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Openings and Conclusions 9 by Russell Moreton
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On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual. Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg
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Photography by Yuma Yamashita
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Herzog & de Meuron, Sammlung Goetz, Munich, Germany, 1989-1992
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Mark Rothko, Untitled, 1968
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Frei Photographic Studio (1981-82) in Weil am Rhein, Germany, by Herzog & de Meuron
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Herzog & De Meuron. Viviendas Schwitter. Basilea, Suiza. 1985-1988
Photo: Giorgio Azzariti
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Herzog & de Meuron
VitraHaus, 2010, Weil am Rhein, Germany
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Herzog & de Meuron / Vitra / Vitra Schaudepot / Exhibition / 2016
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HERZOG & DE MEURON
SCHAULAGER BASEL, 2003
Basel, Switzerland
Image © Schaulager
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Openings and Conclusions 6 by Russell Moreton
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Collage on paper, written fragments and images from Peter Greenaway, Josef Albers and Robin Evans. Photo montage of The Physical Self (Greenaway) and Waverley Abbey UK. Visual research as part of The Waverley Project/Obscura and Reading Room. On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species-the collective (generic) work of the species-on the model of what used to be called "art" ; indeed, it is still so called, but art no longer has any meaning at the level of an "object" isolated by and for the individual. Henri Lefebvre, Openings and Conclusions. from On Installation and Site Specificity (introduction) Erika Suderburg
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Herzog & de Meuron, Frei Photographic Studio, Weil am Rhein, Germany, 1981-1982
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Piet Blom, Cube Houses, Rotterdam, Netherlands, 1978–1984
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...we are more interested in the direct physical and emotional impact, like the sound of music or the scent of a flower. We are not looking for meaning in our buildings. A building cannot be read like a book, it does not have any credits, subtitles or labels like pictures in a gallery. A building is a building. In that sense, we are absolutely anti-representational. The strength of our buildings is the immediate, visceral impact they have on a visitor. For us that is all that is important in architecture.
Jacques Herzog, Jeffrey Kipnis in conversation with Jacques Herzog
Jeffrey Kipnis: "Una Conversación con Jacques Herzog (H&deM). A Conversation with Jacques Herzog (H&deM)." In: Fernando Márquez Cecilia, Richard C. Levene (Eds.). "El Croquis. Herzog & de Meuron 1993-1997." Vol. No. 84, Madrid, El Croquis, 1997. pp. 7-21.
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