Architects Shape the New Minneapolis

Jeffrey Kipnis interviews Jacques Herzog

Kipnis: You have worked in London and China, all over the world. How does the work become specific in an intimate way when you come to Minnesota and your working with the Walker? How does it become specific for you, and how can it become personal for them?

Herzog: I think you raise a very important issue. I almost feel a bit ashamed because clearly we've been developing and working on quite a few projects, which have marked a kind of departure from the more anonymous buildings we've done in the very beginning. Even, lets say, the Laban is not at all an anonymous building, but its still kind of on the shed side compared to lets say the Barcelona building that we're working on, or the Walker which are almost more spectacular, or Beijing which is perhaps the largest and the most visible of all the buildings we've ever worked on. And in fact, I'm going to say those issues of difference or indifference and anonymous versus spectacular, I think that is besides the point. Some things can have a more extravagant form. It can express this highly individualistic or highly idiosyncratic, or, as being almost as normal as a square box.

Read this article in its entirety. (Page 64)

Picture 1.png
The Townsqure of the Walker Art Center. Herzog & de Meuron, 2004.

This interview was transcribed from a lecture on February, 15th 2004. This is one lecture of a series put on by the University of Minnesota, the Weisman Art Museum and Target Coporation. Jacques Herzog was guided by Jeffrey Kipnis, Professor at the Nolton School of Architecture at The Ohio State University.

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This page contains a single entry by Kelly Martinez published on October 16, 2009 12:31 PM.

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