Bird's Nest
- Description
- Reviews
- Citation
- Cataloging
- Transcript
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Many events for the Beijing 2008 Olympic Games took place in the brand new, 100,000-seat National Stadium. Design plans for this massive structure began in 2003, when Swiss architects Jacques Herzog and Pierre de Meuron were selected by the Chinese government to design the new stadium, which because of its curved steel-net walls was soon dubbed by locals as the 'bird's nest.'
BIRD'S NEST chronicles this five-year effort, as well as Herzog and de Meuron's design for a new city district in Jinhua, involving hotels, office and residential buildings. Both projects involved complex and often difficult negotiations and communications between two cultures, two architectural traditions and two political systems. Herzog and de Meuron, the Basle-based architects, find themselves working with China's largest state construction company, Chinese artist and architect Ai Wei Wei, lawyers, and countless government bureaucrats.
The film reveals how Chinese cultural tradition affects both projects, with the architects carefully researching esthetic and philosophical concepts of Chinese society and culture, attempting to define universal qualities of 'beauty' and being careful to avoid imposing Western ideas, and above all to create buildings that will blend in culturally by being sensitive to Chinese cultural traditions and ways of living.
In addition to following the progress of both projects, from initial design and groundbreaking, BIRD'S NEST features interviews with Herzog and de Meuron, Chinese architects Ai Wei Wei and Yu Qiu Rong, plus additional commentary by cultural advisor Dr. Uli Sigg, the former Swiss Ambassador to China, Professor Zhi Yin of Beijing's Tsinhua University, and Li Aiqing, Chairman of Beijing State-Owned Assets Management.
In showing the cultural barriers, political pressures, aesthetic concepts, client demands, and budgetary limitations of these major architectural projects-one intended to promote China's international appearance, the other designed to cater to the daily needs of the Chinese people-BIRD'S NEST explores how such international endeavors are helping to develop a 'new tradition' in architecture.
'For those of you who aren't yet obsessed with Jacques Herzog and Pierre de Meuron-the Swiss architects behind London's Tate Modern, the Barcelona Forum, the de Young Memorial Museum in San Francisco, Allianz Arena in Munich, and 40 Bond Street in NYC-we think the stadium they've built in Beijing for this summer's Olympic Games might push you over the edge.' -Good Magazine
'A coup of culture exchange, not only for architects.' -Zuritipp
'Not only exciting architectural insights, but also a view of the Chinese mood in times of rapid transition.' -NZZ
Citation
Main credits
Schaub, Christoph (Director)
Schindhelm, Michael (Director)
Hoehn, Marcel (Producer)
Herzog, Jacques (Interviewee)
Meuron, Pierre de (Interviewee)
Other credits
Camera, Stéphane Kuthy, Matthias Kälin; music, Peter Bräker; editor, Marina Wernli.
Distributor subjects
Architecture; Asia; ChinaKeywords
WEBVTT
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[music]
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[music]
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[music]
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[music]
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So how many square meters?
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190. 190, this? (inaudible)
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Do you think it’s interesting here,
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as we… as we said we have the natural
light? Yes, and air. And air, yes.
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[music]
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One space is maybe a little small.
Mm-hmm. And two is too big.
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Do you think it’s possible to have
this and half of the next one?
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To make like a (inaudible)?
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[sil.]
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That’s why eventually,
I mean we cannot have…
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[music]
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Now you can ask what is beautiful,
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you know, this is a question of taste.
But I don’t speak of taste,
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I speak of beauty as something
which is attracting people,
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you know, and if it attracts you, it is on
different level. It is because it works well
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because it has interesting
proportions, interesting colors,
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it has a magic you cannot always explain. And some projects
do that have that and some projects do not have that.
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So in a very strange way, we
do not always know what we do.
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[music]
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But this is ultimately
what we try to… to reach.
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If you look at the forbidden city, you cannot really
explain why, you know, but everybody likes it.
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You’ll ask… you ask me how do I like it.
Everybody likes it or it’s fascinating.
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[music]
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umm… I don’t know (inaudible)
I’ve never heard of (inaudible)
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and (inaudible) there quite
well known in Switzerland.
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Uh… Very good architect.
So I said, \"Why not?\", …
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you know, to me it’s totally new experience
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to working with foreign architect.
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Me and Pierre, we start make drawings,
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make those scissors,
paper cuts, just to… to…
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to play with (inaudible) and
discuss why or why not and,
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you know, more liberal
philosophical on the aes…
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aesthetic level rather than
architecture (inaudible).
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[music]
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[music]
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[music]
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[music]
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We discussed the possibility
how to create… objects which
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uh… means more to the city.
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Also means…have a meaning after
the (inaudible), you know,
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after the 20 days of celebration
how people would use it.
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[music]
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[music]
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[music]
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[sil.]
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In past 4-5 years,
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China in terms of urban design,
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architecture have very
big, big development.
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So that is so dramatic
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and so big the scale. And
the speed, (inaudible)
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so fast I don’t think human uh…
ever experienced the same kind of
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(inaudible).
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[music]
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[music]
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Oh, that’s why because it’s… in the… on
the roof. They are very different from
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all the architects I know.
They would started from zero.
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Just… to any project, they
would just start it like
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very innocent (inaudible),
you know (inaudible)
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nothing in their mind while
they start the project.
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[music]
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[sil.]
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The other solution would be this.
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This is the door. And this is I think
important to step into something.
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You can also have it like
this for the threshold.
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You need it to have it like a step.
I think this is more economical.
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Yes, this is more economical. But,
it’s…it’s interesting to make like this,
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hmm? When you come in, you make like this.
In a temple… in a temple you do that.
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Okay, that… regulation, I didn’t know.
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What kind of life (inaudible),
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what kind of possibility of life.
So you’re not design… architecture,
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you’re more or less to imagine the future
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for other people’s behaving
or… or possibilities.
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[music]
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(inaudible) That’s good.
We should go to the
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Olympic area, green in the North.
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If you could tell the taxi
driver where (inaudible) go,
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you know, umm… it’s here on the fourth
ring, there. Know there is the…
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the national stadium? Yeah, somewhere here.
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(inaudible), sir? But tell the taxi
driver you know, then I can call
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uh… someone I know but that’s on my way but
the taxi driver goes in that direction.
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[music]
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[music]
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(inaudible) I appreciate very much
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working with you and I hope you have enough
time because you have a lot of other things
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and (inaudible), the start
and now it has to grow up.
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Ah! We have to go in there.
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[music]
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We have been doing now schematic
design so this is the first phase
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of course it’s not… it’s
challenging construction.
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Really now it’s getting real and
the stadium is becoming reality.
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[music]
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I need one, yeah… yeah, yeah. I’m
the architect, I’m the architect,
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come on, I’m the architect.
Give me… give me.
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[music]
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[music]
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[non-English narration]
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[sil.]
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When I came back now in… in…
in March I couldn’t believe
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what I saw because when I left in the end
of January we had an empty space here.
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And… and now we have a… a… working office.
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See you everyone tomorrow.
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[sil.]
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[sil.]
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So, (inaudible) Herzog and
de Meuron, they come to
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uh… the location and they are
so happy while they have
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(inaudible) that time and they think
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they have been always very,
you know, concentrated
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and also excited… about whatever they see.
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[music]
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[sil.]
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[music]
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Should we put in the brackets, we
have 66%… the cost reduction is 34%.
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[sil.]
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I think we can speak about that, we can discuss
it whether it’s clever to mention that,
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Uli Sigg propose this to say
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by the way the CCTV is something
like 10 billion? Yeah.
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10 billion and ours is 4th,
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25% of it, you know.
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And you don’t meet the target
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2.2 for 7…for 6. We are at 2.
(inaudible) plus,
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you know and he will ask,
\"What are your proposal?\"
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But we let him ask, you know, we
don’t make it from our, you know…
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But it can be assured that we do…
we do really the best performance
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we can provide for you as a… as a…
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Change the toilet from your opinion
to Chinese. It’s also a minor… Yes,
00:34:40.000 --> 00:34:45.000
The Chinese toilets are 8 times cheaper.
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[sil.]
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[music]
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[music]
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[sil.]
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[music]
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[non-English narration]
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[music]
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[sil.]
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We’ve been working a lot in
optimizing the steel structure
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and the challenge has been
to how to do that without
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compromising the concept of the bird’s
nest which has already became something
00:39:55.000 --> 00:40:00.000
of an icon of the Olympics in Beijing.
00:40:20.000 --> 00:40:28.000
[sil.]
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[sil.]
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During the competition we didn’t
have the transition between
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the concrete structure for the (inaudible)
00:42:05.000 --> 00:42:09.999
and the structure for the roof. And what we have
been doing now with adding raking or angle columns
00:42:10.000 --> 00:42:14.999
for the bowl is that we have the
impression that the bird’s nest is growing
00:42:15.000 --> 00:42:19.999
inside the building. And that the
concrete structure holding up bowl
00:42:20.000 --> 00:42:24.999
and the steel structure is one thing visually.
So we’ve been merging these two structures.
00:42:25.000 --> 00:42:33.000
[music]
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[music]
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[sil.]
00:43:55.000 --> 00:44:00.000
[sil.]
00:44:15.000 --> 00:44:23.000
[sil.]
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[music]
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[music]
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The next project is phenomonical
in (inaudible), have been working…
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And that we believe those cultures should be kept
and we wouldn’t believe in cultural globalization.
00:47:20.000 --> 00:47:25.000
[sil.]
00:47:50.000 --> 00:47:58.000
How are you?
00:48:35.000 --> 00:48:39.999
How are you? Thank You.
00:48:40.000 --> 00:48:44.999
[sil.]
00:48:45.000 --> 00:48:49.999
The master plan of (inaudible).
(inaudible) open design?
00:48:50.000 --> 00:48:55.000
[music]
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[music]
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[music]
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[music]
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[music]
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Basically when we build, we try to bring the
architecture out by working with good architects.
00:54:10.000 --> 00:54:14.999
Uh… And China at the moment is going
through phenomenal construction boom
00:54:15.000 --> 00:54:19.999
so we… we actually like to bring
as many talents as we know
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uh… (inaudible) the best
for… for the world.
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But very often we had these romantic
ideas of keeping the trees… Yeah, yeah.
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…But in reality is uh…-
It’s not very (inaudible).
00:54:35.000 --> 00:54:40.000
It’s (inaudible). It’s, you know, when you
need to have a four storeys underneath…
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[music]
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[music]
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All those (inaudible) are coming from
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one same planning of… a same design
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and all the buildings are looks the same.
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The (inaudible) buildings, you know,
and all the streets looks the same.
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And even the trees, how they
planted it looks the same.
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So it totally lost the identity where this
city is… is located and what kind of culture
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and what kind of history it has.
00:56:55.000 --> 00:57:03.000
[sil.]
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[sil.]
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[music]
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[music]
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[music]
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The whole city…
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This is just any… any kind of generic
development. So it’s about 30 storeys.
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100 is… is the limit for the… planning
01:00:05.000 --> 01:00:09.999
and also limit for us in terms of structure cost.
But we call this the Forbidden City strategy,
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you know, ideally we would take a
famous monument and go in there,
01:00:15.000 --> 01:00:19.999
(inaudible) really like we use this
and build a very contemporary layer
01:00:20.000 --> 01:00:24.999
on top of a very traditional layer. We would
use the top and we call this a cloud.
01:00:25.000 --> 01:00:29.999
This is very Chinese, we often have
things our top and the invention…
01:00:30.000 --> 01:00:34.999
How does this work? This would be
on top of an… of a skyscraper.
01:00:35.000 --> 01:00:39.999
I said this would be very Chinese
but could be very interesting
01:00:40.000 --> 01:00:44.999
because nobody has ever done that, you
know… And this is (inaudible) copyright.
01:00:45.000 --> 01:00:49.999
Yeah. Two minutes to (inaudible)
01:00:50.000 --> 01:00:55.000
[music]
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[music]
01:01:30.000 --> 01:01:35.000
[music]
01:03:05.000 --> 01:03:13.000
[sil.]
01:04:05.000 --> 01:04:09.999
[sil.]
01:04:10.000 --> 01:04:14.999
(inaudible) often sees people
who come to here really,
01:04:15.000 --> 01:04:19.999
really desperately just get the whatever
the job they can and, you know,
01:04:20.000 --> 01:04:24.999
for (inaudible) lot of workers, you
know, no buildings are build by
01:04:25.000 --> 01:04:29.999
people in the city, you know,
01:04:30.000 --> 01:04:34.999
everybody hanging on those
buildings are the… the day before,
01:04:35.000 --> 01:04:39.999
they are in the village.
01:04:40.000 --> 01:04:44.999
They have almost no future except (inaudible) next month’s
salary, but if you think about village life, it’s terrible life,
01:04:45.000 --> 01:04:49.999
you know, I mean, is… is… lowest
01:04:50.000 --> 01:04:54.999
possible conditions there and, you know,
so that’s the reason to drive them out.
01:04:55.000 --> 01:05:03.000
[music]
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[music]
01:07:40.000 --> 01:07:45.000
[sil.]
01:07:50.000 --> 01:07:54.999
Hello, hello?
01:07:55.000 --> 01:08:00.000
Jacq? Hello?
01:08:20.000 --> 01:08:28.000
[sil.]
01:08:35.000 --> 01:08:40.000
[music]
01:09:40.000 --> 01:09:45.000
[music]
01:11:00.000 --> 01:11:08.000
[music]
01:11:35.000 --> 01:11:39.999
[sil.]
01:11:40.000 --> 01:11:48.000
[non-English narration]
01:11:55.000 --> 01:11:59.999
[sil.]
01:12:00.000 --> 01:12:05.000
(inaudible) cannot possible. Yeah, yeah.
01:12:20.000 --> 01:12:28.000
[sil.]
01:13:05.000 --> 01:13:09.999
Even he is not a (inaudible) even he is just a
normal person, if the appointment has been decided,
01:13:10.000 --> 01:13:14.999
we have to go there. This is…
in China the… the… tell him
01:13:15.000 --> 01:13:19.999
what is Li, what is Li? Xinggang, I…
01:13:20.000 --> 01:13:24.999
This is so important in China,
Pierre, trust me. This is…
01:13:25.000 --> 01:13:29.999
I don’t say it’s not important Xinggang, I think
this will influence the… the opening ceremony…
01:13:30.000 --> 01:13:34.999
Of course, don’t (inaudible) me, I know that.
Actually I don’t care about (inaudible).
01:13:35.000 --> 01:13:39.999
Xinggang, it’s not this the case.
It is just not good organization.
01:13:40.000 --> 01:13:44.999
That’s (inaudible) what I’m calling. But
this is not my responsibility. …Not my…
01:13:45.000 --> 01:13:49.999
I didn’t say it’s your responsibility.
(inaudible) Just half an hour.
01:13:50.000 --> 01:13:55.000
3… 3… 3… 3:30 here, but this
is very tight because of…
01:14:55.000 --> 01:15:03.000
[music]
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[music]
01:16:40.000 --> 01:16:45.000
[sil.]
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But now I start to think
that the gloss reversing it
01:17:00.000 --> 01:17:04.999
because inside you have no effect from far away.
You only have the effect from being close
01:17:05.000 --> 01:17:09.999
so inside (inaudible) is nicer. So it’s
almost reversing this original idea.
01:17:10.000 --> 01:17:14.999
Yeah, yeah, I would like to go there. Yes.
01:17:15.000 --> 01:17:23.000
[sil.]
01:17:35.000 --> 01:17:39.999
You have (inaudible) in both sides.
01:17:40.000 --> 01:17:44.999
The (inaudible) was very very nice
but it was very elegant, you know,
01:17:45.000 --> 01:17:49.999
the non (inaudible) is
more easy to maintain
01:17:50.000 --> 01:17:54.999
because people touch it, you
know… It’s about like this now
01:17:55.000 --> 01:17:59.999
because those (inaudible) also provide like half (inaudible).
So if you close your eyes, (inaudible) like this.
01:18:00.000 --> 01:18:04.999
[sil.]
01:18:05.000 --> 01:18:13.000
[music]
01:19:30.000 --> 01:19:38.000
[music]
01:19:50.000 --> 01:19:58.000
[non-English narration]
01:20:00.000 --> 01:20:08.000
[sil.]
01:20:15.000 --> 01:20:19.999
About this common games,
especially Olympic games,
01:20:20.000 --> 01:20:24.999
I… I don’t have much good feeling about it
actually. And especially in this country
01:20:25.000 --> 01:20:29.999
it’s so much related to nationalism
and so much related to
01:20:30.000 --> 01:20:34.999
so called nations pride which
01:20:35.000 --> 01:20:39.999
I never associate myself with.
And I… I don’t like to be part…
01:20:40.000 --> 01:20:44.999
to be part of it. And so
I don’t give damn to it
01:20:45.000 --> 01:20:49.999
and… and I don’t care.
01:20:50.000 --> 01:20:58.000
[sil.]
01:21:40.000 --> 01:21:48.000
[sil.]
01:22:40.000 --> 01:22:48.000
[music]
01:23:35.000 --> 01:23:43.000
[music]
01:25:00.000 --> 01:25:08.000
[sil.]
