The work of architects Herzog & de Meuron is by all known and has been widely published in numerous monographs and magazines. However, the architects have rarely lavished with writing. Treacherous transparencies is the first book of essays written by the Swiss architects who, after a visit to the Farnsworth House by Mies van der Rohe, address the issue of transparency as a form of expression in architecture and art, striving to understand the intentions and views that hide the most important architects and artists.
Jacques Herzog and Pierre de Meuron think about the the strategy of laying through transparency by outstanding the works of important artists and architects of the twentieth century. The names of the architects and artists that are being related to each other here have surely never met before in a same list: Bruno Taut, Ivan Leonidov, Marcel Duchamp, Mies van der Rohe, Dan Graham and Gerhard Richter. However, it exists is something that unites them: their work marks the decisive stages in the evolution from modernism to contemporary times.
Jacques Herzog and Pierre de Meuron founded Herzog & de Meuron in Basel in 1978, a practice that, over the years, has been extended to an international team of partners and collaborators currently working on projects in Europe, America and Asia. The practice is headquartered in Basel and has representative offices in Hamburg, London, Madrid, New York and Hong Kong. Herzog & de Meuron have designed a wide range of projects, from small-scale family houses to large urban projects. The study, known for its cultural public projects and their collaboration with artists, has received numerous awards, including the Pritzker Prize (2001), the Royal Gold Medal (2007), the Praemium Imperiale (2007) and the Crown Hall Mies Americas Prize (2014).
Introduction Text
In Fall 2014, Pierre de Mauron and I went to see Mies Van der Rohe's legendary Farnsworth House with a small group of architects and teachers from IIT in Chicago. These pictures and thoughts ensued after our visit.
Ludwig Mies van der rohe's (1886-1969) truly iconis achievement, designed in 1945 and built in 1951, was revealed in all its crystalline purity on that beautiful day of October. his building was surrounded by an autumnal array of colors, which contribute to its enduring renown. The circumstances could hardly haver been more auscpicious for visiting a place and then, on leaving, finding onself enriched by one of those relatively rare architectural expreinces taht do happen now and again, and are so wonderful because they are irresistibly overwhelming. But this is not what happened.
On the contrary: the longer Pierre and I looked at the building, studying the details of the structural joint and the proportions, and most specifically, talking about its location on the porperty and its curious ''indecisive'' heigh above the ground, the more we began to wonder. What was the architect's rationale? What was important to him? The natural surroundings? The people? Or simply the architecture? How do human-nature-architecture work together in this particular case? What approach did the architect take to this triangle of fundamental forces that are the essence of every architectural project?
Treacherous transparecies analyzes transparency as expressed in architecture and art in an attemps to understand th eintentions and objectives that underlie its use by pertinent architects and artists. [...]