revista de Arquitectura, 20, 118-129.
Ren, X. (2008). Architecture and nation building in the age of globalization: Construction of the national stadium of Beijing for the 2008 Olympics. Journal of Urban Affairs, 30(2), 175-190.
Rocca, A. (2010). Vitra, il campus dei miracoli di Herzog & De Meuron/Vitra, the Campus of Miracles by Herzog & De Meuron. 43-48.
Sharr, A. (2012). An augury of collapse: Herzog and De Meuron’s CaixaForum in Madrid. In Reading Architecture and Culture (pp. 49-63). Routledge.
Sonnenburg, S. (2010). Project Creativity in Organizations: What Can We Learn from The Beatles, Picasso, Braque, and Herzog & de Meuron?. Editors: Arja Ropo, Saara Taalas and Marjo Mäenpää, 31.
Stacey, M. (2004). Digital Fabricators. Architects' Journal, 219(15), 31.
Strehlke, K. (2009). Digital technologies, methods, and tools in support of the architectural development at Herzog & de Meuron. 101-113.
Stungo, N. (2002). Modern Architecture: Herzog & de Meuron (Vol. 60). Carlton Books Limited.
Tapparelli, C. (2014). From Models to Movement?: Reflections on some recent projects by Herzog & de Meuron. In Architecture and Movement (pp. 239-243). Routledge.
Tsukui, N. (2006). Photography and the surface of architecture with reference to Herzog and de Meuron. University of London, University College London (United Kingdom). 67-81.
Ursprung, P. (2002). Herzog & de Meuron. Natural History, 111.
Ursprung, P. (2005). Herzog & de Meuron: Natural History:[Ausstellung, Canadian Centre for Architecture (CCA), Montréal, 23 October 2002 to 6 April 2003; Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, 5 June to 7 September 2003; Schaulager, Münchenstein/Basel, Spring 2004...]. Springer Science & Business Media.
Ursprung, P. (2017). Stone House: Herzog & de Meuron. Companion to the History of Architecture, 1-7.
Vandenbulcke, B. (2011). Concretion, abstraction: The place of design processes in the theory of architecture: Case study: Herzog & De Meuron. In ARCHTHEO 2011-Theory of Architecture Symposium.
Volpe, A. (2021). Herzog & de Meuron. Fondazione Feltrinelli a Milano. Firenze Architettura, 25(1), 32-43.
Wang, W. (1998). Herzog & de Meuron. Birkhäuser. 47-53.
Watson, V. (2018). Rurality and Minimal Architecture: An inquiry into the genealogy of Tate Modern’s Bankside gallery spaces. ARENA Journal of Architectural Research, 3(1), 4.
Wettstein, D. (2020). Tér-idő illúziók-Mintha egy Esterházy-regényben járnánk| Herzog & de Meuron: Stadtcasino Basel. METSZET, 11(5), 38-43.
Xuelei, Y. (2012, May). Chasing the Essence of Architecture: Analyzing on Works of Herzog & De Meuron. In Proceedings of the 2012 Second International Conference on Electric Technology and Civil Engineering (pp. 626-629).
Yoo, J. H., & Lee, J. W. (2014). A Study on the Expression Method of Immateriality in Contemporary Architectural Space-Kengo Kuma and Herzog & De meuron. Korean Institute of Interior Design Journal, 23(1), 3-13.
Zaugg, R. (1996). Remy Zaugg: Herzog & De Meuron an Exhibition. Distributed Art Pub Incorporated.
Zaugg, R. (2001). Architecture by Herzog & de Meuron, Wall Painting by Rémy Zaugg, a Work for Roche Basel. Springer Science & Business Media. 62-71.