Jacques Herzog previews the Royal Academy exhibition with Christopher Hawthorne
Actually, the reason we curate the shows ourselves is not because we want to control how people think, but quite the opposite. I don’t want to be too defensive. I’m not a moralist. If I would to try to control everything, I would have chosen the wrong job.Back in May, Hawthorne met with Jacques Herzog at the opening of the Venice Biennale to discuss the upcoming exhibition at the Royal Academy of Arts in London as well as several prevailing industry trends that have impacted his firm’s size and projects in the United States and abroad. He says that, among other project types, “neglected” hospital design offers architects the most potential. The 73-year-old Herzog then offers some insights into the firm’s reluctance to work in Russia after last year, the limits of adaptive reuse, curation, and the perception of his counterpart's role as a firm leader vis-à-vis his own. Previously on Archinect: Herzog & de Meuron’s first London exhibition in 20 years to be hosted by the Royal Academy of Arts“Pierre has always organized the business, going back to when we were starting out. But it’s not fair to say that Pierre is the business guy and I’m the artist,” he tells the former LA Times critic. “Ideally, we look into projects together and we di...
Actually, the reason we curate the shows ourselves is not because we want to control how people think, but quite the opposite. I don’t want to be too defensive. I’m not a moralist. If I would to try to control everything, I would have chosen the wrong job.
Back in May, Hawthorne met with Jacques Herzog at the opening of the Venice Biennale to discuss the upcoming exhibition at the Royal Academy of Arts in London as well as several prevailing industry trends that have impacted his firm’s size and projects in the United States and abroad. He says that, among other project types, “neglected” hospital design offers architects the most potential. The 73-year-old Herzog then offers some insights into the firm’s reluctance to work in Russia after last year, the limits of adaptive reuse, curation, and the perception of his counterpart's role as a firm leader vis-à-vis his own.
“Pierre has always organized the business, going back to when we were starting out. But it’s not fair to say that Pierre is the business guy and I’m the artist,” he tells the former LA Times critic. “Ideally, we look into projects together and we di...
