The buildings and projects of Herzog & de Meuron are not characterised by self-willed however any shaping and by directly used form items and materials, where itself their relationship with the contemporary art, to whom principles "Minimal Art" and " Arte povera " betrays. The simple volumes and house forms - crate and barrack - or the unimproved manufactured products - plywood, bitumen pasteboard, Durisol disks, prefabricated concrete disks - belong to adapted vocabulary & for Herzog de Meuron to the natural, the time.
The request of Herzog & de Meuron is to be invented it however not a new language, but available, in such a way to use familiar languages for the designation of trusted friends of things that these are suddenly again assumed, clear, more clearly and differently shows up than we believed to see and know it so far.
They create references again and again in their designs in addition,
to contents or for the use of the building: the undulation in the swimming
pool design, a kupferumwickelter kubus as packing of electronics, as the
signal tower 4 , etc..
|Signal tower 4, Auf demWolf|
In addition, the works of Herzog & de Meuron are characterised by the application of repetition as a composition technique, particularly in comparison with the vast majority of contemporary architects. This repetition makes it possible to them to approach the specificity of their works in architecturally more consistent way than it would be possible with the use of systematically different forms possible.
The repetition has here quite different meaning than the object-typical
in the industrial production. With Herzog & de Meuron has repetition
only casually something with Vervielfaetigung to do with the system ' original
and copy '. In it their work differs also from architecture, which insist
on serial production, on repetition as identity. In that architecture
an identical concept is always reproduced. It repeats a measure, instead
of generating a rhythm.
With Herzog & de Meuron repetition is an instrument, which permits
the design of a space, in which differential intensities can be expressed.
As for example with the repetitions of the front detail with the
Ricola factory . The curvature of
the Schwitter building is exactly made visible by the repeated repetition
of a facade component. With
in the Levering Race the repetition of the carriers which are situated
before the front and the appropriate supports emphasizes the modification
in the escape line of the building and so finally escapes from the stupiden
concentration on the form of a repeated object, the embarrassingly exact
reproduction of a unit, in order to occur the Expressivitaet of the rhythm.
The rhythm is opposite the measure. Its meaning must be sought out beyond
the level, on which the action takes place, i.e., not in the nature of
the component, which repeats itself, but rather in the manner, in which
the repetition is produced.
|House in theLeveringRace|
to Herzog & de Meuron