Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Jacques H erzog
y Pierre de M euron
A C onversation w ith
Jacques H erzog
and P ierre de M euron
J e a n - F r a n o is C hevrier
o f p e rc e p tio n " . I h a v e in m in d a n a n e c d o te th a t re la te s to p a in
C o u r b e t w as p a in tin g a la n d s c a p e o u td o o rs , a n d in th e fa r d is
ta n c e h e c o u ld se e "a k in d o f g re y is h b lo c k " h e w as u n a b le to
car, pero Francis Wey reconoci sobre el lienzo que era una pila
id e n tify , b u t F ra n c is W ey w as a b le to se e o n th e c a n v a s th a t it
jada, Courbet mismo tambin acab por verlo. Esta ancdota fascin
ca n va s, C o u rb e t th e n saw it h im s e lf. C za n n e w as v e ry fo n d o f
th is s to ry . H e s a id to J o a c h im G a s q u e t o n e d a y : "R e m e m b e r
H e a s k e d w h a t w a s b e in g p ic tu r e d th e re . T h ey w e n t a n d lo o k e d .
(u n le ss G a s q u e t ha s re p o r te d h is w o rd s in c o rre c tly ), s in c e in h is
B u t in a n y e v e n t, th e le s s o n is c le a r: it is p o s s ib le to p a in t w h a t
y o u s e e w ith o u t n e e d in g to n a m e it. W h e n th e p ic to r ia l in s tr u
m e n t re p la c e s th e w o rd s, p e rc e p tio n is re v e a le d a s an e xp e rie n c e
p r io r to v e rb a l id e n tific a tio n o f th e o b je c t.
JH: We lirsl sel oui with an altitude that was extremely straightfor
with the work or the built object. Architecture can bo likened to arl in
the way that it affirms while at the same lime remaining neutral, leaving
room for the possibility of seeing things another way, from another per
PdM, JFC. JH
Basilea, Verano de 2010
Y ou n e e d e x tr a o r d in a r y s e lf- a s s u ra n c e to b e a n a r c h ite c t, to
c a u s e s o m e th in g to e x is t in th e w o rld , to a d d s o m e th in g to w h a t
una sentencia verbal, pero no por ello deja de ser una afirmacin.
"yes" to the world. You say "yes" to a client. At ttie same lime, coming
no Idea of what to do. You do things, you try to find work, but you are
for a client, for a certain concept, but you also work against what has
alguien, para un cliente, para una cierta idea, pero tambin tra
boon done before, to find other ways forward. Since the nineteenth cen
tury. architects have been obliged to invent the world in which they place
lary. We wanted to avoid style: the idea of perception Is more open. The
the beginning of the 1970s, the monotonous, cold grey of the 1960s.'
Grey was the classic colour of modernism In the style of Mies van dor
unchanged, but the grey was replaced by more frivolous colours, gold
or bronze for the aluminium used In buildings, beige or brown for the
us, wo admired this rattier cold modernism but we were coming onto the
scene a generation too late and the trend was Impossible to reverse.
23
1 'Das spo/ischo Gewichl cior ArchilokUi* / I ho Spocilic Gravity ol Architectures', Archithosn. vcl
12, hu. 2. M arch-Apa! 1982; / Ic t/o g & fie Meuron. 1 9 /8 - 1988. 7he C ony/e h: Works. voi.
cel. Gerhard Mack, Basel/Boston/Borim. Birkhausor Vcriacj. 1 99 /. p. 201 206.
3 Aldo Rossi. En los aos que siguieron al Mayo del 68, la crtica
ig lo o is o b v io u s ly a c la s s ic e x a m p le o f a r c h ite c t- le s s a r c h ite c
tu re . In s c h o o ls o f a r c h ite c tu re , s ig n a tu re s ty le s w e re c o n d e m
d u c e d th e te c h n ic a l c u ltu re o f th e p r o je c t.
W hen lie arrived al ETH in 1972 we were: under Ihe iniiuence ol Lucius
Burckhardl, w ho was from Basel like us. and one ol Ihe raie Swiss inlel-
al that point. In the end, B uickhardl and Rossi were two mutually c o m
1966. V e n tu ri's
the forms of a new day. Others were equally sure that new forms
is ta b a n ig u a lm e n te s e g u ro s d e q u e las n u e va s fo rm a s p o d ra n
rial, of the material used, the structures possible and applied, and
Lucius Burckardt (1925-2003) imparti clases en la ETH de Zrich entre 1961 y 1973.
Encargado al principio de los cursos de sociologa, en 1970 obtuvo una ctedra de
arquitectura, en la que ensay un enfoque multidisciplinar basado en cuestionar las
dimensiones a menudo contradictorias del encargo. Se reincorpor a la Universidad
de Kassel algunos meses antes del nombramiento de Rossi, que ense en la ETH
hasta 1975.
ALDO ROSSI
Teatro del Mundo
de Aldo Rossi. En los aos que siguieron al Mayo del 68, la crtica
c ritic is m o f a r c h ite c tu re w as v e ry m u c h in s p ir e d b y th e M a rx is t
ig lo o is o b v io u s ly a c la s s ic e x a m p le o f a r c h ite c t- le s s a r c h ite c
tu re . In s c h o o ls o f a rc h ite c tu re , s ig n a tu re s ty le s w e re c o n d e m
d u c e d th e te c h n ic a l c u ltu re o f th e p r o je c t.
Burckhardt. who was Irom Basel like us. and one ol the cue Swiss mlel-
al llia l poml. In llu; end. B uickhardl and Rossi wore two niulually com-
1966. V e n tu ri's
the forms of a new day. Others were equally sure that new forms
e s ta b a n ig u a lm e n te s e g u ro s d e q u e las n u e va s fo rm a s p o d ra n
rial, of the material used, the structures possible and applied, and
^ Lucius Burckardt (1925-2003) imparti clases en la ETH de Zrich entre 1961 y 1973.
Encargado al principio de los cursos de sociologa, en 1970 obtuvo una ctedra de
arquitectura, en la que ensay un enfoque multidisciplinar basado en cuestionar las
dimensiones a menudo contradictorias del encargo. Se reincorpor a la Universidad
de Kassel algunos meses antes del nombramiento de Rossi, que ense en la ETH
hasta 1975.
24
c e n tu ry le d in th e e n d to an e c le c tic is m o p p o s e d b y th e a r c h i
te c ts o f m o d e rn is m ; p o s t-m o d e rn is m e x p re s s e d its e lf in a n e o
p e r f e c t ly
g e s ts fro m th e o u ts e t th a t m o d e rn a rc h ite c tu re h a s re p la c e d th e
fa m ilia r,
and
has
been
e n d le s s ly
d is c u s s e d .
But
id e a o f g re a t p e r io d s ty le s . O n th is view , th e m o d e rn s ty le a p p e
s e e m s to m e th a t y o u p o s itio n e d y o u rs e lv e s , a n d c o n tin u e to d o
poca vigente, sin adoptar una postura polmica, de una forma casi
con el arte...
th e d ia lo g u e w ith a r t ...
In that exl. wo worn t.< im pannii two projects that w a in i nlioal to i.ui
Paining; lho Hannes Meyei p ioio ot tor II in Pniorssnl into in Basal oily
co n lio . in 192(9 and lho prototype of lho serially p iod nno d Itoi.iso bmll
were very d iile ie n l p in je cts. bul b e lli have obvious value leu modern
w ith Iwo volum es set ; lerpnudinularly one a lo p lho o ilie r: the-' living
areas aie on Hie b n ltu io and the be droo m s above Idem. Sohm idl was
25
PETERSCHULE
understood and Ihe documents I have seen have not allowed mo to pic
in a historical district in Basel that has kept its medieval structure, organ
tures with a design that takes the wall os its starling point, with pierced
openings, and tile roofing. Meyer's building sits there like a kind of UFO,
Unlike Schmidt, whose project lor Basel was to raze the historical cen
tre to the ground, like Le Corbusier in Paris, Moyer kept everything but
raised the school to a higher level; he did not want the children to Ire on
Ifio same ground as Ihe medieval town during their play period.
PcJM: Yes. in 1990; it was up for sale and nobody wanted it. It was
done in collaboration with Arthur Ruegg and ins students, which led later
original colours of the paintwork and Ihe publication describes this work.
It is true that it was not easy lo live in, but people are still incapable
gente sigue todava hoy sin ser capaz de entender esa arqui
family lor sixteen years. There were errors and I tried to correct them,
dow blinds or eaves. Later, in Zurich. Schmidt did include eaves but in
this case lie did not, even on the south-iacmg wall. It was very hoi in
summer and cold in winter, The previous owners had made changes
the house into something guile different. I tried to make it liveable while
glassed-in entry lobby which is neither insulated nor healed, where the
cin de los vidrios dobles era limitado, y por eso los grandes
and lhal is why Ihe largo rectangular windows have lour panes. I kepi
faade. In addition, Ihe rectangle termed by Ihe window panes was Ihe
basic module for Ihe design ol Ihe faade as a whoie. Bui probably ai
the time, it he could have done so. Schmidt would have used bigger
the widest possible openings; he might even have designed the laade
Se hizo con aquella casa que tena todo tipo de cualidades, aunque
You took over this house, which has all kinds of positive features,
supo ver tambin sus defectos, y crey que podan corregirse inter
although you also acknow ledged its defects, feeling that they
Schaeffer house to live in it. I imagine that you did this restora
PdM: Ai the time. yes. Bui it does not appear in the firm's curient list,
that era in the city area and we catalogued them. When the Riehen
house came up lor sale in the early 1990s. I wouldn't not buy it. You
might say I rediscovered it. Filloon years later. I needed more space; l
wanted to enlarge ihe house and filed an application lo ox lend it. I was
refused: I went to court and lost. You just have lo accept verdicts of
5 Wohnungsbau BaseI 1915-1935. Seminarwoche IVS 76177, Zrich, ETH, 1977; seminario a cargo de Arthur Regg, Peter Quarella y Klaus Dolder en la ETH de Zrich,
Departamento de Arquitectura, en el marco del curso de Dolf Schneebli.
27
The fo rm o f ra d ic a l th in k in g re p re s e n te d b y th e s e tw o B a s e l p r o
je c t s
H ilb e rs e im e r re fe rs to th e M e y e r p r o je c t; it is a n e x a m p le o f th e
a u to n o m o u s c h a ra c te r o f th is a r c h ite c tu re , w h ic h h a s b e e n p r o
m o te d b y th e e x a m p le s e t b y m o d e rn a rtis ts .
fro m
th e
1920s
is
a g a in
o f in te r e s t
to
you
to d a y .
PdM: We com e back here In :lu: modern spirit, with the eooxislence
in Basel Saint A nthony's C lu rc h . 192,9 1 ')2 Ai. and so on. A com pel
non loi Ihe Basel line arts m useum was announced in 1*029. Ham,
Sr .1ii i lit It failed to win il. II was Ihe projocl subm llled by Paul B o n a l/ and
Ills sludenl Rudoll Christ II lal w*as l.nnll. I IIlink Mini cl mice was ihe liijl il
one. S ri Hindi's slai Iiikj poml was llexibilily and II ie I link line j I ie desigi ied
was too ephem eral. Ion fragile. Bui the I rattle was doe.epical at Urn
time, with progress p ille d agamsl Ir,edition with, in Ihe political hack-
D o ro th e H u b e r d e s c rib e s th e p o le m ic s u rro u n d in g th is c o m p e
se e s th e m u s e u m as a la b o ra to ry fo r a rt, a p la c e fo r p r o d u c tio n
a n d e x p e rim e n ta tio n c o m p o s e d o f s p a c io u s , o p e n ro o m s w h o s e
n e e d e d . A t th e tim e , n e w fo rm s o f e x h ib itio n w e re b e in g e n v is a
to re je c t h is p r o je c t.
PdM: Al that lime Ihe baille was largely ideologic,al. The winning prog
w orked laler lor the Nazis until Ins em igration to Turkey in 19-10'.
A toluleeiuini Mm: arid proposilion as such were not al Ihe lorelro.nl hero
I ii / :ai iso the alien I k m war; mainly on II ie people ai k I *. al ins they repre
sented.
representaban.
6 Un primer Goetheanum, teatro y sede social de la sociedad antroposfica fundada por
Rudolf Steiner, se construy entre 1913 y 1922 sobre una colina de Dornach, diez
kilmetros al sur de Basilea. En 1925, Steiner proyect un segundo edificio, ms
grande y aprovechando las propiedades del hormign armado. La Antoniuskirche,
claramente inspirada en la iglesia de Notre-Dame du Raincy de Auguste Perret (19221923), fue la primera iglesia suiza en construirse enteramente en hormign armado.
7 Dorothe Huber, 'L'poque hroque de l'architecture moderne Ble', en Conseil ef
oratiaues urbaines. n11. mavo 2006. p. 24-25.
The; m useum as '.ve s ne it leclay has a piese nce, a et rre e 111a ha1 a
p n . 'j e t
a n d n o t p r in c ip le s . It is p o s s ib le to a d a p t fo rm s to s u it c irc u m s
th o s e fo rm s . O n e c o u ld p r o b a b ly b ro a d e n th e e x a m p le y o u give.
podra ampliar el ejemplo que usted da. Una concepcin 'radical' del
s y s te m . B u t th a t s y s te m c o n ta in s m a n y c o m p o n e n ts th a t a re s till
v a lid to d a y. A n d in fa c t th e y h a v e in th e p a s t c o n s ta n tly b e e n
in c lu d e d in m o d e rn th e o rie s . R e y n e r B a n h a m h a s s h o w n th a t
th r o u g h a c o m m o n p r in c ip le fo u n d e d o n d r a w in g , w h e re a s
m o d e rn a r t a n d a r c h ite c tu r e , as H ilb e r s e im e r p o in ts o u t, a re
s e p a ra te b u t lin k e d b y a h is to ric a l d ia lo g u e .
th e c o s t o f a m b ig u o u s s im p lific a tio n s ; s o m e a re o f in te re s t to y o u
g o a s fa r a s th e h y p e rm o d e rn is m o f D o n a ld J u d d . O th e rs a m o u n t
to o s s ific a tio n . T h a t is w h y y o u r e je c t p o s tm o d e r n is m ju s t as
m u c h a s th e In te r n a tio n a l S ty le a n d th e p r in c ip le s o f m o d e rn
29
m useum nonds, : i n ( i loum s Ir, display works ni ntl. W :i imii ll's pr.,|oi i
a n d n o t p rin c ip le s . It is p o s s ib le to a d a p t fo rm s to s u it c irc u m s
th o s e fo rm s . O n e c o u ld p r o b a b ly b ro a d e n th e e x a m p le y o u give.
podra ampliar el ejemplo que usted da. Una concepcin 'radical' del
s y s te m . B u t th a t s y s te m c o n ta in s m a n y c o m p o n e n ts th a t a re s till
v a lid to d a y . A n d in fa c t th e y h a v e in th e p a s t c o n s ta n tly b e e n
in c lu d e d in m o d e rn th e o rie s . R e y n e r B a n h a m h a s s h o w n th a t
th r o u g h a c o m m o n p r in c ip le fo u n d e d o n d ra w in g , w h e re a s
m o d e rn a r t a n d a r c h ite c tu r e , a s H ilb e r s e im e r p o in ts o u t, a re
s e p a ra te b u t lin k e d b y a h is to ric a l d ia lo g u e .
PdM: L p I' s try In Hunk in l arm's ' )l I ;p " in ' I )11*y ,, I hr; I in in. in 11)2'i
by ias; ism. I! is a m !" dilln all in up ' rusulnH;lv im' H;u sunond. Wo r r
snivus have som oiim os bum i in IIm pusilii in ul prnlnmi ig ai i an .1nloi Iui al
d im e n s io n . T h e m o d e rn c o n c e p tio n h a s m a d e its m a rk o n ly a t
th e c o s t o f a m b ig u o u s s im p lific a tio n s ; s o m e a re o f in te re s t to yo u
g o as fa r as th e h y p e rm o d e rn is m o f D o n a ld J u d d . O th e rs a m o u n t
to o s s ific a tio n . T h a t is w h y y o u r e je c t p o s tm o d e r n is m ju s t as
m u c h a s th e In te r n a tio n a l S ty le a n d th e p r in c ip le s o f m o d e rn
29
ROCHE BUILDING 1
PdM: Meyer started nut in 112 with the Freiclor! housing develop-
accordance wilh the onneepl ol It it; Fum ilisldiv. The eo iviiiiiinity school
is in the centre wilh Ihn small houses (grouped around it. Bui hr' is no
yel using the vocabulary Ural com es Irom modern art. And m tael, when
studied Hannes Meyer and Hans Schmidt, as well as Hans Bornulli, who
was very important lor his thinking on land law. He was a k ial reformer
above all else, and his ideas in Ihr; Ireld ol architoclure as such were
less radii.al, Basel has always had a dual tradition ol radical thinking
com bined w ilh a dislrusl ol exlrem isl posilions. and hour e a Iradllion
cauqhl belw een C alho licism and Luther. The R eform nliun destroyed
Bui il also O] iei red up oil 101 possibilities In >m wl liciti the i .1ly still bennllls
and silk ribbon p roductio n, w hich led on lo the developm ent -ol Ihr'
ARTE Y EMPRESA
ART b ENTERPRISE
o f th e Plaza de Espaa, y o u h a d to a c c o m m o d a te a n e n v ir o n
m e n t c o n ta in in g fa s c is m - in s p ir e d m o n u m e n ta l a r c h ite c tu re .
a los C ados.
to Los Cados.
n o te th a t n S a n ta C ru z d e T e nerife, in p a r tic u la r fo r th e d e s ig n
JH; Wo raised IIm ground level try Iwo moires lo absorb Hie pedeslals
ol Ihe sou lp lure s and pul pedestriai is at Ihe sam e level as Hie greal
dilocuencia.
Se da aqu la misma relacin con el suelo que en el caso de la plaza
R o d in s c u lp tu r e in th e c o u r ty a r d o f th e B a s e l K u n s tm u s e u m
(w h ic h R m y Z a u g g lik e d so m u ch ).
HOCHE BUILDING I
JH: II I m osi casco tho lm: 's i dw ps-m ah ! lave 1o . r. n iO rii.K li 1n F t'S:
gaamm Ino. vvi!. profiler <Janty. We aia u n m a '! am aliai'- Fu i by ibis noior
al al-ddi coirli.; manly alter bestiai h ig Fa ai a Ry ; F - irn-gaa.i m -' buMc imi is.
ISSI.
mo
w ork \\'liti pure (.jo-inc'trr. : !o i uis -t >r oven w ill i pialme voi umes. Boi il is
,i ou w o n ia i-
Pi cl ni.w bei muse w o eoi un; Iron i a nm jr il rv. Svvii/eil; IO'; 1, wl ne!, i ias
001 Imi i local ions. This i: : Ima al iris; Ir iena le lower in P; iiis . Iha BBVA
Basili as inilialiy F u i
>nyaat wns ai rU i il I!xy 'JaR'v i manir R 1ly il n: a lai iaignu na it al lin a aii -
: i;y as. vvilli ;wa ' ilari ya; 'ad a p n iis . Fini ilio
| sil IV. TI ipy I K.1 M u l'slli I Illa! il li -y ; lA I i: il ,'ss| i la ll(MS[ nasi II ili I I il i II "S
way ail I sil ilm y Rui Nal wanl la ya Tu m na IF cii aliaals arai siali la .1
hi iiIRmg u! || i.it Ivi :cj Fiali jt ia y ily, ya - ss-n : alili : la Eaap a diali 'gua i lama
We
Ravulami ilira s nasa prujar is. Il was a sali al utlaiii.ai S fstipaliliia giving
Ihp ( Tpm I an : ippa: li inily Fa aliai usa liam lluoa lira--lui usi linai pw pp sals
w! ni li, a lllip u g li Rilia'ioi il. avara ul agliai F ii r diana gualHy. VVa wi vkc-R
wild a Riva'!sa ranga al siiu: arai Ivpas u n i lawar, twa lawars, a aiulaa,
bini k. nas and, lallaw iiig a |uinl avaiuakai piuaOss liiring d ilu ii, in
Basai arai nlrv .Ih . Tl ara was n u a : ila ivarsy u: Il la s| arai | in ra I: , 'vai y
Inr Ilio naw i irop a:l hu anisa I ( ai: la 1 liin iig lil llia! wr' navi' Fami !' rr ik.' '
i -olili non lisi is. I was aska-R vary dira, il ly wha .F i >roja" ,1 I | ' ili va 'R,
. !iv
'Uis.ly axpa-i airi wFai u v answnr w. i.ili I ha: Il in Frsi. Bai I sisp..:i' !ad
i ;y savi! ig II Pii la RI | naja: F ; I mv< : llKsr v.-jn s| ( 'ila g alHli -s. FI m a R-n
l'Wininy (;l IW'.i spirala is uk'Vinnsiy : i; ;i ; rg jo> ! n alar, hai Ila; sa- " i r !
pi ' '|i
iilla rs naw | :issil lililes: la Ini 'apra praaisa. lana: as ai aassihln la IFa
Pero contest que los dos proyectos tienen sus propias cuali
31
re d is c o v e r a fo rm o f b lu n t, w e ig h ty q u a lity, b u t c h a lle n g e d b y a
c h a lle n g e d b y w e ig h t; y o u s e e m n o w to h a v e re v e rs e d th a t p r o
tido el proceso.
cess.
JH: II is Ime |!in| w'o an) allra< .Ier I as I I invn alroaily said, by |ilai >iin
illusion that they are anything older Ilian whal Ihoy are. Bui llia l is eel a
alinnge el language: rail ns. il is snm eihing one com es bank In allot
all Ihe | jolenlialilies c,l ni ir experience i >1 a ic h ile c li ire, 'B! ini', 'raw' am I
'im poverished' leek leday Ur lae inleresling options, but we should no!
rnsenlmg a lael el seeiely as was Ihe ease in ihe IfX V h. in Italian Arif-
B a rd i, fo r e x a m p le , was an e le g a n t m e m b e r o f M ila n s b o u rg e o i
la fealdad en la arquitectura.
u g ly a rc h ite c tu re .
JH: Al Ihe limp, lhal w as new/ and aulhenlio. She cre eled objeols
a kind el arefnler Virr lhal did nol exist. Also, her a rc h ilc .lure was re l
idem and m ovem enl. She rem inds me el Eva H esse, er Rosem arie
Trockel. Their; was a need Ier liberation Item rules. Irnm Lai roes,-Today,
the absence ol rules, is mere Ihe problem . Rules do nol sem e from e iL
side - wo Iry every lime le develop Ihe rule Iroin wilinn Ihe projecl. Each
prejer I is Is own world, has ils own philosophy, ils own ir lor 11i ly Right
from Ihe star! el 'lie prn|eol lor Ihe Cnllural Com plex L u / in S au Paulo
ob|eel ai"d dud nol w aril one; wo w unlo rl le create a Inline, a fabru
made up ol funeluuis. T!i<r lerm el Ihe Imilding appears grm ii lally as Ihe
Tins is fin exellmg new advenluro lor us. Programme, moriumenl aim
ple ol each ol Ihe Ihree terms ll ial you have highlighted. The working
touching, m ingling, passing Ihiough the building. In the draw ings and
together wilhi floor strips. We also coloured the small hgunnes along mu
same lines to see il they would mingle, meet up or il each colour would
Iha I il will slay dial way, with som e ol the concrete slabs aolually being
has no pari to play lor the m om enl, but wo are going to have to design
some' vertical com ponents, pillars and the like, m order to get a handle
that they lem lorce notions ol ho ri/onla lily and instability. Wo will need to
In id a rati ioi similar way lorw aid lur Sao Paulo, and I do no! yel know
fro m
S u b u rb a n H ouse.
Suburban House.
A ld o
R o s s i.
H e w a s a ls o
w o rk in g o n Alteration to a
house and replacing Ihe hank wall with a mirror lo re lie d Ihe interior In
the exterior: it was genuinely radical. I w rote a piece on Hus work, but
Kunslhalle.
8 Jacques Herzog, Urban Suburban1, an Dan Graham. The Suburban City, ad. Theodora
Vischer, Museum fr Gegenwartskunst, Basilea, 1996, p. 25-28.
33
JEFF WALL
Habitacin destruida
K u n s tm u s e u m h a d p u rc h a s e d o n e o f h is w o rks, a la rg e s c u lp tu re
sus obras, una gran escultura titulada F e u e rst tte I [H ea rth I], a un
haba que servirse del carnaval para hacer una crtica, carnavalesca,
de aquella tontera.
JH: Durante varios aos hicimos los atuendos y las mscaras
: mslun ion ana inarms am usually 1 a:.' alum s. In Ih r pash ma.|i r a ria 's
making r arn aline s Basal is a inly wild an nrlisim MaiiiMnm m io i hat has
always si ipi mrled live1'/ art am i pn on las a Irr hin smi lor il. hm Min pur
' I insr; al Mils S' all Mura M>' a' kd.dO!: Swiss Mai n s. ai >ar n inn n rs si im a I
ra re r wila artist am.! [ru h lir. Tim Air-r r nar n in am! Cn;lm Ma.Jil.rr r-. am
snmeMiimj wiih il. Ami Mm! is 'x,m My what r inpi mr in I Wo won I In sea
us , u w iw n e ,.Ms: rv o 'y
im! en'iahk
nevor buon lasi ;i! ialeu ai:.1:01 1)'y ;1a; N, '1: . r 1.y Gn-rmai ;v. B M n
Tris ovai M ,7tl : B " ays "..vas as ima :al:V'O Ir.>i us as H h -ioanhin;
w oro macia ap like; [aulii plus: llm y are rei .liras et tir ; ; e s t;/.
Iho oarmval Sin Hili 1 lai or he; n; ili ior eri Mno Ihor around a rmu. li
un museo. Por parafrasear algo que dijo Man Ray respecto a la foto
To p a ra p h ra s e a c o m m e n t o f M a n R ay o n p h o to g ra p h y , y o u c o u ld
o v e r th re e h u n d re d a r c h ite c ts is a v e ry lo n g w a y fro m w o rk in a
to y o u , P ie rre , s in c e y o u a re in c h a rg e o f th e o p e ra tio n a l s id e o f
th e firm . D o y o u fe e l th a t th a t jo b is p a r t o f a rc h ite c tu re , o r is it
tarea suya tiene que ver con la arquitectura, o que es una obliga
in y o u r v ie w u n a v o id a b le , b u t o f m a rg in a l in te re s t?
ti no S' 1 ip a:.'.! nIfii. Is 01 n vale a.s il Isay won ; arlisls; l.iusn mss a/ h : as.'
an: si ms inlsr-asl is them. We however Isis lhal all Ihssa iiiasi si.a a.
Iks II a! s.'s w. mid I ava a slall si i a lo u s a m O r alien Pitv :ly y ' i a i; try
Is lincl a ssiaal i|aalily. a mnri: goi isia.l guaiily. In lhal sass, yss n.itu-
sally havs Is carry m; all ills tasks slip u la ln il in ills nonirar I Pal van
lliis second option vvs have apossn lo losas, an duality, w hich is aisi.a a
lia/,arduas. In IPs early kud os. we lull lhal II mire was a dungs' pi even
You are, I im a g in e , s e e k in g a b a la n c e b e tw e e n b ig p r o je c ts a n d
s m a lle r p r o je c ts , a n d a ls o a b a la n c e b e tw e e n p r o je c ts th a t are
menos rentables.
m o re o r le s s p r o fita b le .
w hoso potential, an a totally now situation lor us, lias a llia c lo d us. and
m oney or Irom the way Ihe client operates, oi even errors ol budget
uine incom petence on the pari ol Ihe client, especially when it lacks the
35
We
aio
uurselves he luci lo lake 011 Ine munii ies| mnsil ulily ior Ilio unii ingoi tire il
ol Ihe : m usim i' lini Work wi il ioni gelting enouql i suppot l Ir gii ilio elioni.
Eaeh suola ilillic u lly is ol < nurse ri lessoii Ini Ihe iulure. The Bei mu
experience. I leamorl a greal deal about Ihoughl prooesses 11in! are very
You h a v e a lre a d y g iv e n a n e x a m p le o f a p r o je c t th a t y o u w e re
o b lig e d to s im p lify , i f n o t re d u c e , a n d w h ic h in th e e n d , in y o u r
PdM: The his pin|enl Ini Ihe P airisli M iiseum was lairly s|leelanular,
could do lor a Hind nl ihe- money. The new piO|eel is. I believe, a very
slrong snluimn. The lirsl p ioie cl was in the end a son ol siudy. enabling
Important slage along ihe way, li we had worked Irom the star! nn Ihe
nurreni proieol. it would have been Hie poorei ini i. Tie; arrayed bu ild
ing blocks, the sludio s loi w hich sludio s were done one by one and
in tael one we have' picked up and developed lor the E soacio Gova
direction do nol com e Irom Hie relationship W'llli the clionl alone. There
s also our internal luno lioning . W e w ork wiln tile n -a p a h iiil ius o' our
teams. The tirm is kinly llnxible tor its -a/e. Pul there is a degree n| iner
tia. IPs like a passenger liner: people com e up "With ideas, they are
p.ieked up in Hie 11r111. they ditlu se into various prn|n..ls and we llm
bul lh.nl does lake a little lime. It is dillnoill lo steer a liner. We could
im plem entation and oo nskuolio n lo olhe is. Bul we don't waul to work
to. loi iliibuto hi holding lo jus! one approach: we '.waul som ething Hint
is more open. In the end. we work across a very 'Wide speelriim . A! one
One m em ber ot our stall, Charlotte van M oos, slept on site through
out the construction phase. At lino other extreme are our urban protects
ideas que luego son realizadas por otros. Para nosotros, este
B u t w h y d o y o u , in fa c t? You a re s ix ty y e a rs o ld . You w o u ld b e
p e r fe c tly e n title d to d e c id e th a t y o u h a v e p r o v e d y o u r s e lf a n d
th a t h e n c e fo rth , g iv e n th e in c re a s in g d if f ic u lt y o f th in g s g e n e
firm d o w n to a c o re o f fifty p e o p le .
PdM: Lets just say that we want lo see it the passenger liner that
was travelling in the direction of Vilra can change heading. You could
replace Hie liner wilt* a llolilla of small, m obile units that were (aster and
s ty le , a b ra n d im a g e . H o w e ve r, w h e re a r c h ite c ts a re c o n c e rn e d
s to n e a g a in fo r th e D o m in u s W in e ry . B u t b e fo re th e Steinhaus,
o n th e b a s is o f an a e s th e tic o f c o lla g e a n d a s s e m b la g e . It se e m s
to m e th a t y o u r a p p ro a c h is d iffe re n t: y o u m a ke th e m a te ria l p a rt
37
symbols- gualihes. Wo as arc Into? Is have never had any preleren? .?;
dolosl all materials or I Invo Ihorn fill: il bulls down la lln: same 11an?j .
All materials aro nlerrishng. Wo liavo ni'vor Inod !o rank lliom m a hier
Olliers, w ill 101 il Olio being sanriiined to enhance another, [-or example,
the' kite lor i. Tt lay. Ihe him I landles a u it.it bigi ]or pn
tude leas remained the same, and ttial mi. Indes urban design.
hoc
d in g th a t is p o s t-m in im a l, a m b ig u o u s , a n d in th e e n d a little p e r
JH: II is a building I like very m uch. W lm n | saw -il again re- or illy
understood that il would no longer be possible lor us today. It ones in
tact have elem ents that loan a style, parliculaily the way we use glass
and in?' Harness ot the materials. At the time, no body had done that
kind el Hung. But what is slill excilin?) today is the way the visitor enters
a kind ol lube. Wherever you are, you have no idea el w lial is h a ppen
entra a una especie de tubo. Una vez que est all, no sabe qu
ing in hie rest ol l l n building; you havr; Ihe leelmg nl being in a labyrmlh.
allhouqh Hie overall slrue iuie is in tael guile straiglillorw ard. There is no
hierarchy. Tit?' iippier Hour is above Hie ground a n il Ihe low?'! slop .--i
glass is 111?' uppu't pad ot Ihe underground level; 1 is ils only visible e le
ment, providing it with ovi-rlmacl lighting. But Ihe two levels are identical:
there is no tnerarotiy. Orit.e you are inside, you gel met. but i '?.' ause :i
Pero los dos niveles son idnticos, no hay jerarquas. Una vez
s a small building, il does not cause any anxiety. We r.uulrl never have
It a ls o re la te s to p e r c e p t io n a n d n a tu re . In p e r c e p tio n , as in
w o rk in g n o w a d a y s , is in e v ita b ly a w a y o f th in k in g th e s ta tic a n d
th e flo w in g . B u t th o s e tw o p a ra m e te rs ca n u n d e rp in a te c h n ic a l
a p p ro a c h th a t is to o c o ld , o r e ve n te c h n o c ra tic . S in c e th e R ic o la
S to ra g e B u ild in g , in 1993, y o u h a ve n e v e r c e a s e d to in c lu d e in
s t
;! ml /.
1 ilS1
' MVOI I XI
r rr' I: vv.:il M r
T lir i :v ir r r l; : '.vr.ll is ; a iruurl up Pv It i'1tun 1ru Hitt -t t : I syu il, :it -a a, ipru"
[| Hip ( IK.! I r P r Irss uipapuo I it It I h r p/pll r l si tre t l-pi u llpi I i. ]!,' r is ur,-.:
iP r
i. 'ih if ia ir ii w.i.
ttipu will i which It irm nuts r u n tm l tlospilo lilt; lau.l H up lltu tr u tr a Ways
is
mat ty r It Ipt ,'VUVS 'J su n u p lumps.. That s ymoru , 1r hltM -Ii if - Sr 'tut- u:
hay muchas otras formas de ver las cosas. Por eso la arquitec
p u r r s , Mu:,: p u r
p a r a d o x ic a l fo r s o m e o n e w h o a r g u e d fo r m o n u m e n ta l p e r m a
ra b le fro m th o s e e le m e n ts a t a n y tim e .
JH: Atshtlut luru is ut itrtn na itt a lrd irv at- I ulus lute a! ' a : st air. Tn
prirploiM w ith inlkinp about atr Iiilo u litr r is Ihal y ru atu lalkiupi about
lay p h rlo p ra p iiy. lo lltu t aso ( i Ihu Di itniut is Wit may, vvo suu orui iot.l it
rlrtu p stamullimp wo will not b u ijb l noyot but u b lr t r P r apum. V7o m tuio
s.apos tilled Willi s lru o s i. Wo rualituacl Ihal Ihu vines ijulw uuu Ihu slruu s
Nos dimos cuenta que los vacos entre las piedras eran ms inte
39
BODEGAS DOMINUS
DCMiNUS WINERY
MUSEO DE YOUNG
yE YOUNG MUSEUM
When you look hard al Ihe physical reality ol Iho world by studying a
material and carrying out many experiments you can go much further,
you can discover oilier tilings. And in this case, [fie beauty of the stone
is one thing, but the light is even more interesting, The light has the
effect ol making the stone less weighty. The two poles of human per
De Young Museum, and that is lhal there is a great deal of log in San
Francisco. Wo wore impressed by the way the log would virtually evap
orate through the leaves. We lookerJ for a material that would reproduce
meters. Architects often talk about the urban context into which
docs not imply. Moreover, il designates a space, which the word 'con
text' does not. In Santa Cruz, the building ilsoll tends to form a land
scape m the sense that it is inserted into its silo and reinforces it. 1was
obsessed with that. The island ol Tonorile looks like something that has
manifests itself there in such extraordinary lorms that you need to think
hard about what you want to add to it and the way in which il should be
placed on Ihe ground. Whatever the location, the question of the ground
has always been important for us: how a thing is placed on Ihe ground.
T h e re is th e la n d , th e v o lc a n o , b u t a ls o th e o c e a n a ll a ro u n d .
[in ,
>I m nS E i
n r '1!1 :n :
n l. in v n
S n
[ S< .n .
In n
n [ ; - 1 ;i I r n ! I| ' n nl ,
....
: nalu
! . . 1! r.l
MM Mlili :
Las publicaciones del ETH Studio a las que se hace referencia son La Suisse. Portrait
urbain (Suiza. Retrato Urbano) Birkhuser, Basilea, 2006) y, con su aparicin prevista
para 2013, The Specific City (La ciudad especfica; ttulo provisional).
41
;v ' . 11
i'-.l. O
1h : . i.
l )':!a-\
arrj 1. <
in; !
'1 :
En la primera versin
del museo se propona
jn grupo de pequeas
piezas. El proyecto
final se basa en la
seccin del estudio del
artista en Long Island,
resultando un volumen
unitario a dos aguas.
In the first version
of the museum a
collection of small
pieces was proposed.
The final project is
based on the section
of the artists studio in
Long Island, producing
a unitary volume.
Lj n
L]
*1
------- 1 PMM
r
a
OaMwn Be Km * n
E D U C A TIO N
:3
G A LLE R IE S
ADMIN
S T O R A G E / SUPPOR T
um r
n n
i__!
1 .
u
*1
am Putir
*
a
m in Bt i oring
ED U C A TIO N
0H UoMutihi
V IS ITO R SERVICES
G ALLER IES
ADMIN
S T O R A G E / SUPPORT
JLi
Large overhangs
running the full length
of the building shape
outdoor porches and
terraces. The exterior
walls are built with in
situ concrete, and a
continuous bench is
tempered at their base.
Entrada Entrance
K u A
Cliente Client
Parrish A n Museum. Water M ill. USA
charge).
Equipo de proyecto Project team: Philip Schmerbeck
(asociado, director de proyecto associate, project
director). Jayne Barlow (asociado associate).
Raymond Jr. Gatan; Jack Brough, Marta Brando,
Sara Jacinto. Tom Powell, N ils Sanderson, Leo
Schneidewind, Camia Young
Planeamiento Planning
Douglas Moyer A rchitect PC (arquitecto de
ejecucin executive architect): S.L. Maresca &
Associates (estructura structural engineering):
Bur Happold (mecnica mechanical engineering):
Konstantin Grcic Industrial Design (diseo de
mobiliario furniture design): Reed Hilderbrand
Landscape Architecture (paisajismo landscape
architect)
Consultores Consultants
Langan (gcoiecnia geotechnical consultant):
Nelson. Pope & Voorhis Engineers & Surveryors
(ingeniera civ il civil engineering): Ducibella Venter
& Santore (seguridad security): S he n /M ilso m /
W ilke (AV/IT/acstica AV/IT/acoustics); Dometech
(agente commissioning agent): Reginald D. Hough
(hormign concrete consultant): A RUP Lighting
(diseo e ingenieria iluminacin lighting designer
and engineer): LaPlaca Cohen (sealtica signage):
D.B. Bennett (ingeniera suelos soil engineer): Saskas
Surveying Company (topgrafo surveyor)
Fotos Photos
twan Baan
D2
D1
1
capuchn de cumbrera
chapa de cubierta corrugada
membrana
impermeabilizante
panel de cubierta
correa de acero vista
viga de unin de acero
vista
acabado exterior de stucco
corcea de madera tipo
vista
9
10
11
12
12
14
vigueta de unin de
madera laminada
proyeccin de muro de
hormign
cara expuesta de vigueta de
madera embebida en perfil
perfil estructural de acero
con bajante embebida
abrazadera en X de vigas
de acero
perfiles sin alma para
15
16
17
10
19
20
21
D3
permitir paso de bajantes
bajante con aislamiento
columna de acero embebida
en muro
faldelln guardaguas
desage de cubierta con
rebosadero
revestimiento de
membrana de cubierta
aislamiento
faldelln guardaguas
beyond
exposedface o f wood packout within web o f structural
steel X-brace member
12 exposed structural steel
member concealing
insulated drainpipe
13 steel X-brace
14 steel profiles with web
removed to allow for
drainpipe elbow
11
wall cavity
17 cricket roof sloped to
drain
18 roof drain with overflow
drain
19 roof membrane on
sheathing
20 insulation
21 top o f slop
1
chapa de melal corrugado
2 membrana
impermeabilizante
3 panel de cubierta
4 corTeas de madera tipo
5 espuma de celda cerrada
para impermeabilizacin
6 vigas de madera con
acabado resistente
transparente
7 aislamiento bat
e ensea de metal de retnaU
9 chapa de acero soldada en
hueco en muro
10
aislamiento rgido, valor
R=7,00
11
pared exterior R=0.80 de
hormign in situ
12
acabo de pared tipo de
contrachapado de madera
y enlucido de yeso, R=1.1\
13 luz exterior en superficie
14 junta de contraccin
15 banco continuo de
hormign in situ
16
muro de la cimentacin
17 losa mixta de hormign y
chapa metlica
18
espuma de poliuretano
con revestimiento ignifugi
19 junta de dilatacin
20 forjado prefabricado de
hormign
light
14
15
16
17
is
19
20
250
2012 AV
Monografas 157-158
coldjoint
poured in place concrete
bench
foundation wall
composite concrete slab
on metal deck
polyurethanefoam
insulation with fire
protective coating
expansion joint
precast concrete slab
A V M onographs
157-158
2012
251
io
JL.
ZLL
. Z]
H
n
Li