Designed as an elegant white structure with slender pillars on a plinth the new Bordeaux stadium reproduces the nearby natural landscape to transform this part of the city into a vibrant new area.

Architects Herzog & De Meuron compare their new stadium to classical temples. This formal comparation is based on the "plinth - bowl - roof" structure that they use for giving shape to this new and ethereal volume designed for 42,000 spectators. The stadium can host sport events as rugby and soccer matches and others like shows, concerts or corporative events.

The project blurs the limit between interior and outside spaces which have been presented by other more conventional stadiums as well by the latest ones on being presented with more or less glory, providing the landscape of Burdeaux a new volumen of grand architecture which used landscape as reference element.

Description of the project by Herzog & De Meuron

The new Bordeaux stadium appears light and open; it is elegant, if such a term can be used for a building of this size. Its purity and geometrical clarity inspires a sense of monumentality and gracefulness. One might be tempted to draw a comparison with a classical temple, but unlike the elevated plinth of a temple, the grand stairs of the stadium blur the boundaries between inside and outside. Countless columns standing on the stairs accompany the visitors on their way in and out of the stadium. The fusion of stairs and columns forms a gesture of openness and accessibility.

Special attention was paid to the integration of the structure into the grand landscape of Bordeaux. The meticulous geometrical arrangement of bowl structure and columns reflects the pattern created by trees and paths in the surrounding landscape. This stadium is made for this specific place - an open, flat landscape in immediate proximity to the Bordeaux Exhibition Centre stretching along the lakefront. “Elegance" has become a depreciated term when describing architecture, but wrongly so when one looks at Bordeaux' urban and architectural legacy. We were never looking for inspiration in the historical part of Bordeaux with its breathtakingly beautiful buildings and monuments all made out of typical limestone. Much of what we perceive as elegance in Bordeaux results from its unity and homogeneity of scale and materiality and from its precision and purity of form. We could not copy this, but we certainly learned from it.

A bowl for 42'000 people.-

Seating a maximum of 42,000 people, the bowl embraces the game area, its geometry affording optimal visibility for all, along with the maximum flexibility in terms of capacity and usage. The stadium is multifunctional and conceived to welcome a rich and diversified program: not only rugby and soccer matches but also shows, concerts, and corporate events.

The bowl consists of two superposed tiers divided into four sectors and protected from the elements by the roof. The underside of the visually uniform roof guides the eye onto the playing field while allowing sunlight to pass through. Its structure does not show through on the inside of the stadium, to avoid distracting the spectators’ attention.

Raising the bowl above ground level is a compact base housing all the programmatic functions in a uniform and symmetrical volume. This plinth includes the VIP spaces evenly distributed east and west, and media areas adjacent to the spaces dedicated to players. The architectural simplicity and pure lines of the bowl and its base ensure smooth spectator flows and ease of orientation.

Plinth, Bowl and Roof.-

The bowl rests on a plinth, covered by a sharp-edged rectangular roof. The choice of this pure and almost abstract form responds clearly and efficiently to the site’s natural conditions and to the main flow of spectators from east to west.

This white rectangle seems projected earthwards thanks to the multiplicity of slender columns that shower down. A ribbon of food stalls and restrooms undulates through this forest of columns, brought alive by the movement of the crowd. At once dense and light, this structure creates an evanescent rectangular volume from which the sculpted and organic outline of the bowl emerges.

This architectural concept gives a specific identity to the new Bordeaux stadium. The diaphanous volume opens up to the surrounding landscape while the grand stairs express openness and accessibility for everyone. Its transparency reveals all the energy and activities that will transform this piece of land into a new and vibrant part of Bordeaux.

CREDITS.-

Architects.- Herzog & De Meuron.
Project name.- 367; Nouveau Stade de Bordeaux.
Location.- Bordeaux, France.
Dates.- 2010-2011 (competition), 2011-2012 (project), 2013-2015 (realization).

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Herzog & de Meuron is an international architecture practice founded in 1978 in Basel, Switzerland, by Jacques Herzog and Pierre de Meuron, both born in Basel in 1950. The practice's work encompasses projects of different scales and programmes, from housing and cultural buildings to hospitals, stadiums, infrastructure, and urban developments. Its architecture is characterised by an ongoing investigation into materials, construction processes, and the relationship between buildings and their context.

Jacques Herzog (Basel, Switzerland, 1950) and Pierre de Meuron (Basel, Switzerland, 1950) studied architecture between 1970 and 1975 at the Swiss Federal Institute of Technology Zurich (ETH Zürich), where they were students of Aldo Rossi and Dolf Schnebli. Friends since childhood, they began a professional partnership that has maintained a close relationship between architectural practice, research, and teaching.

Jacques Herzog was a visiting professor at Cornell University in 1983. Both architects taught as visiting professors at Harvard University Graduate School of Design in 1989 and between 1994 and 2014, and were professors at ETH Zürich from 1999 to 2018. They also co-founded ETH Studio Basel – Contemporary City Institute, a research programme focused on processes of urban and territorial transformation.

During its early years, the practice gained international recognition with projects such as the Blue House in Oberwil (1980), the Ricola Storage Building in Laufen (1987), the Stone House in Tavole (1988), and Dominus Winery in Yountville, California (1998). These projects helped establish an architectural approach based on material experimentation, the reinterpretation of construction systems, and the exploration of new relationships between structure, building envelope, and space.

The practice's international reputation grew significantly with the transformation of the former Bankside Power Station into Tate Modern in London (2000), one of the most influential cultural adaptive reuse projects of recent decades. This was followed by buildings such as Schaulager in Münchenstein (2003), Prada Aoyama in Tokyo (2003), the de Young Museum in San Francisco (2005), Allianz Arena in Munich (2005), CaixaForum Madrid (2008), the Beijing National Stadium (2008), VitraHaus in Weil am Rhein (2010), and the Elbphilharmonie in Hamburg (2017).

The practice has also expanded its work into museums, collective housing, educational and healthcare buildings, and urban transformation. Notable projects include Pérez Art Museum Miami (2013), the extension of Tate Modern in London (2016), the residential tower at 56 Leonard Street in New York (2017), the Tai Kwun cultural centre in Hong Kong (2018), the M+ museum in Hong Kong (2021), and the extension of Museum Küppersmühle in Duisburg (2021).

In recent years, Herzog & de Meuron has completed projects including the University Children's Hospital Zurich (2024), the Roche pRED research centre in Basel (2024), the Hortus office building in Allschwil (2025), the new Lombard Odier headquarters in Bellevue, Geneva (2025), Calder Gardens in Philadelphia (2025), and the transformation of Marcel Breuer's building on Madison Avenue in New York for Sotheby's (2025). Further projects followed in 2026, including Titlis Tower in Engelberg and the Ford Student Center at Amherst College in Massachusetts.

A distinctive aspect of the practice's work has been its collaboration with artists from different generations, including Rémy Zaugg, Thomas Ruff, and Michael Craig-Martin, alongside projects exploring the relationships between architecture, contemporary art, and public space.

Herzog & de Meuron currently employs more than 500 professionals from approximately 50 countries. The practice maintains its headquarters in Basel, with offices in cities including Berlin, Barcelona, Hong Kong, London, Munich, New York, Paris, and San Francisco. Its leadership structure comprises the founding partners, Jacques Herzog and Pierre de Meuron, together with a team of senior partners, partners, and associate partners. Senior partners include Christine Binswanger, Ascan Mergenthaler, Stefan Marbach, Jason Frantzen, Andreas Fries, and Wim Walschap, who became Chief Executive Officer of the practice in May 2026.

In 2001, Jacques Herzog and Pierre de Meuron were awarded the Pritzker Architecture Prize. In 2007, they received the Royal Gold Medal from the Royal Institute of British Architects (RIBA) and the Praemium Imperiale from the Japan Art Association, followed by the RIBA Jencks Award in 2015. That same year, they established the non-profit institution Jacques Herzog und Pierre de Meuron Kabinett, dedicated to preserving, researching, and sharing their collections of architecture, art, and photography.

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Published on: May 21, 2015
Cite:
metalocus, ALEX DURO
"New Bordeaux Stadium completed by Herzog & De Meuron" METALOCUS. Accessed
<https://www.metalocus.es/en/news/new-bordeaux-stadium-completed-herzog-de-meuron> ISSN 1139-6415
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