Pri Tzker Architecture Prize 普里茲克建筑學獎獲獎建筑設計作品集JACQUES HERZOG PIERRE DE MEURON 2

1/1PriTzkerArchitecturePrize普里茲克建筑學獎獲獎建筑設計作品集JACQUESHERZOGPIERREDEMEURON2SchinkelhasbeencalledthefatherofthemodernmovementandMiesvanderRohe,ofcourse,hasmadesignificantcontributionstoourskylineinChicago.Weusedbothoftheirbuildingsinninety-ninewhenwepresentedtheprizetoLordFosteroftheUnitedKingdom,andsomewhere,Normanishereandweredelightedthatyoucouldbewithusheretonight.LordFosterdesignedabeautifulculturalcenterinNmes,FranceadjacenttotheMaisonCarre,aRomanCorinthiantemplethatwasanimportantinfluenceonThomasJeffersonwhenhewasAmbassadortoFrance.Jeffersonwrotetohisfriend:Sittinghere,ImgazingwholehoursattheMaisonCarrelikealoverathismistress.TheresnoquestionthatbeinghereinThomasJeffersonsMonticelloisaspecialtreat.Itsbothhistoricallyandarchitecturallysignificant.WeremostgratefultotheThomasJeffersonFoundationandtoDanJordanandhisassociatesforwelcomingusinthisbeautifulexampleofJeffersonswork.IalsowanttothanktheUniversityofVirginiafortheopportunitytovisitsomeofthewonderfulbuildingsdonebyJefferson.HadtherebeenaPritzkerprizetwohundredyearsago,JeffersoncertainlywouldvebeenselectedasoneofitsLaureates.CarterBrownischairmanofthejuryandourfamilyowesCarterourundyinggratitudeforbeingtheguidinglightforourjuriesforthepasttwenty-twoyears.HetookhistaskonwhenhestillhadtheenormousresponsibilityfordirectingtheNationalGalleryofArtandyethediditwithaseriousnessofpurposethatreallyhasresultedinthePrizeasweknowittoday.Theresnoquestionthatthejuryisthemostimportantaspectofthisprize.Althoughthevariousmembersofthepanelhavechangedovertheyears,thequalityoftheirselectionshasneverwavered,norhavetheyeverbeenpredictable.Theynevergofortheobviousandthisyearisnoexception.Infact,thehistoryoftheprize,weveonlyawardedittotwoarchitectsinthesameyearoncebefore.Thatoccasionwasthetenthanniversaryoftheprizewhenthejurywasdeadlockedontwototallydifferentarchitects,onefromBrazil,OscarNiemeyerandtheotherfromthiscountry,GordonBunshaft,sotheydecidedtogivetheprizetobothofthem.Thisyear,twoarchitectsworksocloselytogetherthateachonecomplimentstheabilitiesandtalentsoftheother.JacquesHerzogandPierredeMeuronhavealong-term,truecollaborationmakingitimpossibletohonoronewithouttheother.Theirstoryiswellknownbynow.Inthemiddleofourcountry,theyllbeworkingonanadditiontotheWalkerArtCenterComplexinMinneapolisandthosearejustthetipoftheiceberg.Theyhavenumerousotherprojectshereandabroadthatwillkeepuswatchingwithinterestformanyyearstocome.Asoneofourjurorsputit,theyhavethecapacitytoastonish.Ifyoullpleasejoinmehere,onbehalfonourfamilyandtheHyattFoundation,IdliketopresentthePritzkerArchitecturalPrizeof2001toJacquesHerzogandPierredeMeuron.Wouldyou,please,comeup?JACQUESHERZOG2001PRITZKERLAUREATEWITHPIERREDEMEURONDearMrs.PritzkerandallofthePritzkerfamily,dearmembersofthejury,dearfriends,ladiesandgentlemen,thankyouforsomanythings.Thankyouforyourongoinganduncompromisablecommitmenttoarchitecture.Thankyouforchoosingusforthisprizewhichwewerelongingforandhopingtoget,likeonlychildrencanwishtogetthingsdeepintheirhearts.Thankyoutoourclientsandfriends,someofwhomareherethisevening,fortheirsupportandtheirwillingnesstodialogalsoindifficultphasesofaproject.ThankyoutothosewhohaveopenedusthedoorattheGSDmanyyearsago.Thathasprovedtobeacriticalstepforusintothiscountryquitesometimebeforewe,actually,weregiventhechancetorealizesomeofourbestworkhere.Thankyoutoourpartners,HarryandChristine,andtoallourcollaboratorswhohavebeenworkingwithusformanyyearswithanunbelievablecommitment.In1978,PierreandIopenedourjointarchitecturaloffices,butitwasneitherahistoricaldecisionnoramomentousfoundingevent.DuringourlastsemesterattheFederalInstituteOfTechnology,wehadalreadyrealizedthatwehadagreatdealincommon.Thefactthatwestruckoutonourownwasmoreorlessanactofrebellionanddesperation.Whatelsewerewetodo?Theeconomywasnotveryrosyandarchitecturebothathomeandabroadseemedforeigntous.Wehadnoideawhatwewanted,weonlyknewwhatwedidntwant.AfewsemesterswithAldoRossiwhowasfortyatthetimehadfilleduswithenthusiasm.Inhisearliestbuildingsmadeofpoorlyprocessedconcrete,wediscoveredanaffinitysomethingthatswungtorestbetweenPasoliniandArtePovera.Andwelovedhisdrydictumarchitectureisarchitecturebecauseitseemstobesoprovocativelysimplemindedandpinpointssomethingthatisstillvitaltoustoday:architecturecanonlysurviveasarchitectureinitsphysicalandcentraldiversityandnotasavehicleforanideologyofsomekind.Itisthematerialityofarchitecturethatparadoxicallyconveysthoughtsandideas.Inotherwords,itsimmateriality.Thatsanoldstory,butitismorerelevanttodaythaneverbefore:architecturelivesandsurvivesbecauseofitsbeauty,becauseitseduces,animatesandeveninspirespeople,becauseitismatterandbecauseitcanifonlysometimestranscendmatter.ButthisanarchistandpoeticsideofRossi,whichwelovedsomuchasstudents,wasgraduallyassimilatedintothepostmodernistZeitgeist.Whatremainedwasanacademicallyrigidideologyofpermanenceandtypology,andasuddendominanceofdecorativehistoricalelementsofstyle,akindofcoming-outofthedecorative,whichhadbeatenanembarrassedretreatsincetheriseofModernism.Inthefineartswhichareusuallymorecritical,moreradicalandaheadofarchitectureinadoptingartisticandsocialchangesofparadigmrepresentativesoftheTransavantguardiaandtheso-calledWildPaintingcameupwithsomanynewpicturesthatinspiteofor,perhaps,becauseofthisinundation,therewasnoroomleftforourown.Nordidweseeanylatitudeofthiskindindeconstructivism;althoughwewerefascinatedbyitschiefphilosophicalexponents,wewereboredtotearsbyitsarchitecturaladvocatesandtheirexplanations.Intheearlyyears,weexperimentedwithallkindsofformsandmaterialstryingtosubverttheirconventionalusageasiftosqueezesomethinghidden,somethinginvisibleoutofthemthatwouldbreathelifeintoourarchitecture.Yes,thatwaswhatwewanted:tobreathelifeintoarchitecturealthoughwecouldnotspecificallydescribewhatwemeantbythat,despiteendlessattemptstoputitintowords.Therewasnophilosophythatwefeltwecouldembraceunconditionallyalthoughphenomenologicalquestionshavealwaysplayedasalientrole,forinstance,questionsofsensualperceptionorofsignifiedandsignifier.TheartistRmyZauggwithwhomwehaveoftencollaboratedovertheyearsrelentlesslyasksquestionsthataddressourconcernsaswell.Obviousperhapsandsimpleminded,butallthemoreprofoundwhat,where,how,who?Ourdesignsbecameincreasingminimal,radicallyminimal.Suddenly,theroomforactionbecamehuge.Atthebeginningoftheeighties,nooneusedarectangleasgroundplanandsection,thatis,aboxasthebasisofdesign.Wewantedarchitecturewithoutanydistinguishablefiguration,butwithahesitantnon-imitatinganalogy.Wewerelookingforahintofmemory,ofassociation.Wedidnotwantcompletereductionorpureabstraction.Wewerenottryingtosimplifytheworldortoreduceittoso-calledessentials.Therewasnoreligion,noideologyatstake.WedidnotwantasectofMinimalists.Onthecontrary,wewereaghastattheravagescausedbyso-calledMinimalisminarchitecture,whichwaslinkedwithmoralsandperfectionandhadtheimprintoflatentProtestantzeal.Weinturnbegantohavemoreandmoredoubtsaboutthedominanceoftherectangleinourdesigns.Ithadbecometoconfining.Paradoxically,thebox,conceivablythesimplestandmostbasicarchitecturalshapehadacquiredthevalueofitsownlikeastylisticdeviceAndthatwasexactlywhatwealwaystriedsoassiduouslytoavoid.Buttheremaybeanotherentirelydifferentexplanation.Thereasonsforthesupposedbreaksandchangesofstyleinourworkmaynotonlybedesign-motivated,butalsopsychological.Thesupposedobjectivityofthemodernistformalcanonmaymerelyhaveservedtosimplytheworkingsofourlong-termcooperativeventureandthediscussionofprojects;itmayactuallyhaveheldustogetherasateam.Thefactisthatweveworkedasaduosinceouryouthandhaveinrecentyearsinvolvedtwootherpartners,HarryGugerandChristineBinswanger,whoarealsohereinMonticellotodayandrightfullyso.Possibly,co-authorshipwithPierreandlaterwithourpartners,hasinrecentyearsyieldedthestartlingrealizationthatindividuallydistinctivegesturallyexpressiveformsandimagesforourprojectsare,indeed,feasibleandarenowsurfacingallthemorepassionatelyinourwork.WorkingwithlastyearswinnerofthePritzkerprize,RemKoolhaas,ontheprojectforAstorPlaceinNewYorkshowsthatourexperienceofacomplexteamstructureiscapableofgeneratinganevenmorecomplexarchitecturethanemergesfromthehermeticallysealedisolationofthesingleauthor.PreciselybecausePierreandIhavedevelopedprojectstogetherforsolong,wehavebeenableincreasinglytoinvolveotherpeopleandotherareasinourcooperativeundertakingsandthereforeotherformsandspacesaswell.Thesculpturalandevenseeminglyaccidentalelements,thefigurativeandthechaotic,whichhaverecentlyappearedinourwork,areasmuchaconsequenceofconceptualstrategiesasourpreviouslydevelopedformalidiomandnottheresultofasingularartistgesture.Thisconceptualapproachisactuallyadevicedevelopedforeachprojectbymeansofwhichweremaininvisibleasauthors.Ofcourse,thisinvisibilitydoesnotapplytothenameHerzoganddeMeuronwhichcannotremainhiddenandevenlesssonow,thankstothePritzkerprize;ratheritappliesonlytoourarchitecturalidentity.Itisastrategythatgivesusthefreedomtoreinventarchitecturewitheachnewprojectratherthanconsolidatingourstyle.Italsomeansthatweareconstantlyintensifyingourresearchintoandwithmaterialsandsurfaces,sometimesalone,sometimesincollaborationwithvariousmanufacturersandlaboratorieswithartistsandevenwithbiologists.WelookformaterialsthatareasbreathtakinglybeautifulasthecherryblossomsinJapanorascondensedandcompactastherockformationsoftheAlpsorasenigmaticandunfathomableasthesurfacesoftheoceans.Welookformaterialsthatareasintelligent,asvirtuoso,ascomplexasnaturalphenomena,materialsthatnotonlytickletheretinaoftheastonishedartcritic,butthatarereallyefficientandappealtoallofoursensesnotjusttheeyes,butalsothenose,theears,thesenseoftasteandthesenseoftouch.Muchhasfailedandcontinuestofailbecausethelargeconcernsthatwouldsetupthetechnologicalandmethodologicalconditionsfornewdevelopmentsshowtoolittleinterest,becausethereisnomarketforsuchthings.Moreover,politically,demandsforimprovingboththeecologicalandenergyaspectsofsocietyhavenotbeenradicalenoughinaddressingtheconstructionsectoroftheeconomy.Doesthiswishtoextendarchitecturalresearchintomajorindustrialconcernsexpressaromanticallytransfiguredviewoftheworld,akindofafter-effectoftheideasofJosephBeuyswhomwehadtheprivilegeofassistingforabriefperiod,ordoesthisrefertoapossibleroleofthearchitectinthetwenty-firstcentury?Wearenotinterestedinmakingpropheticstatementsaboutthefutureofarchitecture.Inthisrespect,however,oneobservationmustbemade:Theriseofaglobalstarsysteminrecentyearsisindicativeofthecolossalbattleofdisplacementintheworldofarchitecture.Anarroweliteofauthor-architectsstandsoppositeanoverpoweringninetypercentmajorityofsimulationarchitecture,anarchitectureessentiallywithoutanAppellationcontrole,asitiscalledintheworldofwines.Thereishardlyanythingleftinbetween,onlyafewyoungpeopledesperatelyseekingsalvationinthefewremainingnichesandthelargelyhopelessprospectsofdesigncompetitions.Rampantlyspreadingsimulationarchitectureisnolongerprojectedontheworldbyanauthorbutinsteadsimulates,reproduces,manipulatesandconsumesexistingimagery.Insteadofpassivelylettingourselvesbesuckedintothemaelstromofthissimulationarchitecturewhichnotonlyabsorbsalltheimagery,butalsoanyandallinnovationinordertosurvive,wecanactivelydeploysimulationasapossiblestrategyinourownarchitectureinakindofsubversivereversal,asinbiotechnology.Andthatmaywellbethemostexcitingprospectinarchitecturetodayandindeedinhumansociety,thisincrediblelatitudethatleavesroomforthemostextraordinaryachievementsandtheghastlyonesaswell.Thankyou.HouseinLeymenLeymen,Ht.Rhine,France(thispageandopposite)PhotoMargheritaSpiluttiniPhotoMargheritSpiluttiniFourstudysketchesfortheRudinHouseinLeymen,France.Clockwisefromthetopleft:1.Ahousethatslikeacompactvolumethatcanbeopened.2.Atraditionalhousewithagableroofandchimneyonsupports.3.Ahousethatslikeasedanchairthatcarriestheinhabitants.4.Acompactblockwithahippedroofandfragilestand.DrawingsHerzogdeMeuronPhotoMargheritaSpiluttini(left)BlueHouseOberwil,Switzerland;(above)modeloftheWoodhouseStuttgart,Germany;(below)PlywoodHouseBottmingen,SwitzerlandMargheritaSpilutiniHerzogdeMeuronHerzogdeMeuronPhotographicStudioFreiWeil,GermanyHerzogdeMeuronHerzogdeMeuronSignalBox,AufdemWolfBasel,Switzerland(left)RailwayEngineDepot,AufdemWolfBasel,Switzerland(below)MargheritaSpiluttiniPhotoMargheritaSpiluttiniCentralSignalTowerSBBBasel,SwitzerlandPhotoMargheritaSpiluttiniKppersmhleMuseumGrotheCollection/Duisburg,Germany(thispageandopposite)ChristianRichtersPhotoMargheritaSpiluttiniPhotoMargheritaSpiluttiniTHEARCHITECTUREOFJACQUESHERZOGANDPIERREDEMEURONBYCARLOSJIMENEZPRITZKERARCHITECTUREPRIZEJURORPROFESSOR,RICEUNIVERSITYSCHOOLOFARCHITECTUREPRINCIPAL,CARLOSJIMENEZSTUDIO,HOUSTON,TEXASOneofthemostcompellingaspectsoftheworkofHerzoganddeMeuronisitscapacitytoastonish.Theytransformwhatmightotherwisebeanordinaryshape,conditionormaterialintosomethingextraordinary.Theirrelentlessinvestigationintothenatureofarchitectureresultsinworkschargedbymemoryandinvention,remindingusofthefamiliarityofthenew.Theoriginalityoftheirconstructionsstemsprimarilyfromtheintellectualrigorandsensualintuitionthattheybringtoeachwork,anenthrallingcombinationthatcanbediscernedinthetautdisciplineofawallandroofconnectionorinthelayeredtranspositionofoneplanardetailtoanother,tomentionjusttwosuchconditionsprevalentintheirwork.WhenexperiencingHerzoganddeMeuronsworkonebecomesawareofsuchconditionsasnaturalextensionsofthearchitectslucidtenacity.Oneisalsoabletounderstandthearchitectspiercingreadingofsitebythewaytheydiscloseitshiddenorobviousspecificity,initiallymanifestedthroughadetail,amaterial,atexture,ascent,orawedgeoflight.JacquesHerzogandPierredeMeuron,childhoodfriendssincethemidfifties,foundedtheirpartnershipin1978intheirnativecityofBasel.Sincetheybeganworkingtogether,acommoninteresthaslinkedthemastheysoughtthepotentialforbeautyinthefusionoffunctionandsite.Inexaminingthetrajectoryoftheirbuiltandunbuiltwork,onefindsampleevidenceofthisfusion.Oftenthedesireforfunctionalityresultsinabureaucraticandinertarchitecture.YetinthehandsofHerzoganddeMeuronthepursuitoffunctionalityleadstoadynamicprism,emittingunforeseensubtletiesastheycomeincontactwithasiteandprogram.Thiscanbeobservedintwooftheirbest-knownworks:theRicolastoragebuildingandthetrainstationsignalboxinBasel.Thetaskofstoringgoodsorofdirectingtrafficacquiresabeautythattranscendsandsinglesthemoutamidtheirutilitarianprogeny.TheoverlappingcementiousplanksoftheRicolashedventilateandlightenthestoragevolumewhileweavinganobjectofstartlingbeauty.Thesamecanbesaidofthesignalbox,whosecopperribbonsvibrateamidtherumbleoftrainsandtracks,transformingtheinfrastructuralobjectintoatalismanicicon.Anotherworkthatdemonstratesthearchitectsassertivelyricisminmergingfunction,siteandbeautyistheDominusWineryintheNapaValley.Hereoneencountersabuildingwhoseearth-likefortificationmarkstheground,agateway,anenclosureforproducing,administeringandstoringanexquisitewine.Thetimelessechoofstoneretainingwallscombineswiththealluringrefractionoflighttorenderabuildinglikenootherinthearea,yetoneseeminglyfamiliar.Theneighboringwineries,contentintheirArcadianfacsimiles,seemremoteandoutofplaceonceoneexperiencesthefullrealmoftheDominusWinery.Rootedconceptuallyandphysicallyinitssite,thestonewrappedwineryacquiresstrengthfromtheessentialityofitsformalcharacter,fromthestirringplayoflightacrosstheporousbasaltwalls,andfromtheseeminginevitabilityofitssolution.Althoughanabrasiveobjectinafieldofdelicatevineyards,thebuildingisbeautifulbecauseoftheclarityandpowerofitsresolution.Onecomestorealizethatthebuildingsexpressivenessiswhatitisbecauseitcouldnthavebeenanyotherway.ThepersistentessentialitythatrunsthroughHerzoganddeMeuronsworkemergesfromthearchitectsacuteunderstandingofconstructionasarchitecturesmostbasicandcatalyticcondition.Theybuildideaswhoseformalcharacteristicsoftensurprisepreciselybecauseofthisessentiality.TheHouseinTavole,Italy,oneoftheirearliestandmostsignificantworksisaprojectofgreatsubtletyandstrengthbecauseofthemannerinwhichitisbuilt.Onesensesthearchitectstotalimmersioninthecultureofnativematerialsandconstructiontraditionscommontotheregion.Awareofneighboringstonehouses,HerzogandDeMeuronsdesignStoneHouseTavole,Ligurie,Italydoesnotdwellonliteralappropriationsofmatterortypebutaspirestorevealtheintelligenceofanalternateconstructionstrategy.Employingthefreedomofaslendermodernconcreteframeworkinfilledwiththeregionsdryfieldstone,thehouseachievesanunparalleledtectonicsophistication.Theeffectisthemorecompellingasthearchitectureaffirmsthevitalityofaninquisitivepresentwhilerecallingthevenerablehandsofmillennialstonemasons.Muchhasbeenwrittenaboutthearchitectsproficiencywithmaterials,totheextentthattheirworkmightattimesbeperceivedasanobsessionwithtactileproperties,surface,ortexturalpotential.Tosomedegreethiscanbetrue.JacquesHerzoghasevenexpressedapredilectionforfashion,clothesandtextiles.HeisquickthoughtodifferentiateHerzoganddeMeuronspositiononthismatter...Itisnottheglamorousaspectoffashionwhichfascinatesus.Infactwearemoreinterestedinwhatpeoplearewearing,whattheyliketowraparoundtheirbodiesWeareinterestedinthataspectofartificialskinwhichbecomessomuchanintimatepartofpeople.Thearchitectsfascinationwiththepropertiesofmaterialshasresultedinanimpressivecatalogueofresearchandexperimentationwhilecontributingacollectionofimagesthathavebecomedeeplymintedinthecontemporaryimagination(i.e.:theserenealmostetherealGoetzGalleryinMunich,glowinginadensemorningdew;theincandescentlightbeamspanningtheTateGallerysgiganticmass;orthestenciledpolycarbonatepanelsoftheRicolastoragebuildinginMulhouse,radiatingtheirexplosivelightinadeepbluenight).TheconcernformaterialityanditseffectinexperiencingarchitecturehavebeenaconstantpassionforHerzoganddeMeuronasearlyastheFreiPhotographicstudio(apaletteofrefinedartepoveramaterials)tooneoftheirmostrecentworksforthefashionhouseofPrada(agridofdiamondshapedglasspanelspermutatingintoanenvelopingscreenoflight).Inthearchitectshandsmaterialsbecomesumptuousbytheirimaginativejuxtaposition,elicitingthepowertoevokeandemitinnumerablepossibilities.AnotheraspectofHerzoganddeMeuronswork,notoftendiscussed,yetbeginningtoinfusetheirworkwithinsightfulresul