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The Master of Advanced Studies in Architecture and Digital Fabrication at ETH Zürich Unveils its Latest Thesis Achievements

Written by Mónica Arellano
Published on December 04, 2020

The Master of Advanced Studies ETH Zurich in Architecture and Digital Fabrication (MAS ETH DFAB) is the educational program of the world’s leading interdisciplinary research cluster on digital fabrication and robotics in architecture, the National Centre for Competence in Research (NCCR) Digital Fabrication at ETH Zürich. It is organized by the Chair for Digital Building Technologies and the Chair of Architecture and Digital Fabrication (Gramazio Kohler Research ), two pioneering research groups in the field.

The one-year full-time program teaches the most relevant subjects, from computational design, material and digital fabrication innovations, to robotic fabrication and 3D printing technologies. Our students benefit from the excellence and experience of the ETH Zürich and NCCR researchers, the collaboration with our industry partners and the full access to the unique Robotic Fabrication Laboratory , where most of the pioneering research happens.

The MAS ETH DFAB strives for a new generation of collaborating architects, engineers, and designers equipped with the intellectual skills, technological and disciplinary know-how to define the future of architecture. A future, which provides answers to ecological, social and technological challenges and combines efficiency with aesthetics.

The twelve projects presented here are the Master Theses of the MAS ETH DFAB from the year 2019-2020. Students collaborated with researchers from the Chair for Digital Building Technologies and Gramazio Kohler Research on specific questions regarding robotic fabrication processes and 3D printing technologies. All theses are embedded in ongoing research projects and supported by a larger group of experts. During three months, the 12 groups developed their own research plan, conducted experiments and ultimately presented their thesis through physical demonstrators, a written and oral presentation. All topics show the ability to turn concepts into software and digital building processes with the power to transform the way we build.

1) Mesh Mould Earth Construction

ETH Zürich, Chair of Architecture and Digital Fabrication, Gramazio Kohler Research, Prof. Fabio Gramazio and Prof. Matthias Kohler Students: Jomana Baddad, Indra Santosa Tutors : Mattis Koh, Nik Eftekhar Olivo, Marvin Rüppel, Coralie Ming, Ammar Mirjan, Thibault Demoulin (Prof. Flatt), Gnanli Landrou (Prof. Habert). In collaboration with Oxara:www.oxara.ch Sponsors : Abuma GmbH Moebelle

Mesh Mould technology is an ongoing digital concrete research of stay in place form-work developed by the chair of architecture and digital fabrication in ETH Zurich. Mesh Mould sets the foundation for this research to fabricate reinforced earthen structures of complex geometries using open lattices to help its curing. The corresponding investigations are a middle ground between traditional applications of natural reinforcement shaping and digital fabrication methods. The digital output of a complex geometric model is translated into a low-tech fabrication workflow in order to adapt to the socio-economic reality of the used natural materials. The human-machine fabrication apparatus offers versatile scenarios of automation and labour engagement. The developed apparatus focuses on giving access to doubly curved complex reinforcement geometries through an affordable, easy to use fabrication interface. The research focuses on natural reinforcement material and investigates suitable bending and assembly methods. Conjointly, a computational model is developed, which integrates material characteristics and shaping methods. Eventually, the computional set-up will provide a straightforward interface for the human to fabricate reinforcement cages for earthen materials. The earthen material mix and filling process is conducted by our research collaborators Oxara.

2) Adaptive Clay Formations - Robotic In-Situ Clay Construction

ETH Zürich, Chair of Architecture and Digital Fabrication, Gramazio Kohler Research, Prof. Fabio Gramazio and Prof. Matthias Kohler Students: Anton Tetov Johansson, Edurne Morales Zúñiga Tutors : David Jenny, Coralie Ming, Nicolas Feihl, Gonzalo Casas Industry Partner : Lehmag AG and Brauchli Ziegelei AG

Rapid Clay Formations (RCF) is an ongoing research into robotic aggregation of soft clay elements conducted at the MAS ETH DFAB programme at ETH, Zürich. In our thesis, we present our research into RCF construction on an architectural scale. We outline our development of a fabrication process suitable to build tall and slender structures from clay. This fabrication process is evaluated through a series of prototypes and preparations for a three-week building workshop. In this project, we have evaluated and tested material behaviour and optimisation, geometric sensing, robot trajectory planning and mobile robotic localization. These explorations are combined with design studies for large monolithic clay structures aiming at a rapid deployment on site. We call this stream of the RCF research Adaptive Clay Formations.

3) Pushing the boundaries of integral joints in robotically assembled timber structures

ETH Zürich, Chair of Architecture and Digital Fabrication, Gramazio Kohler Research, Prof. Fabio Gramazio and Prof. Matthias Kohler Student: Frédéric Brisson Tutor: Victor Leung, Davide Tanadini (Prof. Schwartz)

Timber has a rich history in building construction. For centuries, carpenters have assembled timber structures by hand and while technology has improved production efficiency, the timber construction industry has been slow to embrace the potential of a fully automated robotic assembly process for factory-built structures.

Gramazio Kohler Research at ETH Zurich has been developing a robotic process with a clamping tool to place linear timber into an integral lap joint configuration on a vertically positioned post. While researchers have been capable to do so in a 90-degree configuration, this thesis seeks to demonstrate the potential for an angular clamping system that could joint linear timber within a range of angles on the same plane, opening up opportunities for more complex geometries in robotic assembly. Developed in collaboration with Victor Leung from Gramazio Kohler Research and Davide Tanadini from the Chair of Structural Design, this thesis presents parametric rules guiding the assembly, design and structural stability of a timber structure. It proposes a set of iterative design opportunities and has tested those opportunities through a 1-to-1 scale timber structure to confirm assumptions and discover elements to be further investigated.

4) Material-informed formwork geometry

ETH Zürich, Chair of Architecture and Digital Fabrication, Gramazio Kohler Research, Prof. Fabio Gramazio and Prof. Matthias Kohler Student: Yu-Hung Chiu, Chanon Techathuvanun Tutor: Joris Burger, Ena Lloret-Fritschi, Tim Wangler (Prof. Flatt)

Fused Deposition Modeling (FDM) of formwork for concrete has the potential to realize construction components with structurally optimized geometry, which can reduce the amount of concrete used and improve construction sustainability. Several previous researches show the feasibility of building using this novel technique. However, new challenges (compared to a traditional concrete construction process) have to be addressed: breaks frequently happen to the formworks during the casting because of hydrostatic pressure. Much knowledge exists on the performance of conventional formworks (with steel and wood) for traditional concrete; however, there is a knowledge gap in the understanding of 3D printed formworks that can have non-standard shape. This thesis will investigate different formwork geometries and patterns to expand knowledge on the breakage behavior of formworks when subjected to hydrostatic pressure. Meanwhile, the aim is to improve formwork stability and explore formwork surface aesthetics by applying parametric geometries and patterns. The empirical data from findings will be used to the Eggshell project to determine the concrete filling rate without creating breakage.

5) Exploring Material Self-Formation: Crafting Surfaces through Feedback Based Robotic Plaster Spraying

ETH Zürich, Chair of Architecture and Digital Fabrication, Gramazio Kohler Research, Prof. Fabio Gramazio and Prof. Matthias Kohler Students: Tsai Ping-Hsun, Eliott Sounigo Tutors: Selen Ercan, Dr. Ena Lloret-Fritschi

This research presents a novel method for feedback-based plaster spraying using a spray gun controlled by a 6DoF robotic arm. Through this proposed process, multiple layers of a cementitious material are sprayed at different velocities and distances onto a surface creating volumetric formations without the use of any formwork or support. In order to control the build-up of such a malleable material, a depth camera is integrated into the fabrication process, feeding a control system, which adjusts the end-effector distance to the target surface after each spraying iteration. The goal of this research is to explore how this robotic craft can be used to design and create bespoke surface finishes as a new form of ornamental craft.

6) Illuminating Links: A design research for steel-gel casting

ETH Zürich, Chair for Digital Building Technologies, Prof. Benjamin Dillenburger Student: László Mangliár Tutor : Marirena Kladeftira

Computation offers new possibilities of design for building components, however existing methods of steel additive manufacturing have major limitations. The motivation is to overcome those by examining a new fabrication method of steel-gel casting in FDM formwork. The thesis develops a design language for the investigated process and demonstrates its potential in a design study of a prototypical steel component, embedding the functions of structural connection, integrated lightning and ornament. The entire manufacturing chain was set up and discovered, the shape definition followed by the digital mold making; the formwork 3d printing and steel gel-casting. The result of the thesis is a prototypical steel component, which is a combination of a functional element and a sculptural object, inspired and informed by the manufacturing method.

7) Non-Planar Seams for Branching Structures

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Student: Mahiro Goto Tutor : Ioanna Mitropoulo

Non-planar layered printing enables us to control the layer configurations so that we can print shapes that we cannot print with traditional flat-layered printing, such as branching structures, or overhanging shapes without any support structure. A significant obstacle to the use of non-planar print paths is the complexity of their design, which calls for new techniques and methodologies that facilitate this task. In many cases, such as the printing of a large structure, we need to segment the object into smaller pieces to fit them within the printing area. In this research, we propose the segmentation strategy using non-planar boundaries that can create a manifold of layer configurations in one object by distance calculation along the object surface. Through many prototypes using FDM robotic printing, we explored functional and aesthetic aspects of layers, as well as how the orientation of printing paths can be used to an advantage for the task of segmentation.

8) Porous Assemblies - Robotic 3D printing of mineral foam for novel lightweight architectures (ENG)

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Student: Dinorah Martinez Schulte Tutor: Patrick Bedarf Collaborator: Ayça Senol (ETH Zurich), Dr. Michele Zanini (FenX AG), Dr. Etienne Jeoffroy (FenX AG)

Discrete construction elements used in low-cost architecture can be designed and produced thanks to high-tech digital fabrication and materials research. This master thesis project presents a contribution to this goal through the design and fabrication of lightweight architectural assemblies. These have been developed during 12 weeks and as part of a larger research endeavor investigating C3DP with mineral foams, derived from abundant non-flammable, and fully recyclable industrial waste. Starting from the early development of the print material, various designs from 3D-printed mineral foam were systematically explored through an extensive prototyping exercise.

The fabrication method is robotic 3D-extrusion-printing and the printed elements were sintered in a furnace to achieve their full mechanical strength. As a final demonstrator, an ultralight screen façade was manufactured with mineral foam discrete elements and cast on UHPFRC Ultra-High-Performance Fibre concrete. Due to its geometry, they allow natural lighting and ventilation, highlighting the benefits of using this material to create lightweight, innovative, sustainable, and low-impact architectural elements on the environment. The main goal of the research is to explore design challenges for 3D printing with mineral foams, promote awareness on the future built environment, and give a conclusive outlook discussing the future avenues of research.

9) Filigree Concrete: The Architecture of Fibres

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Students: Maria Pia Assaf, Ioulios Georgiou Tutor: Andrei Jipa, Angela Yoo, Georgia Chousou Industry Partner: Bekaert AG

The Master of Advanced Studies in Architecture and Digital Fabrication at ETH Zürich Unveils its Latest Thesis Achievements - Image 38 of 61

Ultra-High performance fibre reinforced concrete is concrete containing fibrous material that increases its structural performance. The optimal contribution of the fibres, in terms of structural strength, is when they are oriented along the direction of tensile stresses and can bridge cracks in the overall structure. Previous research has shown that the flow of concrete casting influences the fibre orientation and distribution in simple architectural forms. This research focuses on the influence of complex formwork geometry on fibre orientation and distribution during the casting process.

With further understanding of the behavior of fibres in these forms, and a more informed approach

in their implementation, the limits of filigree concrete architectural components were explored and pushed further. The thesis investigates the design possibilities of this technology through experiments focusing on tubular branching geometries as 3D-printed formworks and in combination with different casting strategies and their effect on fibre alignment. The results were observed and analysed using physical sections. The design and fabrication of slender concrete architectural components became more informed, leading to the exploration of a new design language and reaching concrete forms of 11 mm diameter. This research concluded with the design and fabrication of a filigree tracery, inspired by the gothic rose window.

10) Carbon Fiber Exoskeleton - 3D printing of carbon fiber-reinforcement with formworks for freeform thin concrete components

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Student: Fatemeh Salehi Amiri Tutor: Hyunchul Kwon

This thesis explores carbon fiber-reinforcement onto 3D-printed freeform formworks for the materialization of thin concrete components. Freeform components play an important role in contemporary architecture. Recent 3D printing innovation enables the efficient materialization of those allowing to create geometrically-complex concrete formwork. However, the freeform tensional-reinforcement strategy remains unexplored, particularly for the thin structure.

On the one hand, despite the reinforcement application onto the concrete surface, where most of the tensile stresses occur, increases the structural-performance, the corrosion from the traditional steel-reinforcement limits the potential of the exoskeletal reinforcement. On the other hand, carbon fiber has non-corrosive properties, as well as a high weight-to-strength ratio and formability. In this context, this research proposes a novel method of an add-on carbon fiber process with 3D-printed formwork that allows achieving unprecedented exoskeletal reinforcement. Moreover, the thesis develops a computational method based on structural-optimization strategy enabling the reduction of the materials to be applied only where they are needed. This research includes a series of experiments with the design and fabrication of a prototypical functional demonstrator. The thesis proves the concept of an unprecedented method of concrete-reinforcement promising complex concrete shapes with the efficient use of the material in the automated fabrication process.

11) Adaptive Resolution for Volumetric Modelling

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Student: Rémy Clémente Tutor: Prof. Benjamin Dillenburger, Mathias Bernhard

This research investigates ways of mastering multiple levels of resolution. Since architecture combines various scales and construction methods, is an adaptive resolution a way to address the complex nature of such formations? Using volumetric modeling (VM), a computational workflow (using Python on Rhino/Grasshopper) is proposed to master and control the resolution of a 3D model. Whether this happens in the constructive solid geometry tree (CSG) or during the discretization of the signed distance function (SDF) object, the goal is to define local levels of detail while using dynamic instruments. Two case-studies will present applications within the digital fabrication domain. A fused deposition modeling (FDM) 3D printer combining different filament thicknesses will give an insight into how an adaptive resolution could solve the matching challenges. Thereafter, a multi-sized brick example will present a way to merge cells to automatically generate a bond. This publication must be seen as part of the current exploration of VM conducted at the Digital Building Technologies chair at ETH Zurich.

12) PerSkin Add-On 3D-Printing on Fabric

ETH Zürich, Chair for Digital Building Technologies, Benjamin Dillenburger Student: Emmanuelle Sallin Tutor: Matthias Leschok

Fabric is a soft material commonly used in construction for its ability to be tensiled. From the 18th century to the present day it has been used in the field of industrialised construction in combination with steel cables or other rigid materials. Textile is often used to form tents, stadiums, or pavilions. Additive Manufacturing (AM) has already demonstrated its potential in architecture. Especially polymer extrusion has been used, not only for creating formwork for concrete, but also facades components. However, in architecture, this AM process is struggling with long built-up rates. There are first attempts to combine polymer extrusion with a substrate material (Add-on 3DP) for faster build-up rates, especially necessary for the architecture scale. Nevertheless, the use of substrate material like fabric has not been fully explored yet. This research aims to combine a rigid material - the 3D-printing material - with a soft material - the fabric - to create spatial elements of architectural size. It provides experimental data on the behaviour of the new composite material, as well as a different design approach to create spatial architectural elements.

For more information about the program and application procedures visit www.masdfab.com

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Porous Assemblies - Robotic 3D printing of mineral foam for novel lightweight architectures . Image © Dinorah Martinez Schulte

ETH 苏黎世联邦理工学院最新研究成果，建筑设计与数字化建造

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Assistant Professor of Architecture and Urban Design Prof. Dr. Alexander Lehnerer Department of Architecture HIL G 74 Stefano-Franscini-Platz 5 8093 Zurich, Switzerland

The City as the Critical Project of Architecture

Ever since architecture discovered the city as its domain, there has been a critical and fruitful debate regarding how these two relate to one another. One is clearly always part of the other, is comprised by the other, sometimes contained in the other. At least the city and architecture always condition one another. The city is the one big project of society and therefore naturally challenges architecture as a cultural project. The productive and intellectual impetus of the inconclusive negotiation between the two lies exactly in the confrontation of the individual with the collective, text with context, the political with the planned, and the autonomous with the cultural. These dialectical moments of inquiry outline what the discipline of architecture has described as a third typology, an architectural project that operates between two seemingly contradictory states creating friction that leads to alternative and subversive outcomes.

This search for a third typology has led us to investigate collective form and its physicality as a result of historical and contemporary processes, as well as projective/speculative conception—at a scale larger than a building and smaller than a city. The methodological analysis of collective form includes comparative observations, critical commentary, and the search for strategic tools that can be employed to simultaneously shape and understand our built environment in order to produce specific public qualities as cumulative effects. The results are thematic formats that can be read as critical discursive urban projects, both as research and pedagogy, but never obliged to only one single scale.

In this third typology, between the big and the small, theory and project, sign and object, the speculative reality of architecture develops its truly striking potential.

The individual research projects are conducted within three disciplinary modes of inquiry: the history of architecture, the mediums in which architecture communicates, and architecture’s disciplinary versus cultural concerns. Within this research framework, the chair searches for examples, narratives, rationales, and manifestos of how architecture is both a product of as well as an influential force behind the form and culture of the world’s infinite anthropogenic fabric.

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Mythos Dorf

Das Dorf. Wir alle wissen, was das Dorf ist. Wir wissen, wie es aussieht, wie es riecht, wie es sich anfühlt. Da ist der Nachbar, der mich auf der Strasse grüsst, da sind Stille und Natur und die untrüglichen Spuren der Landwirtschaft. Vielleicht verbinden wir es mit dem Begriff der Heimat, mit einer unbestimmten Sehnsucht nach dem Anderen, dem Besseren. Es ist der Ort an den wir hingehen, vielleicht, irgendwann – hingehen um anzukommen, hingehen um zu bleiben.

Das Dorf – ein diffuser Begriff, geprägt von archetypischen Bildern, verklärten Erinnerungen und Assoziationen. Im 21. Jahrhundert ist das Dorf geprägt von hoher Mobilität und dem Wunsch des Einzelnen nach maximaler Privatsphäre. Man will Überschaubarkeit, aber nicht die Neugier des Nachbarn, individuelle Freiheit aber nicht das Dorfgeschwätz. Stetig schwindende Partizipation, Engagement und Identifikation mit dem Ort führen zu vakanten Stellen in Gemeindeverwaltungen, sterbenden Dorfzentren und Gemeindefusionen. Man wohnt im Dorf, aber man lebt dort nicht. Die Massenmobilität hält ständig die Möglichkeit zur temporären Flucht aus dem engen Rahmen und Regelkorsett der kleinen Welt des Dorfes bereit und bewahrt einem davor, sich wirklich darauf einlassen zu müssen, was Dorf eigentlich auch bedeuten würde: Unausweichliche Nähe, begrenzter Horizont, subtile Überwachung, geteilter Raum.

Mittlerweile hat das massenindividualisierte Pseudo-Landleben das Schweizer Mittelland und die Peripherie der Städte mit einem charakterlosen, gleichförmigen und auf sich selbst bezogenen Siedlungsteppich überzogen. Es sind gerade jene Faktoren, welche den Boom des Lebens im Eigenheim auf dem Land erst ermöglichten, denen von Beginn weg die Zerstörung des angestrebten Idylls innewohnte. Man hatte Dorf gewollt, und die Agglomeration erschaffen.Trotzdem – der Hype aufs Land ist ungebrochen. Noch immer wünschen sich 70% der Schweizer Bevölkerung ein Dorf als Wohnort. Auch in der Stadt ist das Dorf präsent. Zeitschriftenmagazine wie “Landliebe” füllen die Regale im Kiosk oder liegen im Ärzte-Wartezimmer als Lektüre bereit. Literarisch, filmisch und künstlerisch erfährt das Dorf eine Renaissance.

Dorfumbau – gegen die Gleichgültigkeit

Wir haben es also mit einer paradoxen Situation zu tun. Das Dorf als solches existiert nicht mehr, und doch ist es omnipräsent. Als überhöhte Gegenrealität zur modernen, globalisierten Stadt haftet es an vergangenen Ideologien und verspricht sich als Idyll in einer sich schnell verändernden Welt. Es ist zum verklärten Mythos geworden, zum Zufluchtsort, zur heilen Welt, zur Utopie.

Alle Welt spricht von Stadtumbau, Stadterweiterung, Stadtraum. Was jedoch ist, so fragen wir uns, mit dem Dorf? Die Strategie der Architekten im Umgang mit dem Dorf ist in den letzten Jahrzehnten primär von Rückzug geprägt. Der Fokus liegt auf der Stadt, auf urbanen Projekten. Im Dorf hat man das Feld, scheinbar ohne schlechtes Gewissen, den Spekulanten, Investoren und „Swisshaus“ überlassen.

So verkümmert die Architektur im Schutze der Vorgärten. Sie wird, jeglicher Repräsentationsfunktion und Interaktion mit dem nicht-privaten beraubt, passiv und gleichgültig. Das Abstandsgrün hingegen gedeiht prächtig, türmt sich entlang der ansonsten unsichtbaren Linien des Privateigentums und unterstreicht die Grenze zwischen Öffentlich und Privat. Einziger Berührungspunkt der Einzelobjekte mit einem übergeordneten, verbindenden System bildet die Garageneinfahrt. Über eine Aussparung im scheinbar endlosen Randstein dockt sie das Einzelhaus an die alles bestimmenden Infrastruktur der Strasse. Die Verbindung zwischen den Bauten bleibt damit auf eine logistische Ebene beschränkt.

Beseitigen wir das Abstandsgrün, damit sich die Architektur wieder mit dem öffentlichen Raum befassen kann!

Dorf leistet Widerstand

Diese freie Diplomarbeit untersucht eine alternative Entwurfsstrategie für das Dorf im 21. Jahrhundert. Dabei dient die Gemeinde Dorf im Flaachtal als Projektperimeter.

Dorf ist eine Umkehrung der gängigen urbanistischen Planung, welche aus Schichten übergeordneter Strukturen und Infrastrukturen die Einheit der Parzelle und zum Schluss noch das Haus hervorbringt. Der Vorgarten des privaten Hauses wird zum Vorgarten des Dorfes. Er umschliesst die Bauzone und agiert als Instrument gegen die Zersiedelung. Die aus ihrem Dasein als brachliegendes Abstandsgrün befreite Fläche zwischen den Häusern verbindet sich zum Dorfraum. Damit wird eine neue Lesart des kollektiven, öffentlichen Raumes ausgelöst. Die nun mögliche Verdichtung nach Innen erhöht die Elementdichte im öffentlichen Raum und stärkt das räumliche Netzwerk. Das Einzelobjekt erlangt die Freiheit, das künstliche Korsett des Grenzabstandes zu sprengen und überwindet die Isolation des Abstandsgrüns, um fortan Teil eines grösseren Ganzen zu sein.

Durch einige wenige, radikal andere Grundsatzentscheidungen entzieht Dorf so den gängigen Planungsnormen und -perimetern ihre Grundlage. Es entledigt sich des Systems durchrationalisierter, allgemeingültiger, unspezifisch-numerischer Planungskriterien und ersetzt diese durch einen einfachen Regelkatalog und Hierarchien, welche aus der Phänomenologie des Ortes, seiner Sozialstruktur und seinen räumlichen und landschaftlichen Eigenheiten hervorgehen.Es verändert den Rahmen für alltägliche Handlungen und damit auch die Bedingungen zur Ausbildung von Gemeinschaft.

Das “Eigene” als Denkhorizont wird herausgefordert und eine Neupositionierung auf dem Feld des “Unseren” notwendig. Zwischen Öffentlich und Privat wird Reibungsfläche zurückgewonnen, Voll und Leer verleihen einander Bedeutung.

Das Projekt hinterfragt zudem auch, wessen Dienstleister der Architekt ist und wessen Interessen er mit seiner Arbeit verfolgt. Sind es nur jene des privaten Bauherren und Investors auf seiner Parzelle oder müssten es nicht viel öfter die eines grösseren Ganzen und des kollektiven Raumes sein, den es vor einer zunehmenden Privatisierung und Kapitalisierung zu verteidigen gilt?

Das Dorf ist tot, es lebe das Dorf!

MAS ETH DFAB

image of a woman student managing a robot that is printing concrete with an extrusion nosel

Master of Advanced Studies ETH in Architecture and Digital Fabrication MAS ETH DFAB

Image of robotic concrete extrusion printing in our Robotics Fabrication Lab

Our purpose

Gain technological literacy, we are radical thinkers, deeply rooted in practice, forging the way towards a more intelligent and sustainable means of designing and making of architecture. join our program, and gain the technological literacy needed to make a real impact. become part of our vibrant and multidisciplinary community of experts: architects, engineers, designers, researchers., our rankings .

ETH Zürich ranked #7 for study in Engineering & Technology worldwide

QS Ranking 2023

ETH Zürich ranked

#3 for study

in Architecture & Built Environment

ETH Zürich ranked #7 overall university worldwide

QS Ranking 2024

A student is moving a tracked tool and designing a movement on a wall. The computer program extrapolates printing layers that then will be sprayed on the wall by a robot plastering

Our program

In just one year, become industry ready. our streamlined curriculum hones in on the essential skills necessary for launching the next step of your career., our context , our context , eth zürich is a leading university in science and technology, situated in zürich, one of europe's most important technology hubs. we offer an exceptional learning environment, supported by substantial funding and access to cutting-edge facilities., eth zürich is a leading university in science and technology, situated in zürich, one of europe’s most important technology hubs. we offer an exceptional learning environment, supported by substantial funding and access to cutting-edge facilities..

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MAS ETH DFAB 2022-2023 Final Review - Individual Master Thesis

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School for Continuing Education

Mas eth in history and theory of architecture.

Master of Advanced Studies
Environment, Infrastructure & Architecture

Autumn Semester

2 years, part-time Duration
ETH Zurich Location

01–30.04.2024

CHF 19,500

In brief: The MAS ETH in History and Theory of Architecture

Based on contemporary issues, the part-time MAS ETH in History and Theory of Architecture teaches the the history and theory of architecture and the city as well as the methods of critical scholarly work.

Structure and content

Programme description.

The MAS ETH in History and Theory of Architecture (MAS ETH GTA) investigates the intersections of architecture and urban processes in their historical dimensions. Students learn to conceptualise and historically situate the interfaces between the micro- and macro-levels of architecture and the city. The programme encourages students to independently articulate and pursue research questions, to challenge existing assumptions, and in the process to become familiar with research in the humanities.

Professional perspectives

Structure and format, additional information.

The MAS in History and Theory of Architecture was established in 1993 as a key component of the Institute for the History and Theory of Architecture (gta) . Students are involved in research, publication or exhibition projects. In the process, students increase their proficiency in time and project management, and improve their skills in communicating through verbal presentations and in written form. Graduates have acquired in-depth knowledge of the relationships between architectural and urban phenomena and are familiar with various methods of scholarly work.

Tuition language(s)

Target group and admission, target group.

The programme is designed for university graduates with a degree in architecture (or landscape architecture, planning, design, etc.) or degrees in the humanities and related fields (history of art, social sciences, law, politics, divinity, economics, etc.). Most students have several years of professional experience.

Requirements

Required language skills.

German C1, English B2 (Seminar papers and Master’s Thesis may be submitted in English.) – external page Show proficiency scales call_made

Language(s) of performance assessment

Dates and venue, application period.

01–30.04.2024 ( Admission after the application deadline )

Programme fee

Application fee.

CHF 50 for persons with a Swiss university degree, CHF 150 for persons with another university degree (non-refundable, credit card payment only)

Withdrawal fee

Cancellation within 30 days after registration date and before the beginning of the programme: free of charge
Cancellation more than 30 days after the admission date and before the beginning of the programme: CHF 9,750
Cancellation after the beginning of the programme: CHF 19,500

Application

Questions about the application.

ETH Zurich, School for Continuing Education, HG E 17–18.5, Rämistrasse 101, 8092 Zurich, Tel. external page +41 44 632 56 59 call_made , E-mail

Application documents

Diploma certificate and transcript (of records) of the highest or most relevant degree
Passport or identity card
Download Declaration of consent (PDF, 94 KB) vertical_align_bottom

Additional application documents

Letter of motivation: Briefly explain your interest in the MAS.
Work samples are helpful. Written texts, whether published or not, can be enclosed.
References/letters of recommendation are optional.

Programme management

Master's thesis

The Master's degree programme concludes with a Master's thesis that lasts six months. The project includes an oral presentation and a written report (the Master's thesis), and it is graded. Before starting the project, the Master's thesis must be registered in mystudies ("Projects/papers/theses"). You will be admitted to the Master's thesis only if both semester projects (2008 regulations) are or one semester project (2018 regulations) is successfully completed.

Once the Master's thesis is successfully finished and all credits are obtained, students may request their diploma .

Information: Publication of Master Thesis in the Research Collection

Students have the possibility of publishing their master theses in the Research Collection . To publish master theses in the Research Collection, a letter of recommendation from the respective supervisor is needed. You can find further information on the webpage .

Semester project, Bachelor's and Master's theses offers at D-ITET:

If projects are taken, sometimes related projects may be available. Often, labs are willing to customize a project to match the students' interests. Many labs welcome students' own ideas for projects.

Below an overview of labs offering semester project and Master's thesis by specialisation:

chevron_right Communication Technology Laboratory
chevron_right Signal and Information Processing Laboratory
chevron_right Chair for Mathematical Information Science
chevron_right Computer Engineering and Networks Laboratory
chevron_right Computer Vision Laboratory
chevron_right Chair for Computer Science
chevron_right Computer Security Group
chevron_right Computer Architecture (SAFARI Research Group)
chevron_right Institute for Electronics
chevron_right Institute of Electromagnetic Fields
chevron_right Integrated Systems Laboratory
chevron_right Millimetre-wave Electronics Laboratory
external page call_made Laboratory for Thin Films and Photovoltaics at EMPA
chevron_right Photonics Laboratory

Booklet Download Semester/Master's theses "Energy and Power Electronics" (PDF, 78.2 MB) vertical_align_bottom

chevron_right Advanced Power Semiconductor Laboratory
chevron_right Laboratory for High-power Electronics Systems
chevron_right Power Electronic Systems Laboratory
chevron_right High Voltage Laboratory
chevron_right Power Systems Laboratory
external page call_made Institute of Neuroinformatics
chevron_right Institute for Biomedical Engineering

For further ITET projects see external page SiROP website call_made .

EMANUEL CHRIST & CHRISTOPH GANTENBEIN

FINAL REVIEWS MASTER THESIS “NOT GOOD ENOUGH N°II”

MAY 27, 10 AM – 4 PM. ETHZ, HIL D10

with Adrien Meuwly

D-ARCH FINAL REVIEWS

Photo: Jesse Rieser, The Retail Apocalypse (2015-18) © Jesse Rieser

FINAL REVIEWS “REAL SHELTER”

MAY 29 / 30, 10 AM – 6 PM. ETHZ, HIL F41

with Sevince Bayrak, Manuel Herz, Débora Mesa, Andreas Ruby

Photo: Dan Graham, Homes for America: Untitled, Family in New Highway Restaurant, Jersey City, New Jersey (1967) © Dan Graham

SYMPOSIUM “FUTURE AGGLO”

FEBRUARY 20, 1.15 PM. ETHZ, HIL F41

with Aude Ratia-Brasier, spatial planner Canton ZH Balz Halter, Manager Halter AG

FEBRUARY 21, 10 AM. ETHZ, HIL F41

with Prof. Dr. Christian Schmid, sociologist ETH Dr. Susanne Hefti, artist-researcher

Photo: Peter Fischli & David Weiss, Siedlungen, Agglomerationen (1993) © Peter Fischli & David Weiss

INTRODUCTION DESIGN STUDIO "REAL SHELTER"

Spring semester 2024

FEBRUARY 20, 10.00AM. ETHZ, HIL F41

Photo: Dan Graham, Untitled, Brescia (2010) © Dan Graham

FINAL REVIEWS “IDEAL SHELTER”

DECEMBER 19 / 20, 10 AM – 6 PM. ETHZ, HIL F41

with Patrícia Barbas, Fredi Fischli, Zilla Leutenegger, Niels Olsen

Photo: Joel Sternfeld, Parco dei Gordiani, Rome (1990) © Joel Sternfeld

«FROM CITY TO DETAIL» Lecture Series Fall Semester 2023

Construction III by Emanuel Christ and Christoph Gantenbein 1. / 8. / 15. / 22. / 29. November 2023

8:15 HIL E 3

BOOK LAUNCH

LUX GUYER – OBERE SCHIEDHALDE

SEPTEMBER 20, 7PM NEVER STOP READING SPIEGELGASSE 18, ZURICH

Join us for the book launch of "Lux Guyer - Obere Schiedhalde" on Wednesday, September 20, 7 PM, at Never Stop Reading in Zurich. The event will feature Evelyn Steiner in conversation with the editors, as well as Anna Puigjaner, Professor for Architecture and Care at ETH Zürich.

INTRODUCTION DESIGN STUDIO "IDEAL SHELTER"

Fall semester 2023

SEPTEMBER 19, 10.00AM. ETHZ, HIL F41

LANDSCHAFTSTADT ZÜRICH: JUNE 9, 2023 – SEPTEMBER 24, 2023

We will present the works of our diploma students from the spring semester 2022 "Revisiting the Garden City" in the exhibition "Landschaftstadt Zürich" at ZAZ Bellerive, Zurich.

Opening on June 8, 19:00

Find the full program and further details here .

Image: Leonard Schaffner, spring semester 2022

FINAL REVIEWS “HOME”

MAY 31 / JUNE 1, 9.30 AM – 6 PM. ETHZ, HIL F41

with Iñaki Abalos, Beat Aeberhard, Sophie Delhay, Maria Sheherazade Giudici, Indiana Collective, Mike Guyer, Anna Puigjaner

Photo: Thomas Demand, Canopy, 2020 © Thomas Demand

PUBLICATION "THE OFFICE / WORK SPACE" & "STORAGE / SPACE OF ACCUMULATION"

MAY 31, 6PM. HIL F41.4, ETHZ

STUDIO REVIEW "REALE ARCHITEKTUR"

MAY 2 / 3, 9.30AM – 6 PM. ETHZ, HIL F41

with Indiana Collective, Lukas Gruntz, Lorenzo Iandelli

Image: Ettore Sottsass, Casa in Colorado, 2003 © Ettore Sottsass

«DIE DECKE» Course Spring Semester 2023

Construction IV Lecture by Christoph Gantenbein 26.4.23

8:15 HIL E 1

«DIE ZIMMERPFLANZE» Course Spring Semester 2023 Construction IV Lecture by Emanuel Christ 19.4.23 8:15 HIL E 1

BASEL DWELLING

Studio Trip Spring Semester 2023

April 4 / 5

with Beat Aeberhard, Sarah Barth, Heinrich Degelo, Neues Kino Basel, Stiftung Habitat und Clauss Kahl Merz

FINAL REVIEWS “HOUSE”

DECEMBER 20 / 21, 9.30AM – 6 PM. ETHZ, HIL F41

with Nora Fehlbaum, Mia Hägg, Kwinten Lavigne, Zilla Leutenegger, Oliver Lütjens, Niels Olsen and Susanne Schindler

«DIE FEUERSTELLE» Course Fall Semester 2022

Construction III by Emanuel Christ 16.11.22

8:15 HIL E 4

MIDTERM REVIEW „HOUSE: TORINO TYPOLOGY"

NOVEMBER 8 / 9 – 10AM – 160PM. ETHZ, HIL F41

with Amalia Bonsack, Irina Davidovici, Benjamin Dillenburger, Filippo de Pieri and Cara Rachele

«DER SOCKEL» Course Fall Semester 2022

Construction III by Christoph Gantenbein 2.11.22

INTRODUCTION DESIGN STUDIO "HOUSE"

Fall semester 2022

SEPTEMBER 20, 10.00AM. ETHZ, HIL F41

GSD HARVARD – THE AMERICAN HOME

CAMBRIDGE, MA – August 29, 2022. Emanuel Christ and Christoph Gantenbein once again return as visiting critics to GSD Harvard . Their fall 2022 program, " The American Home " , asks what the role of architecture is, if not to project a vision of home for a better life?

"If we believe in the possibility of changing our society through the profession of architecture, an alternative way of living – in a time where stable structures fall apart and ideologies serve to promote war and violence – is urgently needed. Thus, our studio this fall is a call for a collective effort in searching for new forms of living."

Photo: Gordon Matta-Clark, Splitting, 1974 © Estate of Gordon Matta-Clark / ARS

FINAL REVIEWS "SPACE OF ACCUMULATION" MAY 31 / JUNE 1 – 9.30AM – 5.30PM. ETHZ, HIL F41 with Nele Dechmann, Maarten Delbeke, Simona Malvezzi, Georg Vrachliotis, Enrique Walker D-ARCH FINAL REVIEWS

SYMPOSIUM “SPACE OF ACCUMULATION”

FEBRUARY 22 – 23, 10AM. ETHZ, HIL F41.4

with Dr. Catharina Bening ETH Group SusTec Boris Buzek UZH Deutsches Seminar Prof. Dr. Francesco Corman ETH IVT Prof. Dr. Lucas Bretschger ETH MTEC Nicole Lachenmeier Superdot

LINK TO WEBSITE

FINAL REVIEWS “STORAGE”

DECEMBER 21 – 22, 9.30AM – 7PM. ETHZ, HIL F41

with Barbara Berger, Ambra Fabi, Stephan Lando, Corinna Menn, Marina Montresor, Alfredo Thiermann, Lydia Xynogala, Andrea Zanderigo

LECTURE AT HARVARD GSD CAMBRIDGE, MA – OCTOBER 20, 2021. Emanuel Christ & Christoph Gantenbein, Kenzo Tange Design Critics at Harvard GSD, will join the school's public program together with OFFICE Kersten Geers and David Van Severen in an event hosted by Jeannette Kuo on October 20, 2021. 12:00PM – 01:30PM Eastern Time.

Sign up for the webinar here and join the live stream here . Christ & Gantenbein's 2021 course at Harvard, "The Primitive Hut" , investigates the human-nature relationship, under pressure of climate change, scarcity of resources, and the global pandemic.

AUDIO-VISUAL PIECE BY CHRIST & GANTENBEIN AT THE ROYAL ACADEMY IN LONDON

LONDON, UNITED KINGDOM – September 23, 2021. The Royal Academy's 2021 Summer Exhibition has opened its doors. The architecture show is curated by David Adjaye and focuses on the topic of climate and geography. Christ & Gantenbein is represented with an audio-visual piece based on point-cloud data from its research studio's work for Mahalla: Urban Rural Living. The artwork is on display in the Large Weston Room.

RA Summer Exhibition 2021, September 22, 2021 – January 2, 2022, Royal Academy of Arts, Piccadilly, London

MAHALLA STORIES: AUGUST 24 - 31 VENICE, ITALY - August 24, 2021. Mahalla Stories is a series of talks and concerts that will run from August 24 to 31 at the Uzbek Pavilion, framed by the installation "Mahalla: Urban Rural Living" by Christ & Gantenbein with works by Carlos Casas and Bas Princen. Within this open-ended three-dimensional collage inviting us to consider new possibilities for living together, "Mahalla Stories" will present insights on Uzbek local music and sound ecology; on how the mahallas have influenced the work of artists, on the process of creation behind the exhibition; and of course architecture. Christ & Gantenbein will participate in the following events: August 27: The Image of Architecture August 26: Architecture of the commons August 28: Shifting the Gaze Find the full program here and further details on mahallavenice.uz.

FINAL REVIEWS “WORKSPACE” JUNE 1 – 2, 9.30AM – 6PM. ETHZ The reviews will take place physically at Sihlquai 274 or on zoom: JOIN REVIEW EXHIBITION-BLOG D-ARCH FINAL REVIEWS

NOW OPEN: "MAHALLA: URBAN RURAL LIVING" Within the Renaissance-era industrial architecture of the Quarta Tesa, the multi-disciplinary team of architects, researchers, visual and sound artists has recreated a Tashkent courtyard house on a 1:1 scale as a life-sized tubular steel silhouette.

Visitors enter the exhibition through a passage and are welcomed into an example of the courtyard typology that populates Tashkent. The abstract architecture of the house is complemented by twelve of Bas Princen ’s photographs, by a series of soundscapes created by Carlos Casas , and by contributions from CCALab students and Munis Juraeva.

A special edition boxed compilation of the research material is available at Humboldt books .

Check the Mahalla: Urban Rural Living website for updates.

Photograph by Studio Gerda

LIVE STREAM OF EXHIBITION OPENING - MAHALLA: URBAN RURAL LIVING VENICE, ITALY - May 18, 2021. Join the opening of the Republic of Uzbekistan first pavilion at the International Venice Architecture Biennale via live stream on E-Flux Video on Thursday, May 20. E-FLUX MAHALLA: URBAN RURAL LIVING

LECTURE EMANUEL CHRIST: «ON TYPOLOGY III» MAY 12, 8.15AM. CONSTRUCTION III, SPRING SEMESTER 21. ETHZ ZOOM-LINK TO LECTURE

LECTURE EMANUEL CHRIST: «ON TYPOLOGY II»MAY 5, 8.15AM. CONSTRUCTION III, SPRING SEMESTER 21. ETHZ ZOOM-LINK TO LECTURE

LECTURE EMANUEL CHRIST: «ON TYPOLOGY I» APRIL 28, 8.15AM. CONSTRUCTION III, SPRING SEMESTER 21. ETHZ ZOOM-LINK TO LECTURE

GUEST LECTURE EVA FRANCH I GILABERT: «THE ARCHITECTS» MAR 30, 5 PM. DESIGN STUDIO IV: WORKSPACE, SPRING SEMESTER 21. ETHZ ZOOM-LINK TO LECTURE

E-FLUX – MAHALLA: URBAN RURAL LIVING

VENICE – March 29, 2021. "Mahalla is a social, cultural, and urban phenomenon. It is not necessarily an answer to the question asked by Hashim Sarkis, but it could be a very rich and interesting hint and indication to where a global contemporary society could find a vision, information, inspiration." Emanuel Christ, e-flux, March 29, 2020. MAHALLA: RURAL URBAN LIVING MAHALLA VENICE

TYPOLOGY II & III ARE BACK IN STOCK BASEL, SWITZERLAND – February 15, 2021. Our typological investigation of structures in Hong Kong, Rome, New York, and Buenos Aires (Typology II) , and Paris, Delhi, São Paulo, and Athens (Typology III) are back in stock.

For further context, read John Hill's recent reviews of the two books on "A Daily Dose of Architecture Books."

CURATING THE FIRST UZBEK PAVILION @17TH INTERNATIONAL ARCHITECTURE EXHIBITION IN VENICE SNEAK PEEK

LECTURE CHRISTOPH GANTENBEIN: «HERZOG & DE MEURON: ABSTRAKT UND KONKRET» NOV 25, 8.15AM. CONSTRUCTION III, FALL SEMESTER 20. ETHZ ZOOM-LINK TO LECTURE

LECTURE CHRISTOPH GANTENBEIN: «ALEJANDRO DE LA SOTA: NO HACER ARQUITECTURA» NOV 18, 8.15AM. CONSTRUCTION III, FALL SEMESTER 20. ETHZ ZOOM-LINK TO LECTURE

LECTURE CHRISTOPH GANTENBEIN: «CARLO MOLLINO: ARCHITETTURA METAFISICA» NOV 11, 8.15AM. CONSTRUCTION III, FALL SEMESTER 20. ETHZ ZOOM-LINK TO LECTURE

LECTURE & DISCUSSION : "HEALTHCARE II" ANNMARIE ADAMS & EMANUEL CHRIST SEPT 23, 6PM. GTA INVITES, ETHZ LINK TO RECORDING

PUBLICATION "MILANO" & "BASEL KLYBECK" PUBLISHED BY CHAIR CHRIST & GANTENBEIN MORE INFORMATION

PUBLICATION “TYPOLOGY APPS” THE DIGITAL GUIDES TO EIGHT CITIES ARE ONLINE AGAIN MORE INFORMATION

LECTURE EMANUEL CHRIST: "SEVEN QUESTIONS" MAY 5, 5.30PM. STUDIO JAN DE VYLDER, ETHZ ZOOM LINK

LECTURE EMANUEL CHRIST: “OBJECTS” APRIL 1, 3PM. ETHZ LIVE-STREAM

LECTURE EMANUEL CHRIST: “CITIES” MAR 25, 3PM. ETHZ LIVE-STREAM

SEMINAR TRIP CHAIR CHRIST & GANTENBEIN UZBEKISTAN: MAHALLA REPORT MAR 14 – 22. SPRING SEMESTER 20 MORE INFORMATION

STUDIO REVIEW SZENARIO MAR 10 – 11. HIL F41. HÖNGGERBERG, ETHZ MORE INFORMATION

EXHIBITION CHRIST & GANTENBEIN: “RETAIL APOCALYPSE” FEB 26 – MAY 15. GTA EXHIBITIONS, HÖNGGERBERG, ETHZ APR 1 – MAY 15. FRANCES LOEB LIBRARY, GRADUATE SCHOOL OF DESIGN, HARVARD UNIVERSITY MORE INFORMATION

FINAL REVIEW “IDEAL ARCHITECTURE” DEC 17 – 18. HIL F41, HÖNGGERBERG, ETHZ MORE INFORMATION

LECTURE EMANUEL CHRIST: “IN CONVERSATION WITH STUDENTS” NOV 26, 6PM. HIL E4, HÖNGGERBERG, ETHZ MORE INFORMATION

BOOK LAUNCH “ARQUIVO DIOGO SEIXAS LOPES” WITH VICTORIA EASTON & CHRISTOPH GANTENBEIN NOV 22, 7PM. SPIEGELGASSE 18, ZURICH NEVER STOP READING

MORE INFORMATION

STUDIO REVIEW “TYPE” NOV 19 – 20. HIL F41. HÖNGGERBERG, ETHZ MORE INFORMATION

LECTURE EMANUEL CHRIST NOV 19, 7PM. THE GREAT HALL, THE COOPER UNION THE ARCHITECTURAL LEAGUE OF NEW YORK MORE INFORMATION

LECTURE EMANUEL CHRIST NOV 18, 6.30PM, COLUMBIA UNIVERSITY, NEW YORK CITY COLUMBIA GSAPP MORE INFORMATION

STUDIO REVIEW “BODY” OCT 29 – 30. HIL F41, HÖNGGERBERG, ETHZ MORE INFORMATION

STUDIO REVIEW “PORTRAIT” OCT 8. HIL F41, HÖNGGERBERG, ETHZ MORE INFORMATION

EXHIBITIONS CHRIST & GANTENBEIN: “ECONOMY OF MEANS” & “WHAT IS ORNAMENT” OCT 10 – DEC 12. LISBON ARCHITECTURE TRIENNALE MORE INFORMATION

STUDIO TRIP CHRIST & GANTENBEIN: GENOVA SEPT 23 – 25. DESIGN STUDIO FALL 19, “FROM STRADA NUOVA” MORE INFORMATION

LECTURE VALTER SCELSI: “UNVARNISHED QUEEN” SEPT 18, 10AM. HIL F41, HÖNGGERBERG, ETHZ DESIGN STUDIO FALL 19, “FROM STRADA NUOVA” (IMAGE: MARIA NORDMAN, GENOVA, 1976)

EXHIBITION CHRIST & GANTENBEIN: “ALTERNATIVE HISTORIES” SEPT 7 – 29. THE CIVA, BRUSSELS MORE INFORMATION

LECTURE CHRIST & GANTENBEIN: “TYPOLOGY” JUNE 11, 1:30PM ECOLE D’ARCHITECTURE DE MARNE-LA-VALLÉE, PARIS

LECTURE EMANUEL CHRIST JUNE 5, 7.30PM. SOMMER GALLERY, TEL AVIV JUNE 6, 1:30PM, TECHNION, HAIFA

FINAL REVIEW “REAL ARCHITECTURE” WITH ANNE-JULCHEN BERNHARDT, MIA HÄGG AND ÉRIC LAPIERRE MAY 28 – 29, 9 PM, ETH HÖNGGERBERG, ZURICH, HIL F41.4

LECTURE EMANUEL CHRIST: “EX-LIBRIS” DISCUSSION WITH PHILIP URSPRUNG MAY 23, 7PM, UAA UNGERS ARCHIV FÜR ARCHITEKTUR¬WISSENSCHAFT, COLOGNE MORE INFORMATION

DESIGN STUDIO

Real shelter.

REAL ARCHITECTURE

While the first semester focused on dealing with historical references and cultivating a formal understanding of the design practice, in the second semester, we will confront our interpretation of Ideal Architecture with the complexity of planning and designing for the contemporary society. In the context of the Swiss agglomeration, specifically in the space between the agglomeration of Liestal and Kaiseraugst, we will collectively reinterpret the idea of shelter through critical and future-oriented processes of transformation.

The fragile condition of suburban settlements, stuck between obsolete typologies, the lack of services and the growing speculation of the housing market, represents the canvas to question the role and the nature of public spaces. How can these newly transformed Shelters contribute to fostering a deeper understanding of collective practices? What should a station, a hotel lobby, a church, or a market do in order to become relevant places of encounter? We will design community spaces of different types and sizes, which together will constitute a network of communal facilities of paramount importance in the design of a sustainable city.

If in Rome the ideal-typical design method was in the foreground, the second semester is primarily focused on the reinterpretation of what is found on site: conversion, reuse, deconstruction and retrofitting are the corresponding strategies. Presentations from experts in form of a symposium will enrich our understanding of the agglomeration, while inputs from the field of practice will provide us with a base understanding of the diverse strategies for preservation and alteration within the existing built environment. A careful reflection on the use of building materials and the implementation of energy efficient solutions will complement the design on a practical level. Using historical references and a typological analysis as a starting point in the first semester, the introduction of context and construction constraints in the second semester will complete and deepen our design experience, drawing a path from Ideal to Real Architecture.

STUDIO Spring semester 2024 Introduction 20.02.24 HIL F41, 10.00

Simon Baumann: Zum Beispiel Suberg (2013)

Mezquita Cordoba (784)

Lina Bo Bardi: Sesc Pompeia (1986)

Hank Bull: Cherry Orchard (2019)

Theodor Strübin: Hülftenschanze bei Nacht von Allenwinden aus

Jean Nouvel: Theâtre Le Granit, Belfort (1984)

Theodor Strübin: Schönthal, Bachverbauung aus alten Türen (1951)

Luigi Moretti: Strutture e sequenze di spazi (1952)

Gordon Matta-Clark: Conical Insect (1975)

Andrea Palladio: Palazzo della Ragione (1549)

Theodor Strübin: Riedacher Panzersperre und Infanteriebunker A2749 (1945)

Jonas David Labram: Sumpfbinse (1824)

Tom Bull: And All That Haunted Night Had Sought Their Household Fires (2021)

Pierre Chareau: Maison de verre (1920)

Thomas Schütte: Modell für ein Museum (1989)

Peter Fischli, David Weiss: Siedlungen, Agglomerationen (1993)

Carsten Höller: Test Site in Tate Modern, London (2006)

Theodor Strübin: Eierläset, Händedruck vor Beginn des Laufes (1953)

Hermann Czech: Wiener Staatsoper (1994)

Kazimir Malevich: Arkhitektons (1930)

Jože Plecnik: Prager Burg (1935)

Rafael Moneo: Museo Nacional de Arte Romano, Merida (1985)

Alison und Robert Smithson: Upper Lawn Pavilion (1962)

IDEAL SHELTER

IDEAL ARCHITECTURE

In times of climate crisis and strong social transformation we find ourselves dwelling on unsettling questions: am I still safe in my place? Will there be room for everyone in the future? What is the minimum necessary to live? What does it take to foster an idea of community that is gradually disappearing? Within the discipline of architecture, such doubts and fears can be translated into fundamental design questions: how do we protect our living space from increasingly harsh and unpredictable climatic events? How do we design resilient and durable structures? How to make the best use of the limited available resources? All these questions take us back to the roots of architecture, to the complex relationship between nature and civilization, to the human need of finding refuge in and from nature: Shelter.

But what is Shelter? Not just a protection from natural elements, a shelter also identifies the place of collective refuge in our society, a place of community and hospitality. This social value in turn influences the architectural form: be it inn or church, hut or temple, cave or hangar, the Shelter is as much primary dwelling as cultural place. The Shelter is Architecture.

With these questions in mind, we will dedicate the coming studio in the series of Ideal Architecture to the development of a contemporary understating of Shelter, taking into consideration its connotation as both intimate and collective space, and its socio-cultural value: The Ideal Shelter - 7 new Types. Starting from historical examples, we will develop the basic architectural knowledge needed to tackle this challenging task in theory and practice. Primary questions of space, structure and tectonics, as well as the fundamental issues of proportion, form and meaning will be at the center of our design debate.

We will begin the design process for a new contemporary shelter with a field trip to Rome, where we will visit, analyze and critically reflect on 7 shelters from different time periods. This will be followed by a visit to 7 sites outside of Rome. Here in the ideal (-ized) landscape of the Roman Campagna, the Ideal Shelter will find its place. As a studio we will collectively develop a culture of representation where multi-layered drawings and models, as well as the handling of historical references, will form the methodological basis for the design, which will primarily focus on typological, tectonic, and formal aspects.

STUDIO Fall semester 2023

Mathis Steinmann

Elias Böhnlein / Iya Shopova

In the first semester, the two methods - analytical-rational planning and artistic-personal design - are still put side by side. In the second semester, we combine them. The object-like house is replaced by an open question: What is home? What does it take to feel at home? And to what extent do demographic developments, changing role models or the climate crisis have an impact on the forms of housing? By speculating on these questions, we will try to imagine a future home. Critical texts, expert presentations, joint discussions and statistical data on society, climate, housing, etc. will provide a reasonably solid basis for visions and scenarios of tomorrow‘s housing. The scenarios will be developed in the first step by using collages. In the picture plane of the collage, the objects of everyday life enter into a relationship with people and space. Step by step we develop pictorial representations of our scenarios. In the second step we transform the spatial, typological and formal system of the buildings by means of plan collages. Paradoxically, we do not have to reinvent everything for this visionary architecture. Our extensive studies and the large collection of examples from Torino, our own typology, have already provided us with a wide range of formal and functional solutions and principles that could prove useful for envisaging the spaces. By combining typological, general principles with an individual, specific scenario, we will design a large housing project in the city of Basel that, through a real context and a concrete materiality, will translate the vision initially formulated into a real architecture.

STUDIO Spring semester 2023

Vasco Beuchle / Till Jost

Moritz Stoll / Raphael Uhl

Anna Burgert / Anna Rothstein

Milena Binder / Ayse Kunduru

Jaden Greusing

Matthew Born / Dominik Vogel

Madita Müller / Johannes Pollmann

Annick Barthold / Michelle Müller

Tim Moosbrugger / Louis Prongué

Tim Misio / Justus Alexander Rumpf

Tamino Hertel / Julian Merlo

Marina Sakellaridis / Carlota Steib / Cendrine Altmann

Lucija Ratkic / Ya Kung Peng

Jona Baltensperger / Jeremy Walker

Michael Schön / Dati Tran

Jan Schiller / Kimon / Tsatsaronis

Chenying Lu / Francesco Niederhauser

Svantje Thiel / Marina Täube

Mattia Durante / Inthujan Santhiralingam

Ulla von Zahn / Elia Hiltbrunner

Meta Hunold / Mika John

This year our studio deals with housing. We start the semester with a three-day excursion to Torino, the northern Italian city on the Po River at the foot of the alps, capital of the Savoy dynasty and briefly of Italy, with its gridded center and city blocks, early worker’s villages and industrial settlements in the suburbs. Based on selected examples of both anonymous structures and famous buildings, we study the urban architecture of Torino. We start our common journey of discovery with an analysis - open and experimental, but also systematic and critical. Together we discover, examine and document each house, discuss and develop criteria and categories, in order to eventually compare and order them. The result of this process is our own Torino typology. Through drawings, not just mere representations, but inspired and personal depictions of these architectures we develop together a collective, common repertoire of timeless architecture. Playfully and at the same time systematically, we work on a shared vocabulary of architecture.

Finding one‘s own architectural language within the vast vocabulary of architecture is the most important but also most difficult task for an architect - and therefore the task of the second half of the semester. Whether out of a discovered principle or a very personal fascination, each group develops an independent and experimental design: a piece of furniture, a domestic object. Bare of the necessity to fulfill a certain function, a small piece of furniture and a large house are quite alike, as objects both are shaped by formal coherence and constructive, material decisions. The medium of the semester‘s second half is the large scale model. Each of these architectural objects is an ideal house.

STUDIO Fall semester 2022

SPACE OF ACCUMULATION

Accumulation describes the gradual gathering of elements. It is the law by which many great things operate, such as civilization, history, economy and not least the formation of planets. Architecture is also subject to the law of accumulation, as buildings do not appear in an instant, but are gradually put together on the building site. What are the pyramids if not an accumulation of stones? One possible answer would be to say that they are storage; an architectural response to accumulation as old as time itself. Is the traditional storage still valid today? What can spaces of accumulation mean for architecture?

With the increased focus on accumulation of capital, goods and data in today’s society, you’d think that spaces of accumulation would be an essential part of our daily lives. Instead it is suspiciously missing from the public imagination, hidden away as some-thing necessary but unsightly. It’s true that the complexity and scale of accumulation can be unnerving and as the saying goes: you don’t want to know how the sausage is made. Nevertheless, could it be necessary to understand the sausage for a sustainable future?

If given the ability to store their accumulations, a person can live differently than someone without traces. You get a physical memory of your past as well as the possibility for planning ahead and save for later. In this way accumulation can actually lead to both minimal consumption and recycling, which are important steps towards sustainability. How can recycling influence our work on architectural form and space?

In our studio, using the knowledge from the previous semester on the ideal storage, we will combine the ideal and the real in order to speculate about how recycling meets tomorrow’s space of accumulation, because we believe that answering the question about the accumulation of the future means implicitly linking architecture to the necessities and urgencies of the world to come.

STUDIO Spring semester 2022

Aaron Wahl / Benjamin Junghardt

Alexander Meier / William Schaeppi

Anastasia Lupo / Laura von Salis

Basil Kretz / Vito Schaniel

Elia Trachsel / Samuel Arnold

Eloïse Frey / Ivan Bagaturiya

Filippo Biasca-Caroni / Laurin Graedel / Egzon Haliti

Jaime Ramos / Aylin Wyler

Jan Letze / Julia Weber

Joris Weiss / Matteo Frisina

Julia Filippo / Meret Pfiffner

Lea Jenzer / Lisa Suremann

Luca Bächler / Marc Schön

Malik Becker / Laura Schneider

Michelle Doebeli / Sarina Costanzo

Natascha Brühwiler / Timon Stettler

Nico Canal / Lukas Haas / Danny Sahan

Nils Schneuwly / Niels Morsten

Raphael Ulli / Michèle Zeder

Till Schroff / Matteo Wolfart

Viviane Seiz / Kira Van Woudenberg

We understand the issue of storage space as a urgent and constant problematic for all human societies in all historical periods. Form the prehistoric caves and jars to the city of Delphi where the ancient greeks stored for the first time in history of Europe written documents and personal belongings. From the primitive caves to the Knossos palazzo, from the roman corn warehouses to the Nevada desert, where the hidden side of our cloud society lies with his enormous amount of space used for data storage.

The act of storing something has to do with the issue of the “standard” measure. Every epoch and every society culturally defines what their standards are, based on the very necessity of their historical time, and so the architecture of the storage space adapts itself to the ever-changing standards and thus evolves. For many periods the most important conventions about storing were derived from the human body. From the weight a healthy person can lift to the way a hand reaches for an object, the body condtions storage. The rise of standards like the european norm for palletts EPAL, changed storage fundamentally. It‘s no longer possbile to perceive what is inside a container nore does it matter for the person who maneuvers a logistical vehcile. From the disconnection from the good and its vessel follows a intensely generic space like a container stock, which serves well for chases in movies but lost it‘s hospitality to humans.

Categorizing the things that our society stores, is as vast as the society itself. Along most swiss train tracks, one can observe shapes designed to hold materials in different consistencies. From liquid to aeriform to solids, from bulldozed bulk freight to stacked blocks, the physical forces demonstrate movement and storing. Figurative big scale storing is the object of many photographic oeuvres, a more familiar and personal storing happens in our portmonaies, our boxes, pockets and furnitures, designed to keep our belongings. Usually things that belong together, or are identical, are stored together. Raw materials like metals or crude oil are processed to sheets, rolled to foils, cut to strips, assembled to components and further assembled to products. In each step, storing and moving the objects defines the shape of the good, as well as the space they are stored in.

In this semester we want to look closely at the architecture of storage in Switzerland. By means of fieldwork, drawing, reading, discussion and designing we will search for the ideal in storage and propose a collection of the most interesting storage buildings. We believe that these buildings, in addition to being a crucial part of any functioning of society, possess an underappreciated beauty, and that through typological mapping have the potential to shed light on the mechanism of the built world.

STUDIO Fall semester 2021

Charlotte Arn / Nicolaas Kleiber

Alexander Meier / Laurin Grädel

Aylin Wyler / Jaime Ramos

Danny Sahan / Nico Canal

Filippo Biasca-Caroni / Egzon Haliti / William Schaeppi

Delia Hauser/ Raphael Ulli

Julia Filippo / Linda Arnaboldi

Julia Weber / Jan Letze

Benjamin Junghardt / Aaron Wahl

Michael Maurer / Timon Stettler

Michèle Zeder / Sali Sherbeti

Samuel Arnold / Elia Trachsel

Aaron Senn / Meret Pfiffner

Yufei Li / Mischa Gubler

Our studio’s second semester is the conceptual counterpart of the first semester: research and examination of history is contrasted with a real project, in the here and now where the office of the past will become the workplace of the future.

The starting point of the design is a reflection on today's working environment. How and where is work performed and with what means? Is the much-cited "home office" really a desirable alternative to the office desk? And what role does the physical space play in this choice? Which are the spatial needs when it comes to being creative and productive? Texts, lectures, seminars, and discussions will help us to develop various theses on tomorrow’s working environment. Drawing on these inputs, the students will develop scenarios for their individual project at a specific location.

The here and now involves a confrontation with the challenges of our environment and calls for action. In our case, it also means to design responsibly. Thus, working with a renewable building material is one of the many contributions in reaction to climate change. As a sustainable material, wood offers unexpected possibilities, especially for contemporary urban architecture and it will become the compulsory material in all student projects. In the course of the semester we will visit historical as well as contemporary wooden buildings, and exchange ideas with experts.

Methodologically, "Workspace" directly draws on the previous semester "The Office": the typologies and principles studied during the first semester are further developed in the second semester’s project and linked to the specific aspects of scenario and location. The broad idea of an architectural form and type thus gets a concrete and specific formulation. And there, in its real application in a definite case, the architectural form also acquires its social, economic and ultimately political relevance. When ideal becomes real.

STUDIO Spring semester 2021

Paul Dillier / Nico Gevecke

Bardh Jashari / Robin Rohner

Lida Freudenreich / Isabel Suter

Laurin Kessler / Fiona Hatz

Manon Schaffner / Jan-Niklas Spörri

Leon Weissheimer / Anic Hollinger

Tamara Zecevic / Lou Schmid

Alexander Bruderer / Liam Connolly

Deniz Demian Esen / Josias Regli

Anna Balmer / Pauline Gähwiler / Ronja Zehnder

Peter Reutlinger / Jérôme Strebel

Manuel Büchel / Leon Kallert

Flavio Carigiet / David Ragonesi

Vivian Chen / Alessia Venezia

Lara David / Lara Krieger

Elena Hauenstein / Michelle Krebs

Mona Lecoultre / Chiara Marchegiani

Nadine Fankhauser / Viviane Hug

Alina Lustenberger / Anouk Bohnenblust

Antoine Liechti / Simon Köppel

Vinzenz Leuppi / Adrian Hug

Dominik Stoll / Mauritz von Kardoff

Leonie Calzana / Jonas Odermat

Matteo Mazzotta / Janne Perini

Until recently, the office was the most normal thing in the world. No other type of building has prevailed worldwide in the course of the 20th century with such power and in such almost frightening uniformity - even here in Switzerland. Desk work has long since become the dominant activity in our society. However, for some time, and especially since the Corona crisis hit us, everything has changed. The office is fundamentally questioned. Do we still need a workplace at all? Do we really still even need a desk?

The first step of the semester project is a large-scale expedition. Our territory is Switzerland. The main goal is to create a typology of the country’s most interesting office buildings. And that's where it starts: what is an office building anyway and since when has it existed? Reaching out to all regions of Switzerland, we will be investigating many different types of architecture: monasteries, castles, townhouses, factories, administrative buildings, research hubs, etc.

Which are the particularly good and interesting examples? Does the ideal office exist? Together we will develop criteria and arguments for architectural quality and thus take position. And so, the research and analysis are the first steps of the project. It deals with the basic principles of architecture and the essence of architectural form: body, space, type, structure and material. Our studio becomes a collective architectural laboratory, where individual work is embedded within joint critical discussions, archive research, excursions, modeling and 1:1 scale experiments (as the current situation perfectly lends itself to it!)

The following step is then the transformation of the selected (ideal?) office building. Through an architectural intervention the object is transferred into the present. The open and experimental but also analytical and critical examination of an existing example proves to be an extremely inspiring and instructive process. After all, architecture is learned primarily by studying existing buildings and designs and by translating them into one's own images. The first step is traveling and looking, and this is the crucial creative act. Invention arises from the contemplation. From criticism comes change.

STUDIO Fall semester 2020

Alexander Bruderer / Liam Connoly

Alina Lustenberger / Rachel Bohnenblust

Bigler Rachel / Domke Joel

Calzana Leonie / Odermatt Jonas

Carmen Franc / Noëlle Hutmacher

Chiara Marchegiani / Mona Lecoultre

Chidi Speranza / William Tice

Christoph Schuppisser / Philipp Stäheli

Jérôme Strebel / Peter Reutlinger

Kornelia Fehnle / Lucas Steurer

Schaffner / Spoerri

Sofia Uribe / Julian Volken

Victoria Balmer / Pauline Gähwiler / Ronja Zehnder

Vivian Chen / Michelle Krebs

TO MAIN STREET

The Spring semester of our studio is the conceptual counterpart to the first semester: The ideal form without place and time is contrasted with the real project in an actual environment - from the ”Prachtsstrasse” of Genova to the “Main Streets” of Basel.

The starting point for the semester is a selection of twelve contemporary news articles that describe phenomena of the globalized cities: mass tourism, climate change, transportation, smart city, urban gardening, decline of retails, etc. These phenomena are already visible, but they haven’t transformed the cities to a large extend. By speculating the conditions of a changing environment, we conceive a different architecture in terms of form, type or program.

By discussing the articles, the studio developed together six theses or themes, which were applied to six main streets of Basel. The inner-city becomes a laboratory: an ordinary, central European city of average size. Here we want to test how a reality of the future, which we have conceived, could look like. Starting with atmospheric collages, which try to relate the sphere of life with architectural objects in an abstract, playful way, then through perspective montages, where the specific site and the spatial intention suddenly meet. The principles and architectures that we brought with us from Genoa, as well as the executed and unexecuted utopian projects of the past, help us to translate the spatial idea into an architectural project. Through them, we develop a vision of space into a spatial structure, an architecture. Through continuous refinement, context, vision and architectural principles shape each other.

Even if architecture is closely related to its context, and often very precisely defined by it, architecture is autonomous in its form. No concrete condition can definitely define the proportions of a window, no social requirement can provide information about the shape of a building body. Architecture has its own principles. It is always ideal. This double identity - autonomy on the one hand and relying on a concrete context on the other - the ideal and real side of architecture is the central problem in every project. In this way our design will contribute to a possible city of tomorrow with a real and yet visionary architecture.

STUDIO Spring semester 2020

Link to Studio-Blog!

Felix Affolter / Jiuyuan Liu

Ramona Köchli / Laura Kölliker

Laura Berther / Paula Schaufelbühl

Zoe Struzina / Marcel Studer

Léa Jaccard / Tanja Reichmuth

Judith Genieser Pérez / Carolina Palos Mas

Pascal Mijnssen / Salim Umar

Elisaveta Kriman / Oluwasegun Ogunsola

Brandon Schwab Rodriguez / Tolga Tomel

Noelle Bächler / Elyas Lunardi

Chiara Chan / Ella Willemse

Ella Castellani / Haruhi Untersander

Lukas Felleisen / Oskar Haushofer

Sébastien Fischer / Noah Schweizer

Rosa Ammann / Lara Graf

Jérome Ammann / Remo Calonder

Laura Pfeiffer / Zoe Steurer

Héloise Dussault-Cloutier / Janine Henz

Philipp Gmür / Sandro Wegmüller

Robin Weber

FROM STRADA NUOVA

We start the semester with a three-day excursion to Genoa, where we will study the basic principles of a timeless, urban architecture on the basis of selected buildings. Genoa is a dense and varied port city with spectacular waterfront infrastructure and buildings high up in the steep hills above the sea. Genoa is also the city of the famous “Strada Nuova”, a Renaissance and Baroque street that is still praised today as an ideal of urban architecture.

This is where we begin our common journey of discovery, open and experimental, but also analytical and critical. The design process will follow three steps: First the documentation of the Genoese example, then the formulation of architectural principles and finally, building on these principles, a new design, the project for an ideal architecture. It is not about a place or a concrete program, but about the essence of the architectural form: body, space, type, structure and material.

Finding his or her own architectural language is the most important but also most difficult task for an architect. Because the lack of architectural vocabulary – or images, forms, structures and principles – leaves the architect speechless. This language, this repertoire of architectural forms and principles is what our studio is all about: All students develop their repertoire during the course of the semester to figure out their own notion of an ideal architecture. But ideal doesn’t only mean beautiful, perfect and aspirational, but also and foremost “based on an idea”. The students will develop individual architecture-ideas, which shall always be available and newly applicable while designing.

This process will be facilitated by references and examples – in this semester from Genoa – because architecture is learnt by studying other buildings and designs and translating them into one’s own images. The first step is to travel, go there and look. Thereby, it is crucial to understand “seeing” as the first creative act. Invention emerges from contemplation. Documenting becomes designing. And so we design new architecture by creatively and critically dealing with the forms which architectural history handed down to us.

STUDIO Fall semester 2019

23. – 25.09.19 Studio Trip Genova

Elias Aebi / Gabriel Eggenschwyler

Raphael Hecht / Luca Kiemen

Alexandra Stingaciu / Theo Mayer

Theresa Zuhr / Era Jashari

Oskar Haushofer / Lukas Felleisen

Timon Rajmon / Felix Affolter

Elyass Lunardi / Dario Gysin

Sara Tomasini / Leonie Calzana

Amanda Pellizzari / Matteo Cadei

Janine Henz / Héloise Dussault-Cloutier

Era Jashari / Theresa Zuhr

Valentina Frei / Miro Frei

Judith Genieser / Carolina Palos Mas

Laura Koelliker / Ramona Koechli

Luca Maibach / Fabian Müller

Tony Salem Musleh / Florian Reisner

Robin Weber / Alex Walter

Nadia Rouèche / Chiara Chan

Joanna Rubin / Alexandra Crum Lagos

REAL ARCHITECTURE KLYBECK Spring semester 2019 (Selection)

Drawing on the principles identified in the previous semester in Milan, a new project is designed in a former industrial area on the outskirts of Basel. This confrontation with a real context here and now, allows tackling contemporary dilemmas such as how living, working and producing could be combined in an urban realm, and aims to project a potential urban future.

A collection of drawings will be published in autumn 2019.

Leo Graf / Manuel Lorz

Sereina Fritsche / Senga Grossmann

Leonie Huber / Rico Muth / Eileen Welzel

Natalie Carroll / Céline Ryffel

Meret Heeb / Zoé Rüttimann

Stephanie Nünlist / Besjana Ramadani

Dzulija Jakimovska / Julia Kobzar

Leon Beck / Vasco Medici

Sarah Rüegg / Pauline Sauter

Adrienne Enz / Hannah Kilian

Timothy Schärer / Lukas Schütz

Anita Cantieni/ Halima Hassan

IDEAL ARCHITECTURE MILAN Fall semester 2018 (Selection)

40 exceptional Milanese architectures were selected and analysed, to extract basic principles of architecture. The fundamental means of architectural design picked out from each precedent, were rearranged into a new project with no functional needs and no particular location: ideal architecture. A particular attention is set on the graphical representation of both the existing and the new project by means of suggestive colours and strong shadows, in order to highlight physical and spatial qualities of each design.

Daniel Epprecht / Timothy Schärer

Lorenz Strologo / Jierui Yu

Flavia Kläy / Marina Mezzasalma

Tobias Etter / Nicola Graf

Stephanie Nünlist / Besjana Ramadani

Gabriele Arba / Tobias Sandbichler

Jan Bauer / Mara Horváth

Milena Bojovic / Aleksandra Skop

Max Schubert / Marino Weber

Sandro Fritschi / Konrad Kramer

Aileen Geistlich / Anina Schmid

MASTER THESIS

in collaboration with Chair of Prof. Philip Ursprung

How much space does a person need? What spatial infrastructure is required for living and dwelling? Are one's own four walls sufficient? And is the loft still a valid model - a large, empty, entirely private living space where quality is measured by the amount of superfluous space that allows individuals the freedom to develop and express themselves? This inquiry into the space of living arises amidst a demographically challenging situation: As architects, do we see it as our task to continue producing 40,000 apartments per year in response to Switzerland's anticipated rapid population increase of an additional million people by 2050, and do we believe in unlimited growth?

Or, can we develop cultural and typological alternatives that reimagine living, thereby using increasingly expensive resources more sparingly and counteracting growing economic inequality? Could the answer lie in the collectivization of certain infrastructures for living? Throughout the history of living, the relationship between one's own private space and the communal or public offering has been negotiated again and again in new typological designs: The assembly of the French nobility at the court of Louis XIV, a type of monarchical communal living, was a means of the king to maintain political control and was a forced alternative to the scattered noble estates across the land. The Phalanstère was a vision to find an organizational and architectural form for the growing proletariat as an alternative to the worker's apartment, in which the new class was to be isolated. Or the KOMMUNALKA, a colloquial term for a communal apartment, which remains prevalent to this day, was a pragmatic and programmatic solution in the face of housing shortages in the Soviet Union after the Russian Revolution in 1917: Bourgeois apartments were expropriated and allocated to families on a room-by-room basis. It led to an extreme densification, coupled with conflict-prone shared use of kitchen and bathroom by randomly assembled individuals, which also fostered and still fosters community and social structures, enabling living in the urban center.

Which infrastructures for living can be collective is a contemporary interpretation of the KOMMUNALKA a viable counter-model that redefines privacy in Switzerland? In the upcoming semester, we aim to develop answers to this question through scenarios of densification from within. Typological discoveries in the post-Soviet cities of Tbilisi and Tashkent, as well as the work of the artist Ilya Kabakov (1933-2023), can serve as inspiration and a starting point for designing a master's thesis. Radically situated in our time and culture, it generates living spaces within the existing building stock, turns necessity into virtue, and creates an architecture of living that generates added societal value.

Fall semester

For application please follow the instructions of D-ARCH, ETHZ

Erik Bulatov, Krasikova Street, Moscow, 1977

Vladimir Lagrange, Communal Apartment, 1992

Kommunarden in der Wohnung am Stephansplatz, 1960s

M. Bartcsh, W. Wladimiroff, House Commune, RSFSR, 1920s

Nikolai Kuzmin, Living Combine - a Village for Miners of the Anzhero-Sudzhensky Coal Region, USSR, 1920s

Städtisches Kinderfreibad Margaretengürtel, 1926

B. Anthony Stewart, People Wait in Line to View a New Levittown House on New York’s Long Island, 1950s

Ilya Kabakov, Toilet, Installation Sketch, 1992

Alex Malmström, Housing on the Street After Eviction, Stockholm, 1930s

Catherine Lauvergeat and Thierry Nabères, Un + Un ou comment réussir sa cohabitation, 1988

Speisesaal der Freien Schulgemeinde Wickersdorf, 1911

Emergency Housing, Accommodation in the Police House's Gymnasium, Stockholm, 1925

Roy Andersson, An Advert for Norwegian Environmental Agency Enova, Stockholm, 2000s

Allan Wax, Levittown House Proposals, 1975

Jeff Wall, A Ventriloquist at Birthday Party in October 1947, 1999

Interieur in einem Wohnhausbau der Gemeinde Wien, 1928

New Mahalla District, Andrey Kosinskiy, Tashkent, 1970s

Refurbishment of a Urban Villa Into Communal Apartments, Tbilsi Central Archive, 1930s

Sankt Urban Monastery, St Urban Collection MT/WH, 1762

NOT GOOD ENOUGH N°II

in collaboration with Chair of Prof. Arno Schlüter

"Not good enough Part II" is the continuation of our exploration into the legacy of the agglomeration, the unplanned city. While in the previous semester, we examined and systematically analyzed an entire valley section, in the upcoming semester, we will focus on a small selection of typical buildings and plots in the Basel agglomeration: residential blocks from the 1970s, commercial buildings, a small factory, and possibly some vacant plots will serve as the starting point for the design.

The hypothesis underlying the project remains the same: The existing urban, architectural, and often social and ecological conditions are insufficient – simply put "Not good enough". There is an urgent need for action. Nevertheless, embarking on a radical new start, the well-known Tabula Rasa, is no longer a viable choice. The existing structures have already led to substantial material consumption, and the emission of excessive CO2 further complicates the prospect of their removal. In a holistic view, it quickly becomes clear that whenever possible, the existing structures must be preserved and repurposed.

The new sustainable city, therefore, emerges from the city that our predecessors have handed down to us. This fragmented city, primarily oriented towards cars and fossil fuels, forms the basis for our current work. The boomtown of yesterday must be transformed into the low-energy city of tomorrow. An equally demanding and inspiring task!

The conceivable approaches to solutions are broad and varied. They all require imaginative ideas, architectural virtuosity, and technical intelligence. Whether it is the renovation and transformation of an existing building, an extension, complementation, and densification of existing structures, or even an urban redefinition through a new construction. All these projects consistently start from the context and its existing conditions, creating something new in alignment with what is already there.

This studio is therefore offered in collaboration with the Chair of Architecture and Building Systems led by Arno Schlüter. The interface, or rather the conceptual interplay between typology and building systems, will play a particularly important role in the design process. We will use digital tools to examine buildings in terms of energy and climate design and also incorporate these tools into the design process. In addition, on-site field research and the investigation of the agglomeration will play an important role.

Spring semester

Andreas Gursky, Reihenhaus, Düsseldorf, 1980

Susanne Stauss, Verborgen-vertraut–Architektur im Kanton Glarus, 2011

Björn Allemann, Fusball-Landschaften Schweiz, 2007

Christoph Sillem, A World Around Disney, 2012

Gabi Vogt, Verkehrskreisel, 2013

Heinrich Helfenstein, Mittelland as found, 2010

Lewis Baltz, Tract House #6, 1971

Jesse Rieser, The Retail Apocalypse, 2015-18

Jürgen Nefzger, Fluffy Clouds, 2003-2005

Peter Fischli, David Weiss, Siedlungen, Agglomerationen, 1993

Peter Tillessen, Midas Touch, 2017

Philipp Funke, Y, 2017

Raymond Depardon, La France, 2005-2010: Berck-sur-Mer, Pas-de-Calais, Nord-Pas de Calais, 2005

Luigi Ghirri, Emilia Romagna, 1988

Dan Graham, Untitled (Brescia), 2010

Gabriele Basilico, Brescia, 2010

NOT GOOD ENOUGH

in collaboration with Chair of Prof. Benjamin Dillenburger Chair of Prof. Martina Voser

The majority of our built-up territory is the unplanned city built without a vision, the lose agglomeration of suburbia. It is probably only little exaggerated if we assume for most of the actors in the agglomeration that their buildings were, in a certain sense, only pragmatically built out of the moment and probably not at all seriously meant with regard to a further future: sometime they will be demolished anyway and then perhaps be done properly. Unfortunately, in reality it is not like that at all. What was never really meant seriously in terms of urban development has now suddenly become bitterly serious. For we can no longer afford the demolition, the tabula rasa and the new construction, if only for ecological reasons. The incoherent, haphazardly built, unsustainable city has therefore become the immutable reality of our country.

The agglomeration is not bad in every respect. It very well has its poetic, rough and beautiful side. But in terms of density and especially in terms of the relationship between places and people (public space and public transport infrastructure), the agglomeration is a problem. It lacks urban and architectural coherence, in a way it simply lacks an idea - especially a long-term one.

This is where our studio comes in. In the Basel region, we want to rediscover a piece of this city that has evolved over the course of the 20th century and systematically investigate it at a concrete location, asking the question that is as simple as it is difficult to answer: what does this city, left to us by our direct ancestors, need in order to be transformed into a sustainable future? What is the structural minimum that is indispensable to improve the existing spatial and programmatic structures? Yes, actually there is enough: “enough”, but unfortunately one must also say: very often what is there is simply “not good enough”! So there is a need for action. Our generation has the task not to replace the agglomeration with a new better city, but rather to transform it; towards a socially and ecologically sustainable city. Sustainable Urbanism.

For this generational project, we would like to develop pioneering exemplary projects with our master studio. Typological models will play a role, but they will hardly be applied directly. After all, almost everything is already there. It is rather the “typology ex post” that is to be invented here: an urban architecture that creates a new stable, interesting and sustainable urban order and architecture based on what is there.

In cooperation with the team of the chair Benjamin Dillenburger we will work with digital models and specific computer-aided tools (pointclouds etc.) in the research phase as well as in the actual project phase. They will help us to quickly and comprehensively capture what we have found in order to then use it to design the (not only virtual) new-old city. As an expert, Martina Voser will also accompany the project.

Joël Mariéthod, Pointcloud Axo, HS22

Nikolai Göldi, Pointcloud, HS22

Laurent Kronental, Souvenir d'un Futur, 2011-2015

Raymond Depardon, Berck-sur-Mer, Nord-Pas de Calais, 2005

Dan Graham, Row of New Tract Houses, Jersey city, New Jersey, 1966

Jessica Cabrera, Pointcloud, HS22

Joël Schmid, Pointcloud, HS22

Takashi Homma, Tokyo Suburbia, 1995-98

Lara Aschwanden, Pointcloud, HS22

NOSTALGIA ECOLOGY N°II

How durable is the Bürgerhaus?

in collaboration with Chair of Prof. Maarten Delbeke Chair of Prof. Benjamin Dillenburger

After having looked at the Bürgerhaus in Zurich last semester we would like to continue our investigation with this Master’s thesis by examining the Bürgerhaus in the Canton of Graubünden. The foundation of our research is the comprehensive work "Das Bürgerhaus in der Schweiz" published by the Bürgerhaus-Kommission of the Swiss Society of Engineers and Architects in the 1920s, which documents representative residential buildings from different time periods, most of which still exist today. The collection shows an impressive variety of formally and stylistically self-confident buildings portrayed with marvelous attention to detail. The reproduced plans include meticulously drawn elevations and interiors, from ceiling to floor, from tiled stove to door handle.

Considering their great age and well-preserved condition, these buildings seem to be particularly durable. We would like to critically question this hypothesis and try to precisely understand the durability of the Bürgerhaus not only on a technical and constructive level, but also from a typological, social and cultural perspective. We will re-examine the portrayed buildings in our own way one hundred years after they were documented by the Bürgerhaus-Kommission. In doing so, digital tools will allow us to directly and quickly record today's building fabric and to take a contemporary look at the Bürgerhaus.

"Das Bürgerhaus in der Schweiz" was published in the interwar period, and bears witness to a time and place specific view of the history of architecture. In addition to re-examining the buildings portrayed, we are also interested in the question: How can we take an inspired and critical look at architectural history in a consistent and durable way today? The work of the Bürgerhaus-Kommission will therefore also provide us with a case study through which we can examine questions of cultural reception and appropriation.

In the project phase, we will try to identify thematic fields that are characteristic for the phenomenon of the Bürgerhaus on the basis of the findings from our typological study and our research into the history of reception. Based on these thematic fields, we will develop design scenarios for the Bürgerhaus of tomorrow. Can the Bürgerhaus be rethought, adapted, recycled, expanded, reprogrammed, altered so that it can continue to exist?

Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, pp. 12-13

Nikolai Göldi: Point cloud scan, Master Thesis HS 2022

Jean Nouvel: Hôtel Saint-James, Bouliac, 1987-89 © Ateliers Jean Nouvel

Soglio, Casa Gubert, Türe der Obergeschoss-Stube, in: Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, p. 123

Leonard Schmidt: Point cloud scan, Master Thesis HS 2022

Christ & Gantenbein: Kunstmuseum Basel, Extension, 1st floor building services

Unteres Schloss Zizers, 2. Stock, in: Das Bürgerhaus im Kanton Graubünden, 2. Teil, 1924, pp. 94-95

Juliet Ishak: Point cloud scan, Master Thesis HS 2022

OMA: Maison à Bordeaux, 1994-98 © OMA

Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, p. 130

Joël Schmid: Point cloud scan, Master Thesis HS 2022

Lacaton & Vassal: École d'architecture, Nantes, 2009 © Philippe Ruault

Sent, Haus Gianom, in: Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, p. 64

Schloss Reichenaus, 1. Stock in: Das Bürgerhaus im Kanton Graubünden, 3. Teil, 1925, pp. 46-47

Miroslav Sik: Überbauung Selnau III, Zürich, 1987

Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, p. 40

Michael Alder: Wohnhaus im St Alban-Tal, 1987

Sara Graf: Point cloud scan, Master Thesis HS 2022

Das Bürgerhaus im Kanton Graubünden, 2. Teil, 1924, pp. 6-7

Hans Kollhoff, The Compact City of Atlanpole, Nantes, 1988 © Hans Kollhoff Architects

Jessica Cabrera: Point cloud scan, Master Thesis HS 2022

Chur, Oberes Spaniöl, in: Das Bürgerhaus im Kanton Graubünden, 2. Teil, 1924, p. 15

Das Bürgerhaus im Kanton Graubünden, 1. Teil, 1923, pp. 34-35

Lara Aschwanden: Point cloud scan, Master Thesis HS 2022

Schloss Haldenstein, Erdgeschoss, in: Das Bürgerhaus im Kanton Graubünden, 2. Teil, 1924, pp. 104-105

NOSTALGIA ECOLOGY

In this Master's thesis, we would like to examine the Bürgerhaus in the Zurich area. The foundation of our research is the comprehensive work "Das Bürgerhaus in der Schweiz" published by the Bürgerhaus-Kommission of the Swiss Society of Engineers and Architects in the 1920s, which documents representative residential buildings from different time periods, most of which still exist today. The collection shows an impressive variety of formally and stylistically self-confident buildings portrayed with marvelous attention to detail. The reproduced plans include meticulously drawn elevations and interiors, from ceiling to floor, from tiled stove to door handle.

In the project phase, we will try to identify thematic fields that are characteristic for the phenomenon of the Bürgerhaus on the basis of the findings from our typological study and our research into the history of reception. Based on these thematic fields, we will develop design scenarios for the representative residential house of tomorrow. Can the Bürgerhaus be rethought, adapted, recycled, expanded, reprogrammed, altered so that it can continue to exist?

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 28-29

Point cloud scan visualised in Twinmotion, VDE AG, 2021

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 16-17

Eduard Neuenschwander, Einfamilienhaus, Gockhausen, 1964-69

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 8-9

Point cloud trees, DBT, 2022

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 44-45

Carlo Scarpa, Haus Zentner, Aurorastrasse, 1964-66

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 58-59

Point cloud scan of Centre Block Project, HOK, 2021

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 78-79

Hans Demarmels, Wohnhäuser, Rebbergsteig, 1963-66

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 92-93

swissSURFACE3D point cloud of Hönggerberg, DBT, 2022

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 108-109

Justus Dahinden, Haus Dahinden, Kienastenwiesweg, 1970-71

Das Bürgerhaus in der Schweiz, Band 9, Stadt Zürich, 1921, pp. 114-115

Rudolf Steiger, Flora Steiger-Crawford, Haus Steiger, Bergstrasse, 1958-59

Das Bürgerhaus in der Schweiz, Band 18, Kanton Zürich, 1927, pp. 42-43

REVISITING THE GARDEN CITY

URBAN RURAL LIVING: REVISITING THE GARDEN CITY

THE SUBURBAN HOUSE TOMORROW

How durable are the housing forms of the Swiss suburbs?

With this Master‘s thesis, we would like to examine the suburbs in Switzerland and, in particular, their forms of housing. The foundation of our research is the idea of the garden city. Visions of settlements that are free of congestion and combine the advantages of both the city and the countryside seem again more relevant today in times of lockdowns and home office. Concurrently, the garden city, with its dependence on the car, its low building density and mono-functionality, also stands for a fundamentally questioned way of life. We want to rediscover the gigantic potential of the garden city as a way of dwelling and use the means of digital analysis to gain insights.

Our work is a typological investigation. In a collective observation, we try to understand the architectural, cultural, social, climatic and economic conditions of the suburbs and thus the unconscious logic behind the emergence of the „suburban house“. Considered as a type, the suburban house stands in the field of tension between the rural and the urban. While the urban condition depends on the coherent arrangement of houses within city blocks and streets, the rural is based on the house‘s relationship to the earth and sky, the unspoiled view of hills and trees, and the isolated event of a house in the landscape.

But what was the suburbs yesterday is no longer necessarily so today. So at the same time, the question arises as to whether the reality of the urban city is actually still opposed to the reality of the suburban city, or whether the two are not rather simulated manifestations of the same urban reality that is spreading worldwide: «Is the suburban city being urbanized? Are the architectural ambiguity and life forms of the city encroaching on suburban cities? Has this process possibly set in long ago and merely been disguised by the style of suburban housing that has been stagnant for generations?».

We ask ourselves what it means to live in suburbs today. What forms of housing are there and how durable are they? Can the garden city, and thus the suburban house, be rethought, adapted, recycled, expanded, reprogrammed, altered so that it can live on?

MASTER THESIS Spring semester 2022 For application please follow the instructions of D-ARCH, ETHZ

Dan Graham, Alteration to a Suburban House, 1978

Hans Bernoulli, Einfamilienhäuser Hardturmstrasse, 1923-30

Dan Graham, Row of New Tract Houses, Bayonne, New Jersey, 1966

Hans Bernoulli, Bebauung des Rex-Lüben‘schen Geländes, Frankfurt an der Oder, 1910–1913

Berkeley Environmental Simulation Laboratory, Optic probe, 1972

Hannes Meyer, Bebauungsplan Siedlung Freidorf, 1919

Categorisation of building types with the help of Machine Learning

Raymond Depardon, Le Touquet, Nord-Pas de Calais

Example of a Bottom-up computer-generated urban structure

Lauretta Vinciarelli, Project for a Productive Garden in an Urban Center in South West Texas, 1979

Josef Frank, Sketch for residential area in a town with 20'000 inhabitants

URBAN RURAL LIVING

How durable are the traditional quarters of Tashkent in a time of political and social changes?

With this master thesis project we want to investigate the potential of further development of historic neighborhoods in Tashkent, the capital of Uzbekistan, and develop concrete projects for this purpose. These area-wide neighborhoods, mahallas (Arabic for quarter) have grown over centuries and are closely linked to geography and seismic threat, climate and agricultural production, Islamic traditions, crafts and available resources, and different political systems. They are based primarily on the endless variation of the one to two story courtyard house type. Today, these quarters are either museumized or destroyed on a large scale to make way for often generic new construction projects at central locations in the city. According to our thesis, a lively further development of the historic quarters is not even envisaged due to a lack of possible strategies. The question of "Durability" seems to be solved: Tabula rasa is the urbanistic strategy systematically applied today. The coming semester should provide approaches to point out an alternative strategy that allows the built quarters a greater "Durability". Can traditional architecture establish a use, especially contemporary forms of living, emancipated from the traditional lifestyle? How can the necessary infrastructure develop to ensure this?

Parallel to the semester, the Architecture Biennale is taking place in Venice on the theme "How will we live together?". Emanuel Christ and Christoph Gantenbein are curating the official contribution of the Republic of Uzbekistan to the theme of MAHALLA. This exhibition contribution portrays traditional (and some Soviet) mahallas in different media and addresses this typical but little documented and discussed urban form. In this way, the discussion about the preservation and further development of these neighborhoods is to be initiated. A collaboration with the Biennale and a visit of the exhibition to Venice or the city of Tashkent is envisaged, depending on the development of the epidemiological situation.

MASTER THESIS Fall semester 2021 For application please follow the instructions of D-ARCH, ETHZ

Hanaka Muhammad Yaratalyk - the largest dome of old Bukhara, 1944–48

Tashkent, 1933

Fabric printing production

Plan of Tashkent with the oriental Old City and the Russian New City, 1890

Courtyard in Khastimom Mahalla, Point Cloud

SEMINAR WEEK

Casablanca typological laboratory.

In Casablanca, we expect to immerse ourselves in a city and a country of enormous architectural and cultural richness. With a particular focus on the city's pivotal position as a crossroad between local and global forces, the trip sets out in search of the cultural conventions visible in the Typologies of ordinary Casablanca. The specific climatic conditions that play a central role in the development of the Moroccan home lend immediate significance to our survey. We will have the opportunity to explore and critically reflect on these architectural features as we walk through different neighbourhoods looking at the vernacular ancient medina, French colonial types, the reinterpretation of the courtyard house in new 20th century medina, innovative modernist designs on climate and living habits, as well as recent high density neighbourhoods. The latter will allow us to understand contemporary strategies of urban development, at the border between formal and informal.

Casablanca's history is punctuated by various transformative epochs blending indigenous and colonial influences. Since the beginning of the 20th century, the city’s narrative has been mainly shaped by interventions under the French protectorate which has left an indelible mark on Casablanca’s morphological patterns. Typical French urbanism was followed by the subsequent emergence of modernist era and CIAM's involvement. The rapid growth of the population generated a vibrancy that was further heightened during World War II, and was famously depicted in the film "Casablanca," which showcased the city as a hub of intrigue and cosmopolitanism. While this shaped Western narratives, locals might be more familiar with the social and cultural challenges the city faced during this period, as well as the tremendous urban development that followed the declaration of Moroccan independence in 1956 and that lasts until today.

Confronted with unexpected urban patterns, typologies, architectural motifs, decorative styles, and landscapes, we will experiment with diverse methods of documentation, sketches and photographs that will foster discussions with students from the local architecture university, allowing us to delve into the nuances of each architectural encounter. This journey will be an immersive exploration of Casablanca's architecture, facilitated by local artists, personalities, and experts who will provide unique insights into this exotic yet surprisingly familiar context.

SEMINAR WEEK 22.10. – 28.10.2023 Expense category D (750 – 1000 CHF) 10 – 21 Participants [email protected]

The rural exodus to Casablanca (1960)

Yto Barrada: Casablanca (August 2013)

Marius Boyer: Asayag building (1930-32)

Aerial view of the 'Carrières Centrales' (1952)

Yassine Toumi: Aïn Diab Beach (2022)

Henri Prost: preliminary layout of roads (1917)

Joseph Suraqui: housing for Jewish residents in El Hank (1954)

Édy Legrand: cover photomontage of 'Regards sur le Maroc' (1954)

Michel Écochard: traditional courtyard houses in the medina (1949)

Eugène Delacroix: Jewish wedding in Morocco (c.1839)

Service de l‘urbanisme: typical plan for courtyard houses in the cité horizontale (c.1950)

Hafida Zizi: Ambiance des femmes Amazigh

André Studer and Jean Hentsch: model of the cité verticale at Sidi Othman (1954)

Alexandre Courtois: courtyard and small garden in Derb Comina (c.1950)

Place de France, Galeries Lafayette (c.1935)

Self-built growing neighborhood in the center of Casablanca (2008)

Mostafa Derkaoui: 'De quelques événements sans signification' (1974)

Michel Écochard: horizontal grid 8x8

Main room of Benjelloun house (1896)

Mohammed Chabâa, Asilah Moussem: Fresco (late 1970s)

Peter Weibel: 'Casablanca II' (1983)

Michael Curtiz: 'Casablanca' (1942)

GENOVA TOPOGRAPHY AND TYPOLOGY

With its steel factories and shipyards Genova occupied a fundamental role within the first industrial triangle, which individuated at its vertex the Ligurian capital, and the commercial poles of Milan and Turin. It’s within this perimeter that large-scale industrialization of the Italian economy took place between the end of the 19th century and the beginning of the 20th century, carrying forth inevitable modifications to the urban fabric of the historic centers and their surroundings. Its morphological peculiarity dictated by the constant juxtaposition between the seafront to the south and the steep topography of the mountains to the north, deeply influenced the expansion of the city, leading to the emergence of unique settling solutions.

Specifically focusing on the architectural production of this period, the trip sets out to investigate the relation between topography and typology as developed in the works of architects such as Luigi Daneri, Robaldo Morozzo della Rocca, Ignazio Gardella, Franca Helg, Franco Albini, and so on. Without ignoring the richness of the historical city with the palazzi of the Strada Nuova and the numerous villas scattered in the surrounding hills, we will wander through Genova’s streets looking for examples of ordinary architectures which skillfully manage to exploit the topography as an asset, using it to explore unusual ways of dealing with issues such as access, orientation, subdivision and construction. Approaching the architecture of the city through macro areas, the journey will start from the historical center and the adjacent neighborhoods of Foce, Albaro, and Sampierdarena; subsequently we will head to the western and eastern suburban expansions, to explore the social housing complexes of Pegli, Prà, and Quarto.

Confronted with unexpected urban structures and typologies, we will document our discoveries via photographs and sketches, encouraging the discussion with experts and artists who will accompany us throughout our explorations. We will actively engage with professors from the Architecture University of Genova, who will offer their invaluable knowledge about the city, its history and transformations through time, and will help us sharpen our analytical tools and shape our understanding of Genova’s complexity of inhabited forms, clutching to the mountain slope while overlooking the Ligurian sea.

(Image: Luigi Ghirri: Costa Crociere, Genova, 1990)

Seminar week 20.03—25.03.2023 expense category c (500-700 chf) 15 – 21 participants [email protected].

Paolo Monti: Genova (1964)

Giovan Battista Castello and Bernardino Cantone: Palazzo Podestà (1559-65)

Luigi Carlo Daneri: housing typologies for Quartiere INA Casa Forte Quezzi (1958)

Aldo Luigi Rizzo: Complesso residenziale di Pegli 3 (1989)

Gabriele Basilico: Genova (1987)

Massimo Vitali: Genova Pegli West (2006)

Medieval house of Piazza delle Cinque Lampadi

Andrea Botto: Discarica di Scarpino (2007)

Alfred Noack: Truogoli di S. Brigida (1880)

Genova vecchia, Terrazzo di Marmo (1875)

SOM: sketches for San Benigno Torre Nord (1992)

Pieter Paul Rubens: Miracles of St. Ignatius, Chiesa del Gesù (1620)

Stairs of via Pertinace, Castelletto

Aldo Rossi: Plan of Genova

Gabriele Basilico: Genova (1990)

Cristoforo de Grassi: view of Genova (1597)

Gianni Berengo Gardin: Genova (2002)

Bruno Barbey: Palazzo dell’Università di Genova

Pieter Paul Rubens: Palazzo Bartolomeo Lomellini (1622)

Paolo Monti: Genova (1963)

Luigi Ghirri: Palazzo Reale (1650)

Demolitions and excavations in via Madre di Dio for the new Palazzo della Regione (1970)

Plan of Strada Nuova

Sue Barr: The Architecture of Transit, Via Enrico Porro (2019)

Adolphe Godard: San Lorenzo Cathedral (1850)

TBILISI A TYPOLOGICAL JOURNEY

In Tbilisi, we expect to encounter a city and a country of immeasurable architectural and cultural wealth.

Tbilisi‘s history is marked by many turbulent periods. Its strategic location in the South Caucasus, on the edge of ancient and modern Eurasian empires (Persian, Byzantine, Arab, Mongolian, Ottoman, Russian), and on major trade routes, has given the city geopolitical and economic importance. This dynamic history has left its traces in the social and cultural hybridity of the city until the more recent events of the Soviet occupation and the new democracy.

This cultural polyphony has profoundly influenced the architecture of the city, creating hybrid building typologies specific to Tbilisi. We will discover these influences by walking through the streets of different residential areas of Tbilisi‘s urban fabric, ranging from the 17th to the 20th century.

We will discover urban structures, architectural types, ornamental styles and landscapes, which we will capture through photographs and sketches, while leaving room for discussions, specific to each architectural encounter, among ourselves or with experts. We will actively interact with the Free University of Tbilisi Architecture Program and be accompanied by its students, who will share their unique vision of their city and help us to critically reflect on the typical Tbilisian buildings, amalgams of various cultures and periods.

Furthermore, the Tbilisi Architecture Biennale, an internationally acclaimed event, will be held during our stay and we will have the opportunity to participate in the event‘s discussions and activities which gather people from the whole region.

In order to delve into the origins of Georgian architecture and the traces it may have left on the fabric we encountered, we will move away from the capital for two days to explore landscapes, provincial towns and ancestral buildings.

The trip will be an intense encounter with Tbilisi‘s architecture, facilitated by local personalities, artists and experts who will allow a unique interaction with this exotic yet unexpectedly familiar context.

(Image: Construction site of the House of Academics, with architect Ketevan Sokolova-Qurdiani (1905-1988), first woman architect in Georgia)

Seminar week 22. – 29.10.2022 expense category d (max. 1000 chf) 15 – 21 participants [email protected].

Model of Gldani-Tbilisi (1956)

Elevation with prefabricated elements, Gldani-Tbilisi (1956)

Niko Pirosmani, Bridge with Donkey (date unknown)

Playground, Gldani-Tbilisi (2001)

Plan for test farm land following the direction of wind, Tbilisi (1947)

S. Bostanashvili, Ruins of the Palace of Poetry (2001-2013)

P. Otskheli, sketch for sets for the play “Joy Street” (1932)

Section of courtyard house, Bethlemi Street - Tbilisi (mid 19th)

S. Bostanashvili, Glory to Labour monument, Kutaisi (1981)

Plan of Tbilisi (1809)

Samchikrisi church (7th)

S. Bostanashvili, National Bakery, Tbilisi (1982)

Bethlemi Street loggia of two-story house (mid 19th)

Metechi Plateau-houses (mid 19th)

Cave city, Uplistsikhe (from the Early Iron Age to the Late Middle Ages)

G. Chakhava, Ministry of Highways (1975)

Samchikrisi church (7th century) before / after restauration by Levan Khimshiashvili, 1951

Mamuka Tavakalashvili, Miniature from Shota Rustaveli’s ‘Knight in the Panther’s Skin (17th)

G. Chakhava, temporary building (1974)

Niko Pirosmani, Still life (1904)

SPACES OF MEMORY FUNERARY MONUMENTS IN ITALY

We want to experience architecture, that was intended to store the significance of a life against the erasing effect of time. This search will lead us into immersively crafted interiors, melancholic spaces of anonymity and humble signs of human existence embedded in nature.

Leaving Zurich on Sunday morning, we will travel by bus along the river Po, cross the Apennine with its renaissance cities, and approach the metropoles in the south, from where we return by train. On our trip we will visit mausoleums of emperors, the tempietti of Alberti and Bramante, Etruscan necropolis, labyrinthic Roman catacombs, piranesian tombs on the via Appia, the monumental cemeteries of the 19th century as well as their modern interpretations by Aldo Rossi and others. As Adolf Loos pointed out in his famous quote on graves, these artefacts oscillate in between architecture and art and seem liberated from a spatial function, because their main purpose is: to remind us. Taken as objects they tend towards being pure forms and images, yet they differ from classical sculptures as they remain connected to a life-story and are deeply rooted in a place. Taken as architecture, whether we enter an underground catacomb or hike on a field, the picturesque views and scenographic perspectives, are as much part of their narrative as the symbolic meaning. We will take our time on site, to occasionally catch these impressions with charcoal on paper.

For a better understanding of these strange witnesses of other times, which have left our city-centers in the course of the hygienic movements in the Age of Enlightenment, knowledge and empathy is required. With the help and expertise of our guests, the collective study of selected texts and our observations and analytical competences as practicing architects, we will start to involve ourselves with the topic. Travelling by train and bus leaves us some time to speculate on the relevance of funeral architecture in our contemporary urban condition:

How do we store immaterial values beyond our time? How do we want to remember close ones? Do we want to be remembered?

(image: pyramid of cestius, cimitero acattolico, built 12 bc, rome), seminar week 20. – 26.3.2022 expense category d (max. 1000 chf) 15 – 22 participants [email protected].

Necropoli della Banditaccia, Cerveteri (IX secolo a.C.)

Monumento ai Martiri delle Fosse Ardeatine, Roma (1944-1949)

Mausoleo di Teodorico, Ravenna (520 d.C.)

Joel Sternfeld: Via Appia Nuova, Statuario, Roma (1989)

Aldo Rossi: Cimitero di San Cataldo, Modena (1971)

Mausoleo di Monte del Grano, Roma (222-235 d.C.)

Raffaello, Bernini: Cappella Chigi, Roma (1507-1661)

Necropoli Vaticana, Roma (I secolo a.C.)

Via Cava Buia, Blera (IX secolo a.C.)

Giovanni Battista Piranesi: Via Appia Antica (1756)

Via Appia Antica, Roma

Cimitero acattolico, Roma (1738)

Giovanni Battista Piranesi: Pianta della Piramide Cestia, Roma (I secolo a.C.)

Columbarium di Vigna Codini, Roma (I secolo a.C.)

Mausoleo dell’Imperatore Augusto, Roma (I secolo d.C.)

Mausoleo Galla Placidia, Ravenna (V secolo a.C.)

Parco Vergiliano, Tomba Virgilio, Napoli (1930)

Tropheo di Gaio, Roma (II secolo d.C.)

Sepolcro di Eurisace, Panarium, Roma (I secolo a.C.)

Catacombe di St. Callixtus, Roma (III secolo d.C.)

Leon Battista Alberti: Tempio Malatestiano, Rimini (1450)

Massimiliano Fuksas: Il cimitero nuovo di Civita Castellana (1985 -1992)

TASHKENT – BUKHARA – SAMARKAND

Mahallas are an ancient form of „living together“, historically built around family ties and the daily life of the community. They are even integrated into the modern Uzbek constitution, which allows them to deal independently with all matters falling within their jurisdiction. Weddings, funerals, conflict resolution in the quarter and in the family, administrative activities and community celebrations take place in these neighbourhoods, which are still home to a large part of the Uzbek population. To date there are almost 10,000 Mahallas in Uzbekistan with an average of about 2,000 inhabitants. Depending of local culture, tradition, region and climate, various types of Mahallas developed over the centuries. But many Mahallas are disappearing due to high economic pressure, changed habits and lack of modern infrastructure.

A focus of our journey will therefore be the different types of Mahallas throughout Uzbekistan. On our journey along the Silk Road from Tashkent to the West we will not miss to visit important cultural sites and buildings in the cities of Tashkent, Bukhara and Samarkand. From the monumental Koranic schools of the 15th century to the Soviet reconstruction of Tashkent after the 1966 earthquake.

The social organization of the Mahallas and their various architectural forms are of high interest because they represent alternative models of urban society. At a time when the anonymous megacity and its ecosystem are literally reaching their limits, the need for an alternative is greater than ever. The example of the Mahalla can make an important contribution to this.

Courtyard of a large Bukharian house

Old city, Bukhara

Toqi Zargaron, Bukhara (15th century)

Samanid Mausoleum, Bukhara (10th century)

Archive Prokudin-Gorsky, Bukhara

Metro station "Kosmonavtlar", Tashkent (1984)

Samanid Mausoleum, Bukhara (end of 10th century)

Genghis Khan addressing a congregation at the mosque in Bukhara (1397)

ZNIIEP Schilischtscha, 2-storey residential buildings in microrajon Z-5, Tashkent (1967)

Street at night, Tashkent

A.W. Kosinskji, Serie 1T-SP, Bobur Kochasi (1974)

Madrasah of Tillia Kari, Inner Courtyard, Samarkand (1868)

Irrigation on Amu Darya Delta, Uzbekistan

Kiev ZNIIEP Contstruction of a residential building, Tashkent (1967)

Plan of old city with major monuments, Bukhara

Koshtut Mahalla, Taskent

Street in Samarkand

Map of mediaeval commerce in Asia

Courtyard houses, Bukhara

Courtyard houses, Tashkent

Nine-storey residential building, 1T-SP series, Tashkent (1973)

Suzani, Cotton with embroidered silk (19th century)

Cotton harvest

Filmstill Qo’rg’on Chiroq by Saodat Ismailova (2019)

Odetta Aidinova, 16-storey residential building, Tashkent (1985)

Lenin Square, Tashkent (reconstruction after 1966)

Kok Gumbaz Mosque, Shahrisabz

Giancarlo Durisch: Casa Atelier Durisch, Riva San Vitale (1972-1973)

TENDENZEN A RE–DISCOVERY

From the 1960s to the 1980s, Ticino was an architecture "hotspot", which strongly influenced building culture in German-speaking Switzerland and even gained international recognition. In the characteristic landscape south of the Alps where the historical centres, villages as well as agricultural structures were transformed by sprawl, a whole generation of architects dedicated their work to improve the quality of the built environment. And so, it even countered the postmodern critique of modernism with a constructive idea: What is this modernist legacy able to perform in respect of history, landscape and social structures?

The protagonists of this group, such as Flora Ruchat-Roncati, Dolf Schnebli, Luigi Snozzi, Aurelio Galfetti, Mario Botta or Livio Vacchini, have given concrete answers to this question as individuals or in various constellations and cooperation with their projects and built works: private detached houses, public buildings such as an open-air swimming pool and many schools, as well as large-scale planning of the territory.

In 1975, with the exhibition "Tendenzen - Neuere Architektur im Tessin", this heterogeneous and rich work was shown in German-speaking Switzerland in an exhibition curated by the gta, which spread the fame beyond the borders of Ticino and Switzerland. In the footsteps of the show’s legendary catalogue we will explore the phenomenon of this unique architectural scene: How could in a provincial region a whole group of people suddenly develop such a visionary idea of architecture and actually implement it in countless projects?

We will visit, study and discuss these buildings, but also hike to experience them in the landscape. Each evening we will meet various guests, including Mia Hägg and Kersten Geers – both teachers at the Accademia in Mendrisio – at the Villa of Virginia Tech in Riva San Vitale, where we are allowed to stay. The Italian photographer Stefano Graziani will accompany us and, almost half a century after the publication of the exhibition catalogue "Tendenzen", will seek a contemporary image of this now historical architecture.

SEMINAR WEEK 19. — 25.10.2020 Expense category B (251 – 500 CHF) 5 – 15 Participants [email protected]

Flora Ruchat-Roncati, Aurelio Galfetti, Ivo Trümpy: Bagno di Bellinzona (1968-1970)

Flora Ruchat-Roncati: Bagno di Bellinzona Model (1968)

Mario Botta: Scuola Media, Morbio Inferiore (1972-1977)

SCI-Arch, Students Workshop in Ticino (1970‘s)

Mario Botta: Casa Bianchi, Riva San Vitale (1972-73)

Flora Ruchat-Roncati, Aurelio Galfetti, Ivo Trümpy: Casa Ruchat, Morbio Inferiore (1966-1967)

Villa Maderni in Riva San Vitale, the base of our Seminartrip

Giancarlo Durisch: Casa atelier Durisch, Riva San Vitale (1972-1973)

Luigi Snozzi: Casa Appartamenti Verdemonte, Monte Carasso (1974-1976)

Dolf Schnebli: Casa Castioli Campione (1959)

Livio Vacchini, Aurelio Galfetti: Scuola media, Losone (1973-1975)

Livio Vacchini, Aurelio Galfetti: Scuola Media, Losone (1973-1975)

Aurelio Galfetti: Casa Rotalinti, Bellinzona (1960-1961)

Roberto Bianconi, Walter Ruprecht: Case d‘Appartamenti, Terenzio Bellinzona (1971-1972)

Roberto Bianconi, Walter Ruprecht: Casa d‘Appartamenti, Bellinzona (1971-1972)

Roberto Bianconi, Walter Ruprecht: Case d‘appartmenti Terenzio Bellinzona (1971-1972)

Luigi Snozzi, Livio Vacchini: Casa Sinider, Verscio (1966)

Flora Ruchat, Aurelio Galfetti, Ivo Trümpy: Centro Scolastico, Riva San Vitale (1963-1964)

Flora Ruchat-Roncati and colleagues at the Restaurant

GRAND TOUR LONDON / BATH ITALY AND GREECE THROUGH THE EYES OF BRITISH ARCHITECTS

As travelling became a means of discovery accessible to a privileged few in the 17th century, touring acquired a new value for architects and artists.

Simultaneously with the start of archeological documentation, which allowed study of the seemingly inaccessible, the Grand Tour grew to be considered as an educational tool.

How did these travellers use the information gathered on their journeys, how did they make it available and implement them in their designs? In a series of Grand Tours we will first look at the interpretation in order to better look at the interpreted. This semester, we will start in England as the birthplace of so many Grand Tourists.

The chosen sites and visits in London and Bath will reflect upon two ways of interpretation. On the one hand we will look at the discoveries and sketches, the drawings and artifacts, as well as the museums and archives: the British Museum, the RIBA Drawing Collection, Victoria & Albert Museum, as well as the Drawing Matter collection which will give us insights into the two-dimensional projects, the representation of architecture. On the other hand, we will appraise direct applications, where built interpretations are embedded in a contemporary context. Inigo Jones, John Nash, John Soane and Edwin Lutyens’ masterpieces will be confronted with James Stirling, Richard Rogers, and Venturi Scott-Brown’s modern translations.

SEMINAR WEEK 21. – 27.10.2018 Expense category D (750 – 1000 CHF) 10 – 15 Participants [email protected]

John Nash: Cumberland Terrace, London (1826)

Victoria & Albert Museum’s Casting Collection Room, London

John Nash’s Metropolitan Improvements, London

Edwin Lutyens: Page Street, London (1930)

James Stirling: Clore Gallery, Tate Britain, London (1986)

Inigo Jones: Queen’s House, London (1638)

Joseph Michael Gandy: Preliminary Design by Sir John Soane for Dulwich Picture Gallery (1812)

Tony Fretton: Red House, London (2001)

Robert Adam: Syon House, London (1762)

John Soane: John Soane Museum, London (1834)

Richard Rogers: Lloyd’s Building, London (1986)

Lord Burlington: Chiswick House, London (1730)

Nicholas Hawksmoor: Christ Church, Spitalfields, London (1729)

James Stirling, Michael Wilford: No 1 Poultry, London (1994)

John Nash: Regent’s Park, London (1828)

Giovanni Battista Piranesi: Views of Paestum (1778) in British Museum, London

Robert Venturi, Denise Scott Brown: Sainsbury Wing, National Gallery, London (1991)

Thomas Malton: Wood’s Royal Crescent, Bath (1777)

Aerial view of Royal Circus / Crescent, Bath

Construction IV by Christoph Gantenbein 26.4.23

«DIE ZIMMERPFLANZE» Course Spring Semester 2023 Construction IV by Emanuel Christ 19.4.23 8:15 HIL E 1

«DIE DECKE» Course Spring Semester 2022

Construction III by Christoph Gantenbein 6.4.22

8:15 HIL E 1 LINK TO LECTURE

«DIE ZIMMERPFLANZE» Course Spring Semester 2022 Construction III by Emanuel Christ 30.3.22 8:15 HIL E 1 LINK TO LECTURE

«DIE FEUERSTELLE» Course Fall Semester 2021 Construction III by Emanuel Christ 13.10.21 8:15 HIL E 4

«DER SOCKEL» Course Fall Semester 2021 Construction III by Christoph Gantenbein 10.11.21 8:15 HIL E 4

«ON TYPOLOGY III» Course Spring Semester 2021 Construction III by Emanuel Christ MAY 12. 2021 8.15AM ZOOM-LINK TO LECTURE

«ON TYPOLOGY II» Course Spring Semester 2021 Construction III by Emanuel Christ MAY 5. 2021 8.15AM ZOOM-LINK TO LECTURE

«ON TYPOLOGY I» Course Spring Semester 2021 Construction III by Emanuel Christ APRIL 28. 2021 8.15AM ZOOM-LINK TO LECTURE

«CARLO MOLLINO: ARCHITETTURA METAFISICA» Course Fall Semester 2020 Construction III by Christoph Gantenbein NOV 11.20 8.15AM ZOOM-LINK TO LECTURE

«ALEJANDRO DE LA SOTA: NO HACER ARQUITECTURA» Course Fall Semester 2020 Construction III by Christoph Gantenbein NOV 18.20 8.15AM ZOOM-LINK TO LECTURE

«HERZOG & DE MEURON: ABSTRAKT UND KONKRET» Course Fall Semester 2020 Construction III by Christoph Gantenbein NOV 25.20 8.15AM ZOOM-LINK TO LECTURE

"HEALTHCARE II" Emanuel Christ mit Annmarie Adams gta invites 23.10 18:00 LINK TO RECORDING

«OBJECTS» Course Spring Semester 2020 Construction IV by Emanuel Christ 1.4.20 15:00 THE LECTURE WAS LIVE STREAMED

«CITIES» Course Spring Semester 2020 Construction IV by Emanuel Christ 25.3.20 15:00 THE LECTURE WAS LIFE STREAMED

«TYPES» Course Spring Semester 2020 Construction IV by Emanuel Christ 11.3.20 8:15 HIL E 1

«HERZOG & DE MEURON: GEBAUTE NATUR» Course Fall Semester 2019 Construction III by Christoph Gantenbein 06.11.19 HIL E 3

«ALEJANDRO DE LA SOTA: NO HACER ARQUITECTURA» Course Fall Semester 2019 Construction III by Christoph Gantenbein 30.10.19 HIL E 4

«CARLO MOLLINO: JENSEITS DER KONSTRUKTION» Course Fall Semester 2019 Construction III by Christoph Gantenbein 16.10.19 HIL E 4

«POELZIG-ARTIG» Eine dreiteilige Vorlesungsreihe über Hans Poelzig Course Spring Semester 2019 Construction IV by Emanuel Christ 3.4.19 HIL E 1

«AFFINITY» Christoph Gantenbein in discussion with Gion A. Caminada Course Spring Semester 2019 Ringvorlesung IEA 9.4.19 HIL E 1

«OBERFLÄCHLICH» Eine dreiteilige Vorlesungsreihe über Hans Poelzig Course Spring Semester 2019 Construction IV by Emanuel Christ 27.3.19 HIL E 1

«HANS POELZIG» Lecture series on Hans Poelzig Course Spring Semester 2019 Construction IV by Emanuel Christ 6.3.19 HIL E 1

«SERENDIPITY» Emanuel Christ in discussion with Markus Peter on Serendipity Course Fall Semster 2019 Ringvorlesung IEA 27.11.18 HIL E 4

MAHALLA: URBAN RURAL LIVING

www.mahallavenice.uz

Curated by Emanuel Christ and Christoph Gantenbein as part of their research program, " MAHALLA: Urban Rural Living " was commissioned by the Art and Culture Development Foundation under the Ministry of Culture of the Republic of Uzbekistan. It was developed in collaboration with Tashkent’s CCA Lab and addresses the theme of the 17th International Architecture Biennial: “How will we live together?”.

Mahallas are a form of urban organisation that is simultaneously a housing solution, a powerful cultural center and a resilient self-governing body. There are currently over 9,000 mahallas in Uzbekistan, each with 150 to 9,000 inhabitants. Due to serious economic pressure, changing habits, and their lack of modern infrastructure, mahallas are slowly being replaced by new forms of housing, even though they remain popular among people seeking an urban-rural lifestyle.

At a time when the ecosystem of the anonymous megacity is literally reaching its limits, the need for alternatives is greater than ever. Can the social organization of these neighbourhoods and their various architectural formations as low-rise/high-density structures offer urbanity a sustainable and ecological model?

Drawing on this research, the exhibition offers a scientific investigation but also an artistic statement expressed through three different types of appropriation in a 1:1 scale: a model of a mahalla house occupying the whole space of the Quarta Tesa at the Tese Cinquecentesche in the Arsenale; an invisible appropriation of the space with sounds from the mahallas transmitted through ambisonic technology recorded by Spanish film-maker Carlos Casas; and extracts of mahalla houses as fragments of spaces represented by photographs by Dutch photographer Bas Princen.

The exhibition is completed by an app to experience the house structure suggested by the soundscapes, and a catalogue . Additional content is provided in a special edition published by Humboldt Books , a carefully designed folder that features a series of prints by Bas Princen and a record by Carlos Casas.

Bird’s-eye view of a traditional Mahalla

Point-cloud image gathered from field trips in preparation to the exhibition

“On Typology: Mahalla” Lecture by Emanuel Christ At the Berlage Institute

"Mahalla – Urban Rural Living" Lecture by Victoria Easton

“Architecture of the Commons”  Speakers: Tom Avermaete, Emanuel Christ, Christoph Gantenbein, Artyom Kosmarsky, Anna Puigjaner, Alexey Ulko, Gayane Umerova At the Uzbekistan National Participation at the Biennale di Venezia

“The Image of Architecture”  Speakers: Emanuel Christ, Christoph Gantenbein, Kersten Geers, Ekaterina Golovatyuk, Saodat Ismailova, Chus Martinez, Bas Princen At the Uzbekistan National Participation at the Biennale di Venezia

“Shifting the Gaze”  Speakers: Milica Topalovic and the curators of Israeli, Polish and Uzbek Pavilion At the Uzbekistan National Participation at the Biennale di Venezia

“Mahalla” Audio Visual Work At the Royal Academy

"Mahalla: The Commons" Lecture by Victoria Easton At the University of Cambridge 

“Mahalla: The perfect Sprawl” Lecture by Christoph Gantenbein At the Hochschule Düsseldorf and Peter Behrens School of Arts

“Mahalla: An Urban Rural Type”  Lecture by Victoria Easton At the Domus Academy

"Living Heritage: Preservation and Development Practices" Speakers: Noura Al-Sayeh, Emanuel Christ, Victoria Easton, Abha Narain Lambah, Sumayya Vally At the Dubai Art Fair "Mahalla Unframed"

Polykatoikia Type, Athens, from “Typology – Paris, Delhi, Sao Paulo, Athens”

OPEN PLANS is an open architectural database of existing buildings. With its unique graphical search and analysis functions for form and structure of buildings, the platform will become an intuitive instrument for typological studies.

Working with built references is essential for architecture students. In other domains, where knowledge is mostly represented in text format, successful digital instruments like google scholar facilitate the management, inquiry and discovery of existing knowledge dramatically. In architecture, a large part of the knowledge is implicitly embedded into technical drawings or models for which there is no such research instrument yet.

The aim of OPEN PLANS is to enhance the possibilities for accessing and exchanging knowledge on existing buildings and their spatial organisation. Using state of the art digital retrieval and data processing methods, it allows complex, architecture-specific queries regarding the organization and form of building types.

OPEN PLANS repository is a format imagined by the Chair Dillenburger, in collaboration with Chair Emanuel Christ and Christoph Gantenbein.

Link to Open Plans

FORMALISTISCHE ANALYSE DER ARCHITEKTUR DER NEOLIBERALEN IDEOLOGIE

The elective course "Formalistische Analyse der neoliberalen Ideologie" analyses buildings. The analysis is based on what is built.This course is offered from spring semester 21 until end of fall semester 22. In Spring Semester 21 we analysed the example of Europaalle in Zurich. In Fall Semester 21 we analysed the example of the Richti-Areal in Wallisellen. In Spring Semester 22 we analysed the example of the Campus Hönggerberg in Zürich.

The examples of Europaallee, Richti-Areal and Campus Hönggerberg worked on in the past three semesters were each touted as fulfilling the highest demands that can currently be placed on architecture and planning. In close cooperation with the authorities, the various building owners realized projects that exemplify in the Swiss context what 'good planning' and 'good politics' are with regard to the development of urban planning and architecture.

Instead of tracing the complex planning processes and accepting what has been built as a consequence of them, the elective turns the analysis 'from head to toe': what has been realised here? If objects cannot lie (cf. Bulle, Heinrich: Handbuch der Archäologie, Munich 1913), ideology can also be grasped from the architecture itself, provided it is questioned with methodological precision. By means of formalistic analysis, which is based on the scientific method of historical building surveys, the three examples were examined for their formal-architectural characteristics. The theses on neo-liberal architecture, which have been collectively formulated in the course of this work, will be examined in the fourth and final execution of the course. The theses will be tested by means of a formal-architectural analysis on Zurich examples to be chosen by the students themselves, in order to revise or reject them in a second step, if necessary. In a final step, the results from the analysis will be summarized in the sense of a catalog of neoliberal architecture.

The elective course will take place weekly on Mondays from 13.45 to 16.30 in HIL H40.9 and is led by Christian Portmann ([email protected]). The language of course is German.

The introduction will take place on Monday, 26.9.22.

PUBLICATION

Mahalla – the survey.

MAHALLA — THE SURVEY

Mahalla – The Survey is a scientific investigation and an artistic statement which aims to offer a critical reading and a tentative exploration of a fascinating element of cultural heritage: the mahalla. Historically forged by family, ethnic and professional ties, the traditional mahalla is a neighbourhood which perpetuates an ancient form of ‘living together’ in many variations across large parts of Asia. This survey of ten mahallas in Tashkent, Uzbekistan was prompted by curiosity about the various low-rise / high-density architectural types in such neighbourhoods and the social structures in which they are rooted. The Mahalla – The Survey box contains drone imagery, contemporary street views, redrawn cadastral maps, floor plans and sections, point cloud imagery, explanatory texts, sound by Carlos Casas and exclusive art prints by Bas Princen, all combined in an exquisitely designed folder. On-site mapping was carried out in collaboration with the CCA Lab Tashkent. This special edition is published on the occasion of the first participation of the Republic of Uzbekistan at the International Architecture Exhibition – La Biennale di Venezia in 2021.

CONTRIBUTORS

Carlos Casas, Bas Princen

Edited by Emanuel Christ, Victoria Easton and Christoph Gantenbein

Commissioned by the Art and Culture Development Foundation under the Ministry of Culture of the Republic of Uzbekistan

Printed by Longo, Bolzano

Published by Humboldt Books

Box containing three folders, one vinyl, 12 art prints, 300 pages, 24 x 33 cm, English, Russian, Uzbek, 2021

ISBN 9791280336033

ORDER ONLINE

MAHALLA APP

The iphone and android app MAHALLA allows users to browse authentic context in Tashkent via phone or tablet, providing a 3d experience of these intriguing domestic spaces.

Specially developed on the occasion of the first Uzbekistan Pavilion at the Venice Architecture Biennale 2021, the digital tool takes users into six different houses in six mahallas, via an elaborate point cloud model which can be explored thanks to VR. Background information on each of the houses as well as general insights into the phenomenon are provided by means of floor plans, maps, facts, figures and archive images. Local sounds specially sampled by the artist Carlos Casas provide an authentic acoustic environment.

Edited by Emanuel Christ, Victoria Easton, Christoph Gantenbein, and Stefano Zeni

House of the Aksakal, Katta Bog, Tashkent, 2020

House of the Plov Chef, Khastimom, Tashkent, 2020

House with three trees, Katta Bog, Tashkent, 2020

House Under expansion, Koshtut, Tashkent, 2020

The catalogue Mahalla: Urban Rural Living provides in-depth insights into the research about mahallas and is a complementary reader to the first pavilion of Uzbekistan at the Venice Architecture Biennale and to the research documents compiled in Mahalla – The Survey .

CONTRIBUTORS Prof. Shukur Askarov, Francesco Bergamo, Prof. Emanuel Christ, Boris Chukhovich, Victoria Easton, Prof. Christoph Gantenbein, Artyom Kosmarsky, Prof. Mukaram Nurmatova, Bas Princen, Alexey Ulko, Gayane Umerova, Prof. Mavlyuda Yusupova, Prof. Abdumannop Ziyaev

CREDITS Edited by Emanuel Christ, Victoria Easton and Christoph Gantenbein Commissioned by the Art and Culture Development Foundation under the Ministry of Culture of the Republic of Uzbekistan Designed by Francesca Pellicciari, Francesca Biagiotti, pupilla grafik, Milan Printed by Longo, Bolzano 142 pages, 24 x 33 cm, English, Russian, Uzbek, 2021 ISBN 978-3-907234-38-9

REVIEW N°II TYPOLOGY

Review n°ii typology.

Emanuel Christ & Christoph Gantenbein, «Typology – Hong Kong, Rome, New York, Buenos Aires» Edited by Emanuel Christ, Victoria Easton, Christoph Gantenbein, ETH Zurich With essays by Fernando Diez, Francesco Garofalo, Carol Herselle Krinsky and Hendrik Tieben

Over two years of academic research as Assistant Professors at the Swiss Federal Institute of Technology (ETH) in Zurich, Emanuel Christ, Christoph Gantenbein and their Research Team selectively analysed 160 buildings from Hong Kong, Rome, New York and Buenos Aires.

This inventory of 20th-century metropolitan and essentially ubiquitous building production represents a systematic yet subjective compilation of urban architecture.

Hardcover, 24.5 x 32.4 cm, 160 pages, English/German Graphic design by Ludovic Balland Cabinet, Basel Published by Park Books, Zurich ISBN 978-3-906027-01-2 Buy the book here

„Remaking Zurich“, motion picture based on the contents of „Typology“. Contribution to the IABR (International Architecturel Biennale Rotterdam) in 2012

„Remaking Zurich“, motion picture based on the contents of „Typology“. Contribution to the exhibition „Dichtelust“ at the Swiss Architecture Musuem Basel in 2019

REVIEW N°III TYPOLOGY

Review n°iii typology.

Emanuel Christ & Christoph Gantenbein, «Typology – Paris, Delhi, São Paulo, Athens» Edited by Emanuel Christ, Victoria Easton, Christoph Gantenbein, Cloé Gattigo, ETH Zurich With essays by Anupam Bansal, Emanuel Christ, Christoph Gantenbein, André Lortie, Thomas Maloutas, Rafael Moneo, and Nadia Somekh

Following-up on the preceding “Typology: Hong Kong, Rome, New York, Buenos Aires” published in 2012, the chair expanded its research on building typology to four more metropolises, again in Europe, Latin America, and Asia.

180 buildings were analyzed and documented with an image, site and floor plans, axonometric projection, key data, and a brief description. An introduction and four essays on the interaction between various protagonists and in particular the effect of governing local building regulation show the potential for contemporary urban architecture. The result is a rich sourcebook of great practical value for students, lecturers and practitioners of architecture.

„Typology“ poster featured in „Architectural Ethnography“, Japanese Pavilion, 16th Venice Architecture Biennale, 2018 © Simona Ferrari

HONG KONG TYPOLOGY

Hong kong typology: an architectural research on hong kong building types.

By Emanuel Christ, Christoph Gantenbein, ETH Zurich With essays by Emanuel Christ, Christoph Gantenbein, Nele Dechmann and Hendrik Tieben

Published on the occasion of the exhibition “Hong Kong in Zurich: A Typological Transfer” at the Istituto Svizzero, Venice, part of the series Teaching Architecture: 3 Positions Made in Switzerland.

Nowhere do buildings express density better than in Hong Kong. Beyond the fascination with global urban phenomena or romantic patchwork-like images, it is by understanding its built fabric and analysing its architectural legacy that we can begin to grasp its manifest beauty. In Hong Kong, the immediacy of the need for both living and working environments produces pragmatic and radical answers to the lack of space, which all have a strong architectural consequence. This very precise development of new typologies hides a mannerist precision behind an unadorned bare aspect. Hong Kong Typology presents a thorough study and a precise selection of Hong Kong’s relevant building types of the 20th century. As an approach to its multifaceted collection of buildings, 36 case studies were classified in seven different categories and illustrated with photo, floor plan and axon.

150 x 210 x 10mm Graphic design by Ludovic Balland Cabinet, Basel Honorary Mention at Most Beautiful Swiss Books 2010 Published by gta Verlag, Zurich ISBN 978-3-85676-287-2 Out of Print

“Hong Kong in Zurich: A Typological Transfer” at the Istituto Svizzero, Venice, part of the series Teaching Architecture: 3 Positions Made in Switzerland, 2010

Poster “Hong Kong in Zurich: A Typological Transfer”, Venice, 2010

Models of Hong Kong buildings featured in the UABB, Bi-City Biennale Of Urbanism/Architecture, Shenzhen, 2015

TYPOLOGY APP

Typology city guides links to app store: hong kong rome new york buenos aires paris delhi sao paulo athens.

Typology City Guides are unique tools to discover the underlying rules of these fascinating cities. Developed by Christ & Gantenbein at the ETH Zürich, these Applications are free to download on the App Store and Google Play (only Hong Kong). In each App, more than 40 buildings are documented with floor plans, axonometric drawings, facts and located on google map.

This inventory of 20th century metropolitan and essentially ubiquitous architecture represents a systematic yet subjective compilation of urban architecture around the world. The buildings, many relatively unknown, were chosen in order to provide a basis for looking at metropolitan design in the twentieth century, comparing the patterns and differences in building styles found around the world.

App Features: - Building Index - Map of All Locations - Favorite Building List - Contact Info Each Typology comes with: - vital statistics: address, date of completion, architect, number of floors - description of context & history - floor plans & axonometric drawings - photos - map locator - interesting buildings nearby Developed by chair Emanuel Christ and Christoph Gantenbein Graphic Design Ludovic Balland Programming Balz Rittmeyer Applications actualized in 2020

Ideal architecture from strada nuova.

Ideal architecture comes before the built project. It is a prerequisite even for paper architecture. We imagine it. It is an idea at heart, and for this reason we call it "ideal". Ideal architecture is a language - a cultural coordinate system. Architects cannot do without it. Without a repertoire of architectural vocabulary – and we might also refer it to images and forms, structures, and principles – the architect is speechless.

The language of an ideal architecture, namely this repertoire of architectural forms and principles, is the subject of our studio. We aim to develop an inventory in the course of the semester.By studying existing buildings and designs, and translating them into images and ideas, we create our own architectural language..Travelling, ‘walking and looking’ is the first step. It is crucial that we already understand this looking as a creative act. From observation arises invention: documenting is a certain form of designing. By creatively, and critically examining the forms that history has handed down to us, and by recontextualising those forms, we create new architecture.

Our source of inspiration, our architectural laboratory, is Genoa. We want to find the basic principles of a new ideal – and we could also call it the timeless or urban – architecture on the basis of selected examples. By ‘ideal’ we do not primarily mean beautiful, perfect, or desirable; Instead, the ‘ideal’ is based on an idea. Ideas, however, have something personal about them, and to become architecturally operative, they must be translated into generally understandable forms or principles. Architecture is always addressed to the community; it is never merely private. It lies in this the great challenge, but perhaps also something promising – a productive contradiction. We are looking for individual, architectural ideas that can be formulated as principles that can be generally understood and discussed. Perhaps it is only in this contradiction that discussion can arise. Discussion is the glue with which an individual’s idea comes closer to those of the others.

In this present issue presents some examples of the principles that we have found.They testify the fact that architects, practitioners and theoreticians, have always struggled to formulate rules for their works – works that are often with an absolute, universal claim – an ideal architecture! At the same time, these rules and principles can be simultaneously understood as personal, individual designs shaped by the author, and as designs that nonetheless attempt to describe a universal order.

The teaching work of our studio takes place in the field of tension.The design process consists of three steps: first the portrait of the Genoa as a city; then the making of case studies, upon which the formulation and variation of architectural principles are based; and finally, a new project building on these principles. Essentially, the studio is not directly about designing based on one place, or a concrete program. It is above all about the essence of the architectural form itself – volume, space, type, structure, and material. In the course of the semester, the chosen examples are used as the impulse to create a design for a new ideal architecture - individual and universal at the same time.

16.3 x 23.4cm, 156 pages, Editors: Emanuel Christ and Christoph Gantenbein Editorial Assistance: Léonie Zelger and Francesco Zorzi Copy Editing: Jeremy Waterfield, Meng Li Graphic Design: Studio Marie Lusa Printing: Musumeci S.p.a Typeface: Univers LT Std Paper: Profibulk

REAL ARCHITECTURE TO MAIN STREET

Architecture is real. It is subject to the geometric laws of mass and space, to physical laws such as energy flows or gravitation. Architecture consists of matter: of wood and stone, concrete and steel, glass and plastic, reed or silicone, cork or copper, marble, PVC. It is built, constructed, joined into walls, ceilings and floors that form rooms, houses, and cities. At the same time, the architectural project is also fictional: until it is built, it only exists in our imagination. It refers to the future. In designing, an architect both anticipates and imagines a possible ‘world’ of tomorrow. Architecture always happens to be in this field of tension. It is a fundamental task of the architects to make the best decisions for our future reality.

The most exiting example of this tension between social change and built matter is the city. Historically, it is a place of commerce, of faith, of culture, of economy, of science, and of politics. At the same time, it is also a place of oppression, exploitation, epidemics and destruction. These processes transform the city. It must always be reimagined: city walls, train stations, highways, skyscrapers are silent witnesses of these changes in the structure of the city and they reveal the individual vision of a future world that belongs to each era. Based on this observation, we look for debates and phenomena in the global cities to imagine the city of tomorrow from today’s perspective and from which, we derive potential realities that are visionary, speculative, and positive. Our task as architects is then to develop concrete architectural – the real – solutions for them.

Consequently, we develop projects in an existing context. The city centre of Basel is our laboratory: an ordinary, Central European city of average size.This is the place where we want to test how a future imagined by us could look like. Starting with atmospheric collages, we try to relate the sphere of life with architectural objects in an abstract, playful way. We then move to perspective montages, in which the concrete place and the spatial intention meet abruptly. In the translation of spatial idea into an architectural project, we (re)visit the principles and architectures we have taken with us from Genoa, as well as the realised and unrealised utopian projects of the past. They are the resources with which we translate the vision of a space into a spatial structure, an architecture. Context, vision and architectural principles continuously shape each other through the increasing degree of refinement.

Even though architecture is in a close relationship to its context, and is often very precisely determined by it, it is autonomous in its form. No concrete condition can conclusively define the proportions of a window, and no social requirement informs the shape of a building. Architecture has its own principles. It is always also ideal.This double identity, the autonomy on the one hand and the anchoring in a concrete context on the other hand, the ideal and real side of architecture, is the central problem in every project. In this way we will design a contribution to a possible city of tomorrow - a real and yet visionary architecture.

16.3 x 23.4cm, 160 pages, Editors: Emanuel Christ and Christoph Gantenbein Editorial Assistance: Léonie Zelger and Francesco Zorzi Copy Editing: Jeremy Waterfield, Meng Li Graphic Design: Studio Marie Lusa Printing: Musumeci S.p.a Typeface: Univers LT Std Paper: Profibulk

IDEAL ARCHITECTURE MILANO

Ideal Architecture: Milano is a small collection of drawings produced by the students in the Fall Semester 2018. After a physical encounter with one of 40 selected buildings in Milano, the students were asked to represent the built project through drawings. Then, the existing building is isolated from its historical context to focus on its design intentions only. The urban form and typological lyout were worked out by strengthening, reducing, exaggerating and changing specific aspects of the building. Finally all identified principles were reassembled in a final step to form a whole, a pure architecture, an Architekton, a folly or even an ideal architecture; without any concrete program, or site.

Thanks to this experimental, analytical and critical appraisal, the student traces his or her own architectural language, builds up his or her own repertoire. By focussing on representation, the students were encouraged to trace synthetic drawings with suggestive colors and strong shadows to highlight body and space. This collection features drawings from all design steps. Put side by side the different projects, built as well as imagined, create a context of their own.

16.3 x 23.4cm, 96 pages, Editors: Emanuel Christ and Christoph Gantenbein Editorial Assistance: Francesco Zorzi Copy Editing: Jil Denton Graphic Design: Studio Marie Lusa Printing: Musumeci S.p.a Typeface: Univers LT Std Paper: Profibulk

REAL ARCHITECTURE BASEL KLYBECK

BASEL KLYBECK

Real Architecture: Klybeck is a collection of student projects produced in the Spring Semester 2019. It features 33 visionary projects in the existing context of Basel Klybeck, a former industrial area which is currently under transformation. The ideal form without any site or age from the previous semester was confronted with a real context here and now. Actual and controversial issues were tackled such as how living, working and producing shall be all combined in an urban realm. Throughout the year, the students were experiencing the making of architecture as a cultural medium as well as a visionary tool to address the future needs of urban society. Through the technique of collages and montages, the focus of the projects were developed in close distance to the found context. Finally the architectural drawings with colors and shadows were combined with suggestive perspectives, highlighting the imagined reality from a pedestrians point of view in this city to come.

Emanuel Christ & Christoph Gantenbein Professur für Architektur und Entwurf ETH Zürich Departement Architektur HIL H 47 Stefano-Franscini-Platz 5 8093 Zürich Hönggerberg

Jonas Löland Christian Portmann Nicolas Rothenbühler Julia Tobler Stefano Zeni Francesco Zorzi

Graphic design by Studio Marie Lusa Programming by Computed·By

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Gallery of The Master of Advanced Studies in Architecture and Digital
Master Architektur
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The Master of Advanced Studies in Architecture and Digital Fabrication
The Master of Advanced Studies in Architecture and Digital Fabrication
Ausstellung Masterarbeiten Architektur ETH Zürich

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Welcome to the Aga Khan Award for Architecture
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Architektur
Vorgestellt: Architektur an der TU Braunschweig
Temple Architectural Thesis Lumion Walkthrough (Ar. Amandeep Singh Malhotra)
My Architecture Thesis Project (Masters Portfolio)

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Master's Thesis
Chair of Architecture and Design Emanuel Christ, Christoph Gantenbein Laurianne Chassot FS24
Master's thesis from AS 2021
The Master's thesis is completed within 16 weeks. The Master's thesis is the result of the student's individual performance and must be proof of the capability for independent design work (see art. 31.ff. of the Academic Regulations for the master's degree programme in architecture).
Final Reviews
Master's Thesis; Index; D-ARCH . Department of Architecture Tom Avermaete. History and Theory of Urban Design GTA ... Roger Tudó, Mike Guyer, Susanne Vécsey, Tamino Kuny, Anton Savov, ETH Immobilien. Tue 28 May 10.00-17.00 Wed 29 May 09.30-17.00 Location.
Master's Theses Exhibition
The Exhibition of Master's Thesis projects - MSc Architecture - of the Spring Semester 2024 takes place from 25 .5.2024-28.06.2024. Location: ETH Zurich, Department of Architecture, Stefano-Franscini-Platz 1, 8049 Zurich, Foyers HIL Building. You can find an overview of the latest projects online under: https://works.arch.ethz.ch ...
Master Thesis
Society and Environment / ETH Wohnforum / ETH CASE Co-Founder and Members of Institute of Science Technology and Policy / ISTP Member of the ETH Sustainability ... Master Thesis Design Studio Seminar Week Urban Stories Lecture Series Elective Master Thesis Fall '21 Sogol Amuzegar Annamaria Bonzanigo ...
Department of Architecture
Master Thesis Exhibition. The master's theses of the Spring Semester 2024 will be presented on the Hönggerberg campus of ETH Zurich until the end of June. The exhibition features design projects on the topic "Enough/Genug". ... Das Kunstmuseum Olten widmet der Handzeichnung in der Architektur eine Ausstellung. 03.06.2024 by Solothurner Zeitung
ETH Prof Lehnerer
ETH Zürich. Assistant Professor of Architecture and Urban Design Prof. Dr. Alexander Lehnerer Department of Architecture HIL G 74 Stefano-Franscini-Platz 5 8093 Zurich, Switzerland ... For doing your Master Thesis with us, please submit your application directly at our office, HIL G74.
Master Architecture
In two different disciplines, focal works have to be written. The Master's degree programme ends with the Master's thesis. To obtain a Master's degree, proof of external work experience of at least six months must be provided. Language of instruction ... ETH Zurich Department of Architecture Stefano-Franscini-Platz 5 HIL E 73.3 8093 Zurich ...
D-arch
Master's Thesis. Master's Theses Exhibition: Autumn Semester 2023. Farewell Lecture. ... Her lectures and publications inspired a whole generation of architecture students at ETH Zurich. Community. Warmly welcome to our new Professor Anna Puigjaner! ... Master-Feier 2020 der Studiengänge Architektur (MSc Arch) und Integrated Building Systems ...
The Master of Advanced Studies in Architecture and Digital ...
The twelve projects presented here are the Master Theses of the MAS ETH DFAB from the year 2019-2020. Students collaborated with researchers from the Chair for Digital Building Technologies and ...
Master Architektur
Master Architektur. Das Master-Studium baut auf dem Bachelor-Studium Architektur auf und dient der Vertiefung des aus dem Bachelor erworbenen Wissens und der Förderung einer zunehmend selbständigen, individuellen Arbeitsweise, der Ausbildung integrativen Denk- und Gestaltungsvermögens und der Bearbeitung grösserer architektonischer ...
MAS ETH in Architecture and Digital Fabrication
The MAS ETH in Architecture and Digital Fabrication (MAS ETH DFAB) is a one-year full time programme positioned within a vibrant multidisciplinary research environment. ... The third term is the Master's thesis, where students pursue in- depth research in collaboration with researchers from Digital Building Technologies and Gramazio Kohler ...
Master's Thesis
und Architektur. Institute; People; Events; Lectures; Design Studios; Seminarweeks; Master's Thesis; De / En; Institute; People; ... Chair De Vylder & ETH Wohnforum - ETH Case Steel - Construction Chairs Deplazes/Pauli/BUK ... MASTER THESIS HS 2023 - ENOUGH/GENUG Globusprovisorium - Zwischen Abbruch und Denkmal. ...
ETH Prof Lehnerer
Der Fokus liegt auf der Stadt, auf urbanen Projekten. Im Dorf hat man das Feld, scheinbar ohne schlechtes Gewissen, den Spekulanten, Investoren und „Swisshaus" überlassen. So verkümmert die Architektur im Schutze der Vorgärten. Sie wird, jeglicher Repräsentationsfunktion und Interaktion mit dem nicht-privaten beraubt, passiv und ...
Master Architecture
The Master's degree programme in Architecture lasts two years and should be supplemented with an additional six-month internship period. A total of 120 credit points must be obtained. Entry into the programme is only possible in the fall (exception: students of the Bachelor's degree programme at ETH Zurich).
MAS in Architecture and Digital Fabrication
Our purpose. Gain technological literacy. We are radical thinkers, deeply rooted in practice, forging the way towards a more intelligent and sustainable means of designing and making of architecture. Join our program, and gain the technological literacy needed to make a real impact. Become part of our vibrant and multidisciplinary community of ...
Architecture MSc
Architecture MSc. The required application documents for the desired degree programme differ depending on your previous education. You are applying to an ETH Zurich Master's degree programme with a: Open all.
MAS ETH in History and Theory of Architecture
ETH Zurich, School for Continuing Education, HG E 17-18.5, Rämistrasse 101, 8092 Zurich, Tel. +41 44 632 56 59 call_made, E- mail. chevron_right Recommended procedure for a successful application.
Projects and Master's Thesis
Master's thesis. The Master's degree programme concludes with a Master's thesis that lasts six months. The project includes an oral presentation and a written report (the Master's thesis), and it is graded. Before starting the project, the Master's thesis must be registered in mystudies ("Projects/papers/theses"). You will be admitted to the ...
Christ & Gantenbein Studio
2009 - 2016 Architect at pool Architekten, Zurich 2009 Master thesis with Prof. Dr. Peter Märkli, ETH Zurich 2007 Internship at Conen Sigl Architekten, Zurich 2007 Master's exchange studies in architecture, KTH Stockholm 2006 Master's studies in architecture, ETH Zurich 2006 Internships at Metro arquitetos and Pedro Mendes da Rocha, Sao ...
Index
Institute of Design and Architecture (IEA) Institute for the History and Theory of Architecture (GTA) Institute of Construction History and Preservation (IDB) Institute of Technology in Architecture (ITA) Institute of Landscape and Urban Studies (LUS) D-ARCH. Doctoral School D-ARCH. Innovedum: Architectural Behaviorology & Newrope (IEA/LUS)
PDF Master's Thesis Guidelines
c. Determine the date on which the student can begin the Master's thesis and the date on which the student can submit the thesis. d. Define the criteria for assessment of the Master's thesis. e. Assesses and grade the thesis. 4. Start date and duration The maximum time allowed for completion of the Master's thesis is 28 weeks. (These 28 weeks
PDF Master's Thesis Guidelines
Define the topic of the Master's thesis in consultation with the student. b. Define the tasks in writing. c. Determine the date on which the student can begin the Master's thesis and the date on which the student must submit the thesis. d. Define the criteria for assessment of the Master's thesis. e. Assess and grade the thesis.

Chair of / Cátedra de / Lehrstuhl für Archi- tecture & Urban Design

The Master of Advanced Studies in Architecture and Digital Fabrication at ETH Zürich Unveils its Latest Thesis Achievements

Image gallery

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ETH 苏黎世联邦理工学院最新研究成果，建筑设计与数字化建造

Zoo Basel wandeln, lernen, forschen

When content becomes form

LESS IS LESS subtraction as a modus operandi

NOT GOOD ENOUGH N°II

Living in Cycles

enough – homes

Steel - Construction

Chairs Emerson/Voser

A Journey through our World of Flows

Chairs Holtrop/Avermaete

Enough of this World: Museums

Architectural Behaviorology for Shelter as Tools for Living in the 21st Century

Zürich Oerlikon - Regensbergbrücke

UNFAMILIAR AGEING II

WIR BAUEN EIN PARADIES

Globusprovisorium - Zwischen Abbruch und Denkmal. Eine Struktur zum Nachdenken

IM BESTAND: HOUSEEUROPE!

Unschöne Museen

NOT GOOD ENOUGH

Creating Cycles

Chairs Emerson/Hischier

Architectures of Correspondence

Chairs Holtrop/Gali-Izard

Architectural Behaviorology for Shelter(House) as Tools for Living in the 21st Century

CANTONAL HOSPITAL (EOC) SOPRACENERI, BELLINZONA-​GIUBIASCO TI

Campus Irchel – Universitäres Wohnen am Strickhof

UNFAMILIAR AGEING

NEVER ENOUGH

HYPERCOMFORT

Landscapes of Adaptive Infrastructure – exploring the boundaries of practice

Komposition

Opération béton – Energieinfrastrukturen und alpine Landschaft

retrofitting concrete utopia - Re-designing socialist housing into a new multicultural center for Sarajevo

PORTA NUOVA PUBLIC LIBRARY, MILAN

Architectural Behaviorology for Environmental Body in the 21st Century

Durability and/or Change? – Commitment to the long term

The Cost of History - (Un)Listing in Zurich

Masonry - Construction

Chairs De Vylder/Delbeke/Langenberg

NOSTALGIA ECOLOGY

PROSPECTIVE HISTORIES FOR AN ALTERNATIVE PRESENT

Chairs Caruso/Delbeke

Die Kompetenz ist das Bauen, das Ziel die Schönheit

Integrated Reuse Project Chrischona

IM BESTAND: SWISSMILL Architecting Hidden Futures

NEUE HARD ENTWURF ZIRKULÄRER DAUERHAFTIGKEITEN

ECONOMICAL DURABILITY

MONUMENT / INFRASTRUCTURE: STORIES OF PERMANENCE AND TRANSIENCE

2121: Another Odyssey

Landschaftsinfrastrukturen - Starke Formen

DENSITY/ SCALE / ATHMOSPHERE Circular Design for Zurich in times of Climate Change

Magnifica fabbrica

Architectural Behaviorology for Durability by Actor Network Drawing Reader

MATERIAL GESTURE: GLASS

Durability and Change

Beyond Type – The Zurich undercommons

High-rise structure

REVISITING THE GARDEN CITY

PROSPECTIVE HISTORIES FOR PRESENT ENVIRONMENTS

Chairs Caruso/Langenberg

Das Haus, das mit mir wohnt

Architecting conflicting interests: 30.000 dwellings for Berlin

Dauerhaftigkeit von Erde

Chairs Delbeke/Persyn

A Zurich Odyssey

Stone - as found

Chairs Klumpner/Grêt-​Regamey/Kaufmann

Topic description

Architectural Behaviorology for Durability by Actor Network Drawing

Towards hydroscopic design

More with less

Chairs Fonteyne/Avermaete/Dillenburger

In the shadow of the cooling tower – Maintenance manifestoes

High-rise Structure

Chairs Christ/Gantenbein/Dillenburger

CANTONAL HOSPITAL (EOC) SOPRACENERI, BELLINZONA-GIUBIASCO TI

Chairs Klumpner/Grêt-Regamey/Kaufmann