Herzog and de Meuron work together as architect partners. Their designs for most of their buildings have a common or similar nature. This nature carries out the simplicity of the shape of a box, which consists of a flat roof and large windows. This design gives the characteristics of Herzog and de Meuron’s buildings. In other words, we can say that this is their buildings’ identity. Indeed, this design is very similar to Frank Lloyd Wright’s design, which also shows today’s modern style of architecture
Beijing National Stadium, also known universally as the Bird’s Nest (鸟巢), is one of the greatest architecture and stunning landmark in the age of globalization. The stadium was designed by architects Jacques Herzog and Pierre de Meuron of Herzog & de Meuron, the Chinese contemporary artist, Ai Weiwei, and the vice chief architect of China Architecture Deisng & Research Group, Li Xinggang[ ]. It was used for the 2008 Summer Olympics and Paralympics. The Bird’s Nest is a global landmark that unites
large European football games and competitions. The stadium is a great example of what a modern stadium aims to be – it questions our concepts regarding stadia and it acts as a focal point in the area. The primary designers were Swiss architects Herzog & de Meuron. The stadium is designed so that the main entrance is from an elevated esplanade. The roof of the stadium includes some of the latest technology. It has a roller blind system which may be drawn back and forth during games to provide protection
The Haus des Architekten (house of the architect) was built in 1930 and situated in Zehlendorf, 3km North of the Berlin border and 13km South-West of Berlin city-centre. The area of Zehlendorf is a well-educated and affluent area of Germany, also with some of the most remarkable natural scenery in Berlin. The site of the house is 100m from the west entrance to the street Sophie-Charlotten-Straße built on a plot of land surrounded by trees set back from the road. The architect of the house: Heinrich
In the short reading, The Cunning of Cosmetics, by Jeffrey Kipnis, he begins by explaining what architecture is reacting to and how it effects the direction it is going in. As a result from explaining this, he starts to ponder on his job on Herzog & de Meuron and question, “When did my infatuation with HdM’s work begin?”(Kipnis 23) he starts to realize that buildings have the “Ability to insinuate itself into my psyche” without forcing itself upon someone. He is able to analyze this in the magazine
In the present twenty-first century, we have to look at cities not as skylines but as brandscapes and at buildings not as objects but as an experience. We are no longer consuming objects but excitement, even in lifestyles. In the new era of brandscapes, buildings are not like where we work and live but who we are imagining ourselves to be and what our identity should be. The use of concepts and methods of branding in Architecture helps as a quick and easy selling tool for architects and also a strategic
Regeneration “Regeneration” is commonly defined by renewal through the internal process of a body or system. Urban regeneration means providing bespoke and creative solutions to deliver sustainable new communities，it also means different things for different people that get the benefits of social, economic and environmental. Regeneration should to provide a better quality of life for those people who live and work there. Therefore, housing and buildings are the key issues for achieving urban regeneration
Consequent... ... middle of paper ... ...g drive way which is surrounded by trees. Venturi’s idea was to have a vibrant house, for the inhabitants although, for it to still be secluded and away from the public. It is fascinating to compare how Herzog and De Meuron both embrace the idea of functional art being public, this is probably down to the development of architecture and how buildings are not solely functional but are also forms of art. Tessenow would probably have followed suite, to embrace the
Tmesis can be applied to architecture in two fields of subversion and insertion, allowing a new method of reading the structures language and their enhanced meaning. A current example of the method of Tmesis is in the Caxia Forum, Madrid by Herzog and De Meuron, through the hollowing of a nondescript and unused electric power station and implanting the insertion of a museum. The architectural heritage of the power station was listed, whilst at ground level the existing stonework is separated from