Michigan Architecture Papers 8 — Gigon / Guyer

The 2000 Charles & Ray Eames Lecture
Michigan Architecture Papers
MAP 8 · Gigon I Guyer
Published to commemorate the Charles & Ray Eames Lecture,
given by Annette Gigon and Mike Guyer at the College on
3 Apri l 2000.
Editors: Brian Ca rter and Annette W. LeCuyer
Design: Christian Unverzagt
Typeset in News Gothic
Printed and bound in the United States of America
ISBN:
1-891197-13-4
© 2000 The University of Michigan
A. Alfred Taubma n College of Architecture
and Gigon
+
Urban Planning
I Guyer, Zurich
In collaboration with Herman Miller, Inc.
Taubman College
2000 Bonisteel Boulevard Ann Arbor, Michigan 48109-2069 USA
734 764 1300
734 763 2322 fax
www.caup.umich.edu
Contents
8
Introduction
13 Architecture for Art
14
Kirchnef Museum. ()avos
26 Museum of Art Extensoon, W1nlefthur
36 Uner Museum, Appeozell
47 Reinhart Collection am R6merholz. Winterthur
58 Concept into Mattef
60 Art for Architecture
62 SportS Center, Davos
76 Housing, 8roelberg
88 Signal Sox, Zurich
98
Museum and Archeolog.cal Park, Kalkrlese
114 G•goo/ Guyer
116 Charles & Ray Eames
118 Hefman Miller Inc.
Introduction
The Charles and Ray Eames Lecture celebrates the regional, national
and international significance of the work of these two outstanding
8
designers and their sustained collaboration with Herman Miller in
Michigan. As an example of an especially productive link forged
between design and industry, their legacy reaffirms the traditions
of this college. The work of Charles and Ray Eames - woven from
interrelated strands of investigation, design and production- reminds
us of the core values which energize much of our own work at the
drawing board and in the workshop. Particular qualities of their
method are important to highlight because they are very much
evident in the work of this year's Charles and Ray Eames lecturers,
Annette Gigon and Mike Guyer. Gigon and Guyer's emerging body
of work is characterized by the marriage of craft with the exigencies
of industrial mass production ; explorations in the use of color;
and meticulous attention to detail.
Gigon and Guyer's first building, the Kirchner Museum in Davos
which was completed in 1992 , attracted international attention
for both its precision and its poetry. As an essay upon the possible
qualities of light, this museum transformed the perception of glass,
that most ubiquitous of modern materials. From this auspicious
beginning, the development of their work, largely through competition
winning schemes, has been sure-footed. In addition to awards for
their work in Switzerland and Italy, the extension to the Winterthur
Museum was nominated for the prestigious Mies van der Rohe
Award for European architecture in 1996 and the Museum Liner
in Appenzell was shortlisted for the same award in 1998.
Gigon and Guyer characterize their process as a fusion of work and
matter, of the abstract and the concrete. They are focused upon the
development of a grammar of materials which is aimed towards the
transformation of the ordinary into forms, structures and arrangements
with new visual meaning. This transformation is neither strident nor
assertive, but instead subtle and suggestive. A critic, commenting on
their work, has noted, "The architecture of Gigon and Guyer requires
a second glance, on the level of the form but also on that of the
meaning evoked. If we are satisfied with only what we see at first
glance, we will miss the complex significance that emerges from
the applied poetic method."
The way in which Gigon and Guyer's material grammar elevates lowly
industrial building components and processes of production to an art
form recalls the spirit with which Charles and Ray Eames changed
our perceptions of materials like aluminum, fiberglass and plywood a transformation from pure utility to beauty, from leg splints to chairs
which are now in the permanent collection of the Museum of Modern
Art. And like Charles and Ray, Gigon and Guyer acknowledge that the
impetus of their work is curiosity. They have observed that, as human
beings, we understand almost nothing of the world in which we live.
Through the art of careful observation, their work is directed towards
finding new connections between nature and culture, and between
work and matter.
Gigon and Guyer use apparent simplicity as a foil for underlying
complexity. Their precision of intention is matched by meticulous
execution. I invite you to look, and then to look again at this finely
calibrated work with an inquiring eye.
Annette LeCuyer
Associate Professor
9
"It is a special privilege to be invited to
the University of Michigan to give a lecture
in honor of Charles and Ray Eames, designers
whose work was intimately bound up with
the exploration of materials and of the
relationships between architecture and art.
We have designed several buildings which
serve to present art and others which have
been developed in close cooperation with
artists. In this work, two different approaches
to the coexistence of art and architecture
can be distinguished."
Architecture for Art
In thinking about museums, the main question for us is how art
should be displayed and what sort of architecture is necessary to
present each artist's work. We prefer both the exhibition rooms of
museums at the turn of the century and the anonymous spaces in
pre-industrial exposition halls and art galleries to the opulent and
over-designed museum architecture characteristic of the eighties.
We have been encou raged in this sentiment by the statements of
artists and curators including Remy Zaugg, a Swiss artist who has
focused on the phenomena of the perception of art; Richard Serra,
who prefers neutral spaces for his work; and Georg Baselitz , who
pointedly remarked that museum rooms should consist of no
more than four walls , a floor , overhead lighting and a door. Alfred
Lichtwark , a German curator at the end of the nineteenth century,
expressed a similar attitude, complaining of the museums of his
time having oversized staircases, perspective axes, and too many
windows which - although creating a beautiful facade - did not
leave enough wall space to hang paintings.
Influenced also by minimal art and conceptual art, which draw a
fine line between artistic and non-artistic manifestations, we have
come to the conclusion that an exhibition space should not be
a demonstration of architecture. Rather, it should be devoid of
architectural attributes. Exhibition rooms should neither compete
with nor seek to enhance works of art. They should be constructed
in such a manner that the visitor's attention is drawn to the works
on display rath er than to the details of the architecture.
13
Kirchner Museum, Davos
In 1989, we won a design competition for a
museum devoted to the German expressionist painter
14
Ernst Ludwig Kirchner. The building was completed
in 1992. The initiator of the project, a German
auctioneer and collector of Kirchner's work, wanted
to build a monographic museum in honor of Kirchner
to which he would donate part of his collection.
The endowment of approximately 400 works including oil paintings , works on paper, sculptures,
photographs and diaries - was large enough to
enable changing exhibitions to be hung twice a year.
Kirchner worked in Dresden and Berlin until the end
of the First World War and was in poor health when
he came to Davos in 1918. At the time, Davos was
a well known health resort. He stayed and worked
there for the last twenty years of his life. Kirchner,
who had a marked talent for applied art, was a
trained architect before he embarked on his career
as an artist. Naturally, we wondered how Kirchner
would have designed his own museum . Of course,
it is impossible to answer that question. Moreover,
a museum referring to Kirchner's style would compete
with his paintings and might even discredit them
by trying to claim a spiritual kinship.
Davos is at an altitude of 1,500 meters (4,900 feet),
so in winter the museum is often covered with snow.
18
Owing to the clerestory, daylight transmission is
not affected even by a thick blanket of snow on the
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roof. The quality of the light in the exhibition rooms -
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shadowless and even - is comparable to outdoor
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light on an overcast day. It could be said that the
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light rooms have the function of a cloud which
6 mechanical plant
diffuses sunlight.
The structural concrete walls of the exhibition spaces
also form the walls of the hallway so that the cubes
of the exhibition rooms define the complex volume
of the entrance and the lobby. The cashier's desk
is located in the lobby, and the cloakroom is
adjacent. This small space, where visitors take
off their warm winter clothes, has wood paneling
to give a feeling of warmth.
In the lobby and hallway, both floors and ceiling are
made of concrete. The heating system is built into
the concrete slab. Unlike the gypsum-covered walls
of the exhibition rooms, the concrete construction
remains totally visible in this part of the building.
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While moving from one exhibition room to another,
visitors automatically pass through the hall each
time. In contrast with the introverted exhibition
rooms, the hall is not meant to be a display space
for paintings, but instead a space for visitors to
relax, look out of the windows, study and read.
One might also call it a didactic zone. Through
the windows of the lobby, visitors see the street,
the small park surrounding the museum and
the landscape - in other words, the themes and
subjects that Kirchner painted during the last
twenty years of his life in Davos.
The glass facade covers the four high cubes of the
exhibition rooms, rendering them as a crystal-like
configuration. The different kinds of glazingtransparent, translucent - have diverse functions
regarding light transmission and viewing parameters.
The translucent insulating glass walls filter the
natural daylight which indirectly illuminates the
exhibition rooms beneath the glass ceilings. The
transparent, mirror-like insulated glazing in the
lobby offers visitors views out and allows passers-by
to catch a glimpse into the interior of the museum.
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Textured, translucent glass clads the insulated
concrete walls of the exhibition rooms, revealing the
24
insulation behind the glass or hiding it, depending on
the angle of view. Through the letters of the words
'Kirchner Museum Davos' which are transparent in
an etched glass panel, the insulation is in plain view.
The roof, which we consider to be the fifth facade
of the building, is ballasted by pieces of broken ,
recycled glass instead of the usual gravel . Glass
as a substitute for gravel is possible because both
have the same specific gravity. This waste glass
can be understood as the last state of the material,
the last state of treatment of the material.
The high cubes of the exhibitions rooms have
been placed freely between the old trees of the
former Hotel Park. Their arrangement resembles
the settlement structure of this resort town where
the many flat roofed buildings are loosely set
side by side.
Museum of Art Extension , Winterthur
The Museum of Art in Winterthur, constructed in
1915, was designed by the architects Rittmeyer and
26
Furrer. Since there is no longer enough room in the
existing bui lding to mount temporary exhibitions
alongside the expanding permanent collection, the
Art Society initiated a privately financed extension
for the museum. The building site officially belongs
to three institutions: the Museum of Art, the Museum
of Natural History and the public library. Therefore,
the city agreed to give its consent to a privately
financed extension for the art museum only for a
limited time span of ten years. A further condition
set by the city was the retention of the public parking
lot on the site which is a source of income for
the municipality. As a consequence, the museum
extension, completed in 1995, had to be temporary
and was required to be cost effective because of
its limited lifetime.
The extension is connected to the existing building
like a caravan or trailer, with on ly a minimal point
of contact through which the new gal leries are
accessed. Situated between old and new, this link
is designed as a neutral area without pa intings.
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existing entrance
existing galleries
new galleries
parking
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A covered walkway and stairs connect the existing
museum to the new extension on a lower level .
28
Like the deep wooden door frames of the old
building, the link is lined with wood in the form
of industrially produced medium density fiberboard
paneling. A single work by the artist Lawrence
Weiner is located in this room. It consists of words "painted stones ringing the rubble of a structure
made of stones not painted" - which evoke a work
of art or a virtual piece of art, thus underlining the
presence and absence of art in this space.
The interior spaces are very simple in order not to
compete with the works of art and , in this particular
case, also to save money. The rooms are rectangular.
In contrast to the Kirchner Museum in Davos, there
is no common access area. The exhibition rooms
are directly connected with each other, making the
plan efficient and economical. The extension is
subdivided into nine rooms. There are six different
sizes and proportions, and three rooms have large
lateral windows . Skylight enters all rooms through
the north-facing sawtooth roof. The dimensions
of the rooms vary from 60 to 140 square meters,
extending the length of three, four or five sawtooth
sections respectively .
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Because of the lack of a light regulating system
like slats or blinds , the sawtooth glazing is carefully
30
dimensioned to prevent the incidence of too much
light on sunny days, and the glass of the skylights is
milky to diffuse the light. A single window on each
side of the building serves as an orientation point for
visitors as they circulate through the labyrinth of nine
rooms. In the longitudinal direction, the doorways
are placed diagonally , and in the transverse direction
the openings are in line. The intention of shifting the
doorways is to slow down the speed of circulation.
The tension between the temporary, low budget
nature of the project and the desire to avoid an
ephemeral appearance in the exhibition spaces
results in a layered, almost Janus-like construction
which is the combination of an industrial building
and a museum. On one hand is the light steel loadbearing frame and on the other is the solid interior
built into this light superstructure. In order to avoid
a provisional appearance which would interfere with
the perception of the art, we tried to avoid joints in
the interior and to have plain surfaces. The interior
walls are therefore made of solid blocks of plaster.
These double gypsum walls infill the steel frame,
support the paintings and also house the ventilation
system, electric wiring and the roof gutters. The floor
is made of cast granolithic concrete which contains
the heating services.
In contrast to the interior, the exterior cladding of
the museum is made of industrial building materials.
The inexpensive steel frame is clad with small sized
glass and metal components which can be easily
assembled and subsequently dismantled at a later
date. Such industrial materials, in addition to reflecting the modest budget and the limited life span of
the building, also refer to the industrial history of
Winterthur.
Perforated galvanized steel cassettes which span
horizontally are filled with insulating quilts. Frameless
glass planks which span vertically protect the
cassettes from the rain. Seen head-on, the facade
reveals the insulation cassettes behind the glass
profiles but, at a sharp angle, all underlying layers
are concealed. The glazing is like a floor-length dress
or skirt surrounding the ground level garage and
visually anchoring the museum which hovers above.
33
Here, the glass elements have open joints in order
to allow air to circu late freely through the garage.
34
The same industrial insulation cassettes used for
the facade also clad the ceiling of the garage where
they carry insulation, absorb noise, and provide
a finished ceiling lining.
The sawtooth roof, the footbridge and the emergency
exits - similar volumetrically since they all project
from the basic prismatic shape of the buildingare clad with hot-dipped galvanized metal sheet.
The windows and the footbridge are defined as
huge joints or gaps between the green glass planks.
The windows have a double-structure which consists
of an outer, single layer of glass at the height of the
glass planks and an inner insulating window which
can be opened. Blinds placed between the layers are
thus protected from the wind. The insulation
cassettes behind this glass are clearly visible.
During the day and at night, the windows provide
views into the museum which may arouse the
curiosity of passers-by.
Li ner Museum , Appenzell
The new museum in Appenzell, completed in
1998, is dedicated to the two artists Carl Liner
36
senior and junior, but with the intention of gradually
incorporating contemporary art as well. Carl Liner
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1 entrance lobby
senior died in 1946; Carl Liner junior died in 1997.
2 cloa kroom
Both artists lived and worked in Appenzell.
3 offi ce
4 galleries
5 mechanical plant
The site is on the border between the small historic
town and the beautiful countryside, close to a pasture
and a street leading to the railway station. The plan
is comprised of a series of relatively small exhibition
spaces. Single rooms can be devoted to groups of
works, to the different styles of father and son, and
to other artists as well. In this way, a concentrated
spatial, almost chapel-like mood is generated which
allows visitors to enter into a direct and intimate
dialogue with the different works on display. The
ten exhibition rooms measure between 30 and 50
square meters each and decrease in size from south
to north . Circulation from room to room meanders
initially to slow down the visitor's pace, then changes
to an enfilade with views into successive rooms .
Additional orientation is provided by windows facing
east and west and by oriel-like projections in the form
of large, light spaces at each end of the building.
Every gallery has its own roof with a skylight facing
north. The solid part of the roof functions as a
reflector so that the walls are evenly lit at viewing
height. The series of rooms, with their sloping saddle
roofs seen in section, resembles the shape of a
sawtooth roof. However, instead of an even rhythm,
the roof rises and falls in response to the varying
size of the rooms. The walls of the exhibition rooms
are painted white and the floor is made of cast
granolithic concrete. The load bearing structure
of the museum is massive, consisting of concrete
and concrete block. Services are housed between
the double walls.
The lobby is the biggest space and the only room
with a skylight facing south. It is the place where
people buy tickets, postcards and books but also
where they can assemble for discussions or lectures.
The articulation of the museum as a series of small
units with the attendant subdivision of the roof is
designed to reflect the diversity of the art collection
within and the small scale, checkered and hilly
landscape of the Canton of Appenzell with its
proverbially small farmhouses .
39
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Externally, sheet chrome steel on wood lathing is
used on both the roof and the facade. On the facade ,
the pieces overlap like the shingles traditionally used
to clad Appenzell houses. The dull color of the metal
resembles the silver coloring of weathered wood on
fences and old barns in the region. To prevent the
roofs from reflecting sunlight directly into the northfacing skylights , the chrome has been sandblasted
to diffuse light. The sandblasted metal becomes
analogous to clouds , natural diffusers of light.
By using the same cladding material for the roof
and exterior walls, the building volume is like a
small mountain range. In contrast to the surfaces
clad with overlapping metal sheets , the windows
and the skylights are encased in welded steel frames
which project from the face of the building. The
only place where the massive concrete bearing
structure of the building is revealed is at the entry.
43
Reinhart Collection am Romerholz, Winterthur
The original villa was built in 1915 in the style of
a French country residence, and a gallery extension
46
was added in 1925. On his death in 1965, Oskar
Reinhart bequeathed his home and his internationally
renowned art collection to the Swiss Confederation.
In 1970, the rooms of the home were converted
into exhi bition spaces. Although the focus of the
col lection is Impressionist art, it also includes
art of the Renaissance and late Middle Ages.
The renovat ions which we were commissioned to
undertake were completed in 1998 and inc luded
the construction of new exh ibition rooms as well
as a series improvements to lighting, security
and organization. In addition, mistakes made
during the previous renovation were to be rectified
to restore the bu ilding to its original state. Many
modifications have been made. In most cases, we
have not treated them dialectically in the classica l
sense of demonstratively distinguishing between
old and new, but instead in a synthesizing way
of reconstructing and making repairs or organic
additions. As such, these changes- including
the restoration of parquet floors and vau lting and
the reinstatement of windows- are barely visible
as interventions.
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In contrast to what might be called invisible
50
restoration , the most obvious change- a dialectical
modification - is the construction of three new
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exhibition rooms in place of two existing ones.
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As most of the artworks in these rooms were to
3 1925 extension
4 new galleries
be eighteenth and nineteenth century paintings
with heavy gilded frames , we were interested in
an intimate atmosphere to be generated by the
shape of the rooms, the lighting and the materials.
We developed a new lighting system based on a
chimney shaped section. Daylight enters from above
through etched glass; horizontal slats adjust the
amount of light which falls into the exhibition space
through lamp-like glass volumes lowered from the
ceiling. The light produced by having the ceiling
reach down into the exhibition space is similar
to the light conditions in galleries at the beginning
of the century, and it allows better illumination of
the joint between walls and ceiling.
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To adapt the new extension to its historical context,
we wanted to use a building material that would
52
quickly acquire the patina of age. We started by
mixing copper dust in prefabricated concrete panels
and then observing how they weathered. Almost
by accident, we discovered that the combination
of limestone and copper dust in concrete oxidizes
into a subtle greenish color within just a few months.
The rain that pours off the copper roof accelerates
the process of this reverse journey through time
from new to old. By coincidence , limestone is the
material of the walls of the original villa and copper
of the plumbing. By utilizing something akin to an
alchemist's recipe, we tried to capture the genius
look of this site.
"In each of these museums, the exhibition
spaces are treated as containers for art.
They are conceived as simple, unspectacular
rooms with good proportions, good lighting
and good materials. This architecture, which
draws on traditional models, is self-evident.
Our purpose is to downplay the exhibition
spaces for the sake of the art, which means
that the architecture should be familiar,
unq uestion ing and, you might even say,
obvious. It is like dimming the lights in
theaters and cinemas in order to prevent
the audience from being distracted.
The exterior of each building can be
understood as a consequence of the interior;
it makes the functions of the museum visible.
The facades lend expression to the various
conditions of the building: the pa rticu Ia rities
of the site, the construction, the climate
and the budget. Moreover, the exterior is ·
a reflection of its making - it reveals the
principles governing its construction and
the grammar of its materiality."
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"The images projected in this room are
shadows of color. They are colored light
depicting physical projects. They are indirect,
filtered perception -as in the Lucerne
exhibition - removed from buildings and
their materiality, supplemented by our physical
presence and the original sound of our voices.
In the cave-like, semi-darkness of the lecture
ha II, the question is raised but sha II remain
unanswered: Which is more rea I, more
authentic - the idea, the concept, or
its materialization?"
Art for Architecture
Material is ultimately the element that makes architecture visible.
However, this statement must be qualified because architecture
is complemented and supplemented by the phenomenon of color.
Colors have a more basic effect. They are superficially more visible,
more conspicuous than their support; they cover it up and outshine it.
Of course, color is produced by matter as well and takes a variety
of forms. Pigments may be mixed in with plaster or stucco, applied
as a glossy coat of paint or as a transparent wash. Even in its thinnest
form as a reflection or as colored light, color still requires matter in
order to be produced and perceived. To explore this idea, we have
undertaken several projects in which the collaboration of artists has
had a great influence on the appearance of our architecture.
Our motivations for working with artists and, as a matter of fact,
their reasons for working with us have nothing whatever to do
with the idea of architecture as a walk-in work of art. We are not
interested trying to turn architecture into art. Our goal in seeking
the collaboration of artists is for them to make a contribution in
keeping with their own character and their artistic interestsa contribution in the sense of thinking, seeking, looking and
acting together with us, of working on the subject of a building.
61
Sports Center, Davos
Our first project in cooperation with an artist was
the Sports Center in Davos, completed in 1996.
62
It replaced a beautiful and popular wooden ice rin k
building designed in the thirties by the architect
Rudolf Gaberel which was destroyed by fire in 1992.
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1 entrance lobby
2 grandstand
Dreaming of a progressive, modern town in the
3 skate rental
4 locker I changing rooms
mountains- in contrast to the well-known villages
5 restaurant
with saddle roofs - this ambitious and gifted architect
introduced an exceptional new building code which
required the construction of flat roofs. The ice rink
building was one of the first structures constructed
to this new code.
As Gaberel's building aged and weathered, the
light wooden facades darkened. On sunny days
the dark facades generated too much heat which
melted the ice. This heat absorption and consequent
radiation on the ice rink had to be prevented in the
new project. In addition, the functions and facilities
of the former building were to be enlarged in the
new scheme.
The many facilities squeezed into the building gave
us the idea of revealing the multiplicity of functions
on the outside. At the same time we wanted to find
6 kitchen
7 bedrooms
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Third Floor
a way to mark the building as a sport and recreation
center. We felt it should be a visual landmark for
64
sporting life, for activity and vitality. To achieve
this, we decided to explore the use of color.
A two layer, multi-colored facade is designed to
express the various functions housed within the
simple volume. We developed a wooden facade
which resembles a double wooden fence surrounding
the building. The facade consists of three basic
elements: vertical inner lathing, vertical outer lathing
and horizontal steel rails between. These elements
define a constructive grammar for the whole facade.
The inner lathing is colored while the outer lathing
remains untreated. The sliding shutters, the railings
of the balconies, the brise-soleil in front of the
balconies and the wind screens are all developed
out of these few elements. The windows, with
frames which stretch from floor to ceiling, are
expressed as large joints in the outer lathing.
On the north, east and south facades, the two layers
of slats are close together, separated only by the steel
rails. The outer layer is generously spaced to reveal
the colored layer beneath. The spacing of the slats
on the sliding shutters is tighter than on the facade .
On the western facade facing the ice rink, the
outer lathing is distanced from the inner lathing
66
to define the depth of balconies which separate
the two layers. In the guestroom story on the
third floor, this distanced outer lathing has the
double function of sliding shutters and brise-soleil.
For the grandstand, the outer lathing serves
as a wind screen on the north and south sides.
The benches of the grandstand are made of
the same wood as the outer lathing.
Concrete columns and beams support the wooden
grandstand and its roof. They extend the length
of the facade to support the balconies as well.
The beams have different cantilevers, stepped
for the seating and slightly elevated for the roof.
The concrete columns on the exterior reveal
the principle underlying the construction of the
whole building. Concrete is used for the supporting
elements and wood is used for a variety of
functions: to protect, to clad , and to absorb.
From the moment we thought of working with color
as a means of visualizing the different inner functions
to the final selection of colors for the facade was a
long and complex process. To determine the colors
and their composition, we decided to collaborate
with the painter Adrian Schiess. Schiess once
remarked that he thinks of paint as an element
that is endlessly dispersing and spreading. His
main works are called "Fiache Arbeiten " or flat
works. They are normative industrial panels in
wood or aluminum which are first painted manually
and then air brushed mechanically with car paint.
Schiess exhibits his panels as elements lying on
the floor or ground in series of different colors.
Reflections of the surroundings in the high-gloss
surfaces change constantly as the daylight varies.
This very sensitive and precise approach to color,
the integration of the surroundings into his work,
and his preference for prefabricated elements
appeared to be ideal for our purposes.
Schiess proposed five different color schemes which
were mocked up on wooden panels. This polychrome
experiment evolved into a composition of three colors
71
which were to be applied large scale to the exterior
building volumes. The final scheme - which is
72
derived from red , blue and yellow- consists of a
clear orange, complementary blue and a greenish
yellow. Yellow is used for the windows and the inner
lathing on the west facade facing the ice rink/sports
field. Blue is used for the south facade and a combination of blue and orange is ~s-ed for the east facade
where the main entrance is located.
Inside the building, the palette of three colors is
expanded to nine shades. The colors are used for
large panels applied to the walls and ceiling to
conceal services installations and provide sound
insulation. In order to avoid the danger of arbitrary
composition, Schiess assigned a single color to
all panels of the same size.
In the entrance lobby, the ceiling and the windows
bear both the yellow and the bright blue from the
exterior. Dark blue is added on the upper part of
the wall . In the restaurant, the concrete lateral walls
remain unpainted while the windows are painted
in the exterior colors of yellow , orange and blue.
On the second floor, the combination of exterior
orange with strawberry red in the hall shows how
strongly space and color are able to influence each
other. With strong light, the red becomes so intense
that it almost upsets the balance of the room.
In the skylit bedroom corridor on the third floor ,
acoustic panels and doors on one side are painted
in a sequence of changing colors. The ceiling and
the opposite wall are rendered in white stucco
on which the colored wall is faintly reflected.
Large black letters and numbers painted on the
doors provide orientation. In combination with
the colors, the signs and letters suggest the
colorful design of sportswear and equipment.
While the rooms are designed by an architect,
the use of color is explicitly that of a painter. The
perception of the building takes place within this field
of tension. Externally, the colors relate to the building
volumes, the surroundings, the landscape and the
sky. Within the building, they react to the density
and complexity of the interior life and its spatiality.
75
Housing, Broelberg
Located in a village , this housing development has
beautiful views over the lake of Zurich. Clusters of
76
old trees blur the boundary between the site and the
open natural landscape. Instead of sprinkling the site
with one-family homes, we suggested concentrating
the building volume in six locations in order to
preserve the trees and the park-like character of the
land. To implement this idea, we prepared a master
plan in 1990 which was finally approved in 1994.
Within the perimeter of each housing concentration ,
different functional concepts generate varying
building volumes. The first realized housing complex
is situated in the northern part of the park. It is
composed of three different building units on a single
story podium with garages tucked underneath. Four
row houses face east to the lake and two apartment
buildings, each containing five dwellings, are oriented
to the south and west. All units are entered from
the podium through a public courtyard created
by the three bui ldings.
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To fulfill the client's requirement for spacious
apartments for well-to-do tenants, the scheme
78
seeks to express the luxury of living in a beautiful,
quiet landscape with a view over the lake. Large
windows developed specifically for this building
resemble huge square eyes which 'consume' the
beauty of the landscape. These eyes are the principal
elements of the facade. Their irregular placement
expresses the individual character of each apartment.
Like the windows of luxury cars, the panes of glass
have no frames on the outside. Instead, on ly black
printed stripes are visible where the inner wooden
frames are glued to the glass. Like the bezelled
setting of a jewel, an aluminum frame which
holds metal roller blinds surrounds the window.
Because of the relatively expensive windows,
we had to find more economical solutions for the
rest of the construction . An externa l insulation and
finish system consists of stucco applied directly to
insulation panels. To avoid simulating solid substrate
stucco walls, we wanted the color of the stucco to
refer to the organic insulation behind. We wanted
to use a color more likely to be associated with
things in the organic world - like leather or the
trunks of trees - than white or gray colors which are
associated with mineral materials like stone, plaster
or concrete. We envisioned a brown similar to the
dark brown of horses or the creosote on wooden
fences in the landscape.
During the design stage, we contacted the German
artist Harald F. Muller. The focus of Muller's work
involves unearthing photographs in archives and,
through a series of detailed investigations, selecting
particular images which are processed specifically
for a given exhibition space. Size, surface structure,
placement on the wall and the method of hanging
are important issues. This procedure, the intense
study of something that already exists, the precise
and intuitive selection, and Muller's specific
knowledge of colors and their chemical composition
are all aspects of his work that appealed to us.
81
MUller painted a variety of brown hues in support
of our research. Chemical and physical factors
82
transformed the imagined brown of the stucco into
more of a mineral brown, almost a grayish or whitish
brown similar to ploughed earth instead of an organic
brown like wood or leather. This was a change that
we liked, because the grayish brown expresses the
composition of the stucco as a compound of mineral
and organic materials. The smooth dark brown
stucco encloses the different buildings like a skin
and emphasizes the overall volumetric composition.
At the same time, a curious tension is generated
by the angularity of the volumes and the irregular
arrangement of the openings.
On the facades facing the podium , the dark brown
is contrasted with a bright orange. The brilliance
of the orange creates an atmosphere of warmth
and responsiveness which transforms the courtyard
into an intense color space, ever-changing with
the moving daylight. The podium floor is made of
concrete, glass brick and gravel. The podium is
divided into public access zones and private outdoor
spaces by steel frames clad with plywood planking.
Signal Box, Zurich
The site is adjacent to the railroad tracks on the
industrial outskirts of Zurich. Completed in 1999,
88
the building houses the computerized switching
station that services a Ia rge portion of the track
system. Upon finishing the building shell, it took
another year for the electronics to be instal led
inside by the Swiss Federal Railroad.
Within the three story building, technical facilities
and computer security systems are on the lower
levels and the control rooms are on the top floor.
Because some of the facilities generate a great
deal of heat and other rooms must be temperature
controlled, it was important to design an intelligent
shell that could both store and release heat into
the environment. We therefore constructed a solid
concrete structure with sufficient thickness to
accumulate and store heat or cold and which is
insulated to meet the temperature requirements
of the individua l rooms. The reinforcing steel in the
concrete forms a Faraday cage to protect the sensitive
electronics inside from disruptive outside influences.
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On the third floor, the control rooms have windows
overlooking the tracks. These windows consist of
a sealed inner leaf that can be opened from inside
and a free floating outer sheet of glass which serves
as a sunscreen. Shutters in between regulate the
intensity of light in the interior. The glazed sunscreen
is coated with reflective vaporized metal.
The patina on all of the objects and buildings near
the tracks -a result of the iron dust from the train
brakes - inspired us to integrate the small building
into this family of rusty red and brownish colors.
This intentional camouflage seemed appropriate
since the signal box, serving mainly to house
electronic switchgear for the railroad, is not a
public building. We therefore dyed the concrete
with pigment which is chemically the same as
the oxidized particles released from the brakes
when trains decelerate. Just as the iron oxidation
from braking changes the color of the ballast on
the railroad bed , chemically stabilized iron oxide
pigments color the concrete in warm hues in a
spectrum of black, brown, red, orange and yellow.
91
The brown iron oxide in the concrete integrates the
building into its surroundings, and indeed almost
94
camouflages it. In contrast, the reflective metallized
glazing of the top floor control rooms is set off against
the quiet mood of the concrete. Referring to the
function of the building, the windows are like
shiny eyes watching over the tracks.
We again worked with Harald Muller on the interior
color scheme. Wooden components are painted in
the colors discovered in the immediate surroundings
of the building. Cupboards , wardrobes and staff
restrooms become colorful implantations of the
exterior world within. The staircase and the control
room remain unpainted. In these spaces, color is
perceived only as a faint green produced by daylight
transmitted through the vaporized metallic coating
on the glazing.
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"The concept of a design -our interpretation
of an arch itectu ra I task - is the point of
departure for the collaborative venture
with the artist. The artistic work is so well
integrated into the design concept of the
buildings that it is no longer possible to make
a distinction between artistic and architectural
components. This is in stark contrast to the
museums, where artwork and architecture are
intentionally separate and distinct, and also
in contrast to the more familiar situation of
art specifically commissioned for a building."
Museum and Archeological Park, Kalkriese
On this project which is currently under construction,
we are working in collaboration with landscape
98
architects and archeologists. Based on the latest
archeological excavations, the museum and the
park will explain to the public where and how the
famous Varus Battle of the ancient Germans against
the Romans took place in the year 9 AD. A museum
building will house archeological findings which at
present are displayed in existing rural buildings on
the site. The site currently includes wooded areas,
clearings, lot boundaries and road systems - marks
on the land which show the various ways it has
been cultivated and used over the centuries.
The site of the battleground is a narrow passage
between a dense beech and oak forest and the lower
ground of marshland with brooks and isolated groups
of trees. Marching columns of Roman legions were
attacked by surprise and driven into the marsh by
the Germans who were hidden in the forest and
protected by earthworks.
The ancient situation is being reconstructed on
the foundation of the current agricultural parameters
100
of the land. Trees will be planted on the southern
part of the site in order to recreate the ancient forest.
Towards the north, existing woods are being partially
cleared to reflect the sparse vegetation of the former
marsh with its isolated groups of trees. The open
field between will be enlarged and maintained
as a meadow.
Three different road systems mark the site. The route
of the Romans along the earthworks in the difficult
terrain is traced by large, irregular steel slabs placed
in the pattern of a path. To give the impression of
the chaos of battle, the slabs of the Roman road
are placed irregularly. Words , scribbles, numbers
and symbols relating to the historic event are written
on the slabs. The position and height of the German
earthworks and their palisades are staked out by
steel poles. The locations of the earthworks have
been established by a combination of archeological
excavation and empirical assumption.
The forest is accessed via narrow paths covered
with wood chips which give visitors the opportunity
102
to experience the freedom of movement of the
ancient Germans behind the earthworks. A further
network of gravel paths is superimposed on the
landscape , its geometry defined by the current
agricultural division of the land. These trails allow
visitors to explore the whole terrain , beyond the
positions of the Romans and ancient Germans ,
and to move through the area as a landscape park.
The curved Roman routes , the branching German
trails and the paths derived from agricultural
patterns are evidence of the many epochs and
cultures superimposed upon this site . The perspective
of the visitor is thereby focused not only on the
battle of the year 9 AD, but on the present time
as well. Such multiple readings are inevitable in
all archaeological interventions which seek an
understanding of the past.
A reconstruction of the original landscape which
is excavated into the ground is the most important
intervention in the park and forms an outdoor
museum which complements the new building.
This reconstituted landscape covers an area of
2 ,000 square feet and includes earthworks, sandy
106
soil and sloping marshland with isolated birch trees
and a dense body of beech trees, all of which give
the visitor an authentic impression of the landscape
as it existed at the time of the battle.
Steel sheet pile walls serve to retain the existing
terrain and also act as a railing around the
reconstructed landscape which is set apart from
the present day topography and vegetation. Visitors
will descend slowly into the sunken landscape on
lateral enclosed entrance ramps. An archeological
section with different layers of soil will be painted
full scale on the sheet piling and explained to
visitors by texts.
Three pavilions- Listening, Seeing and Understanding
- collect, concentrate and deepen sensory impressions
while walking through the park. They are located
along the Roman path and allow the visitor to leave
the reality of the landscape for a moment in order
to experience it in a different and more intense way.
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The Listening Pavilion is lighted by an overhead
window. Through a large hearing pipe composed
of welded segments of galvanized steel, sounds
from outside are amplified and transmitted into a
soundproof room. The visitor can locate the sources
of the sound by moving around the listening device.
In the Seeing Pavilion, the visitor experiences by
means of a camera obscura an intense, surreal
upside-down reproduction of the outside world.
The image is projected on a hemisphere of glass
and illuminates the dark room in a mystic way.
On the outside, the camera shows as a lens
covered with a shell of steel like a large eyeball.
The Understanding Pavilion, placed at the end of the
Roman path , allows the curious visitor to look back
over the battlefield through slits in the wall before
being confronted with a video installation showing
the current trouble spots in the world. The theme
of this pavilion is battle as a form of conflict both
past and present.
109
The museum building marks the entrance to the
park. Raised above the ground, it offers visitors an
110
aerial view of the surroundings from a tower rising
above the treetops. The building is anchored to the
ground by three different volumes which contain
the main staircase leading up to the museum, the
elevator and stairs of the tower, and the service
ramp. The entrance hall at the top of the main
staircase has large windows with views into the
park. Moveable partitions and furniture allow this
hall and the adjacent auditorium to be used in many
different ways. The exhibition space is a simple
room with three lateral windows and steel columns.
The raised floor , the wall and the suspended ceiling
are clad with black untreated steel panels. The dark
materiality of the steel provides the backdrop for
the exhibition which is freely placed in large threedimensional showcases and walls.
Stairs in the tower cross from side to side, traversing
two open-air exhibition spaces which are oriented
in different directions. At the top of the tower,
a platform offers panoramic views of the former
battlefield and the surroundings. The structure of
the building is a simple steel frame clad externally
with large weathered steel panels.
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A reduced palette of materials as a contemporary
means of visualization makes it easier to distinguish
the measures undertaken to illustrate the historical
situation. The pavilions, the sunken landscape,
the slabs of the path and the poles marking the
earthworks all consist all of a single material: steel.
The steel has many finishes - raw , rusty, oiled or
painted - which allow the material to adapt to
different purposes.
In both the signal box and the Kalkriese museum,
volumetric form is derived directly from a strong
interpretation of the contents and programs of the
buildings. It is evident in the minimal inteNention
of the slightly sloped and folded concrete roof of
the signal box as well as in the more expressive
silhouette of the archeological museum. The choice
of material is essentially linked to the underlying
themes and concepts of each building.
Annette Gigon & Mike Guyer
113
Gigon I Guyer
114
Annette Gigon
1959 Date of birth
1984 Graduated from Federal Institute of Technology , Zurich (ETH)
1984-85 Collaboration with Marbach & Ruegg, Zurich
1985-88 Collaboration with Herzog & de Meuron, Basel
1987-89 Own architectural practice
Mike Guyer
1958 Date of birth
1984 Graduated from Federal Institute of Technology, Zurich (ETH)
1984-87 Collaboration with Rem Koolhaas, OMA, Rotterdam
1987-88 Assistant lecturer with Hans Kal lhoff, ETH
1987-89 Own architectural practice
Gigon I Guyer
1989 Establishment of joint architectural practice
Exhibitions
1993 "Werkstoff" (Material), Architekturgalerie, Lucerne.
1994-95 "Swiss Museums," Centre Pasquart, Bienne and Zug.
1995-96 "Light Constructions," Museum of Modern Art,
New York and Barcelona.
Awards
1992 Award DRS (Television) for the Kirchner Museum.
1995 Award 'Auszeichnung fUr gute Bauten im Kanton
Graubunden ' for the Kirchner Museum.
1995 Award DRS (Television) for the Winterthur Museum
of Art Extension .
1996 Award 'Bauen in den Bergen' Joint 1st Prize
Sexten Kultur Italy for the Kirchner Museum .
1996 Winterthur Museum of Art Extension nominated for
Mies van der Rohe Award for European Architecture.
1998 Museum Liner nominated and shortlisted for
Mies van der Rohe Award for European Architecture.
115
Charles & Ray Eames
Charles Eames was born in St. Louis , Missouri in 1907 and,
after studying architecture for two years at Washington University
116
and traveling in Europe , returned to St. Louis in 1930 to open
an architectural practice of his own. Seven years before, the famous
Finnish architect Eliel Saarinen had arrived at the University of
Michigan . While in Ann Arbor, Saarinen became acquainted with
the Booth family who offered him design responsibilities for the
new Cranbrook Academy of Art. After moving to Cranbrook, Saarinen
saw Eames' work published and, in 1938, offered him a Fel lowship.
Two years later, Charles Eames became the Head of the Industrial
Design Department.
Charles met Ray Kaiser at Cranbrook. Five years younger than
Charles, Ray was an accomplished artist and a founding member
of the American Abstract Artists group who had studied painting
with Hans Hofmann in New York prior to coming to Michigan .
When Charles and Eero Saarinen were working on their 100 studies
to initiate the designs for the Museum of Modern Art Organic Furniture
Competition in 1940, Ray worked with them to develop the proposals
that were subsequently awarded first prize in each of the two main
categories. The designs did not go into production. World War II
was imminent, and the procedures for molding plywood into complex
curvatures and cycle welding for bonding of meta l to wood had not
yet been perfected.
The Eames Lecturers
1998 · Tod Williams & Billie Tsien
1999 · Mack Scogin & Merill Elam
2000 · Annette Gigon & Mike Guyer
Charles and Ray Eames were married in 1941. In the same year
they moved to Los Angeles, where they continued the research and
testing of molded plywood construction that they had initiated with
Colonel Edward S. Evans of Evans Products Company in Michigan.
George Nelson introduced the Eames to the Herman Miller Furniture
Company and , in 1946, when their designs for molded plywood
furniture were ready for production, the company bought the
distribution rights as Evans did not have the capability of massmarketing. Three years later, as Charles and Ray Eames completed
their Case Study House #8 in Santa Monica, Herman Miller took
over the complete manufacturing rights for the molded plywood
furniture and a manufacturing plant was built in Zeeland, Michigan.
The Office of Charles and Ray Eames continued to work on the design
of furniture for almost forty years and Herman Miller has been
the sole manufacturer of all Eames furniture in the United States.
Alongside their designs for furniture, Charles and Ray Eames
developed an office which promoted design in many ways.
Through programs of design research, materials investigation and
technological innovation, they worked in the fields of architecture
and interior design, exhibition and graphic design , product
development and film making. They encouraged collaborations
across the disciplines and designed new ways of working that
connected industry and design.
The Royal Gold Medal for Architecture was awarded to the Office
of Charles and Ray Eames in 1979. Ray died in 1988 - ten years
to the day after Charles.
117
Herman Miller, Inc.
D.J. DePree joined the Star Furniture Company in Grand Rapids,
Michigan in 1909 as a clerk. The company, which was four years
118
old at the time , manufactured high quality, traditional style residential
furniture. Ten years later he became the President and in 1923
convinced Herman Miller, his father-in -law, and a sma ll group of
investors to join him in purchasing a majority of shares of Michigan
Star stock.
They renamed the company, but not unti l the New York industrial
designer Gilbert Rohde visited the Grand Rapids Showroom of
the Herman Miller Furniture Company in 1931 did the idea of
manufacturing simple and flexible modern furniture become of
particular interest to them. Rohde became the company's design
leader, and it was his proposals for furniture that led the company
to pursue innovation in both design and technology. In 1933,
modern furniture manufactured by Herman Miller was shown at
the "Century of Progress" exposition in Chicago. Six years later,
with sales shipments totaling $160,000, the company opened
a showroom there followed by one in New York and a third in Los
Angeles in 1942. By this time, with a new modular system designed
by Rohde, Herman Miller had entered the office furniture market. As
corporate sales increased , the company phased out the manufacture
of all traditional style furniture in favor of modern designs.
When Gilbert Rohde died, D.J. DePree invited the architect and
author George Nelson to serve as design director. From 1944,
under Nelson's able leadership, the company was to establish
long-term relationships with a number of outstanding designers.
Charles and Ray Eames first started working with Herman Miller
in 1946, a partnership that spanned more than forty years and
produced a wide range of outstanding furniture. Molded plywood
chairs fabricated in 1946 were followed by a series of molded
fiberglass chairs developed out of experiments into airplane
production techniques , the Eames lounge and ottoman of molded
wood and leather in 1956, and , two years later, the aluminum
group chairs which led to a series of new approaches to seating.
In 1962 Hugh DePree assumed the leadership of Herman Miller
as President and Chief Executive Officer, with D.J. De Pree taking
up the position of Chairman of the Board. In 1968 the company
introduced Action Office, the world's first panel system for office
furniture, designed by Robert Propst and a team of designers.
By the time D.J. DePree died in 1990, the company had a series
of manufacturing centers in America and abroad , a new Corporate
Center in Zeeland, and the Design Yard in Holland, Michigan.
Continuing to act as an inspired patron and working with designers
from England , Germany and the USA, their design studies in work
seating led to the introduction of ergonomic chairs in 1972 and the
recyclable no-foam Aeron chair in 1994. Three years later, and
with sales of $1.5 billion , Herman Miller was ranked by Fortune
Magazine as one of the top twenty-five most admired companies
in the United States.
119
Acknowledgments
The Taubman College of Architecture and Urban Planning is extremely
grateful to Herman Miller, Inc. for their encouragement, interest and
generous assistance that have made both the Charles and Ray Eames
Lecture and this published record possible.
Faculty, staff and students at the College have helped in many
ways. In particular, Sallie Kne and Mary Anne Drew ensured that
everything ran smoothly. Miyun Kang and Etienne Kuhn, students
in the Architecture Program at Michigan, and Christoph Loetscher
in Zurich gave valuable assistance.
The inspiration and effort of Annette Gigon and Mike Guyer have
created these outstanding buildings. Working together with Annette
LeCuyer, Brian Carter and Christian Unverzagt in Michigan and
at their studio in Zurich, Gigon and Guyer helped to design and
prepare material for this book. Their perseverance and hospitality
were much appreciated.
Photographs
Arazebra:47d, 49, 53b, 53d, 53e, 57b, 57d. Gigon & Guyer: 20f, 29a, 3ld, 32a, 40f,
42b, 42c, 42d, 47a , 47c, 65e, 67d, 73a, 73b, 73c, 73d, 74c, 74d, 79a, 79c, 79d,
79f, 80, 83b, 90a, 90c, 90d, 90e, 90f, lOla, lOlb, lOlc, lOld, lOle, 1011, 103a,
103b, 103c, 103d, 103e, 103f, 104-105, 108a, 108b, 108c, 108d, 108e, 108f,
112b. Heinrich Helfenstein: 6-7, 10-11, 17a, 17b, 17c, 17d, 17e, 17f, 20a, 20b, 20c,
20d, 20e, 23, 25a, 25b, 25d, 29b, 29c, 29d, 29e, 3la, 3lb, 3lc, ;3le, 311, 32a, 32b,
32c, 32d, 32e, 32f, 35, 38c, 38d, 38e, 38f, 40a , 40b, 40c, 40d , 40e, 42a, 42e, 42f,
44-45, 56a, 56b, 56c, 56d, 57a, 57c, 65a, 65b, 65f, 67a, 67b, 67c, 68-69, 73e, 73f,
74a, 74b, 74e, 74f, 79b, 79e, 83c, 83d, 86-87, 90b, 95d, 95e, 95f, 97a, 97b.
Annette W. LeCuyer: 53f. Courtesy Herman Miller, Inc: 116, 118. Harald F. Muller: 82a,
83e, 83f, 92-93, 95a , 95b, 95c, 97c, 112a. Courtesy Kirchner Museum, Davos: 15a,
15b, 15c, 15d. Courtesy Winterthur Museum of Art: 29f. Courtesy Adrian Schiess: 70a,
70b. Courtesy Liner Museum: 38a, 38b. Courtesy Reinhart Collection am Rbmerholz:
47b, 47c, 47e, 47f. Courtesy Sports Center, Davos: 65d, 65c. Courtesy Museum and
Archeological Park, Kalkriese: 99a.
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