Jacques Herzog Pierre de Meuron Christine Binswanger Ascan Mergenthaler Stefan Marbach Jason Frantzen Robert Hösl Andreas Fries Wim Walschap Simon Demeuse Olga Bolshanina Santiago Espitia Berndt Steffen Riegas Christoph Röttinger Martin Knüsel Tobias Winkelmann
Herzog & de Meuron Basel Ltd. is an international architecture firm headquartered in Basel, Switzerland, with additional offices in Berlin, Hong Kong, London, Munich, New York City, Paris, and San Francisco.[1] Founded in 1978 by Jacques Herzog and Pierre de Meuron, the practice's portfolio includes more than 600 projects in 40 countries. The company is led by the founding partners along with senior partners Christine Binswanger, Ascan Mergenthaler, Stefan Marbach, Jason Frantzen, Andreas Fries, Wim Walschap, and the CEO, Adrian Keller, who collectively oversee the firm's direction and management.[2][3] Its staff comprises over 500 employees representing more than 50 nationalities.[1]
Herzog & de Meuron Basel Ltd. was founded in 1978 in Basel, Switzerland, by Jacques Herzog and Pierre de Meuron, graduates of the Swiss Federal Institute of Technology (ETH Zurich) in 1977.[4][5] The firm initially gained recognition for minimalist designs and innovative use of materials, such as the Blue House in Oberwil (1980)[6] and the Ricola Storage Building in Laufen (1987).[7][8] Their international reputation grew in the 1990s with projects like the Goetz Collection in Munich (1992),[9][8] which featured glass cladding to diffuse natural light, and the Dominus Winery in Napa Valley (1997), notable for its gabion walls of local stones that integrate the structure with its surroundings.[10][11][12]
The transformation of London’s Bankside Power Station into the Tate Modern (2000) marked a turning point, blending industrial history with contemporary design.[13]The New York Times praised it as "an example of how architecture can breathe new life into old structures."[14] In 2001, Herzog & de Meuron received the prestigious Pritzker Architecture Prize, commended for their refined and innovative designs.[15]
High-profile projects in the 2000s included the Beijing National Stadium (2008), known as the "Bird’s Nest," created in collaboration with artist Ai Weiwei for the Summer Olympics.[16][17][18] Other notable works included the REHAB Basel Clinic (2002), emphasizing light and openness for therapeutic recovery, and the Allianz Arena in Munich (2005), known for its dynamic ETFE façade.[19] The Prada Aoyama store in Tokyo (2003) showcased experimental glass architecture.[20][21]
In the 2010s, Herzog & de Meuron continued delivering landmark projects like the Vitra-Haus in Weil am Rhein (2010)[22][23] and the Elbphilharmonie in Hamburg (2017), blending a wave-like glass structure with a historic brick warehouse.[24][25] In New York, 56 Leonard Street (2017) featured a "Jenga-like" design,[26] while the Powerhouse Arts building in Brooklyn (2023) highlighted their expertise in adaptive reuse.[27]
In the 2020s, Herzog & de Meuron’s work reflected a continued focus on innovation, sustainability, and cultural context. The M+ Museum in Hong Kong (2021) integrated LED lighting within a minimalist façade,[28][29][30] and the Roche pRED Innovation Center in Basel (2023) showcased modular, sustainable design principles for interdisciplinary collaboration.[31] Their healthcare projects include the Kinderspital in Zurich (2024),[32][33] prioritizing natural materials, light, and healing environments, and ongoing facilities such as Hillerød Hospital in Denmark[34][35] and UCSF Health Helen Diller Hospital in San Francisco.[36][37]
Herzog & de Meuron have been recognized globally, receiving the Royal Gold Medal from the Royal Institute of British Architects (RIBA) in 2015 for their "profound contributions to architecture."[38] Critic Jonathan Glancey summarized their impact: "Their work combines the physical and poetic, the robust and refined."[39]
Jacques Herzog and Pierre de Meuron established Herzog & de Meuron in Basel in 1978.[40] Over the decades, the firm has expanded through the inclusion of new partners and leadership roles. The first partner, Harry Gugger, joined in 1991 (he left the practice in 2009),[41] followed by Christine Binswanger in 1994.[42] Additional partners have since joined the practice: Robert Hösl and Ascan Mergenthaler in 2004, Stefan Marbach in 2006, Andreas Fries in 2011, Jason Frantzen and Wim Walschap in 2014, Simon Demeuse in 2019, Santiago Espitia Berndt in 2020, and Martin Knüsel in 2021.[43][44]
The firm has also introduced Associate Partners, with Christoph Röttinger, Olga Bolshanina, and Steffen Riegas taking on the role in 2020, followed by Tobias Winkelmann in 2021.[45][46]
In 2017, Adrian Keller joined Herzog & de Meuron as CEO, contributing to the firm’s continued organizational and operational development.[47]
Herzog & de Meuron have been actively involved in academia, contributing to architectural education internationally. Jacques Herzog and Pierre de Meuron served as professors at the Swiss Federal Institute of Technology (ETH Zurich) from 1999 to 2018, where they co-founded the now discontinued ETH Studio Basel: Contemporary City Institute, focusing on urban studies and research.[48][49][50] They have also held teaching roles as visiting professors at the Harvard University Graduate School of Design, with Jacques Herzog having served as a visiting tutor at the Cornell University College of Architecture, Art, and Planning.[51] Although they are no longer teaching full-time, they continue to give lectures at various institutions.
The firm has produced several publications that contribute to architectural discourse. "Herzog & de Meuron: Natural History" (2002), co-authored with Philip Ursprung, explores the interplay between architecture and art through essays and detailed project analyses.[52] "Herzog & de Meuron 1978–2007" (2008) is a comprehensive monograph that documents the firm's projects over nearly three decades, providing insights into their design processes and philosophies.[53] Another notable work is "The Complete Works" series, which offers in-depth examinations of their projects, emphasizing conceptual approaches and material innovations.[54]
Partners and associates of Herzog & de Meuron actively engage in architectural education and discourse through participation in studio reviews and lectures at various academic institutions. For example, senior partner Ascan Mergenthaler has been involved in studio critiques and has lectured at the Royal College of Art in London, sharing insights on contemporary architectural practice.[55] Senior partner Christine Binswanger has given talks at the Massachusetts Institute of Technology (MIT), discussing the firm's approach to integrating environmental and social considerations in design.[56] These activities allow the firm's contributition to the education of emerging architects and to engage with current academic dialogues in architecture.
Herzog & de Meuron have contributed to architectural discourse through several publications. The Inevitable Specificity of Cities (2015), co-authored among others by Jacques Herzog and Pierre de Meuron, presents urban research conducted at ETH Studio Basel.[57] The book explores the unique characteristics of cities worldwide, emphasizing the importance of local specificity in urban planning and development.[58] In MetroBasel. Ein Modell einer europäischen Metropolitan-Region (2009), Jacques Herzog, Pierre de Meuron, and Manuel Herz examine the Basel metropolitan area as a prototype for European metropolitan regions, discussing strategies for sustainable urban development and cross-border collaboration.[59]
The Kabinett is a charitable foundation established in Basel in 2015. It preserves and manages the extensive archives of the architects' works, including architectural drawings, sketches, models, and personal collections. The Kabinett is divided into three areas: architecture, art, and photography, encompassing a wide range of materials and collections, such as the photography archive of Ruth and Peter Herzog. Although the Kabinett is not open to the general public, it provides access to researchers and specialists by appointment.[60][61][62]
1 October – 20 November 1988: Architektur Denkform, Architekturmuseum Basel, Switzerland
26 January – 24 March 1991: Contribution to Berlin Morgen. Ideen für das Hery Einer Grosstadt Berlin Zentrum at Deutsches Architektur-Museum, Frankfurt a. M., Germany
1 March – 7 April 1991: Architektur von Herzog de Meuron im Kunstverein München at Kunstverein München, Munich, Germany
26 May − 2 July 1994: Five Competition Entries at Swiss Institute, New York, New York, USA
12 October – 11 December 1994: Contribution to Bienal Internacional de Arte De São Paulo 22. Swiss Pavilion Architecture of Herzog & de Meuron Pavilhão Ciccillo Matarazzo, Parque do Ibirapuera, São Paulo, Brazil
8 March – 22 May 1995: Herzog & de Meuron, Une Exposition, conceived by Rémy Zaugg at Centre Pompidou, Paris, France
22 November 1996 – 9 January 1997: Architectures of Herzog & de Meuron. Portraits by Thomas Ruff at Peter Blum Gallery Soho, New York City, USA and 22 November 1996 –9 January 1997 at TN Probe Exhibition Space, Tokyo, Japan
31 May – 3 July 1997: Herzog & de Meuron. Zeischnungen Drawings at Peter Blum Gallery, Soho, New York, USA
12 May – 26 November 2000: Herzog & de Meuron – 11 Stations at Tate Modern[90] opening exhibition curated by Theodora Vischer in collaboration with Käthe Walserby at Tate Modern Turbine Hall, London
4 November 2000 – 11 February 2001: In Process curated by Philip Vergne, Walker Art Center, Minneapolis, MN, USA
2 March – 8 April 2001: Works in Progress. Projects by Herzog & de Meuron and by Rem Koolhaas /OMA at Fondazione Prada, Milan, Italy
23 October 2002 – 6 April 2003: Herzog & de Meuron. Archéologie de l'Imaginaire, curated by Philip Ursprung, Canadian Centre for Architecture, Montréal, Canada[91]
2004–2006 (multiple showings): An Exhibition by Schaulager Basel and Herzog & de Meuron at Schaulager Basel, Münchenstein, Switzerland
3 June – 5 August 2007: Studio as Muse. Design for the New Parrish at Parrish Art Museum, Southampton, NY, USA
10 January – 15 March 2008: Contribution to Hong Kong & Shenzhen Bi-City Biennale of Urbanism / Architecture: Refabricating City at Old Central Police Station Compound, Hong Kong, China
20 March – 4 October 2016: Material Future: The Architecture of Herzog & de Meuron and the Vancouver Art Gallery at Vancouver Art Gallery, Vancouver, Canada
10 September 2016 – 13 February 2017: Building Optimism: Public Space in South America at the Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh, PA, USA
10 February – 1 May 2017: Elbphilharmonie Revisited at Hall for Contemporary Art, Deichtorhallen, Hamburg, Germany
13 June – 20 August 2017: Summer Exhibition 2017 at Architecture Gallery, Royal Academy of Arts, London, UK
Project 2017–2018; Show 14 January 2018: Language Restraint: Herzog & de Meuron for Prada. Collection Items for Prada Invites 2018, Milan, Italy
Project 2018; Show 4 May 2018: Herzog & de Meuron for Prada. Showspace for Prada Resort 2019 at Piano Factory, New York, New York, USA[93]
30 September – 20 November 2021: Exploring Songeun Art Space at ST International HQ and SONGEUN Art Space, Seoul, Korea[94]
24 October 2022 – 1 April 2023: Lusail Museum: Tales of a Connected World at Lusail Museum, Qatar[95]
1996 No. 6 Sensing the Future. The Architect as Seismograph: Contribution to the Venice Biennale International Pavilion at Giardini, Venice, Italy[97]
2008 No. 11 Architecture Beyond Building: Herzog & de Meuron and Ai Weiwei. Installation Piece at Italian Pavilion, Giardini, Venice, Italy[98]
2012 No. 13 Common Ground: Herzog & de Meuron. Elbphilharmonie – The construction site as a common ground of diverging interests at Arsenale Corderie, Venice, Italy[99]
2014 No. 14 Fundamentals: Lucius Burckhardt and Cedric Price – A Stroll Through A Fun Palace, Swiss Pavilion, Venice, Italy
Luis Fernández-Galiano (Ed.): Herzog & de Meuron 2003–2019. (Vol.2), Madrid, Arquitectura Viva SL, 12.2019.
Luis Fernández-Galiano (Ed.): Herzog & de Meuron 1978–2002. (Vol.1) Madrid, Arquitectura Viva SL, 12.2019.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografias. Herzog & de Meuron 2013–2017. Vol. No. 191–192, Madrid, Arquitectura Viva SL, 12.2016.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografías. Herzog & de Meuron 2005–2013. Vol. No. 157/158, Madrid, Arquitectura Viva SL, 09.2012.
Luis Fernández-Galiano (Ed.): Arquitectura Viva Monografías. Herzog & de Meuron 2000–2005. Vol. No. 114, Madrid, Arquitectura Viva, 07.2005.
Luis Fernández-Galiano (Ed.): Arquitectura Viva. Herzog & de Meuron 1978–2007. 2nd rev. ed. Madrid, Arquitectura Viva, 2007.
Luis Fernández-Galiano (Ed.): Arquitectura Viva. Herzog & de Meuron. 1980–2000. Vol. No. 77, Madrid, Arquitectura Viva, 07.1999.
Dino Simonett: Herzog & de Meuron 001–500. Index of the Work of Herzog & de Meuron 1978–2019. Edited by: Dino Simonett, Herzog & de Meuron. Basel, Simonett & Baer, 2019
Fernando Márquez Cecilia; Richard Levene (Eds.): El Croquis. Herzog & de Meuron 2005–2010. Programme, Monument, Landscape. Vol. No. 152/153, Madrid, El Croquis, 2010.
Gerhard Mack, Herzog & de Meuron: Herzog & de Meuron. Elbphilharmonie Hamburg. Edited by: Herzog & de Meuron. Basel, Birkhäuser, 2018.
Herzog & de Meuron, Park Avenue Armory: Herzog & de Meuron Transforming Park Avenue Armory New York. Edited by: Gerhard Mack. Basel, Birkhäuser, 2014.
Tate Modern. Building a Museum for the 21st Century. Edited by: Chris Dercon and Nicholas Serota. London, Tate Publishing, 2016
Herzog & de Meuron + Ai Weiwei. Serpentine Gallery Pavilion 2012. Edited by: Sophie O'Brien with Melissa Larner and Claire Feeley. Exh. Cat. Serpentine Gallery Pavilion 2012. London, Koenig Books / Serpentine Gallery, 2012.
Work in Progress. Herzog & de Meuron's Miami Art Museum. Exh. Cat. Work in Progress: Herzog & de Meuron's Miami Art Museum. Miami Art Museum. 1 December 2007 – 6 April 2008. Miami, Miami Art Museum, 2007.
Expanding the Center. Walker Art Center and Herzog & de Meuron. Edited by: Andrew Bauvelt. Minneapolis, Walker Art Center, 2005.
Prada Aoyama Tokyo. Edited by: Germano Celant. 2nd ed. Milan, Progetto Prada Arte srl, 2003.
Roger Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Manuel Herz, Christian Schmid, Milica Topalovic: The Inevitable Specificity of Cities. Edited by: ETH Studio Basel. Zurich, Lars Müller Publishers, 2015.
Jacques Herzog, Pierre de Meuron, Manuel Herz: MetroBasel. Ein Modell einer europäischen Metropolitan-Region. Edited by: ETH Studio Basel. Basel, ETH Studio Basel, 2009.
Jacques Herzog, Pierre de Meuron: The Canary Islands. Open – Closed. An urban Research Study on the Canary Islands. ETH Studio Basel, Contemporary City Institute, Basel, 2007.
Exhibition catalogues, critical readings and focus statements
Herzog & de Meuron. Natural History. Edited by: Philip Ursprung. Exh. Cat. Herzog & de Meuron. Archaeology of the Mind. Canadian Centre for Architecture, Montreal. 23 October 2002 – 6 April 2003. Baden, Lars Müller, 2002
Jacques Herzog, Philip Ursprung, Jeff Wall: Pictures of Architecture. Architecture of Pictures. A Conversation between Jacques Herzog and Jeff Wall. Edited by: Cristina Bechtler. Vienna / New York, Springer, 2004.
Jacques Herzog, Pierre de Meuron: Treacherous Transparencies. Thoughts and observations triggered by a visit to the Farnsworth House. Barcelona, Actar Publishers / IITAC Press, 2016.
Roger Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Christian Schmid: Switzerland. An Urban Portrait. Birkhäuser, 2006. Vol. No. 1-4.
There have been a lot of discussions about whether Herzog & de Meuron has a specific style. Even though people have tried to describe an 'H&dM style', the office always declines to have one: In an interview, founding partner Jacques Herzog stated that Herzog & de Meuron "never aspired to anything that might be called a typical style of our own. […] To this day, we do not want to [design a series] of iconic buildings that would instantly communicate "Herzog & de Meuron" – as opposed to the new, specific location that can be created and communicated by a building. In that respect it's not wise to represent a style or a certain taste. We say that over and over again not out of modesty or to castigate ourselves but because we want to maintain our independence and because we are curious about new possibilities."[101]
Their recent work at Prada Tokyo, the BarcelonaForum Building, and the Beijing National Stadium for the 2008 Olympic Games suggest a changing attitude.[102] The shapes and forms of some of the works suggest art glass and objects d'art that one would see on a coffee table, like an art deco ashtray or quirky container for chocolates – a building becomes a blown-up version of desk art because the computer can do it, mimic the plasticity of the medium, and make it possible as a feat of engineering.
Herzog & de Meuron have faced criticism for their vision for migrant workers in Beijing during the construction of the Beijing National Stadium. In a July 2008 interview with the German magazine Der Spiegel, Jacques Herzog was criticised for not having done more to ensure the conditions under which migrant workers constructed the stadium by the interviewer, to which Jacques Herzog responded that the influence of the architect on the construction process is declining rapidly.[103]
On the other hand, some scholars, such as Deyan Sudjic, have stated that the very building of the stadium sent a signal from the Western architecture firm to the Chinese government to change societal norms.[104] However, others have argued that this statement would go with any stadium design, decreasing the potential of the signal.[105]
^Chevrier, Jean-François (2016). From Basel - Herzog and de Meuron. Élia Pijollet, Georg Dupin. Basel/Berlin/Boston: Walter de Gruyter GmbH. ISBN978-3-0356-0695-9.
^Blundell Jones, Peter; Meagher, Mark, eds. (2015). Architecture and movement: the dynamic experience of buildings and landscapes. London New York: Routledge. ISBN978-1-317-65529-9.
^Cite error: The named reference :10 was invoked but never defined (see the help page).
^Cite error: The named reference :11 was invoked but never defined (see the help page).
^Jamelle, Hina, ed. (2022). Under pressure: essays on urban housing. New York, NY: Routledge. p. 188. ISBN978-1-000-43546-7.
^Betsky, Aaron (2024). Don't build, rebuild: the case for imaginative reuse in architecture. Boston: Beacon Press. ISBN978-0-8070-1486-8.
^Cite error: The named reference :12 was invoked but never defined (see the help page).
^Cite error: The named reference :14 was invoked but never defined (see the help page).
^Cite error: The named reference :15 was invoked but never defined (see the help page).
^Diener, Roger; Eidgenössische Technische Hochschule Zürich, eds. (2015). The inevitable specificity of cities: Napoli, Nile Valley, Belgrade, Nairobi, Hong Kong, Canary Islands, Beirut, Casablanca. Zürich: Lars Müller Publishers. ISBN978-3-03778-374-0.
^Roger Diener, Jacques Herzog, Marcel Meili, Pierre de Meuron, Manuel Herz, Christian Schmid, Milica Topalovic (2015). The Inevitable Specificity of Cities. Edited by ETH Studio Basel. Zurich: Lars Müller Publishers.
^Jacques Herzog, Pierre de Meuron, Manuel Herz (2009). MetroBasel. Ein Modell einer europäischen Metropolitan-Region. Edited by ETH Studio Basel. Basel: ETH Studio Basel.
^Knöfel, Ulrike; Beyer, Susanne (30 July 2008). "Only an Idiot Would Have Said No". spiegel.de. Der Spiegel. Archived from the original on 2 October 2015. Retrieved 23 October 2019. Herzog: We can always exchange a few friendly words with the mayor, but the realities have changed in construction management. We are dealing with a world that, paradoxically enough, is often at odds with the architecture. On the one hand, the architect is highly respected, and architecture also has the capacity to bring about radical social change. On the other hand, the architect's influence on the course of construction is declining rapidly.
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