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Herzog and De Meuron manage to preserve their identities as modernist architects. Their early works cite significant inspiration from the minimalist art of Donald Judd. Both also regard Joseph Beuys as an important motivator to their designs as they collaborate with different artists in each individual project. From the formation of their architectural partnership in 1978, Herzog and De Meuron evolved to be the best in their field. From simple styles of rectangular-inspired architectural designs, the complexity of their adventure in the phase of the Modernist Movement allowed them to adopt and develop complex and dynamic geometric shapes and patterns for their designs. Along with the maturity of skill and technique, innovation when it comes to the use of materials is also taken into account. Herzog and De Meuron’s imagination led then to the use of exterior materials such as silkscreened glass to the down-right simplest plywood (Craven). All of these, no matter how grand or simple, no matter how expensive or cheap, work to the advantage of these Swiss architects. Both are significantly considered as important figures in architecture. They are regarded as primary institutions when it comes to modernism. The honor they received in 2001 through the prestigious Pritzker Architecture Prize (Craven) was but a tiny complement as compared to the reputation they had built upon the development of their careers as architects.
With much said about the prestige of both architects, it is also important to note that the most important development in the lives of both as professionals occurred upon their designation as primary architects of the 2008 Olympic Stadium in Beijing or more famously known as the Bird’s Nest Stadium. It was in that moment that the modern architects almost went into a conversion of style, adhering to the rules and tenets of post-modernism. However before
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We should always remember the 100 men that lost
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