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Project Team Partners · Jacques Herzog · Pierre de Meuron · Harry Gugger Project Architect · Mathis Tinner (Associate) Project Team · Renata Arpagaus · Jayne Barlow, Thomas Jacobs · Orna Marton
Project Team Partners · Jacques Herzog · Pierre de Meuron Project Architects · Jürgen Johner (Associate) · Reto Oechslin Project Team · Sarosh Anklesaria · Gerrit Sell · Camillo Zanardini
Bibliography • Alexander Hosch, Licht, Kamera, Architektur, in: Architectural Digest 6 / 2002 • Studios for Two Artists, in: a+u 8 / 2006.
Project Phases Project · 1998 – 2000 Construction · 2000 – 2002
Planning General Planning · Beers Dalmac, Houston, USA Lead Design Architect · Herzog & de Meuron, Basel, Switzerland Partner Architect · Booziotis & Company Architects, Dallas, Texas, USA Structural Engineering · Datum Engineering Inc., Dallas, Texas, USA HVAC Engineering · Ove Arup & Partner, London, UK Plumbing Engineering · Ove Arup & Partner, London, UK Electrical Engineering · Ove Arup & Partner, London, UK
Client · Thomas Ruff, Düsseldorf, Germany · Andreas Gursky, Düsseldorf, Germany
Planning Architect Planning · Herzog & de Meuron, Basel, Switzerland Construction Management · Thomas Pluschke, Düsseldorf, Germany Structural Engineering · Bernd Jeschonneck, Meerbusch, Germany MEP Engineering · Roland Besten, Mönchengladbach, Germany Landscape Design · Tita Giese, Düsseldorf, Germany
Specialists / Consultants Facade Consulting · Ingenieurbüro Ludwig + Mayer, Berlin, Germany
Building Data Site Area · 980 sqm Gross Floor Area · 900 sqm Gross Volume · 4,341 cubic meters
Ricola building in Mulhouse and Rémy Zaugg’s studio in Pfastatt, it differs from all of them in one small but crucial point: the architects have broken down the horizontal structure into a series of decks on the second floor and verandas on the first, some protruding, others set back from the facade like loggias. The overall effect lends the extension the air of a huge piece of furniture, anticipating their later architectural showcases for the de Young Museum. Andreas Gursky’s new house, added on to one side of the old transformer station, is clad, like parts of the Basel REHAB, in a layer of solid wood staves that act as adjustable sunshades in front of the fully glazed rear facade and give the annex an archaic dimension that contrasts sharply with the smallscale volumes of the industrial building. The interiors of the two separate studio-cumapartment buildings are designed as an architecturally compelling sequence of alternately vast and intimate spaces. Andreas Gursky’s studio, in particular, with its 5.5meter-high ceiling and its floor area of 15.5 x 16 meters, is of a scale more likely to be equated with a museum than a private home.
1999 • Georg Schmidt, Ohne Herzog & de Meuron, in: Basler Zeitung 23 . 11 . 1999 • Ulrike Zophoniasson-Baierl, Lebendig, attraktiv und möglichst duchlässig, in: Basler Zeitung 21 . 1 . 1999.
Building Data Building Footprint · 13,935 sqm
foremost public art museum. It is prominently situated within the University of Texas campus, built to Cesar Pelli’s 1994 masterplan. Being placed at one of the main entrances to the campus and in proximity to the Texas State Capitol, the museum marks an interface between the city and the university. Herzog & de Meuron used this location as an opportunity to open up the campus, turning the new Blanton Museum into a place of meeting and interaction and – like the redevelopment of the Dijon university campus, which was sparked by the wish to incorporate a new museum building – thereby helping to enhance the structure of an otherwise architecturally unremarkable campus. Although the plans were already well advanced, the architects sensationally withdrew from the project when, during the conservative backlash in the run-up to the election of George W. Bush as president, the political authorities led by a Republican senator insisted that the new museum be built in the style of the existing 1920s/30s buildings on the campus.
in: Austin American Statesman 13 . 10 . 1999 • Jessica Carter, Marching About Architecture, in: The Austin Chronicle 3 . 12 . 1999 • Thaddeus DeJesus, Regents battle architects over museum plan, in: The Daily Texan 13 . 10 . 1999 • Lisa Germany, UT Regents Resist Herzog Plan, in: Texas Architect 9 / 10
Client · The University of Texas System · Jack Blanton Museum of Art, Austin, Texas, USA
A disused Dusseldorf urban railway transformer station had been used as artists’ studios for a number of years. When the artists working there were given the opportunity of purchasing this historically significant industrial building, two of them – Thomas Ruff and Andreas Gursky – asked Herzog & de Meuron to convert their share, situated mainly in the second layer of the intricately structured complex. The architects left the historically listed brick facade with its huge iron gates virtually unchanged and extended the back of the building towards a new courtyard and garden designed by Dusseldorfbased artist Tita Giese. Using wood and floor-to-ceiling glazing, they created a large facade featuring verandas and loggias. While this approach is in many ways reminiscent of the apartment buildings in the backyards of Hebelstrasse in Basel and the Rue des Suisses development in Paris, and also has echoes of the cantilevered roofs of the
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Bibliography • Robert Faires, Blanton Architect Named, in: The Austin Chronicle 25 . 12 . 1998 • Bringing Texas up to date, in: The Economist 19 . 6 . 1999 • Erfolgreiche Schweizer, in: db 3 / 1999 • Herzog & de Meuron, in: Hochparterre 3 / 1999 • Michael Barnes, Round 2 on UT museum design,
Project Phases Competition · 1998
Designing a new building for the Jack S. Blanton Art Museum in Austin was one of the first public sector commissions received by Herzog & de Meuron in the USA. Established in 1963, the museum has an eclectic collection of some 12,000 artifacts spanning the history of western civilization from the Renaissance to the present day; it contains prints and drawings from the 15th to the 20 th centuries alongside holdings that range from Baroque art to contemporary American and Latin American art. Brought together from a number of separate collections, they would be presented under one roof for the first time on a proposed floor area of 9,300 sq.m. In their winning design proposal, the architects concentrated on a layout that would emphasize the central location of the planned museum, in which the park-like grounds dovetail with the building. Founded in 1963, the institution is conceived as a place of scholarly research and as Austin’s
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