13. August 9 New Directions

Transcription

New Directions: Familiar Questions
Jacques Herzog (1950-), Pierre de Meuron (1950-)
“When I was new to my profession, we wanted to offer an abstract, minimalist alternative
to the formal exuberance of postmodernism. But then we gradually noticed that
minimalism is also a trap...It drove out irrationalism and localism…I’ve always been
fascinated by shapes that elude any definition. Ideally, they trigger off complex
associations and cannot be interpreted unambiguously. For us, architecture is a form of
thought that should offer extensive incentives for us to become aware of ourselves and
the world…The aim with our buildings is to tone down the visual side a bit and appeal to
all the human senses. Beauty is, in the end, what moves all of us most. Though I don’t
necessarily mean by that something harmonious and polished, but more the kind of
beauty that seduces and bewilders.” Jacques Herzog
Herzog and de Meuron, Ricola Warehouse, Mulhouse-Brunnstatt, France, 1987
Herzog and de Meuron, Goetz Collection, Munich, Germany, 1992
Herzog and de Meuron, Goetz Collection, Munich, Germany, 1992, sections
Herzog and de Meuron, Goetz Collection, Munich, Germany, 1992, interior
Herzog and de Meuron, Dominus Winery, Napa, CA 1998
Herzog and de Meuron, Library of the Technical University, Eberswalde, Germany, 1998
Photos by Thomas Ruff.
Herzog and de Meuron, Central Signal Tower, Basel, Switzerland, 1999, exterior
Herzog and de Meuron, Central Signal Tower, Basel, Switzerland, 1999, site plan
Herzog and de Meuron, Central Signal Tower, Basel, Switzerland, 1999, plan
Herzog and de Meuron, Central Signal Tower, Basel, Switzerland, 1999, section
Herzog and de Meuron, Central Signal Tower, Basel, Switzerland, 1999, exterior
Herzog and de Meuron, Rue de Suisse Housing, Paris, 2000
Herzog and de Meuron, Rue de Suisse Housing, Paris, 2000, plan
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, exterior
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, plan
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, section
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, interior
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, auditorium
Herzog and de Meuron, Viewing Warehouse, Basel, Switzerland, 2002, storage interior
Herzog and de Meuron, Prada, Tokyo, 2003,
Herzog and de Meuron, Prada, Tokyo, 2003, study models
Herzog and de Meuron, Prada, Tokyo, 2003, sectional study model
Herzog and de Meuron, Prada, Tokyo, 2003, site plan
Herzog and de Meuron, Prada, Tokyo, 2003, first floor plan
Herzog and de Meuron, Prada, Tokyo, 2003
Herzog and de Meuron, Prada, Tokyo, 2003, window samples
Herzog and de Meuron, Prada, Tokyo, 2003, interior
Herzog and de Meuron, Laban Dance Center, London, 2003, exterior
Herzog and de Meuron, Laban Dance Center, London, 2003, exterior
Herzog and de Meuron, Laban Dance Center, London, 2003, exterior glass and color
panel system
Herzog and de Meuron, Laban Dance Center, London, 2003, site plan
Herzog and de Meuron, Laban Dance Center, London, 2003, plan
Herzog and de Meuron, Laban Dance Center, London, 2003, section
Herzog and de Meuron, Laban Dance Center, London, 2003, interior
Herzog and de Meuron, Five Courtyards, Munich, 2003, facade
Herzog and de Meuron, Five Courtyards, Munich, 2003, site plan
Herzog and de Meuron, Five Courtyards, Munich, 2003, courtyard with slot opening.
Herzog and de Meuron, Five Courtyards, Munich, 2003, courtyard with slot opening (from
below).
Herzog and de Meuron, Five Courtyards, Munich, 2003
Herzog and de Meuron, Allianz Arena, Munich, 2006
Herzog and de Meuron, Allianz Arena, Munich, 2006, construction
Herzog and de Meuron, De Young Museum of Art, San Francisco, 2008
Herzog and de Meuron, National Stadium, Beijing, 2008
Herzog and de Meuron, 1111 Lincoln Road, Miami Beach, Florida, 2009
Herzog and de Meuron, Miami Art Museum, Miami, Florida, 2011 anticipated.
Herzog and de Meuron, Miami Art Museum, Miami, Florida, 2011 anticipated.
Peter Zumthor, 1943“My idea of architecture is always very physical. I like materials that wear, keep and have
resonance. A few weeks ago I heard Andreas Staier, one of the best fortepiano players in
the world, being asked why he liked playing Schubert. With Schubert, he said, there’s no
showing off and there’s always intimacy. Then I thought, aha, so there are others who
think the way I do. Of course, showiness is needed now and then, it’s also a legitimate
feature in urban development, but my passion is for intimacy. And for me, that means
directness.” Peter Zumthor
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986, site plan
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986, exterior detail
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986, interior work room
Peter Zumthor, Studio House, Haldenstein, Switzerland, 1986, interior ground floor
Peter Zumthor, Baths, Vals, Switzerland, 1996, initial sketch study
Peter Zumthor, Baths, Vals, Switzerland, 1996
Peter Zumthor, Baths, Vals, Switzerland, 1996, plan
Peter Zumthor, Baths, Vals, Switzerland, 1996, section
Peter Zumthor, Baths, Vals, Switzerland, 1996, section
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, wall detail
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, study sketch
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, plan
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, study section
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, section
Peter Zumthor, Art Museum, Bergenz, Switzerland, 1997, section
Peter Zumthor, Brother Klaus Field Chapel, Wachendorf, Germany, 2007
Ricardo Scofidio and Elizabeth Diller, Diller Scofidio + Renfro
“Our work is nothing other than a string of questions about
architecture. More assertively, it is an attack on the core of architecture.
But one has to have a great respect for what one chooses to attack. We
both try to teach students how to make architecture so that we can
teach them how to unmake it. It is a paradoxical process.”
Diller + Scofidio, Slow House, North Haven, NY, 1988-91 (Partially Built) Perspective and
Plans of TV in the Window Apparatus,
Diller + Scofidio, Slow House, North Haven, NY, 1988-91
Diller + Scofidio, Slow House, North Haven, NY, 1988-91 (Partially Built) model
Diller + Scofidio, Slow House, North Haven, NY, 1988-91 (Partially Built) model
Diller + Scofidio, Slow House, North Haven, CT, 1988-90 (Partially Built) lower floor plan
Diller + Scofidio, Para-Site, Museum of Modern Art, New York City, 1989
Diller + Scofidio, Bad Press, SF Museum of Modern Art, San Francisco, 1993
Diller + Scofidio, Blur Building, Yverdon-les-Bains, Switzerland, 2002
Diller + Scofidio, Blur Building, Yverdon-les-Bains, Switzerland, 2002
Diller + Scofidio, Eyebeam, New York City, 2003, (unbuilt)
Diller + Scofidio, Eyebeam, New York City, 2003, (unbuilt)
Diller Scofidio + Renfrow, Phantom House, American Southwest, 2007
Diller Scofidio + Renfrow, Phantom House, American Southwest, 2007, section
Diller Scofidio + Renfrow,
Phantom House,
American Southwest,
2007, axon
Diller Scofidio + Renfrow, Phantom House, American Southwest, 2007, axon
Diller Scofidio + Renfrow, Institute of Contemporary Art, Boston, 2007
Diller Scofidio + Renfrow, Institute of Contemporary Art, Boston, 2007, section
Diller Scofidio + Renfrow, High Line, New York City, 2009
Greg Lynn (1964-)
“Like in an ecosystem, the individual parts of my buildings should be in a relationship of
interdependence – so that changing one part leads to a change in all the other parts. In a
way, there are parallels there between building and cooking, since both are processes in
which everything combines with everything else, changes, and in the end becomes a shared
whole. That’s what separates my generation from people like Peter Eisenman or Rem
Koolhaas. We’re not afraid of holistic concepts. My buildings should be as harmonious as
classical architecture was. But I don’t want their rigorous order, but more of a movable,
interactive structure. Because order becomes visible in harmony, as does beauty. And
that’s what architecture is about – order and beauty.” Greg Lynn
Greg Lynn, Embryo House, 1998, diagrams
Greg Lynn, Embryo House, 1998, resin cast embryos.
Greg Lynn, Embryo House, 1998, resin cast embryos
Greg Lynn, Embryo House, 1998, panel molds for casting
Greg Lynn, Embryo House, 1998, panel molds for casting
Greg Lynn, Embryo House, 1998, nodules with linked but variant geometries
Greg Lynn, Doug Garafalo, Michael McInturf, Korean Presbyterian Church, Queens, NYC,
1995–1999, “meta-blobs”
1995–1999, “blob strategies”
1995–1999
1995–1999, interior model
1995–1999
1995–1999
1995–1999
1995–1999
1995–1999
1995–1999
1995–1999
1995–1999
Greg Lynn, Blob Wall, 2008
Greg Lynn, Blob Wall, 2008
Greg Lynn, New City, in Other Space Odysseys Exhibition, Canadian Centre for Architecture,
Montreal, 2010
Farshid Moussavi and Alejandro Zaera Polo, Foreign Office Architects (FOA)
Foreign Office Architects (FOA), International Port Terminal, Yokohama, 2002
Foreign Office Architects (FOA), International Port Terminal, Yokohama, 2002, plan
Foreign Office Architects (FOA), International Port Terminal, Yokohama, 2002
www.worldarchitecture.org
Foreign Office Architects (FOA),
International Port Terminal, Yokohama, 2002, interior
Foreign Office Architects (FOA), Carabanchel, Madrid, Spain, 2007
Foreign Office Architects (FOA), Carabanchel, Madrid, Spain, 2007, site plan
Foreign Office Architects (FOA), Carabanchel, Madrid, Spain, 2007, ground floor plan
Foreign Office Architects (FOA), Carabanchel, Madrid, Spain, 2007, typical plan
Foreign Office Architects (FOA), Carabanchel, Madrid, Spain, 2007, section
Ben Van Berkel and Caroline Bos. UN Studio
UN Studio, Erasmus Bridge, Rotterdam, Netherlands, 1996
UN Studio, Mobius House, Het Gooi, Netherlands, 1993-1998
UN Studio, Mobius House, Het Gooi, Netherlands, 1993-1998, diagram
UN Studio, Mobius House, Het Gooi, Netherlands, 1993-1998, diagram
UN Studio, Het Valkhof Museum, Nijmegen, Netherlands, 1999
UN Studio, Het Valkhof Museum, Nijmegen, Netherlands, 1999, plan
UN Studio, Het Valkhof Museum, Nijmegen, Netherlands, 1999, section
UN Studio, Nuclear Magnetic Resonance (NMR) Facility, Utrecht, Netherlands, 2000
UN Studio, Nuclear Magnetic Resonance (NMR) Facility, Utrecht, Netherlands, 2000, plan
UN Studio, Flexible Housing, Almere, Netherlands, 2001
UN Studio, Flexible Housing, Almere, Netherlands, 2001, section
UN Studio, Flexible Housing, Almere, Netherlands, 2001, plan
UN Studio, Vila NM, Upstate New York, 2007, study models
UN Studio, Vila NM, Upstate New York, 2007, sections
UN Studio, Vila NM, Upstate New York, 2007
UN Studio, Vila NM, Upstate New York, 2007, site plan
Jacob van Rijs, Natalie de Vries, and Winy Maas. MVRDV
MVRDV, WoZoCo Housing, Amsterdam, Holland, 1997
MVRDV, WoZoCo Housing, Amsterdam, Holland, 1997, site plan
MVRDV, WoZoCo Housing, Amsterdam, Holland, 1997, Fifth floor plan
MVRDV, WoZoCo Housing, Amsterdam, Holland, 1997, Structure
MVRDV, Expo 2000 Netherlands Pavilion, Hanover, Germany, 2000
MVRDV, Expo 2000 Netherlands Pavilion, Hanover, Germany, 2000, section
MVRDV, Hagen Island Housing, The Hague, Holland, 2003
MVRDV, Hagen Island Housing, The Hague, Holland, 2003, plan
MVRDV, Hagen Island Housing, The Hague, Holland, 2003, section
MVRDV, Silodam Housing, Amsterdam, Holland, 2003
MVRDV, Silodam Housing, Amsterdam, Holland, 2003, water-level plan
MVRDV, Silodam Housing, Amsterdam, Holland, 2003, typical plan
Man and Nature
Form and Structure
Symbol and Meaning
New Technologies
New Forms of Cities
New Materials
NEW ARCHITECTURE FROM THE
19CENTURY TO THE PRESENT
Marc-Antoine Laugier,
“The Primitive Hut,”
from Essai sur l’architecture,
1753.

13. August 9 New Directions

Transcription

Similar documents

Stararchitekten entwerfen Ferienhäuser