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#herzog and de meuron
russellmoreton · 1 month
Video
Openings and Conclusions 9
flickr
Openings and Conclusions 9 by Russell Moreton Via Flickr: 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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dlyarchitecture · 1 year
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Photography by Yuma Yamashita
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conformi · 1 month
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Herzog & de Meuron, Sammlung Goetz, Munich, Germany, 1989-1992 VS Mark Rothko, Untitled, 1968
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moodboardmix · 8 months
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Gabriel Hendifar's Pad, New York, United States,
Interior design by John Pawson & Gabriel Hendifar,
Styling: Helle Walsted,
Photography: Wichmann + Bendstel.
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Frei Photographic Studio (1981-82) in Weil am Rhein, Germany, by Herzog & de Meuron
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darquitectura · 1 year
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Herzog & De Meuron. Viviendas Schwitter. Basilea, Suiza. 1985-1988 
Photo: Giorgio Azzariti
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fashionlandscapeblog · 10 months
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Herzog & de Meuron
VitraHaus, 2010, Weil am Rhein, Germany
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searchsystem · 1 year
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Herzog & de Meuron / Vitra / Vitra Schaudepot / Exhibition / 2016
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juliaknz · 1 year
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HERZOG & DE MEURON SCHAULAGER BASEL, 2003 Basel, Switzerland Image © Schaulager
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museummm · 11 months
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russellmoreton · 1 month
Video
Openings and Conclusions 6
flickr
Openings and Conclusions 6 by Russell Moreton Via Flickr: 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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ofhouses · 2 years
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995. Herzog & de Meuron /// Plywood House /// Bottmingen, Switzerland /// 1984-85
OfHouses presents: Show Must Go On. (Photos: © Margherita Spiluttini, Hisao Suzuki. Source: Architekturzentrum Wien; Gerhard Mack, 'Herzog & de Meuron 1978-1988: The Complete Works, Vol. 1', Basel: Birkhäuser, 1997; Assemblage 09/1980; El Croquis 60 - Herzog & de Meuron 1983-1993.)
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conformi · 1 month
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Herzog & de Meuron, Frei Photographic Studio, Weil am Rhein, Germany, 1981-1982 VS Piet Blom, Cube Houses, Rotterdam, Netherlands, 1978–1984
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derearchiviatoria · 2 months
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Rue des Suisses housing complex Paris, France 1996–2000 Margherita Spiluttini (1947–2023), photographer Herzog & de Meuron (1978–), architect
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noosphe-re · 1 year
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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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