Herzog, Jacques, and de Meuron, Pierre

▪ 2002

      The 2001 Pritzker Architecture Prize was awarded to Jacques Herzog and Pierre de Meuron, a pair of Swiss architects whose modernist designs were characterized by a reliance on established architectural principles coupled with imaginative new techniques suited to each individual project. A prime example of this meeting of tradition and innovation was the Dominus Winery in Napa, Calif. Essentially a long, low-slung rectangular box, the building had a facade constructed of local stone held together with wire rather than mortar. Some portions of the stone walls were packed tightly enough to provide insulation from heat and cold, while other sections were stacked loosely enough to allow air and light to penetrate where needed.

      Both men were born in Basel, Switz., in 1950, Herzog on April 19 and de Meuron on May 8. Friends and schoolmates during childhood, the two began at an early age to work together on drawings and models. When it came time to attend college, neither chose to study architecture initially. Herzog first studied commercial design before attending the University of Basel to study biology and chemistry. With an interest in drawing and math, de Meuron pursued a degree in civil engineering. Unsatisfied after a year of school, both decided to study architecture, first at the Swiss Federal Institute of Technology at Lausanne, then at the institute's Zürich campus, where they received their degrees in 1975. Among their instructors was Aldo Rossi, who would receive the Pritzker Prize in 1990. After three years as professor's assistants, Herzog and de Meuron established their own architecture firm in Basel. Herzog took the post of visiting professor at Cornell University, Ithaca, N.Y., in 1983, and both men became visiting professors at Harvard University in 1989. Their firm, meanwhile, grew to 120 employees in offices in Basel; London; Munich, Ger.; and San Francisco.

      Their most prominent project was the Tate Gallery of Modern Art in London. To create the museum, Herzog and de Meuron converted a former power plant on the South Bank of the River Thames. Incorporating traditional elements with Art Deco and modernism, the architects created what they described as a “building of the 21st century.” Upon opening to the public in May 2000, the new Tate Modern received critical acclaim and served as a catalyst for the revitalization of its South Bank neighbourhood. Other high-profile projects included the nearly transparent headquarters of a cough drop manufacturer in Laufen, Switz., in which glass panels made up much of the facade; a railroad utility building in Basel that was sheathed in copper strips; and the Rudin House in Leymen, France—a cartoonish-looking residence that, perched on a platform, appeared to float above the landscape.

      Herzog likened the pair's body of work to that of Pop artist Andy Warhol, who used common, recognizable forms and objects and attempted to create something new from them. “We love to destroy the clichés of architecture,” Herzog said.

Anthony G. Craine

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