The first of a series of publications that will be the paper exampl eof the MCHAP Awards, founded by the College of Architecture of IIT. In it, the winners of the first award contextualize the Farnsworth House by Mies Van der Rohe, offering their own vision of it and its materialization in relation to similar artistic expressions from the rest of the Great Arts.
Treacherous Transparencies, written by Jacques Herzog and Pierre de Meuron and edited by Gustavo Gili, could almost be considered an essay in which the well-known architects, with the excuse of a visit to the Farnsworth House -to which they go as guests after winning the MCHAP Award in 2013- think about glass as material and, above all, as anstylistic principle. The House Farnsworh, of course, is one of the 6 examples chosen to contextualize the appearance of a new aesthetic, of which van der Rohe's project is a living example.

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. [...]

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9788425229954
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Authors
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Jecques Herzog and Pierre de Meuron
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Editorial
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Gustavo Gili
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Year
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2016
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14 x 20 cm
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96 pages
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Herzog & de Meuron Architekten is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 1950), and Pierre de Meuron (born 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zürich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Museum of Modern Art (2000). Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 (and in 1989) and professors at ETH Zürich since 1999. They are co-founders of the ETH Studio Basel – Contemporary City Institute, which started a research programme on processes of transformation in the urban domain.

Herzog & de Meuron is a partnership led by five Senior Partners – Jacques Herzog, Pierre de Meuron, Christine Binswanger, Ascan Mergenthaler and Stefan Marbach. An international team of 38 Associates and about 362 collaborators.

Herzog & de Meuron received international attention very early in their career with the Blue House in Oberwil, Switzerland (1980); the Stone House in Tavole, Italy (1988); and the Apartment Building along a Party Wall in Basel (1988).  The firm’s breakthrough project was the Ricola Storage Building in Laufen, Switzerland (1987).  Renown in the United States came with Dominus Winery in Yountville, California (1998). The Goetz Collection, a Gallery for a Private Collection of Modern Art in Munich (1992), stands at the beginning of a series of internationally acclaimed museum buildings such as the Küppersmühle Museum for the Grothe Collection in Duisburg, Germany (1999). Their most recognized buildings include Prada Aoyama in Tokyo, Japan (2003); Allianz Arena in Munich, Germany (2005); the new Cottbus Library for the BTU Cottbus, Germany (2005); the National Stadium Beijing, the Main Stadium for the 2008 Olympic Games in Beijing, China; VitraHaus, a building to present Vitra’s “Home Collection“, Weil am Rhein, Germany (2010); and 1111 Lincoln Road, a multi-storey mixed-use structure for parking, retail, a restaurant and a private residence in Miami Beach, Florida, USA (2010), the Actelion Business Center in Allschwil/Basel, Switzerland (2010). In recent years, Herzog & de Meuron have also completed projects such as the New Hall for Messe Basel Switzerland (2013), the Ricola Kräuterzentrum in Laufen (2014), which is the seventh building in a series of collaborations with Ricola, with whom Herzog & de Meuron began to work in the 1980s; and the Naturbad Riehen (2014), a public natural swimming pool. In April 2014, the practice completed its first project in Brazil: the Arena do Morro in the neighbourhood of Mãe Luiza, Natal, is the pioneering project within the wider urban proposal “A Vision for Mãe Luiza”.

Herzog & de Meuron have completed 6 projects since the beginning of 2015: a new mountain station including a restaurant on top of the Chäserrugg (2262 metres above sea level) in Toggenburg, Switzerland; Helsinki Dreispitz, a residential development and archive in Münchenstein/Basel, Switzerland; Asklepios 8 – an office building on the Novartis Campus in Basel, Switzerland; the Slow Food Pavilion for Expo 2015 in Milan, Italy; the new Bordeaux stadium, a 42’000 seat multifunctional stadium for Bordeaux, France; Miu Miu Aoyama, a 720 m² boutique for the Prada-owned brand located on Miyuki Street, across the road from Prada Aoyama, Tokyo, Japan.

In many projects the architects have worked together with artists, an eminent example of that practice being the collaboration with Rémy Zaugg, Thomas Ruff and with Michael Craig-Martin.

Professionally, the Herzog & de Meuron partnership has grown to become an office with over 120 people worldwide. In addition to their headquarters in Basel, they have offices in London, Munich and San Francisco. Herzog has explained, “We work in teams, but the teams are not permanent. We rearrange them as new projects begin. All of the work results from discussions between Pierre and me, as well as our other partners, Harry Gugger and Christine Binswanger. The work by various teams may involve many different talents to achieve the best results which is a final product called architecture by Herzog & de Meuron.”

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Published on: October 27, 2016
Cite: "Treacherous Transparencies by Jacques Herzog and Pierre de Meuron" METALOCUS. Accessed
<http://www.metalocus.es/en/news/treacherous-transparencies-jacques-herzog-and-pierre-de-meuron> ISSN 1139-6415
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