AMAG 27 DESCHENAUX ARCHITECTES | FELIPPI WYSSEN | MARAZZI REINHARDT | online sample PREVIEW

SPECIAL THANKS TO Alcino Delgado Ana Assunção Andreas Reinhardt António Amaral Artur Sousa Fabio Felippi Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Paul Devaux Rita Leite de Castro Roberto Arias Rose Haberstich Rui Caldas Sofia Teodósio Thomas Allaert Valentin Deschenaux

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN | MARAZZI REINHARDT

EN. FR. PT.

PUBLICATION DATE 2022 June COLLECTION AMAG magazine NUMBER 27 TITLE Deschenaux Architectes Felippi Wyssen Architects Marazzi Reinhardt

image Winter Van Rafelghem

Kevin, 22 years of experience.

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN ARCHITECTS | MARAZZI REINHARDT ARCHITECTS

Proud ambassador of our craftsmanship.

ISBN 978-989-53330-3-5

27

ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164 EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TEXTS AND TRANSLATIONS AL and JMP Introduction essays were originally written in Portuguese by the respective authors.

All other Portuguese texts were translated by Ana Leal.

Introduction essays were translated to FR and EN,

by Clementine Dobbelaar.

Other texts were originally written in EN or FR by the authors, acoording the respective note bellow it.

Respective translations to FR or EN were made

by Clementine Dobbelaar.

Portuguese texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author.

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SPECIAL THANKS TO Alcino Delgado Ana Assunção Andreas Reinhardt António Amaral Artur Sousa Fabio Felippi Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Paul Devaux Rita Leite de Castro Roberto Arias Rose Haberstich Rui Caldas Sofia Teodósio Thomas Allaert Valentin Deschenaux

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN | MARAZZI REINHARDT

image Winter Van Rafelghem

Kevin, 22 years of experience.

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN ARCHITECTS | MARAZZI REINHARDT ARCHITECTS

Proud ambassador of our craftsmanship.

EN. FR. PT.

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SPECIAL THANKS TO Alcino Delgado Ana Assunção Andreas Reinhardt António Amaral Artur Sousa Fabio Felippi Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Paul Devaux Rita Leite de Castro Roberto Arias Rose Haberstich Rui Caldas Sofia Teodósio Thomas Allaert Valentin Deschenaux

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN | MARAZZI REINHARDT

image Winter Van Rafelghem

Kevin, 22 years of experience.

DESCHENAUX ARCHITECTES | FELIPPI WYSSEN ARCHITECTS | MARAZZI REINHARDT ARCHITECTS

Proud ambassador of our craftsmanship.

EN. FR. PT.

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thoughts from the editor IT IS NOT ABOUT HOW BUT WHY

003

josé manuel pedreirinho THE MYTH OF SWISS ARCHITECTURE

005

DESCHENAUX ARCHITECTES LÙ MUNTEILLÉ MAISON JÉRICHO LÙ CHATARME MAISON À LA PLACE HABITATIONS COLLECTIVES BEL-AIR

008 010 018 026 040 050

FELIPPI WYSSEN HOUSE BASELSTRASSE HOUSE GATTERNWEG HOUSE MOOSWEG

060 062 074 084

CHANGING-ROOM BUILDING HOUSE BRUDERHOLZ

094 106

MARAZZI REINHARDT HINTERHUEB BREITEN SPRÖSSLING HAUS ZUM PUDEL GIOVANNI

114 116 128 138 150 166

CREDITS

176

ABOUT ANA LEAL Ana Leal is the co-founder and editor-in-chief of AMAG magazine and AMAG publisher since 2011.

She graduated in architecture in Porto, Portugal and has been dedicating her professional journey to editorial projects on the topic of architecture since 2006.

Ana Leal was also the co-founder of DARCO magazine in 2006 and AICO Architecture International Congress at Oporto in 2010 and 2018.

THOUGHTS FROM THE EDITOR 003

IT IS NOT ABOUT HOW BUT WHY

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FR

PT

It has been 15 years since my work as a publisher and editorin-chief began. A journey filled with passion, excitement and compromise at every single publication or project, as if it were the last or the very first.

Cela fait maintenant 15 ans que mon travail en tant qu’éditrice et de rédactrice en chef a commencé. Un voyage rempli de passion, d’excitation et de compromis à chaque ouvrage et projet, comme s’il s’agissait du dernier ou du tout premier.

Passaram cerca de 15 anos, desde o início do meu trabalho enquanto editora. Um percurso movido por uma forte paixão e compromisso em cada título e projecto, como se cada um pudesse ser o último ou o primeiro.

A path that makes confidence grow, true and faithful to my personal beliefs, convictions and values. A little bit like what Swiss architecture means to me.

Un chemin qui fait grandir la confiance en soi, sincère et fidèle à mes opinions, mes convictions personnelles et à mes valeurs. Un peu comme ce que l’architecture suisse représente pour moi.

Um caminho crescente e de absoluta confiança, fiel às minhas convicções e valores, à imagem do que representa para mim, a arquitectura suíça.

An anonymous way of practising architecture that is full of contrasts and the purest of abstractions, strongly based on artisanal construction and natural materials, social and human needs, reinforced by the geographical characteristics of the territory, and that defines a unique identity, faithful to a silent character that it expresses with coherence and authenticity without succumbing to the pressures of the loud and uniform trends of modern day-to-day life.

In the end, it is this holistic vision, with its mastery of the whole throughout the process, that mostly defines “Swiss” architecture, even beyond its physical territory.

This is the result of AMAG 27, devoted to the most recent work carried out by three Swiss architecture firms, based, respectively, in Freiburg, Basel and Winterthur, three different cities located in the German-speaking north of the country: DESCHENAUX ARCHITECTES, FELIPPI WYSSEN and MARAZZI REINHARDT. Their different knowledge, which is reflected in the way they approach constructive aspects, is exemplified in their way of solving carpentry and other complementary issues, even sometimes in a greater formal experimentalism present in all these projects, that characterise their professional paths and experiences.

As Peter Zumthor states in “Thinking Architecture”, “Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.”

This is exactly what our publications aim to reach and build.

A silent universe with a slow pace and consistency to last beyond today, written in a true way and faithful to its values.

Ana Leal

Une pratique architecturale anonyme, pleine de contrastes et d’une abstraction pure, fortement basée sur la construction artisanale et les matériaux naturels, les besoins sociaux et humains, renforcée par les caractéristiques géographiques du territoire et qui définit une identité singulière, fidèle à un caractère silencieux qu’elle exprime avec cohérence et authenticité sans succomber à la pression des tendances bruyantes et uniformes de la vie de tous les jours actuelle.

En fin de compte, c’est surtout cette vision holistique, avec sa maîtrise de l’ensemble tout au long du processus, qui définit l’architecture “suisse”, même au-delà de son territoire physique.

Ceci est le résultat d’AMAG 27, consacré aux derniers travaux réalisés par trois cabinets d’architecture suisses, respectivement basés à Fribourg, Bâle et Winterthur, trois villes différentes situées dans le nord germanophone du pays : DESCHENAUX ARCHITECTES, FELIPPI WYSSEN et MARAZZI REINHARDT. Leurs différentes connaissances, qui se reflètent dans la manière d’aborder les aspects constructifs, se traduisent par leur façon de résoudre les questions de menuiserie et d’autres solutions complémentaires, voire parfois par un plus grand expérimentalisme formel présent dans tous ces projets, qui caractérisent leurs parcours et expériences professionnelles.

Comme le fait remarquer Peter Zumthor dans “Thinking Architecture”, “l’architecture a son propre univers. Elle a une relation physique particulière avec la vie. Je ne la considère pas d’abord comme un message ou un symbole, mais comme une enveloppe et un arrière-plan pour la vie qui se déroule en elle et autour d’elle, un délicat récipient pour le rythme des pas sur le sol, pour la concentration du travail, pour le silence du sommeil.”

Tout comme nos ouvrages, qui visent à atteindre et à construire. Un silencieux univers de douceur et de cohérence pour durer au-delà d’aujourd’hui, écrit de façon authentique et fidèle à ses valeurs.

Uma prática anónima de grandes contrastes e pura abstracção formal, assente em princípios constructivos ancestrais e manuais, com recurso a materiais naturais e locais em resposta as diversas necessidades sociais e humanas. Sem nunca esquecer as características geográficas do território, a arquitectura que designamos como Suíça, representa uma identidade singular, fiel a um forte carácter silencioso que se expressa de forma consistente e genuína, sem sucumbir à pressão das tendências ruidosas e uniformes da vida quotidiana actual.

Uma visão holística, em que o todo está presente e na base do processo conceptual e constructivo, e que define uma arquitectura “Suíça”, muitas vezes além do seu território físico.

Este é o resultado da AMAG 27, dedicada ao trabalho mais recente de três escritórios de arquitectura suíços, do norte do país: DESCHENAUX ARCHITECTES, FELIPPI WYSSEN e MARAZZI REINHARDT. O seu trabalho, ainda que diferenciado, representa quer no aspecto formal quer no aspecto construtivo, um exemplo consistente de diferentes soluções do ponto de vista constructivo, carpintaria e soluções complementares, e até mesmo por vezes, de um ponto de vista formal mais experimental.

Tal como Peter Zumthor, refere no livro “Thinking Architecture”, “A arquitectura tem seu próprio domínio. Uma relação física especial com a vida. Não como uma mensagem ou de forma simbólica, mas como um invólucro e um cenário à vida que se desenrola no seu interior ou ao seu redor, sensível ao ritmo de cada passo, capaz de promover a concentração no trabalho, ou o silêncio ao sono.”

Também os nossos títulos pretendem alcançar e construir um percurso silencioso, lento e consistente. Não só hoje, mas sobretudo amanhã. Construindo um legado verdadeiro e fiel aos meus, e seus princípios.

Ana Leal

Ana Leal

ORIGINAL TEXT

ABOUT JOSÉ MANUEL PEDREIRINHO José Manuel Pedreirinho, architect, graduated from ESBAL (1976) and PhD from the Faculty of Architecture of the University of Seville (2012).

Activity in the liberal profession since 1980 and as a teacher since 1985, in Porto and as Director of the EUAC in Coimbra (1990-2014). Since 1979 he collaborate in several newspapers and magazines, and he was author of several books on themes of “History of Portuguese Architecture of the 20th century”.

From January 2017 to 2020 JMP, was President of the Order of Architects, and of Fundación Docomomo Ibérico, and member of the Executive Committee of the Council of Architects of Europe (2018-2020). He is actually Vice-president of the International Council of Portuguese Language Architects.

JOSÉ MANUEL PEDREIRINHO 005

THE MYTH OF SWISS ARCHITECTURE

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PT

A country of exception and contrasts, Switzerland is also, and has long been, the source of one of the most interesting and innovative centres of production in world architecture.

Pays d’exception et de contrastes, la Suisse est aussi, et depuis longtemps, à l’origine de l’un des centres de production les plus intéressants et innovants de l’architecture mondiale.

País de excepção e de muitos contrastes, a Suiça é também, e desde há muito, a origem de um dos mais interessantes e inovadores núcleos de produção da arquitetura mundial.

A quality that is not simply to be measured by the number of Pritzker prizes that originate here, but is also reflected in their great quality and, certainly even more so, in the different ways in which each one expresses itself. A diversity that is strongly reinforced by the geographical characteristics of the territory, and which is nothing other than a reflection of the multiple cultural influences that are concentrated here, in what has always been an isolated place, but one of connection and of passage for neighbours. A diversity that is well reflected in the four different official languages spoken, or in its unique, highly decentralised political structure that encourages local decision making.

Une qualité qui ne se mesure pas seulement par le nombre record de Pritzker qui en sont issus, mais qui se reflète aussi dans leur grande qualité et, certainement plus encore, dans les différentes manières dont chacun s’exprime. Une diversité fortement renforcée par les caractéristiques géographiques du territoire, et qui n’est rien d’autre que le reflet des multiples influences culturelles qui se concentrent ici, dans ce qui a toujours été un lieu isolé, mais de connexion et de passage pour les voisins. La diversité s’exprime bien dans les quatre différentes langues officielles parlées, ou dans une structure politique unique, fortement décentralisée, qui encourage les demandes de projet locales.

Uma qualidade que não se pode mensurar pelo record de Pritzkers que ali têm a sua origem, mas que também se reflecte na grande densidade destes e, certamente ainda mais, nos diferentes modos como cada um deles se exprime.

Uma diversidade fortemente potenciada pelas características geográficas do território, e que não é mais do que o reflexo das múltiplas influencias culturais que aqui se concentram, neste que foi sempre um lugar isolado, mas de ligação e passagem para os vizinhos. Diversidade bem expressa nas quatro diferentes línguas oficiais que se falam, ou numa estrutura política única, fortemente descentralizada que incentiva a encomenda local.

The result is a production whose exquisite quality requires those who wish to get to know it, to undertake successive pilgrimages through the Alps. Only in this way can one be surprised by work scattered around the most unpredictable of places, in a geography that is the cause of many separations, but also of the strongest of relationships with the context in which each work is found.

Le résultat est une production dont l’exquise qualité nécessite des pèlerinages successifs à travers les Alpes pour ceux qui veulent la connaître. Ce n’est qu’ainsi que l’on peut être surpris par des œuvres dispersées dans les endroits les plus imprévisibles, dans une géographie qui est la cause de nombreuses séparations, mais aussi de relations très fortes avec le contexte dans lequel chacune d’entre elles se trouve.

O resultado é uma produção cuja requintada qualidade, exige, para os que a querem conhecer, sucessivas peregrinações pelos Alpes. Só assim podemos surpreender-nos com obras espalhadas pelos sítios mais imprevisíveis, numa geografia causadora de muitas separações, mas também das fortíssimas relações com o contexto em que cada uma se situa.

Work in which anonymous architecture mixes with designer buildings, but where one can also be confronted with work of the purest abstraction.

Des œuvres où l’architecture anonyme se mêle aux bâtiments d’auteur, mais où l’on peut aussi être confronté à des interventions de la plus pure abstraction.

In a territory where nature itself and the landscape are generators of unlimited picturesque frames, it is also an architecture strongly anchored in the construction of a synthesis between the traditional and the natural, but also in the capacity to balance everything with the will to ensure the intelligibility of a notorious artistic ambition.

Dans un territoire où la nature elle-même et le paysage sont générateurs d’un pittoresque sans limites, c’est aussi une architecture fortement ancrée dans la construction d’une synthèse entre le traditionnel, le naturel, mais aussi dans la capacité de tout équilibrer avec la volonté d’assurer l’intelligibilité d’une ambition artistique notoire.

An ambition that is also a way of responding to the rigour of regulations and norms that result in morphologies of great monotonous uniformity, found especially in the cities, where many of the most remarkable developments are pushed to the peripheries

Une ambition qui est aussi une façon de répondre à la rigueur des règlements et des normes qui se traduisent par des morphologies d’une grande uniformité monotone, que l’on retrouve surtout dans les villes, où beaucoup des interventions les plus remarquables sont repoussées à la périphérie.

The result is an architecture of contrasts between country house-style conservatism, reproducing the most traditional of designs, in a taste that is sometimes almost kitsch - as has often been mentioned - which coexists with a practice that for many years has been at the forefront of world architecture. A practice in which innovation, structural or formal experimentation and precision in the use of materials are combined and synthesised.

Le résultat est une architecture de contrastes entre un conservatisme de maison de campagne, reproduisant les modèles les plus traditionnels, dans un goût parfois presque kitsch - comme on l’a aussi souvent évoqué- qui coexiste avec une pratique qui, depuis de nombreuses années, est à l’avant-garde de l’architecture mondiale. Une pratique où se mêlent et se synthétisent l’innovation, l’expérimentation structurelle ou formelle et la précision dans la manière d’utiliser les matériaux.

A mix that is also present in the superb isolation of this territory and in the attraction it exerts around it, but which starts at the universities, whose curricula and architectural teaching methodologies place them among the most reputable, or in the vast achievements that go far beyond the scope of the project, to culminate in the production of work where the innovation in concepts is also continued in executions that value materials, textures and sensorial aspects that are always surprising.

Un mélange qui est également présent dans le superbe isolement de ce territoire et dans l’attraction qu’il exerce autour de lui, mais qui commence dans les écoles universitaires dont les programmes et les méthodologies d’enseignement de l’architecture les placent parmi les plus réputées, ou dans les immenses réalisations qui vont bien au-delà du projet, pour se conclure dans la production d’œuvres où l’innovation des

Obras onde a arquitetura anónima se mistura com os edifícios de autor, mas onde também podemos ser confrontados com intervenções da mais pura abstração.

Num território onde a própria natureza e a paisagem são geradoras de um pitoresco sem limites, esta é também uma arquitetura fortemente ancorada na construção de uma síntese entre o tradicional, o natural, mas também na capacidade de tudo equilibrar com a vontade de assegurar a inteligibilidade de uma notória ambição artística.

Uma ambição que é também um modo de responder ao rigor de regulamentos e normas que se reflectem em morfologias de grandes e monótonas uniformidades, que encontramos sobretudo nas cidades, onde muitas das intervenções mais marcantes são empurradas para as periferias.

O resultado é uma arquitetura de contrastes entre um conservadorismo de casas de campo, reproduzindo os modelos mais tradicionais, num gosto por vezes quase kitsch – como também muitas vezes já foi referido – que coexiste com uma prática que há muitos anos está entre a vanguarda da arquitetura mundial. Prática onde a inovação, a experimentação estrutural ou formal e a precisão no modo como se usam os materiais, se misturam e sintetizam.

Uma mistura também presente no soberbo isolamento daquele território e na atração que exerce à sua volta, mas que começa nas escolas universitárias cujos programas e metodologias de ensino da arquitetura as colocam entre as mais reputadas, ou nas imensas realizações que estão muito para além do projeto, para se concluir na produção de obras onde a inovação dos conceitos se prolonga por execuções que valorizam materiais, texturas e sensorialidades sempre surpreendentes.

2016 - 2017 011

LÙ MUNTEILLÉ by Deschenaux Follonier Les Haudères, Switzerland

EN

Located in the old hamlet Les Haudères, in the valley called Val d’Hérens, this traditional mountain house was constructed in 1870. It was once a family house, composed of two independents apartments, with a cellar and an attic each.

Although the accommodation is basic, with low height and dark spaces, many people live up there. The population density is also obvious when looking at the proximity of the constructions, once free of boundary constraints. How to continue today this alpine habitat tradition? How to response to the current needs of a principal residence, while preserving the characteristic of such building? Commissioned by one of the owners, the project proposes to extend the upper floor apartment with the attic volume. The main challenge is to create light spaces, despite the low ceiling height and the narrowness of the rooms.

The mineral part located in the back supports the log construction. Its gable front, with a symmetrical profil but an asymmetrical composition, has undergone only minor alterations. The intervention is only visible from the outside through the window frames treatment, out of larch, and the transformation of the entrance balcony. The latter now has enough space available to accommodate a table, thanks to the cutting of the cantilevered wooden floor. The balcony recovers its original width at the gable front, which allows the face of the building to keep its symmetrical nature.

The interior transformation is more substantial, and tries to establish a rich relationship with the existing. The answer varies between conservation, enhancement, reinterpretation or eradication. The first idea is to arrange new walls which distinguish themselves from the existing central wall, as to keep a respectful distance toward what precedes, allowing it to expresses itself. At the mean time, a same principle, both spatial and constructive, is kept from the old wall: transitions are marked by a threshold and frames. This existing wall, made out of thick timbers, feeds the concept of materiality of the project.

It plays a caesura role, true to the existing, between the wooden part with radiant heated spaces on one hand, and the mineral part with mineral-based materials and underfloor heated spaces on the other hand. In the wooden part, single use of 3-ply panels gives brightness to the spaces. Despite low ceiling heights, an impression of grandeur is given by the built-in furniture in all the walls: storage units, kitchen, wardrobes, niches, even radiators integrated behind perforated panels.

All spaces benefit from natural light, using only the existing openings. One of them, located on the upper floor, allows light to enter in the new room in the middle of the house: the hall.

Thanks to its window frames that are built with slants, the hall for the bedrooms keeps an intimate atmosphere. Downstairs, a diffuse light falls from the staircase clearance to illuminate the heart of the housing.

ORIGINAL TEXT

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Située dans le vieux village des Haudères, dans le Val d’Hérens, cette ancienne bâtisse de 1870 était autrefois une maison familiale. Elle se compose de deux petits appartements indépendants, chacun avec une cave et un galetas. Bien que l’habitat soit sommaire, bas de plafond et relativement sombre, de nombreuses personnes habitent les lieux. La densité de population se manifeste aussi par la proximité du bâti, autrefois libre de toute contrainte de distance aux limites. Comment poursuivre aujourd’hui cette tradition d’habitat en milieu alpin? Comment offrir une réponse aux besoins actuels d’une résidence principale, tout en préservant le caractère propre d’une telle bâtisse? Mandaté par l’un des deux propriétaires, la proposition est d’agrandir l’appartement de l’étage avec le volume des combles. Créer des espaces lumineux et clairs malgré la faible hauteur d’étage et l’étroitesse des espaces constitue le principal défi.

Inserida na antiga aldeia de Les Haudères, no vale Val d’Hérens, esta tradicional casa de montanha foi construída em 1870. Uma casa de família, composta por dois apartamentos independentes, uma adega e um sótão. Embora a acomodação fosse de carácter básico, considerando um pé direito baixo e espaços escuros, muitas pessoas habitaram o espaço. A densidade populacional é também evidente ao observar a proximidade das construções, uma vez livres de constrangimentos de fronteira. Pelo que, como continuar hoje esta tradição de habitat alpino? Como responder às necessidades actuais de uma habitação principal, preservando as características destes edifícios? Encomendado por um dos proprietários, o projecto propõe a ampliação do apartamento do piso superior para o volume do sótão, constituindo o principal desafio a criação de espaços ligeiros, apesar da presença de um baixo pé-direito baixo e pequenas dimensões dos espaços.

La partie minérale située à l’arrière supporte la construction en madrier. Sa façade pignon, symétrique dans son volume mais assymétrique dans sa composition, n’a subi que des transformations mineures. L’intervention est visible de l’extérieur, notamment par le traitement des embrasures des fenêtres en mélèze massif et la transformation du balcon d’accès. Celui-ci dispose maintenant de la place nécéssaire pour accueillir une table, grâce au travail de découpe du plancher en porte-àfaux. Le balcon retrouve sa largeur d’origine en façade pignon, permettant d’en conserver la symétrie qui caractérise le visage de la bâtisse.

O embasamento em pedra, visível no alçado tardoz, suporta a construção do edifício, e o seu respectivo alçado, de perfil simétrico, mas de composição assimétrica, sofreu apenas pequenas alterações. A intervenção é apenas visível pelo lado exterior, através do tratamento presente nas caixilharias, em madeira de lariço, e da transformação da varanda de entrada.

Através do corte do piso de madeira em balanço, foi conseguido espaço exterior para acolher uma mesa. A varanda recupera a sua largura original na frente e permite que a fachada do edifício mantenha a sua natureza simétrica.

La transformation intérieure, plus conséquente, cherche à établir un rapport riche avec l’existant. La réponse se décline entre conservation, mise en valeur, réinterprétation ou effacement.

La premier geste se trouve dans la disposition de nouvelles parois qui se distinguent du mur central existant, telle une mise à distance respectueuse pour laisser l’ancien s’exprimer.

Pourtant, les passages à travers ces parois retiennent de l’existant un principe traditionnel, à la fois constructif et spatial: les transitions sont marquées par un seuil et des embrasures, qui fabriquent véritablement l’ouverture. Le mur central en madriers nourrit également le concept de matérialité du projet. Il joue un véritable rôle de césure, fidèle à la bâtisse existante, entre d’un côté le bois et les espaces chauffés par radiation, et de l’autre la partie minérale avec des matériaux de base minérale et un chauffage au sol. Dans la partie bois, l’utilisation unique de panneaux 3-plis apporte une clarté aux espaces. Épargné de tout ajout de mobilier, les bas espaces gagnent en impression de grandeur et en fonctionnalité grâce à l’intégration de tous les meubles dans les parois: rangements, cuisine, penderie, niche, jusqu’aux radiateurs intégrés derrière des panneaux perforés.

Tous les espaces bénéficient d’une lumière naturelle, en exploitant simplement les ouvertures existantes. L’une d’entre elle, à l’étage, taillée dans la masse du mur, permet d’apporter la lumière dans le nouvelle espace au centre de l’habitation: le hall. Par le façonnage des embrasures en biais, l’espace de distribution des chambres conserve une atmosphère intimiste à l’étage. Au rez-de-chaussée, une lumière diffuse tombe dans le dégagement de l’escalier pour illuminer le coeur de l’habitat.

ORIGINAL TEXT

A transformação interior é mais profunda, e tenta estabelecer uma relação frutífera com o existente. A resposta varia entre conservação, valorização, reinterpretação ou erradicação.

A primeira ideia é construir novas paredes que se distingam da parede central existente, de forma a garantir uma distância de respeito em relação ao pré-existente, permitindo que ele se expresse. Simultaneamente, o mesmo princípio, tanto espacial quanto construtivo, é mantido nas antigas paredes, e as transições são marcadas por molduras.

As paredes existentes, em madeira de grande espessura, reforçam o conceito de materialidade do projecto.

Desempenham um papel de cesura, fiel ao existente, entre as paredes em madeira enquanto espaços radiantes aquecidos, e as superfícies de base mineral aquecudas através de piso radiante. Nas superfícies em madeira, o uso único de painéis de 3 camadas confere uma luminosidade extra aos espaços.

Apesar do pé-direito baixo, a sensação de espacialidade é optimizada através do mobiliário embutido em todas as paredes: roupeiros, armários de arrumação, cozinha, nichos, até aos radiadores integrados atrás de painéis perfurados.

Todos os espaços beneficiam de luz natural, utilizando apenas as aberturas existentes. Uma das quais, no piso superior, permite a entrada de luz no novo espaço central da casa: o hall. Como consequência da inclinação presente em algumas janelas, o hall dos quartos mantem um carácter acolhedor.

No piso inferior, uma luz difusa proveniente do vão de escadas ilumina o coração da casa.

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MAISON JÉRICHO by Deschenaux Follonier Bulle, Switzerland

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The house is located near Bulle, in the quarter called Jéricho which overlooks the city and the Gruyère region. The beauty and diversity of surrounding landscapes - between city and countryside, lake and mountains - will feed the project’s ambition : extract the house from neighboring villas to catch the landscapes. According to demand of the owners, the walls must be covered with framed views, with no painting.

Le maison se situe à proximité de Bulle, dans le quartier d’habitations de Jéricho qui surplombe la ville et la Gruyère. La beauté et la variété des paysages environnants, entre ville et campagne, lac et montagnes, vont nourrir l’ambition du projet : s’extraire des villas voisines pour aller chercher le paysage.

Selon le souhait des propriétaires, les murs devaient se revêtir de vues cadrées, sans ajouts de tableaux.

A casa insere-se no bairro Jéricho, em Bulle, com vista para a cidade e a região de Gruyère. A beleza e diversidade das paisagens envolventes – entre a cidade e o campo, e o lago e a serra – serão a resposta à ambição do projecto: permitir que a casa se afaste das casas vizinhas e viva para a paisagem circundante.

De acordo com a solicitação dos proprietários, as paredes devem ter aberturas que permitam emoldurar a paisagem.

The placement of the house is the main answer. Three volumes that form the house free themselves from the boundaries, and from the exact same orientation of nearby houses. Each cubic volume finds its specific position depending on its function, the sunshine, the sought-after view. Only one facade faces the road, the single physical boundary. In this way, the entrance volume turns towards the arrival. The main volume is positioned according to the four cardinal points. The square, apparently without any major orientation, makes the most of every direction, and tells us the story of the view and light that change during the day. The south facade appears to be the main face of the house, with its symmetrical openings and the view from here. The Alpine foothills with the famous Moléson summit present themselves to the public view in the living room or the patio. However, as this direction is the same as the one from which one arrives, the house must be protected from prying eyes. There, the third volume plays an essential role, as an interface. Built up against the entrance, a little diagonally, it provides privacy for the house.

L’implantation est l’élément de réponse majeur du projet. Trois volumes qui composent la maison s’affranchissent des limites parcellaires, et de l’orientation naïvement répétée des villas voisines. Chaque volume carré se positionne plutôt selon sa fonction, l’ensoleillement, ou la vue recherchée. Seule une façade fait face à la route, l’unique limite réelle. Le volume d’entrée s’adresse ainsi à l’arrivant. Le volume principal de la maison, lui, est orienté selon les quatre points cardinaux. Carré, à priori sans orientation, il exploite toutes les directions pour en raconter la vue et la lumière spécifique, évoluant au court de la journée. Parmi celles-ci, la façade Sud apparaît comme le visage de la maison, par ses ouvertures symétriques et la vue qui s’y dégage. Depuis l’espace de vie ou bien la terrasse, les sommets des Préalpes avec l’emblématique Moléson s’offrent au regard. Pour cela, il s’agit de se protéger d’autres regards, car c’est aussi depuis le Sud qu’on accède au site. Le troisième volume, la terrasse couverte, joue alors un rôle d’interface essentiel. Adossée à l’entrée, légèrement de biais, elle procure une intimité pour la maison.

A implantação da casa esta na base da resposta ao programa. A orientação dos três volumes que constituem a casa libertam-na dos limites do terreno e da orientação das casas vizinhas. Cada volume cúbico encontra sua posição específica de acordo com a sua função, a luz do sol, e a vista desejada. Apenas uma fachada está voltada para a estrada, o único limite físico do terreno. Desta forma, o volume de entrada volta-se para a chegada. O volume principal é posicionado de acordo com os quatro pontos cardeais.

O pátio, aparentemente sem grande orientação, aproveita todas as direcções da luz e paisagem, e permite usufruir das suas alterações ao longo do dia. A fachada sul, assume o carácter de fachada principal, através de significativas aberturas simétricas. A montanha de Moléson, é visível quer pela sala de estar quer pelo pátio. No entanto, como esta direcção é a mesma da direcção de entrada, a privacidade foi conseguida através da torção do terceiro volume, que desempenha um papel essencial. Construído contra a entrada, um pouco na diagonal, garante privacidade aos usuários da casa.

A particular material helps to distinguish the volume from one another. The entrance volume’s flooring is entirely mineral. As soon as you get inside, you see the concrete screed running to a window, which gives you a glimpse of a maple tree. From there, you can access to the main volume, whose flooring is covered with oak. The ground floor consists of two open spaces separated by central core which serves the basement and the upper floor. On one side, the kitchen and dining room overlook the city and mountains; on the other side, a big lounge with a window looking onto the countryside and a final view on the maple tree. The composition of the upper floor is quite opposite: the bedrooms are closed spaces, separated by a bright corridor that runs from window to window. These big openings offer the inhabitant these precious lights both at dawn and sunset. From the middle of the space, a secret door allows you to get to the rooftop terrace. This final space is the crowning achievement of the house, totally unexpected from the outside thanks to the wall’s height. The roof, invisible from downwards, throws itself into the infinity of sky.

Interior spaces’ sobriety goes hand in hand with raw material used. The exposed concrete still has the formwork panels’ marks, which gives warmth to the material. Aluminium components complete the enveloppe - awnings, balustrades, window frames. With the rabbets of concrete openings, these components finally create a relation between the project and its context. Indeed, as the quarter is intended to be rich, this ornementation work expresses some nobility.

ORIGINAL TEXT

A la fonction et l’orientation propre de chaque volume s’adjoint une matérialité spécifique. Le sol du volume d’entrée est entièrement minéral. En entrant dans le hall, la chape file jusqu’à une fenêtre où l’extérieur se rend de nouveau présent. De là, on distingue un érable, et on accède au volume principal dont le sol se revêt entièrement de chêne. Au rez-de-chaussée, les deux espaces sont ouverts, séparés par un noyau central distribuant l’étage et le sous-sol. D’un côté, la cuisine et la salle-à-manger ouvertes sur les montagnes et la ville; de l’autre, un large séjour privatif, avec une fenêtre sur la campagne, et un dernier point de vue où l’on retrouve l’érable. À l’étage, la composition s’inverse: les chambres sont des espaces fermés, partagés par un corridor lumineux qui file d’une fenêtre à l’autre. Ces grandes ouvertures capturent le lever et le coucher du soleil, livrant ces instants à celui qui quitte sa chambre. Au milieu de l’espace, une porte dérobée dévoile l’escalier qui monte au toit-terrasse. Ce dernier espace couronne la maison, telle une coiffe insoupçonnée depuis l’extérieur, grâce à la hauteur de l’acrotère et à l’étapage de bétonnage des façades. Le toit, invisible, se jette vers l’infini du ciel, et vers l’horizon des montagnes.

Enfin, la sobriété des espaces intérieurs va de pair avec la sobriété des matériaux bruts employés. Le béton conserve l’empreinte des panneaux de coffrage en bois, qui lui confère un caractère chaleureux. Il s’habille ensuite d’éléments en aluminium, stores, balustrades et menuiseries. Avec les engravures des ouvertures et la finesse de l’aluminium, ces éléments établissent finalement une relation entre la maison et son contexte. En effet, le quartier se veut riche, et le travail d’ornementation traduit une certaine noblesse.

ORIGINAL TEXT

O uso de diferentes materiais ajuda a distinguir os diferentes volumes. O material de pavimento do volume de entrada é inteiramente mineral. Ao entrar na casa, o pavimento em betão encaminha o olhar para uma grande janela, que emoldura um grande Acer no exterior. A partir desse ponto é possível aceder ao volume principal, cujo pavimento é revestido a carvalho.

O piso térreo é constituído por dois grandes espaços abertos, separados pelo núcleo central a partir do qual se acede à cave e ao piso superior. A cozinha e a sala de jantar são voltadas para a cidade e para as montanhas; e a sala de estar para o campo e para o grande Acer. A composição do piso superior é significativamente oposta: os quartos são espaços fechados, separados por um corredor luz, proveniente de duas grandes janelas nos topos, que oferecem uma luz extraordinária quer ao amanhecer, quer ao entardecer. No espaço central do corredor, uma porta secreta permite alcançar as escadas que levam ao terraço da cobertura. Espaço este, totalmente imperceptível pelo lado exterior e que permite ao usuário desfrutar de forma íntima do infinito do céu.

A sobriedade dos espaços interiores é reforçada pela matéria-prima em uso. As marcas dos painéis de cofragem são visíveis no betão aparente das paredes, e a sua textura acentua a sensação de aconchego nos espaços. Os estores, as balaustradas e os caixilhos em alumínio estreitam por sua vez a relação entre o projecto e seu contexto, de natureza nobre, mas sem uma ostentação evidente.

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LÙ CHATARME by Deschenaux Follonier Arolla, Switzerland

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The project is located in the hamlet Lù Chatarme, near the village Arolla, at the far end of the valley called Val d’Hérens.

Since the origin of its construction, this traditional mountain chalet shelters its owner a few months per year. He climbs up here at 1850 meters above sea level to graze his cows.

The project takes root in the dialogue with the farmer, in the customs of the place, in its history. How to keep the specific features of a mountain shelter, while enhancing its hosting potential, its habitability and its comfort?

Le projet se situe dans le hameau Lù Chatarme, à promité du village d’Arolla, au fond de la vallée du Val d’Hérens. Depuis l’origine de sa construction en 1860, le mayen permet d’abriter son propriétaire quelques mois dans l’année qui monte ici à 1850 mètres d’altitude pour faire pâturer ses vaches. Le projet débute dans le dialogue avec le paysan, avec l’usage du lieu et son histoire. Comment faire perdurer le caractère propre d’un mayen de montagne, tout en augmentant son potentiel d’accueil, d’habitat et de confort ?

O projecto situa-se na aldeia Lù Chatarme, perto da aldeia Arolla, no extremo do vale Val d’Hérens. Desde a origem da sua construção, este chalé de montanha tradicional acolhe o seu proprietário alguns meses por ano. Ele sobe 1850 metros acima do nível do mar para pastar as suas vacas. O projecto estabelece um diálogo directo com o agricultor, nos costumes do lugar, e na sua história. Como manter as especificidades de um abrigo de montanha, e ao mesmo valorizar o seu potencial de acolhimento, a sua habitabilidade e o seu conforto?

The first idea is to preserve the main wooden room. Only a stair is created, allowing you to get to the first floor where six persons can now spend the night. The wood that it used for the first floor construction contributes to the area’s history, and even the family’s history. The wood comes indeed from a little larch forest owned by the family, whose trees have been planted in the time of the first construction of the chalet. It is as if the trees had grown next to the chalet, in order to enable it to last. It looks like a solidarity of nature towards the construction.

A gift, calling for a return?

La première idée du projet est de conserver la pièce principale en bois. Seul un escalier est créé, pour accéder à l’étage qui peut maintenant accueillir 6 personnes pour la nuit. Le bois utilisé ici permet de prolonger l’histoire du lieu, et même l’histoire familiale. En effet, celui-ci provient d’une petite forêt de mélèzes appartenant à la famille, où les arbres furent plantés à la même époque que la construction du mayen. Il semble que les arbres ont grandi à côté du bâti pour permettre à celui-ci de perdurer dans le temps, telle une solidarité de la nature à l’égard du construit. Un service rendu… appelant un retour.

A primeira ideia é preservar a sala principal em madeira. É apenas criada uma escada de acesso ao primeiro piso, que permitira acolher ate 6 convidados para pernoitar. A madeira usada na construção do primeiro piso, faz parte da história quer do lugar quer da família, uma vez que é proveniente de um pequeno pinhal, de árvores plantadas na época da primeira construção do chalé. Simbolicamente, é como se as árvores tivessem crescido ao lado do chalé, para que ele perdurasse, assemelhando-se a uma solidariedade da natureza para com a construção. Como que uma oferta que pede um retorno?

The mineral part of the chalet has been transformed in a way that expresses this return. The construction doesn’t stand up against the rock, it doesn’t destroy it to establish itself.

Moreover, the mineral part of the chalet gently slips between the rock and the existing built construction. The lines of the rock guide the drawing plan, and the cross section reveals how the construction rises against the rock without touching it.

The concrete is distinct from the rock, yet they share a same mineral nature. Their unity is expressed even by the color of the iron oxide of the rock, which is recalled by the wooden window frames.

Ce retour s’exprime, pour ainsi-dire, dans la transformation de la partie minérale du mayen. L’intervention ne va pas s’imposer au rocher, le détruire pour s’implanter en confrontation avec lui.

Elle va plutôt se glisser délicatement entre la roche et l’existant.

Les lignes du plan suivent celles du rocher, et la double hauteur s’érige contre lui, sans le toucher. L’intervention en béton est bien distincte de la roche. Pourtant, leur minéralité les rassemble, et leur unité s’exprime jusque dans la couleur de l’oxyde de fer présent dans la roche, rappelée par la menuiserie.

O espaço mineral do chalé foi transformado de forma a expressar simbolicamente esse retorno. A construção não se ergue contra a rocha e não a destrói para se afirmar. Vive sim, suavemente entre a pedra natural pré-existente e a construção.

O desenho das rochas orienta o plano do desenho e o corte transversal revela como a construção se ergue sem a tocar.

O betão distingue-se da pedra, mas reflecte a mesma natureza mineral. A consolidação e o carácter unitário é evidente, e expressa-se até mesmo na cor do óxido de ferro presente na pedra, que é reforçada no uso dos caixilhos de madeira presentes nas aberturas.

The typical atmosphere of a mountain shelter spreads through the construction and the way the spaces are heated. The timber walls are left raw, with no insulation. The spaces are low and dark, slowly heated with the original wood stove.

This essential component of a mountain chalet is reflected by the new concrete fire place that is built in the mineral part of the construction. Here, the fire is completely different: the fire place is wide open and it gives an intense heat. A new atmosphere is created, thanks to the visibility of the fire, revealed and contrasted by the cold-looking concrete. We can share a swiss Raclette or a local Ruschia, while gazing at the flames and hearing their crackling.

ORIGINAL TEXT

L’ambiance propre au mayen de montagne imprègne la construction du projet, et la façon dont sont chauffés les espaces. La construction en madriers est laissée brute, sans isolation. Les espaces, bas et sombres, sont chauffés lentement avec l’inertie du pierre-ollaire d’origine. Cet élément central d’un mayen trouve son écho dans la nouvelle cheminée en béton où le feu acquiert un tout autre statut. Complètement ouvert sur l’espace en double hauteur, il fournit une chaleur rapide et intense. La visibilité du feu, contrastée et révélée par l’apparence froide du béton, provoque une nouvelle ambiance.

On peut alors y faire la ruschia ou la raclette, en contemplant les flammes et en écoutant le vif crépitement du bois.

ORIGINAL TEXT

A típica atmosfera de um abrigo de montanha estende-se por toda a construção e pela forma como os espaços são aquecidos.

As paredes de madeira são deixadas a crua, sem isolamento.

Os espaços são baixos, escuros e aquecidos lentamente pela lareira. Esta particularidade do chalé é garantida pela nova lareira construída em betão. Aberta e de fogo intenso.

A visibilidade do fogo na lareira proporciona uma nova atmosfera e carácter ao espaço, que se destaca pelo grande contraste com a aparência fria do betão aparente. Podemos partilhar uma Raclette suíça ou uma Ruschia local, enquanto contemplamos as chamas e ouvimos o seu crepitar.

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MAISON À LA PLACE by Deschenaux Follonier Ayent, Switzerland

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The house overlooks the hamlet “La Place”, in Ayent, central Valais. The project takes root in the site’s memory, by reinterpreting the atmosphere and the materialization of its vernacular architecture. Like the barns of the hamlet, the house stands in a meadow that is left blank. Thus, the project frees itself from all boundaries. The grass grows according to the seasons and the livestock can come and graze. The main terrace is on top of the house, away from prying eyes and offering a stunning view.

La maison surplombe le hameau de La Place dans le village d’Ayent, en Valais central. Le projet puise ses racines dans la mémoire du site en réinterprétant l’atmosphère et la matérialisation de son architecture vernaculaire. A l’image des granges du hameau, la maison s’implante dans un pré laissé entièrement vierge. Le projet se libère ainsi de toute limite parcellaire. L’herbe pousse au gré des saisons et le bétail peut venir y paître. La terrasse principale est sur la maison, à l’abri des regards et offrant une vue imprenable.

The materiality of the project recalls the barns’ one, with a mineral cold-looking structure and a wooden roof opened on both gable ends. The roof of the house, shifted lengthwise and free from any middle supporting structure, seems to be floating over the house, which interrogates its primary function which is to shelter a house.

La matérialité du projet s’inspire également des granges, avec une structure minérale d’apparence froide, et un toit en bois ouvert de part et d’autre. Le toit de la maison, décalé dans sa longueur et affranchi de porteurs intermédiaires, semble alors flotter sur l’habitation, ce qui nous interroge quant à sa fonction initiale d’abri de l’habitat.

The heritage of the local barns continues through the expression of the facades. They allow to show a base, a main body and a roof, thanks to the treatments of the concrete and the wooden framework. The half levels enrich this composition by hugging the topography and by connecting the different spaces. The resulting openings adapt precisely to the needs of the interior spaces.

L’héritage des granges locales se poursuit dans l’expression des façades. Celles-ci laissent transparaître un socle, un corps principal et un toit, par les traitements du béton et une charpente en bois. Les demi-niveaux enrichissent cette composition en épousant la topographie et en reliant les espaces les uns aux autres. Les ouvertures qui en résultent s’adaptent précisément aux besoins des espaces intérieurs.

ORIGINAL TEXT

ORIGINAL TEXT

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A casa abre-se para a aldeia “La Place”, em Ayent, no centro de Valais. O projecto enraíza-se na memória do local, reinterpretando a atmosfera e a materialização da arquitectura vernacular presente. Tal como os celeiros característicos da aldeia, a casa situa-se no centro de num prado vazio, de forma a libertar-se de todas as fronteiras do terreno.

A vegetação natural exterior cresce de acordo com as estações e o gado pode continuar os seus hábitos de pastagem. O terraço principal ocupa o piso superior da casa, longe de olhares indiscretos e oferece uma vista extraordinária.

A materialidade do projecto lembra a dos celeiros, com uma estrutura mineral de aspecto frio no seu embasamento e cobertura de madeira aberta nas duas empenas. O telhado da casa, deslocado longitudinalmente e livre de qualquer estrutura intermediária de sustentação, parece flutuar sobre a casa, o que coloca em questão a sua função primordial que é proteger a casa.

A referência dos celeiros locais é também visível através da expressão das fachadas que permitem identificar a base, o corpo principal e o telhado, de acordo com o tratamento do betão e da estrutura de madeira. Os meios pisos enriquecem esta composição, ao abraçar a topografia e interligar os diferentes espaços. As aberturas resultam e denunciam as necessidades dos espaços interiores.

DESCHENAUX ARCHITECTES

0

1

MAISON À LA PLACE

5

B

045

A

B

1ST FLOOR PLAN

A

GROUND FLOOR PLAN

DESCHENAUX ARCHITECTES MAISON À LA PLACE

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Fibre cement corrugated sheet Spruce lathing Frame anchor White frame Reinforced concrete type 3 Interior insulation Vapor barrier Hanging drop Glazing bead and frame Triple glazing Spruce window Compr iband and joint Sanded cement screed Floor heating Insulation and studs Reinforced concrete slab

1

047

049

2016 - 2021 051

HABITATIONS COLLECTIVES BEL-AIR Villars-sur-Glâne, Switzerland

EN

The project is located in Villars-sur-Glâne, in Fribourg’s surroundings. The quiet area is facing the countryside. Behind the road, the field is still cultivated, and the trees still populated with birds, which give to the place a feeling of the passing of time. Moreover, the site is close to the city center. This lucky situation demands an ambitious project: to build apartment buildings for rental with high-quality materials and spaces, while handling the budget. Architectural quality should not be reserved to the owners of their housing.

The two similar buildings are situated lengthwise, from north to south, following the need to optimize the plot. This constraint drives the whole project : from the structure to the typology of the apartments, as well as the dormer window’s dimensions. Each floor is composed of two symmetrical apartments. Right after entering an apartment, you can see a long wall that stretches until the south, against which all the rooms are built up. When walking along the wall, you discover the spaces one to one, each of them with its privacy, its function, its opening. At the end, the dining room is immersed in light, and the loggia overlooks the trees and the nearby meadow.

The materiality of the project is driven by both a contemporary expression and traditional constructive rules. The composition is classical : a base with the garage and the entrance, a main body with two floors, and a top with the attic and its shaped roof. The construction details reveal the same reference to the past. The corners are sculpted like cornerstones. The rabbets in the openings refer to the classical moldings of a stone building.

Another contrast gives richness to the project. The matter is both present and absent somehow. It is present, thanks to the concrete which expresses a heavy and sculpted mineral block.

It is however absent, thanks to the openings that hollow out the matter and reveal the context rather that the construction itself.

The high and textured glazing of the stairwell allow the space to be filled with the outside atmosphere, the trees and the wind are felt from the inside. The other openings reflect the surroundings and the light variations, thanks to the glass and the stainless steel. Even the roof can merge into the sky.

An ethical issue finally guides the project. Every place where a person live should welcome the inhabitant with some charm and nobility, even a newbuild. Here, noble materials have been chosen, which allow for a change over time. The stainless steel expresses fineness, and the raw oak gives warmth. The idea of nobility is especially found on the top floor, where the spaces get higher, and the elements get taller. Doors and windows, furniture and tiles, everything help to offer the inhabitant a generous place to live. Finally, the feeling of being home begins from the entrance of the building. Thanks to the high glazing of the stairwell, the oaken doors and carpet made out of natural vegetable fibers, the cosy atmosphere makes you want to get rid of your shoes as soon as you enter this big house.

ORIGINAL TEXT

FR

PT

Le projet se situe à Villars-sur-Glâne, en périphérie de Fribourg.

Le quartier, calme, fait face à la campagne. Derrière la route, le champ est encore cultivé, et les arbres encore habités d’oiseaux, rythmant les journées et les saisons. Les terrains, proches du centre de Fribourg, jouissent d’une double proximité, entre ville et nature. Cette belle situation va stimuler l’ambition du projet: réaliser des habitations collectives en locations, nobles et riches dans leurs espaces et leurs matériaux, tout en maîtrisant le budget. La qualité architecturale ne saurait être réservée aux seuls propriétaires de leur lieu de vie.

O projecto situa-se em Villars-sur-Glâne, nos arredores de Friburgo, próximo do centro da cidade. Uma das frentes do terreno é voltada para campos de cultivo e árvores povoadas de pássaros, que conferem ao local uma sensação de viagem no tempo. Esta situação privilegiada exige um projecto ambicioso: a construção de um edifício de apartamentos para arrendamento com materiais e espaços de alta qualidade, assegurando o orçamento previsto. Uma vez que a qualidade arquitectónica não deve ser exclusiva aos proprietários das suas próprias habitações.

Les bâtiments sont implantés dans la longueur selon l’axe nordsud pour optimiser au maximum les parcelles. Cette contrainte va gouverner tout le projet : le concept structurel comme la typologie des appartements, jusqu’aux dimensions des lucarnes en toiture.

A chaque étage, deux appartements symétriques se déroulent sur toute la longueur. Dès l’entrée dans les appartements, on voit filer un long mur-voile central contre lequel tous les espaces sont adossés. En longeant cette véritable colonne vertébrale, on découvre les espaces qui s’enchaînent les uns aux autres, chacun avec son apport de lumière, sa privacité, son usage propre. Au sud, la séquence aboutit à l’espace de vie principal: la cuisine, baignée de lumière, et la loggia qui donne sur les arbres et la prairie voisine.

Os dois edifícios semelhantes no local, estão posicionados longitudinalmente, de norte para sul, respondendo à necessidade de optimização o terreno, condicionante esta que se reflectirá em todo o projecto: desde a estrutura à tipologia dos apartamentos, passando pelas dimensões das águas-furtadas. Cada piso é dividido em dois apartamentos simétricos. Ao entrar em cada apartamento é visível uma longa parede que se estende até o Sul, contra a qual todos os quartos são posicionados, e ao longo da qual se vão descobrindo os diferentes espaços, cada um com sua privacidade, função e abertura. No final, a sala de jantar é imersa em luz, e a varanda voltada para as árvores e os campos de cultivo próximos.

La construction du bâtiment se nourrit d’un double héritage, passé et présent. L’expression est littéralement contemporaine, mais dans le respect d’une composition verticale traditionnelle.

On retrouve un socle massif comme fondement, un corps intermédiaire avec deux étages habités, et un couronnement avec l’étage des combles et sa toiture travaillée. La volonté d’inscrire le projet dans une tradition constructive se révèle aussi dans les détails de mise en oeuvre. Les angles du bâtiment sont travaillés à la manière d’une pierre d’angle façonnée. De même, les feuillures des encadrements de fenêtres font appel aux moulures, caractéristiques des bâtiments en pierre de taille. Cette esthétique s’accompagne d’une éthique de l’habitat, pour laquelle tout lieu de vie, même neuf, doit accueillir l’habitant avec charme et noblesse. Cela se traduit par des matériaux vivants, qui assument leur altération naturelle au fil du temps. La finesse de l’inox et le naturel du chêne, avec ses hautes menuiseries, renvoient à une certaine noblesse. Mais c’est plus encore à l’étage des combles que celle-ci trouve un accomplissement. Les espaces prennent de la hauteur, et les éléments de la grandeur. Les portes et les fenêtres, les meubles et les faïences, tout participe à offrir, plus encore pour ce bel-étage, une générosité pour l’habitant.

La matérialité du projet exploite la richesse d’une ambiguïté, entre la présence forte de la matière dans son contexte, et la présence du contexte dans la matière. D’une part, l’architecture assume sa présence, et le béton renvoie d’abord à la massivité d’un bloc minéral, lourd et sculpté. D’autre part, les grandes ouvertures allègent considérablement cette coque, et nous parlent du contexte. Le grand vitrage texturé laisse pénétrer l’environnement à l’intérieur de la cage d’escalier, et l’espace est baigné de l’ambiance végétale des arbres environnants. Les autres ouvertures dans le béton, faites de vitrages ou d’inox, reflètent le contexte, ses variations d’ombres et de lumières, tout comme la toiture qui va jusqu’à se confondre avec le ciel.

ORIGINAL TEXT

A materialidade do projecto é caracterizada quer pela expressão contemporânea quer pelas regras construtivas tradicionais.

A composição é clássica: a garagem e a entrada na base, um corpo principal com dois pisos e um sótão no último piso, ao qual a cobertura se molda. Os detalhes construtivos reflectem as mesmas referências clássicas: os cantos são esculpidos como pedras angulares, e os remates das aberturas remetem a molduras clássicas de um edifício de pedra. Outro contraste dá riqueza ao projecto: a matéria que está presente e de alguma forma ausente. Presente, no betão que expressa um bloco mineral pesado e esculpido. E ausente, nas aberturas que escavam a matéria e revelam o contexto, mais do que a própria construção. Os vidros altos e texturizados da escada permitem que o espaço seja apropriado pela atmosfera externa, e as árvores e o vento sentidos no espaço interior. As outras aberturas reflectem o contexto exterior e as variações de luz, através da presença de vidro e aço inoxidável. Até o telhado consegue fundir-se com o céu.

Por fim, uma questão ética orienta todo o projecto. Qualquer casa deve prever e assegurar alguma elegância e dignidade, mesmo que destinada a arrendamento. Foram escolhidos materiais nobres, que permitem e acompanham de forma cuidada a passagem natural do tempo. O aço inoxidável reflecte delicadeza e a madeira de carvalho conforto. O carácter de nobreza é especialmente evidente no piso superior, onde os espaços são mais altos. Portas e janelas, móveis e azulejos, tudo contribui para garantir um espaço generoso para viver.

Por fim, a sensação de estar em casa é garantida desde a entrada no edifício. Das grandes entradas de luz na escada, às portas de carvalho e ao pavimento em betão, o ambiente acolhedor proporciona vontade de tirar os sapatos desde a porta de entrada comum no edifício.

0

1

5

DESCHENAUX ARCHITECTES HABITATIONS COLLECTIVES BEL-AIR

057

SECTION A

DESCHENAUX ARCHITECTES HABITATIONS COLLECTIVES BEL-AIR

0

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0.25

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Stainless steel shielded drip edge Disgorger Hydro-demolished reinforced concrete Interior insulation Hanging drop Armoured stainless-steel valance Slat blind Oak window Aluminium shelf Stainless steel railing Vacuum Plaster wall Sanded cement screed Sound insulation Reinforced concrete slab Insulating console

059

2012 - 2015 063

HOUSE BASELSTRASSE Muttenz, Switzerland

EN

The Baselstrasse House stands on a deep parcel of land bordering on a pedestrian underpass next to a quiet road.

A massive ceiling covering the ground floor extends well beyond the front walls of the house creating the necessary distance to the nearby road.

The three-storey construction is accentuated by subtle offsets in the façade of the house. The main building materials are deliberately left visible and give the house a slightly archaic and honest feel.

Based on the traditional double-pitch construction, the large roof generously covers the entire structure, protecting the façade on all four sides. With its exposed rafters and guttering the corrugated roof is one of the stand-out characteristics of this building.

ORIGINAL TEXT

FR

PT

La maison de la Baselstrasse se trouve sur une longue parcelle de terrain, qui longe un passage piéton souterrain, à côté d’une route tranquille.

O edifício Baselstrasse situa-se num lote profundo que faz fronteira com uma passagem pedonal subterrânea e uma estrada muito tranquila.

Un grand plafond qui couvre le rez-de-chaussée s’étend bien au-delà des murs avant de la maison, créant ainsi une distance nécessaire avec la route voisine.

Uma laje maciça cobre o piso térreo, e estende-se para além dos limites da construção, proporcionando uma distância mínima necessária à estrada.

La construction sur trois étages est accentuée par de subtils décalages dans la façade de la maison. Les principaux matériaux de construction sont délibérément laissés apparents et donnent à la maison une impression légèrement archaïque et authentique.

A construção em três pisos é acentuada por ténues recuos na fachada, e os principais materiais de construção são deliberadamente deixados à vista, proporcionando uma sensação ligeiramente arcaica e “bruta”.

Basé sur la construction traditionnelle à double pente, le grand toit couvre l’ensemble de la structure de façon ample, protégeant la façade sur les quatre côtés. Avec ses chevrons et ses gouttières apparents, le toit ondulé est l’une des caractéristiques les plus remarquables de ce bâtiment.

Com base na construção tradicional de um telhado de duas águas, a grande cobertura cobre generosamente toda a estrutura, protegendo a fachada nos quatro lados do edifício. As vigas e caleiras expostas, e o telhado corrugado, são as características mais predominantes e diferenciadoras do edifício.

0

1

FELIPPI WYSSEN HOUSE BASELSTRASSE

5

065

A

2ND FLOOR PLAN

A

1ST FLOOR PLAN

FELIPPI WYSSEN

SECTION A

0

1

5

HOUSE BASELSTRASSE

069

FELIPPI WYSSEN

0

0.25

HOUSE BASELSTRASSE

1

071

03.

02.

01. Wall Construction; plaster, 5 mm; gypsum board, 2x 25 mm; vapor barrier; metal stud walls 50 mm/ mineral wool; heat insulation XPS 140 mm; exposed concrete 173 mm

01.

02. Windows; wooden window (spruce); triple insulating glazing, fixed glazing, laminated safety glass

03. Sliding shutters; steelframe, galvanized; fixed lamellae, spruce, dip primed and painted; manually operable shutters, closable with a latch; guide rail in recess (110 x 2714 x 50 mm) mounted on concrete, 2x plastic wheels; bottom rail system: aluminium angle (with wedge) screwed on concrete

FELIPPI WYSSEN

2016 - 2019 075

HOUSE GATTERNWEG Riehen, Switzerland

EN

FR

PT

In the context of the existing buildings, the Gatternweg residential building is unique in various ways: not only the structure itself, but also the surfaces used and, last but not least, the floor plan solutions differ significantly from the surrounding stock in the Basel agglomeration.

Dans le contexte des bâtiments existants, l’immeuble résidentiel Gatternweg est unique à plusieurs égards : non seulement par sa structure-même, mais aussi par les surfaces utilisées et, enfin et surtout, ses plans au sol, qui se distinguent clairement du parc environnant dans l’agglomération de Bâle.

No contexto dos edifícios existentes, o edifício residencial de Gatternweg é diferenciador em vários aspectos: não apenas pela estrutura em si, como também pelos revestimentos escolhidos e soluções em planta, substancialmente diferenciadores dos praticados de forma comum em Basel.

A decisive aspect for the nevertheless compatible fitting of the new building is the building volume, which has been significantly reduced in the two upper floors: Two 4.5-room apartments (each with 116 square meters of living space) are grouped around the central stairwell on the ground floor, above which there are two 3.5-room apartments -Apartments (each 67 square meters), which are followed by a single 3.5-room apartment (85 square meters) on the attic floor.

Un aspect décisif pour l’aménagement, tout de même compatible, du nouveau bâtiment est son volume, qui a été considérablement réduit dans les deux étages supérieurs: Deux appartements de 4,5 pièces (116 mètres carrés de surface habitable chaque) sont regroupés autour de la cage d’escalier centrale au rez-de-chaussée, au-dessus desquels se trouvent deux appartements de 3,5 pièces - des appartements (67 mètres carrés chaque), suivis d’un seul appartement de 3,5 pièces (85 mètres carrés) à l’étage du grenier.

Um aspecto decisivo para a adaptação compatível do novo edifício é o seu volume, que foi significativamente reduzido nos dois andares superiores: dois apartamentos com 116 metros quadrados de área útil, agrupados em torno da escadaria central no piso térreo, dois apartamentos com 67 metros quadrados no piso superior, e um apartamento de 85 metros quadrados no último piso.

With this dynamic reduction of the «footprint», the volume becomes optically lighter; at the same time, spacious, partly covered terraces are created on the narrow sides. The slightly asymmetrical trapezoidal floor plan of the building takes up the shape of the plot and – placed in the middle of the property – ensures optimal utilization. All facades are clad with black oiled spruce wood in contrast to the green surroundings. Together with the traditional, wall-high shutters, they give the building something archaic and play with the appearance of rural infrastructure buildings.

The drainage channels, made of black steel, emphasize the vertical staggering of the broad volume thanks to their broadly projecting shape. Inside the house, exposed concrete surfaces and terrazzo slabs dominate, the wooden floors of the terraces are made of thermo ash. Despite the serious formal differences and a strong architectural character, the building blends in with its surroundings as a self-confident solitaire.

ORIGINAL TEXT

Grâce à cette réduction dynamique de son “empreinte”, le volume devient visuellement plus léger ; en même temps, des terrasses spacieuses et partiellement couvertes sont créées sur les côtés étroits. Le plan en trapèze légèrement asymétrique du bâtiment épouse la forme de la parcelle et assure une utilisation optimale de l’espace au milieu de la propriété.

Toutes les façades sont revêtues de bois d’épicéa huilé noir, ce qui créé un contraste avec l’environnement vert. Avec leurs volets traditionnels qui font toute la hauteur, elles apportent au bâtiment un côté archaïque et jouent sur l’apparence des typiques bâtiments d’infrastructure ruraux.

Les canalisations, en acier noir, accentuent le décalage vertical du vaste volume grâce à leur forme et pose en saillie. À l’intérieur de la maison, les surfaces en béton brut et les dalles en terrazzo dominent, les planchers en bois des terrasses sont en frêne thermo-traité. Malgré de fortes différences formelles et un caractère architectural prononcé, le bâtiment s’intègre dans son environnement comme une élément solitaire mais sûr de lui-même.

Com esta redução dinâmica da «pegada», o volume torna-se visualmente mais leve; e ao mesmo tempo, as permite a criação de terraços generosos e parcialmente cobertos. A planta trapezoidal ligeiramente assimétrica do edifício e posicionada no meio da propriedade, assume a forma do terreno e garante uma óptima utilização das suas potencialidades. Todas as fachadas são revestidas com madeira de pinho, oleada e em cor preta. Em grande contraste com o ambiente verde envolvente, e juntamente com as tradicionais portadas à altura da parede, conferem ao edifício um carácter arcaico que brinca com a aparência de um edifício de infra-estrutura rural.

Os canais de drenagem em ferro preto, com a sua forma amplamente projectada, enfatizam o escalonamento vertical do amplo volume. No interior do edifício, as superfícies em betão aparente e tijoleira predominam, enquanto que nos terraços o piso é feito em madeira proveniente de cinzas térmicas.

Apesar das sérias diferenças formais e de um forte carácter arquitectónico, o edifício enquadra-se no contexto como um solitário autoconfiante.

FELIPPI WYSSEN

0

1

HOUSE GATTERNWEG

5

A

079

B

GROUND FLOOR PLAN

SECTION B

FELIPPI WYSSEN

01. Roof Construction; extensive roof 100mm; filter fabric; drainage matt 20mm; waterproofinglayer; sloping insulation 100-140mm; vapour barrier; wood panel ceiling: three layer panel 20mm, mineral wool/beams 280mm, OSB panel 20mm, vapour barrier; battens 20mm; gypsum board 2 x 12.5mm = 25mm; plaster 5mm

02. Floor Construction (First floor/Attica); parquet 20mm; anhydrite floor with heating 60mm; PE-foil; sound insulation 20mm; heat insulation 20mm; concrete ceiling 250mm; plaster 15mm 03. Canopy; seam roof; neoprene bearing; three layer panel 20mm; battens/rear ventilation 40mm; waterproofing layer; beams/PU-insulation 120-...mm; vapour barrier; concrete ceiling 180mm; plaster 15mm

04. Facade Construction; vertical board shuttering spruce oiled dark 25mm; horizontal battens 30mm; vertical battens 24mm; housewrap; soft fibreboard 40mm; wooden stand/insulation 200mm; OSB-panel 15mm; gypsum board 12.5mm; wallpaper, painted

0

0.25

HOUSE GATTERNWEG

1

01.

081

03.

03.

04.

02.

02.

2019 085

HOUSE MOOSWEG Riehen, Switzerland

EN

FR

PT

The most prominent characteristic of this two-storey new building is the rooftop landscape that forms the exterior expression of the building’s interior use zones.

La caractéristique la plus remarquable de ce nouveau bâtiment à deux étages est la vue du paysage, qui constitue l’expression extérieure des zones d’utilisation intérieures du bâtiment.

A característica mais proeminente deste novo edifício de dois pisos é a expressão da cobertura, que determina o espaço exterior das zonas de uso interior.

The main roof covers a living room, a dining room and bedrooms, while the canopy over the narrow terrace marks the transition between the house and the garden.

Le toit principal abrite un salon, une salle à manger et des chambres, tandis que l’auvent au-dessus de l’étroite terrasse marque la transition entre la maison et le jardin.

A cobertura principal acolhe uma sala de estar, uma sala de jantar e os quartos, enquanto a cobertura sobre o terraço mais estreito, define a transição entre a casa e o jardim.

A small rear roof accommodates all the functional and connecting rooms.

Un petit toit arrière accueille toutes les pièces fonctionnelles et de liaison.

Um pequeno tecto traseiro acomoda todos os espaços funcionais.

Two layers pervade inside the light timber structure of the zero-energy house: in addition to the horizontal distribution, which is characterised by living areas, the functional areas are layered towards the depth of the building.

Deux lignes sont présentes à l’intérieur de la légère structure en bois de la maison à énergie zéro : en plus de la distribution horizontale, qui est caractérisée par les espaces de vie, les zones fonctionnelles sont superposées dans la profondeur du bâtiment.

ORIGINAL TEXT

Duas camadas atravessam a estrutura leve de madeira da casa energeticamente sustentável: para além da distribuição horizontal, caracterizada por áreas de estar, as áreas funcionais são estratificadas em direcção à profundidade do edifício.

0

0.25

FELIPPI WYSSEN HOUSE MOOSWEG

1

089

01.

02.

02.

01. Roof Construction; roof panel 8mm; steel water stop; battens 80mm half lowered into counterbattens; counterbattens 140mm; flat roof waterproofing 2mm; seamlessly welded; prefabricated element 270mm; soft fiberboard 60mm; insulation 180mm; vapour barrier; three layer panel 27mm; installation space 30mm; wooden cladding 20mm

DETAIL

02. Facade Construction; gypsum board 1 x 12.5mm; prefabricated element, 260mm; OSB board 18mm; vapour barrier; insulation 180mm; wooden stand 80 x 180mm; soft fibreboard 60mm; house wrap; rear ventilation 90mm; battens 30mm; cladding 20mm; facade relief 20mm

FELIPPI WYSSEN HOUSE MOOSWEG

0

01.

03.

02.

04.

01. Roof Construction; photovoltaic panel; battens 60mm half lowered into counterbattens; counterbattens 140mm; rear ventilation 110mm; flat roof waterproofing, seamlessly welded; formwork 27mm; rear ventilation 60mm; permeable foil, seamlessly welded; prefabricated element 267mm; heat insulation 240mm mineral wool / rafters; vapour barrier; three layer panel 27mm, painted 02. Canopy; wood panelling 30mm; construction battens 120mm x 40mm; tapped connection 03. Floor Construction (First Floor); parquet 15mm; compact floor 12mm; compact plus 30mm; wooden panel ceiling 214mm; three layer panel 27mm; insulation infill 80mm; three layer panel 27mm; painted White 04. Floor Construction (Terrace); wood grate, larch, 25mm; shift- / assemblywood 100mm; prefabricated concrete elemento 05. Floor Construction ( Ground Floor); parquet 15mm; underlay floor with heating 85mm; PE-foil; sound insulation 40mm; heat insulation 40mm; in-situ concrete 250mm

05.

0.25

1

091

2017 - 2020 095

CHANGING-ROOM BUILDING Basel, Switzerland

EN

The replacement changing-room building serves two purposes: firstly, the changing rooms and sanitary facilities had to be conceived. Secondly, the building requires its own layer for public uses during sports events, with standing and seating areas on a terrace, as well as catering offers.

As a result, the single-storey timber building is divided into two zones. A terrace covered by a signature slanted roof opens up towards the playing field. Behind it, the staggered floor plan is set into the terrain; they include the changing rooms and shower facilities, as well as storage space for equipment.

ORIGINAL TEXT

FR

PT

Le bâtiment de remplacement des vestiaires a deux objectifs: premièrement, il fallait concevoir les vestiaires et les installations sanitaires. Deuxièmement, le bâtiment nécessite une section pour une utilisation publique lors d’événements sportifs, avec des zones de conversation et des zones assises sur une terrasse, ainsi que des offres de restauration.

Este edifício de balneários serve dois grandes propósitos: o primeiro, enquanto vestiários, balneários e instalações sanitárias, e o segundo, responder as necessidades simultâneas de um edifício público durante eventos esportivos, com áreas complementares de estar, terraço, e de apoio a serviços de catering.

En conséquence, le bâtiment en bois d’un seul étage est divisé en deux zones. Une terrasse couverte par un emblématique toit incliné s’ouvre sur le terrain de jeu. Derrière la terrasse, le plan en quinconce s’inscrit dans le terrain; il comprend les vestiaires et les douches, ainsi que des espaces de stockage pour du matériel.

Como resultado, o edifício de um só piso, em madeira, é dividido em duas grandes áreas distintas: um terraço coberto por um telhado inclinado que se abre para o campo de jogo; e por trás, uma planta escalonada definida pelos limites do terreno, que acolhe os vestiários, balneários e instalações sanitárias, bem como o espaço de armazenamento para equipamentos.

FELIPPI WYSSEN

0

0.25

CHANGING-ROOM BUILDING

1

101

01.

02.

03.

01. Canopy; photovoltaic panels 1300/875mm; roof battens 30mm; counterbattens 60mm; underroof foil; cross laminated timber, spruce/fir 60mm; surface treatment analog to rafters; double rafters, planed, 80/240mm; 1x primed, black (color analog to pressure impregnation of facade); 2 x oiled, black

02. Facade Construction; vertical wood formwork, spruce, sawraw 24mm; invisible connection (tongue and groove); 1x pressure impregnated, grey; 2 x oiled, with black pigment; horizontal battens 27mm; vertical battens 27mm; house wrap, black; mineral wool 200mm; cross laminated timber, spruce/fir 100mm; 2 x oiled, black

03. Floor Construction (wardrobe/shower); tiles, black 15mm; sealing; underlay with heating 85mm; PE-foil; sound insulation 20mm; PUR-insulation 100mm; vapour barrier; overconcrete 90mm; prefab concrete element 70mm

FELIPPI WYSSEN

0

0.25

01. Roof Construction; extensive green roof; roof substrate, organic and mineral 120mm/150mm; drainage mat 20mm; separating fabric; waterproofing 2. layer; waterproofing 1. layer; PU-insulation aluminium laminated 40mm; EPS-tapered insulation20-245mm; vapour barrier; cross laminated timber, spruce/fir 140mm; 2 x oiled, black 02. Canopy; cladded three layer board anthracite; assembled on three layer board; wood surface analogue to façade 03. Fabric awning, vertical; electrically operated, with rope guide; all metallic elements stove-enamelled

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02.

03.

1

CHANGING-ROOM BUILDING

103

2019 - 2021 107

HOUSE BRUDERHOLZ Basel, Switzerland

EN

FR

PT

The existing house on the Bruderholz is extended on the garden side by an extension.

La maison existante sur le Bruderholz est prolongée côté jardin par une extension.

A casa pré-existente em Bruderholz é aumentada para o jardim através de uma extensão.

With its width and roof pitch, the extension is oriented to the existing building and complements it in a natural way. Inside, an overheight space is created that dissolves the boundaries between inside and outside.

Avec sa largeur et sa pente de toit, l’extension est orientée vers le bâtiment existant et le complète d’une façon naturelle. À l’intérieur, un espace en surplomb qui dissout les frontières entre l’intérieur et l’extérieur est créé.

Com a mesma largura e inclinação da cobertura, a extensão está direccionada para o edifício existente e complementa-o de forma natural. No interior, o resultado é um espaço de pé direito duplo que dissipa as fronteiras entre o interior e o exterior.

The original garden facade with raw facade plaster and window jambs can be experienced anew as an interior space.

La façade originale du jardin, avec son enduit de façade brut et ses montants de fenêtre, peut être redécouverte comme un espace intérieur.

A fachada original do jardim, em reboco bruto e janelas de batente pode ser experimentada novamente como um espaço interior.

The construction is a mixed construction, consisting of a steel skeleton and wooden elements. In the spirit of an honest approach to materials, the materials used are left visible, resulting in an atmospheric collage.

The steel structure finds its conclusion in a wide cantilevered canopy, which together with a wooden platform frames the view and conveys it to the garden.

ORIGINAL TEXT

La construction est une construction mixte, composée d’un squelette en acier et d’éléments en bois. Dans l’esprit d’une approche honnête envers les matériaux, les matériaux utilisés sont laissés visibles, ce qui donne lieu à un collage atmosphérique.

La structure en acier se concrétise dans un large auvent en porte-à-faux, qui, accompagné d’une plate-forme en bois, encadre la vue et la transporte vers le jardin.

A construção é uma construção mista, composta por uma estrutura de ferro e madeira. Considerando uma abordagem e espírito aberto e honesto, os materiais são deixados à vista, resultando numa “colagem atmosférica”.

A estrutura de ferro termina num amplo dossel em balanço, que em conjunto com uma plataforma de madeira emoldura a vista e vive para o jardim.

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SECTION A

1

5

111

2016 - 2018 117

HINTERHUEB Neftenbach, Switzerland

EN

In a small rural settlement near Zurich on a remaining piece of an existing site, we had the task to realize a residential house. The triangular geometry results out from the remaining shape when maximizing the site perimeter according to the allowed county regulation requirements. The different uses are stacked and organized vertically due to the small floor plan. The construction can be experienced, and the materials are present.

Despite its unusual ground plan form, the building fits naturally into the ensemble. It adopts the proportions and alignments of the existing buildings, and the roof becomes part of the surrounding roofs cape. Materialization and openings correspond to the familiar image, but they are optimized for residential use. The building was constructed using a hybrid construction method.

The facade constructed in wood supports the concrete ceilings, the staircase in exposed concrete takes over the bracing and connects the individual floors as a vertical space sculpture. A gallery connects the kitchen and the living area. The entrance area or entrée is three steps lower, hierarchizing the access to the house.

Materials are used directly and can be experienced in their true character. The craftsmanship and a precise detailing are in the foreground. The refinement of simple materials takes place through precise planning and execution. This can be read, for example, in the interlocking stone corners of the cement block walls or the continuous oak handrail. All fixtures and interior walls are placed at right angles to the facade. This gives the building a self-evident organization and an inner calm.

ORIGINAL TEXT

FR

Dans un petit village rural près de Zurich, sur une parcelle résiduelle d’un site existant, nous avons eu la tâche de concevoir une maison résidentielle. La géométrie triangulaire résulte de la forme restante en maximisant le périmètre du site, conformément aux exigences de la réglementation du canton. Les différentes fonctions sont empilées et organisées verticalement en raison de la petite surface au sol. La construction peut être vécue et les matériaux sont présents.

Malgré sa forme inhabituelle en plan de rez-de-chaussée, le bâtiment s’intègre naturellement à l’ensemble. Il adopte les proportions et les alignements des bâtiments existants, et le toit se fond parmi les toitures environnantes. La matérialisation et les ouvertures correspondent à une image qui est familière, mais ils sont optimisés pour un usage résidentiel. Le bâtiment a été construit selon une méthode de construction hybride. La façade construite en bois soutient les plafonds en béton, l’escalier en béton brut reprend le contreventement et relie les différents étages comme une sculpture spatiale verticale. Une passerelle relie la cuisine et la salle de séjour. La zone d’entrée se trouve trois marches plus bas, hiérarchisant ainsi l’accès à la maison.

Les matériaux sont utilisés directement et peuvent être vécus dans leur véritable caractère. L’artisanat et la précision des détails sont au premier plan. Le raffinement de matériaux simples passe par une planification et une exécution précise.

Cela se lit, par exemple, dans les angles en pierre imbriqués des murs en blocs de ciment ou dans la rampe continue en chêne. Tous les équipements et les murs intérieurs sont placés perpendiculairement par rapport à la façade. Cela confère au bâtiment une organisation qui va de soi, ainsi qu’un certain calme intérieur.

PT

Numa pequena aldeia de carácter rural perto da cidade de Zurique, no espaço remanescente de um lote, tivemos a oportunidade de construir um edifício de carácter residencial. A geometria triangular do mesmo, é o resultado formal directo da optimização do terreno de acordo com o perímetro máximo de ocupação possível, consequente dos requisitos regulamentares permitidos por lei. Os diferentes tipos de uso de cada espaço, são organizados verticalmente devido à pequena dimensão da planta. A construção pode ser experimentada, e os materiais estão presentes.

Apesar da forma incomum da planta, o volume integrase naturalmente na envolvente. Adopta as proporções e alinhamentos dos edifícios existentes, e a cobertura passa a fazer parte das coberturas que lhe são próximas. A materialização e as aberturas correspondem à imagem familiar local, mas são optimizadas para o uso residencial.

O edifício foi construído usando um método de construção híbrido. A fachada construída em madeira suporta os tectos em betão. A escada, também em betão, mas aparente, assegura o travamento estrutural e estabelece a ligação com cada piso, como uma escultura vertical. A cozinha e a sala de estar estão espacialmente interligadas. A área de entrada posiciona-se três degraus abaixo, hierarquizando o acesso à casa.

Os materiais são usados de forma natural e podem ser experienciados no seu verdadeiro carácter. A manufactura e um detalhe construtivo exaustivo e detalhado, asseguram a base da qualidade construtiva e a possibilidade de escolha de materiais simples. Toda a iluminação e paredes internas são posicionadas em ângulos rectos com as paredes da fachada, o que permite ao edifício uma organização evidente.

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1

5

MARAZZI REINHARDT HINTERHUEB

119

3RD FLOOR PLAN

2ND FLOOR PLAN

1ST FLOOR PLAN

MARAZZI REINHARDT

EAST ELEVATION

0

NORTHWEST ELEVATION

1

5

HINTERHUEB

127

2015 - 2020 129

BREITEN Winterthur, Switzerland

EN

FR

PT

For this project the anonymous architecture of the rural buildings formed the basis for the reinterpretation of living in the countryside. Around a massive concrete core, a slender wooden structure developed in a rod and pincer construction, allow the interior spaces to be more generous and provides privacy without disconnecting with the surrounding. Without disregarding building regulations, a method was found to combine the characteristics of a typical rural architecture with the needs of a residential house presently.

Pour ce projet, l’architecture anonyme des bâtiments ruraux a servi de base à la réinterprétation de la vie à la campagne.

Autour d’un grand noyau central en béton, une étroite structure en bois développée dans une construction en filigrane permet aux espaces intérieurs d’être plus amples et offre une intimité sans se découpler de l’environnement. Sans négliger les règles de construction, une méthode a été trouvée pour combiner les caractéristiques d’une architecture rurale typique avec les besoins actuels d’une maison résidentielle.

Neste projecto, a arquitectura anónima dos edifícios rurais serviu de base à reinterpretação da vida no campo. Em torno de um núcleo maciço de betão, é desenvolvida uma delicada estrutura de madeira, que permite espaços internos generosos, proporcionando privacidade sem haver uma desconexão do espaço exterior. Sem desconsiderar os regulamentos de construção local, encontrou-se um método para combinar as características de uma arquitectura rural típica, com as necessidades de uma casa actual.

A calm, closed and rhythmic structures in wood and brick, in a familiar volumetric formed the starting point of the design. The established stick and pincer constructions from barn building serve as inspiration, as well as, the customary local brick signs. Typical features of residential buildings such as house entrances or punched windows could be dispensed in favor of a strict yet elegant façade order. This allows the construction to be experienced and at the same time conveys confidence and tranquility. The wood was used untreated. As a result, it develops a strong presence and immediacy that characterizes the attitude of a rural architecture.

Une structure calme, fermée et rythmée en bois et en brique, dans une volumétrie bien connue, a constitué le point de départ du design. Les constructions en forme de grille utilisées dans la construction des granges ont servi d’inspiration, de même que les panneaux de briques habituels locaux. Les caractéristiques typiques des bâtiments résidentiels, telles que les entrées de maison ou les fenêtres perforées, ont été abandonnées pour faire place à un ordre de façade sévère mais élégant. Cela permet de vivre la construction et transmet en même temps une confiance et une tranquillité. Le bois a été utilisé dans son état non traité. De ce fait, il développe une forte présence et une instantanéité qui caractérisent l’attitude d’une architecture rurale.

Uma estrutura simples, fechada e ritmada em madeira e tijolo, através de uma volumetria familiar, constituem o ponto de partida do projecto. A construção dos celeiros locais é tida como mote de inspiração, bem como os tradicionais tijolos locais. Características habituais em edifícios residenciais, como entradas ou janelas perfuradas, foram dispensadas a favor de uma fachada rígida, ritmada e elegante, que por sua vez permitiu uma construção capaz de ser vivenciada, e que, em simultâneo, transmite confiança e tranquilidade. A madeira foi usada sem qualquer tratamento, proporcionando uma forte presença, característica de uma arquitectura de carácter rural.

The entrance is located in the basement along a retaining wall of sandblasted concrete. The circulation core is also made of concrete and deliberately developed without daylight. It offers an extraordinary experience when moving up into a generous light filled living space, where the deliberate contrast between outside and inside becomes visible. On the first floor sit two small 2.5 room residential units with garden and on the upper floor and attic two duplex apartments with a generous pergola layer as outdoor space. The arcades extend the living area and at the same time provide sufficient privacy and constructive sun protection. This spatial layer also allows sufficiently high and illuminated rooms in the attic on the eaves side, as the attic floor can be shifted inwards. Roof superstructures and skylights were thus unnecessary - instead, a PV system of maximum size and ideal orientation could be realized.

The supporting structure consists of a rod-and-tong construction made of spruce structural timber. The construction has a different rhythm on each floor according to the grid below. Bracing is provided by the massive access core. The supporting structure is protected with structural measures. The facade is made of untreated larch. Fire protection was ensured by appropriate dimensioning of the load-bearing components. A wood chip heating system as heat generator rounds of the sustainable construction method.

ORIGINAL TEXT

L’entrée est située au sous-sol, le long d’un mur de soutènement en béton sablé. Le noyau de circulation est également en béton et est délibérément développé sans lumière du jour.

Il offre une expérience extraordinaire lorsqu’on monte dans un espace de vie généreux et lumineux, où le contraste intentionnel entre l’extérieur et l’intérieur devient visible. Au premier étage se trouvent deux petites unités résidentielles de 2,5 pièces avec jardin et, à l’étage supérieur et au grenier, deux appartements duplex avec une vaste pergola comme espace extérieur. Les arcades prolongent la surface habitable et offrent en même temps une intimité suffisante et une protection solaire structurée. Cette disposition spatiale permet également de bénéficier de pièces suffisamment hautes et éclairées dans les combles du côté de l’avant-toit, car le plancher des combles peut être déplacé vers l’intérieur.

Les superstructures de toit et les lucarnes sont donc inutiles au lieu de cela, un système photovoltaïque de taille maximale et d’orientation idéale a pu être réalisé.

La structure de support est constituée d’une construction en bois d’épinette. Le rythme de la construction est différent à chaque étage en fonction de la grille située en dessous. Le renforcement est assuré par le noyau central. La structure de support est protégée par des mesures structurelles. La façade est en mélèze non traité. La protection contre le feu a été assurée par un dimensionnement approprié des éléments porteurs. Un système de chauffage à copeaux de bois comme générateur de chaleur complète la méthode de construction durable.

A entrada no edifício é feita no piso inferior, junto de um muro de contenção em betão. O núcleo central de circulação é também feito em betão e deliberadamente desenvolvido sem a presença de luz natural, oferecendo uma experiência extraordinária ao utilizador, ao mover-se para um espaço generoso cheio de luz, em que o contraste deliberado entre o exterior e o interior se torna visível. No primeiro piso encontramse duas pequenas unidades residenciais de 2 assoalhadas e jardim, e nos pisos superiores, dois apartamentos duplex com uma generosa pérgola exterior. A pérgola permite o uso e apropriação do espaço exterior pela sala de estar, dado que garante privacidade e protecção solar. Essa camada espacial permite também espaços suficientemente altos e iluminados no piso superior. Superestruturas de telhado e clarabóias são desnecessárias, e a sua ausência permitiu a presença de um grande sistema fotovoltaico com uma orientação solar perfeita.

A estrutura de suporte consiste numa construção de “haste e pinça” em madeira estrutural de pinho. A construção tem um ritmo diferente em cada andar segundo o piso inferior. O reforço é conseguido através do núcleo central de betão. A estrutura de suporte é protegida como medida estrutural e a fachada é feita em pinho não tratado. A protecção contra incêndio foi assegurada pelo dimensionamento adequado dos componentes portantes. Um sistema de aquecimento de paletes de madeira garante um método de construção sustentável.

0 0.25

MARAZZI REINHARDT BREITEN

1

135

01.

03.

02.

04.

05.

06.

01. 397 Floor structure wet cells; 15 Paving; 50 Anhydrite; 20 Mineral wool impact sound; 30 Cement Boards (Sonic); 42 Wood composite panel; 240 Bar position 02. 587 Floor construction upper floor; 65 Anhydrite sealed; 20 Mineral wool impact sound; 180 Gravel Bound; 42 Wood composite panel; 280 Bar position

03. 587 Floor construction upper floor; 65 Anhydrite sealed; 20 Mineral wool impact sound; 180 Gravel Bound; 42 Wood composite panel; 280 Bar position 04. 505 Floor structure; 65 Anhydrite sealed; 20 Mineral wool impact sound; 160 PUR insulation; 10 Sealing; 250 Concrete ceiling

05. 530 Floor construction basement; 35 Artificial stone including glue; 50 Anhydrite; 45 PUR insulation; 400 Concrete ceiling 06. 330 Floor construction; 30 Cement coating; 250 Concrete; 50 Lean concrete

MARAZZI REINHARDT BREITEN

ELEVATION

0

1

5

137

2015 - 2020 139

SPRÖSSLING Winterthur, Switzerland

EN

The historic, park-like complex is part of the green space surrounding the old town center in Winterthur. The ensemble of park and villas is of high value and should not be impaired by the new building. The new addition had to takes this aspect into account. A cross-shaped ground plan extends into the garden and interlocks with it. Between the existing building and the new one, courtyard-like spaces are shaped that can be used in different ways. Due to the structure of the building, it cannot be recognized as one volume, but due to the materiality and structure, the building can still be appreciated as a unit.

The building is structured in different levels: the uses of the first floor are divided into three bodies. A parapet band of different heights in in-situ concrete refers to the respective use through the height offsets and closes off the building towards the top.

The upper floor of the two-story daycare center is constructed in wood and contrasts with the mural first floor, which rises from the ground. In order to ensure a connection, the rhythm of the wooden construction corresponds to that of the mural pillars, but it is formulated in a more restrained manner. The lack of a base and the simple materials used directly situate the new building as a building subordinate to the villas. The piers are built in cement block, as is the double-skin masonry. Sawed, untreated fir wood closes off the upper floor. The low-pitched tin roof differentiates the building from the surrounding prestigious residential buildings.

The interior spaces are also designed in a restrained manner.

They have a strong visual and functional reference to the exterior space and are oriented to the corresponding garden and courtyard situations. Exposed concrete, cement stone and wood dominate, while selectively applied finishes in oak or artificial stone give the house a restrained, distinguished expression. The linking of the building and the exterior space contributes significantly to the integration of the building into the garden grounds.

ORIGINAL TEXT

FR

Le complexe historique, qui ressemble à un parc, fait partie de l’espace vert qui entoure le vieux centre de Winterthur.

L’ensemble de parc et de villas est d’une grande valeur et ne doit pas être compromis par le nouveau bâtiment. Le nouvel élément devait tenir cet aspect en compte. Un plan en forme de croix s’étend dans le jardin et s’y imbrique. Entre le bâtiment existant et le nouveau, des espaces en forme de cour sont formés, qui peuvent être utilisés de différentes manières. En raison de sa structure, le bâtiment ne peut être vu comme un seul volume, mais grâce à sa matérialité et à sa structure, il peut tout de même être apprécié comme une seule unité.

Le bâtiment est structuré en différents niveaux : les fonctions du premier étage sont divisées en trois corps. Une bande de parapet de différentes hauteurs en béton coulé sur place fait référence à chaque l’utilisation respective par les décalages de hauteur et ferme le bâtiment vers le haut. L’étage supérieur de la crèche à deux étages est construit en bois et est en contraste avec le premier étage mural, qui s’élève depuis le sol. Afin d’assurer une liaison, le rythme de la construction en bois correspond à celui des piliers muraux, mais il est formulé de manière plus sobre. L’absence de socle et la simplicité des matériaux utilisés positionnent directement le nouveau bâtiment comme un élément secondaire aux villas. Les piliers sont construits en blocs de ciment, tout comme la maçonnerie en double mur. Le bois de sapin scié et non traité termine l’étage supérieur. Le toit en tôle à faible pente différencie le bâtiment des immeubles résidentiels de haut prestige environnants.

Les espaces intérieurs sont également conçus de manière sobre. Ils font une forte référence visuelle et fonctionnelle à l’espace extérieur et sont orientés vers les jardins et cours correspondantes. Le béton brut, la pierre de ciment et le bois dominent, tandis que les finitions en chêne ou en pierre artificielle appliquées de manière ponctuelle donnent à la maison une expression sobre et distinguée. Le lien entre le bâtiment et l’espace extérieur contribue de manière significative à l’intégration du bâtiment dans le jardin.

PT

O complexo histórico, semelhante a um parque, faz parte do espaço verde em volta do centro histórico da cidade de Winterthur. O conjunto do parque e dos edifícios residenciais, tem uma expressão e valor muito significativo, pelo que não deveria ser prejudicado pela presença do novo edifício, cujo desenvolvimento teve esse aspecto em consideração. Uma planta em forma de cruz estende-se e funde-se no jardim. Entre o edifício existente e o novo, resultam espaços semelhantes a pátios, de uso polivalente. A estrutura do edifício não lhe permite o reconhecimento especial de um volume. No entanto, a sua estrutura e materialidade particulares, conferem-lhe uma leitura sólida, como um todo.

O edifício está estruturado em diferentes níveis: o uso do primeiro andar é dividido em três corpos. Uma faixa de betão à vista de diferentes alturas, reflecte o seu respectivo uso e fecha o edifício em direcção ao topo. O piso superior do centro de dia infantil é construído em madeira, por contraposição ao piso inferior construído em betão. Para garantir uma ligação entre os dois, o ritmo da construção em madeira corresponde ao dos pilares, mas formulado de forma mais contida. A falta de base e os materiais utilizados situam directamente o novo edifício como um edifício subordinado às construções préexistentes de carácter residencial. Os pilares são construídos em bloco de cimento, assim como a alvenaria das paredes.

Madeira de pinho não tratada fecha o piso superior. O telhado de zinco de baixa inclinação, diferencia o edifício dos edifícios residenciais circundantes.

Os espaços interiores são pensados de forma contida e voltados para o jardim e respectivo pátio, permitindo uma forte presença visual do espaço exterior, no interior dos mesmos.

O betão aparente, a pedra de cimento e a madeira, são os materiais predominantes. Os acabamentos feitos em carvalho ou pedra artificial, conferem à construção uma expressão contida e distinta. A articulação do edifício com o espaço exterior, contribui significativamente para a integração do edifício no jardim.

0 1

MARAZZI REINHARDT SPRÖSSLING

5

143

C A

B

GROUND FLOOR PLAN

SECTION B

MARAZZI REINHARDT

01. 400 Floor construction upper floor; 5 Linoleum; 105 Cementitious; 20 Impact sound; 20 Insulation; 250 Concrete

02. 400 Floor structure; 27 Cement boards; 8 Mortar bed; 65 Cementitious; 20 Impact sound; 20 Insulation; 10 Sealing; 250 Concrete

03. 595 Floor construction basement; 15 Ceramic plates; 100 Cementitious ; 20 Impact sound; 250 Concrete; 160 Insulation; 50 Cleanliness shift

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SPRÖSSLING

1

147

01.

02.

03.

149

2014 - 2021 151

HAUS ZUM PUDEL Beringen, Switzerland

EN

The vision for the Haus zum Pudel was born out of the interest to redevelop a site in a suburban village near Zurich. Instead of a 60-year-old temporary news agency with bus station and a disorderly, hardly habitable residential building, on can find now a distinctive structure. The new volume simply follows the curved street with a kink and the rear facade is referencing the existing neighboring property. The building has helped to define the spatial program. A bus stop combined with a shop and two small studios for people seeking a home beyond standardized living environments. The functions correspond to the changing conditions of the place, this creates an unusual but also liberating situations, which invites people to adapt to the space.

The recognizable volume in concrete, stone, and wood creates authenticity. A two-shell masonry structure, braced by the interior concrete walls, supports the wood roof. Load patterns and construction are evident, allowing users to appropriate and assimilate with the house. Where possible, the materials were untreated and directly installed. Therefore they develop a presence and immediacy, which is connected to the rural architecture. The specially designed apparatuses and fittings also reflect the examination of the task. They are surface-mounted and allow repairs and adjustments to be carried out easily.

The house is characterized by discussing all aspects of architecture from the setting to the detail. From the beginning the aim was to create an architecture of quality by using simple materials but refined by craftsmanship. For example the raw brickwork, the exposed concrete or the rustic wooden floors show traces of the working process. Cladding is partially made from recycled materials and characterize certain situations and create an exciting counterpart to the otherwise raw appearance.

The replaced volume conveys a fresh image to the village.

At the same time, the form, the type of openings and the materialization are familiar to the people through the history of the place. But with the small vertical openings, the stoneframed, large-format entrances, the short canopy, as well as the solid materialization, the building is distantly reminiscent of the Trotten, which can be found in every village in the area and creates something familiar but new.

ORIGINAL TEXT

FR

La vision de la Haus zum Pudel est née du désir de réaménager un site dans un village de banlieue près de Zurich. Au lieu d’une agence de presse temporaire d’il y a 60 ans, d’une station de bus et d’un bâtiment résidentiel désordonné et difficilement habitable, on trouve désormais une structure unique. Le nouveau volume suit la courbe de la rue avec un virage et la façade arrière fait référence à la propriété voisine existante.

Le bâtiment a contribué à définir le programme spatial. Un arrêt de bus allié à un magasin et à deux petits studios pour les personnes qui cherchent un logement qui va au-delà des environnements de vie habituels. Les différentes fonctions correspondent aux conditions changeantes de l’endroit, ce qui crée une situation inhabituelle mais aussi libératrice, qui invite les gens à s’adapter à l’espace.

Le reconnaissable volume en béton, pierre et bois apporte de l’authenticité. Une structure en maçonnerie en deux couches, supportée par les murs intérieurs en béton, soutient le toit en bois. La descente de charges et la construction sont évidentes, ce qui permet aux utilisateurs de s’approprier la maison et de l’assimiler. Dans la mesure du possible, les matériaux n’ont pas été traités et ont été directement installés. Ils développent donc une présence et une instantanéité, qui est reliée à l’architecture rurale. Les appareils et les accessoires spécialement conçus reflètent également l’exigence de la tâche. Ils sont fixés sur les surfaces et permettent donc une facile réparation ou ajustement.

La maison se caractérise par la discussion de tous les aspects de l’architecture, allant du cadre au détail. Dès le début, l’objectif était de créer une architecture de qualité en utilisant des matériaux simples mais raffinés par l’artisanat. Par exemple, la maçonnerie brute, le béton brut ou les sols en bois rustiques montrent les traces du processus de travail. Les revêtements, partiellement réalisés à partir de matériaux recyclés, caractérisent certaines situations et créent une contrepartie intéressante à l’aspect brut.

Le volume remplacé transmet une image fraîche au village. En même temps, la forme, le type d’ouvertures et la matérialisation sont familiers aux habitants à travers l’histoire du lieu. Mais avec les petites ouvertures verticales, les entrées en pierre de grand format, l’auvent court, ainsi que la matérialisation solide, le bâtiment rappelle lointainement les pressoirs, les Trotten, que l’on trouve dans tous les villages de la région, et crée quelque chose de familier mais de nouveau.

PT

O ponto de partida deste projecto, foi a reconstrução de um pequeno edifício, inserido numa zona suburbana, perto da cidade de Zurique, no qual podemos hoje encontrar um espaço valorizado e diferenciado, em vez de uma antiga agência de notícias temporária, com 60 anos, uma paragem de autocarros e espaços residenciais desordenados e pouco habitáveis.

O novo volume acompanha o desenho da rua, e a fachada tardoz estabelece a relação de enquadramento com o edifício vizinho preexistente. Os espaços preexistentes no edifico ajudaram a definir o programa espacial. Uma paragem de autocarros, uma loja e dois pequenos estúdios para indivíduos que procuram uma casa diferenciada dos padrões habituais. As funções correspondem às condições mutáveis do lugar, o que consequência situações inusitadas, mas também libertadoras, que convidam as pessoas a adaptarem-se ao espaço.

O volume em pedra e madeira, manifesta autenticidade. Uma estrutura de alvenaria, sustentada pelas paredes interiores em betão, suporta a cobertura de madeira. Os padrões de carga e construção são evidentes, permitindo aos moradores uma apropriação e assimilação da própria casa. Sempre que possível, os materiais construtivos e de revestimento são usados sem qualquer tratamento, proporcionando uma aproximação e presença de uma arquitectura de carácter rural. Tal como todos os acessórios e equipamentos de uso complementar, desenhados com a mesma pretensão e aplicados à vista, assegurando uma fácil manutenção.

O projecto caracteriza-se por considerar de forma detalhada todos os aspectos da arquitectura, do geral ao particular. O objectivo inicial, ambicionava alcançar uma arquitectura de qualidade através do uso materiais simples, mas depurados na sua manufactura. Tomando como exemplo a alvenaria em bruto, o betão aparente ou o pavimento em madeira natural, que reflectem o processo de trabalho manual. Os revestimentos são parcialmente feitos a partir de materiais reciclados e proporcionam um equilíbrio e uma atmosfera acolhedora, em conjunto com os materiais em bruto usados na construção.

O volume final confere uma nova imagem à aldeia. Enquanto a forma, o tipo de aberturas e a materialidade são localmente familiares na história do lugar, as pequenas aberturas verticais e entradas de grandes dimensões, as molduras em pedra, o dossel curto, e uma imagem sólida, proporcionam uma reminiscência distante da imagem que pode ser facilmente ser encontrada em todas as aldeias próximas, através da criação de algo familiar, mas novo.

MARAZZI REINHARDT

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1

HAUS ZUM PUDEL

5

153

A

B

C D

SECTION A

A

3RD FLOOR PLAN

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1

MARAZZI REINHARDT HAUS ZUM PUDEL

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159

A

B

C D A

1ST FLOOR PLAN

SECTION C

MARAZZI REINHARDT

05.

01. 540 Roof structure; Beaver tail double covering; 24/48 Battens; 50/80 Counter battens; Rear ventilation for photovoltaics; Sub-roof film; 60 Under roof; 260 Rafters 260/80 insulation; 25 OSB (vapour barrier); 24/100 Formwork butt spruce 02. 300 Floor structure; 40 3-S Spruce; 80/260 Logs spruce raw

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0.25

HAUS ZUM PUDEL

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163

01.

06.

02.

03.

04.

03. 330 Floor construction upper floor; 20 Parquet Recycled; 20 Installation boards OSB; 10 Impact sound; 280 Reinforced concrete 04. 540 Floor structure; 30 Flooring; 80 Cementitious UB; 120 Insulation; 10 Sealing; 250 Concrete; 50 Cleanliness shift 05. 250 Floor structure; 35 Mastic asphalt; 15 Impact noise; 200 Reinforced concrete 06. Glass brick

MARAZZI REINHARDT

HAUS ZUM PUDEL

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2016 - 2021 167

GIOVANNI Uitikon, Switzerland

EN

FR

PT

The detached single-family house with a 2.5 room studio apartment is located in a residential area of Uitikon near Zurich. The mixed environment traversed with single-family houses and small apartment buildings of all decades from the 1950s, make a referencing to the existing fabric obsolete.

The owner of the site has Italian roots and was keen to make maximum use of the plot. Other important aspects had been the flexibility of use, privacy, panoramic views and the need for representation on a limited budget. Marazzi Reinhardt created a house in the spirit of a palazzo.

La maison individuelle avec un studio de 2,5 pièces est située dans un quartier résidentiel d’Uitikon, près de Zurich.

L’environnement mixte de maisons unifamiliales et de petits immeubles d’habitation de toutes décennies à partir des années 1950, rend obsolète une référence au patrimoine existant. Le propriétaire du site a des racines italiennes et tenait à exploiter au maximum la parcelle. D’autres aspects importants étaient la flexibilité d’utilisation, l’intimité, les vues panoramiques et le besoin de représentation avec un budget limité. Marazzi Reinhardt a créé une maison dans l’esprit d’un palazzo.

Esta casa, de carácter unifamiliar, integra-se na zona residencial de Uitikon, perto de Zurique. Uma área de moradias e pequenos edifícios de apartamentos da década de 1950, cujo carácter torna obsoleta uma referência ao tecido existente.

O proprietário do local tem raízes italianas e fez questão de aproveitar ao máximo o terreno. Outros aspectos importantes a ter em consideração foram a flexibilidade de uso, privacidade, vistas panorâmicas e a necessidade de respeitar um orçamento limitado. Marazzi Reinhardt criou uma casa com o carácter de um palácio.

An essential feature of a palazzo is the piano Nobile. Located on the upper floor, it looks distinguished and sublime, while providing adequate privacy. A subtle difference in proportions, such as the higher windows, indicate a representative use.

The structure of the building picks up traditional typological elements, which are translated into a contemporary language: The cornices of cast-in-place concrete vary in height and width, depending on the degree of representation. At the canopy and the terrace, the belt reaches out to bring a sculptural presence to the simple geometry of the building. The cornices are supported by precast concrete piers. Capitals in the area of the piano Nobile refer to its importance. Another characteristic of a palazzo is the selective use of resources: representative rooms are refined, while secondary rooms are furnished with restraint. This approach was possible due to the limited budget. Visitors are welcomed in the well-proportioned entrance room. An inviting spiral staircase leads to the Piano Nobile. Above the staircase is the hallway with library, from which the over-height living rooms are accessed.

Le piano Nobile est une caractéristique essentielle d’un palazzo.

Situé à l’étage supérieur, il a un aspect raffiné et sublime, tout en offrant une intimité adéquate. Une différence subtile dans les proportions, comme les fenêtres plus hautes, indique une utilisation plus représentative. La structure du bâtiment reprend des éléments typologiques traditionnels, qui sont traduits dans un langage contemporain : Les corniches en béton faites sur place varient en hauteur et en largeur, en fonction du degré de représentation. Au niveau de l’auvent et de la terrasse, la corniche marcapiano s’étend pour apporter une présence sculpturale à la géométrie simple du bâtiment. Les corniches sont soutenues par des piliers en béton préfabriqué. Les chapiteaux dans la zone du piano Nobile font référence à son importance. Une autre caractéristique d’un palazzo est l’utilisation ciblée des ressources : les pièces principales sont raffinées, tandis que les pièces secondaires sont meublées de façon sobre. Cette approche a été possible en raison du budget limité. Les visiteurs sont accueillis dans le grand hall d’entrée.

Un escalier en colimaçon accueillant mène au Piano Nobile. Audessus de l’escalier se trouve le couloir avec la bibliothèque, d’où l’on accède aux salons en hauteur.

Uma característica determinante e comum a todos os palácios é o Piano Nobile. Localizado no piso superior, tem uma imagem distinta e cuidada, proporcionando privacidade ao seu utilizador.

Uma diferença subtil nas proporções, como na altura das janelas, indicam um uso representativo. A estrutura do edifício inclui elementos tradicionais, traduzidos para uma linguagem contemporânea: as cornijas em betão à vista, variam em altura e largura de acordo com o grau de representação pretendido. No dossel e no terraço, uma longa platinada em betão confere uma presença escultural à geometria simples do edifício. As cornijas são suportadas por pilares de betão pré-esforçado.

The outdoor space extends as a layer in front of the living spaces and interlocks with them. The private and adjacent rooms are located on the north side of the building. Despite the modesty, they also have spatial quality: along the free facade, the building can be walked through completely, which creates a generous appearance and allows flexible use. The private rooms are covered with simple materials such as linoleum and painted parapet cladding. The parapets of the representative rooms are clad with oak, and the floors are covered with Roman travertine which had been selected by the client himself and imported to Switzerland.

ORIGINAL TEXT

L’espace extérieur s’étend comme une plaine devant les espaces de vie et s’imbrique avec eux. Les chambres privées et adjacentes sont situées sur le côté nord du bâtiment. Malgré leur modestie, ils ont une qualité spatiale : le long de la façade libre, le bâtiment peut être entièrement traversé, ce qui crée une apparence généreuse et permet une utilisation flexible. Les pièces privées sont recouvertes de matériaux simples tels que le linoléum et un revêtement de parapet peint. Les parapets des pièces principales sont revêtus de chêne et les sols sont recouverts de travertin romain sélectionné par le client lui-même et importé en Suisse.

Outra característica comum a um palácio é o uso selectivo de recursos: as salas representativas são depuradas, enquanto as salas secundárias são mobiladas de forma moderada. Esta abordagem foi conseguida segundo as limitações impostas pelo orçamento. As visitas são recebidas na sala de entrada, bem proporcionada, e uma escada em espiral conduz ao piso superior onde se encontra a biblioteca, e a partir da qual se acede à sala de estar, com um grande pé direito.

O espaço interior estende-se para o exterior de forma natural.

Os espaços adjacentes, de uso privado, estão posicionados no lado norte do edifício. Apesar de modestos, também estes têm uma grande qualidade espacial: ao longo da fachada livre, o edifício pode ser totalmente percorrido, o que confere uma imagem generosa e um uso flexível. Os quartos são revestidos com materiais simples, recorrendo ao linóleo e à pintura. Os parapeitos dos espaços de uso colectivo são revestidos a madeira de carvalho e o pavimento em pedra mármore, do tipo travertino romano, seleccionado pelo próprio cliente e importado para a Suíça.

0

10

MARAZZI REINHARDT GIOVANNI

50

B

171

A

GROUND FLOOR PLAN

SECTION B

MARAZZI REINHARDT

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02.

02.

03.

01. 605 Floor construction terrace; 30 Decking wood; 37-125 Sloping substructure; 3 Fire protection fleece; 6 Drain layer; 5 Upper track; 4 Subway; 120 Insulation λ ≤ 0.020 (e.g. swissporPIR Premium); 20 +1.5% Gradient insulation λ ≤ 0.022 (e.g. swissporPIR aluminum gradient panels); 4 Vapor barrier; 280 Concrete

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0.25

GIOVANNI

1

173

04.

02. 420 Floor construction upper floor; 10 Linoleum; 80 Cementitious UB with BH; 20 Impact sound insulation; 30 Installation; 280 Concrete 03. 490 Floor construction basement; 10 Linoleum; 90 Cementitious UB with BH; 140 EPS; 3 Moisture barrier; 250 Concrete; 50 Cleanliness shift 04. Floor construction; 30 Natural stone slab; 5 Glue; 150 (var.) Concrete; 10 Plaster

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175

CREDITS

COVER 01 DESCHENAUX ARCHITECTES project HABITATIONS COLLECTIVES BEL-AIR image © Rasmus Norlander COVER 02 FELIPPI WYSSEN project HOUSE MOOSWEG image © Rasmus Norlander COVER 03 MARAZZI REINHARDT project HINTERHUEB image © Ladina Bischof INDEX project HABITATIONS COLLECTIVES BEL-AIR image © Rasmus Norlander

DESCHENAUX ARCHITECTES LÙ MUNTEILLÉ (by Deschenaux Follonier) project: 2016-2017 location: Les Haudères, Switzerland gross built area: 145 sq.m. images © Joël Tettamanti MAISON JÉRICHO (by Deschenaux Follonier) project: 2016-2017 location: Bulle, Switzerland gross built area: 311sq.m. images © Leo Fabrizio LÙ CHATARME (by Deschenaux Follonier) project: 2015-2019 location: Arolla, Switzerland gross built area: 63 sq.m. images © Joël Tettamanti MAISON À LA PLACE (by Deschenaux Follonier) project: 2017-2019 location: Ayent, Switzerland gross built area: 190 sq.m. images © Rasmus Norlander HABITATIONS COLLECTIVES BEL-AIR project: 2016-2021 location: Villars-sur-Glâne, Switzerland gross built area: 2x 1015 sq.m. images © Rasmus Norlander FELIPPI WYSSEN HOUSE BASELSTRASSE project: 2012-2015 location: Muttenz, Switzerland area: 555 sq.m. images © Valentin Jeck HOUSE GATTERNWEG project: 2016-2019 location: Riehen, Switzerland area: 511 sq.m. images © Rasmus Norlander HOUSE MOOSWEG project: 2019 location: Riehen, Switzerland area: 180 sq.m. images © Rasmus Norlander

CHANGING-ROOM BUILDING project: 2017-2020 location: Basel, Switzerland area: 440 sq.m. images © Adriano Biondo HOUSE BRUDERHOLZ project: 2019-2021 location: Basel, Switzerland area: 158 sq.m. images © Mark Niedermann MARAZZI REINHARDT HINTERHUEB project: 2016-2018 location: Neftenbach, Switzerland gross built area: 270 sq.m. images © Ladina Bischof BREITEN project: 2015-2020 location: Winterthur, Switzerland gross built area: 760 sq.m. images © Aladin Klieber SPRÖSSLING project: 2015-2020 location: Winterthur, Switzerland gross built area: 631 sq.m. images © Ladina Bischof HAUS ZUM PUDEL project: 2014-2021 location: Beringen, Switzerland gross built area: 249 sq.m. images © Ladina Bischof (interior), © Schaub Stierli Fotografie (exterior) GIOVANNI project: 2016-2021 location: Uitikon, Switzerland gross built area: 490 sq.m. images © Ladina Bischof

CREDITS

177

VALENTIN DESCHENAUX was born in 1988 in Fribourg, Switzerland. He grew up in a family of builders, which probably explain his sensibility for the construction and the crafts.

After an apprenticeship as a draftsman, he studied at the University of applied Sciences in Fribourg with an exchange semester in Munich. He worked from 2013 to 2014 as an architect for the brothers Schneider&Schneider in Aarau. He then moved to Lucerne to work for Daniele Marques where he was project manager for the Kapuzinerkloster in Lucerne.

He worked since august 2016 as an independent architect with Sarah Follonier in Fribourg and Valais. In January 2020, he founded the office Deschenaux Architectes in Fribourg.

FABIO FELIPPI After completing compulsory schooling, Fabio Felippi attended the School of Applied Arts in Basel. After successfully completing his apprenticeship as a structural draftsman, Fabio Felippi studied at the FH Basel from 20012005. Following his studies, he worked for Rolf Mühlethaler in Bern from 2005-2006 on the execution of the Wylerpark project.

From 2007-2009 Fabio Felippi worked for Herzog & de Meuron as projectachitect. From 2008 he was project manager for the St. Jakob Tower, a Mercedes showroom and shopping center in Basel. In 2009, he founded the architecture firm FELIPPI WYSSEN ARCHITEKTEN in Basel together with Thomas Wyssen. He was an assistant at the ETH in Zurich with Andrea Deplazes from 2010-2012. Fabio Felippi has been a member of the Federation of Swiss Architects BSA since 2021.

Since 2021, he teaches construction in the first year of architecture class at the University of applied Sciences in Fribourg and he is being invited as an expert for project reviews at some universities.

He join the same year the SIA committee in Fribourg, the Swiss society of engineers and architects.

THOMAS WYSSEN studied at the FH Basel from 20002005, prior to which he completed a 4-year apprenticeship as a structural draftsman. During his time at the FH Basel he completed an internship at Herzog & de Meuron in Basel. From 2006-2009 he worked as an architect at Herzog & de Meuron.

He gained valuable experience as project manager of the Museum der Kulturen Basel before founding the architectural office FELIPPI WYSSEN ARCHITEKTEN in Basel in 2009. In 2010, he was an assistant at the ETH Zurich for the Japanese guest professorship of Manabu Chiba. From 2011-2012 he was assistant to Marc Angelil at ETH Zurich. Since 2014 Thomas Wyssen is a member of the “SIA” Switzerland and since 2021 a member of the Federation of Swiss Architects BSA.

image © Julien Chavaillaz

image © David Walter

ANDREAS REINHARDT completed an apprenticeship as a carpenter and worked in this profession for several years. After an internship in an architectural office in Bern, he studied at the Zurich University of Applied Sciences from 2002 - 2007. Since 2004 he has been running an office with Sergio Marazzi.

SERGIO MARAZZI went through a carpentry apprenticeship and was then self-employed. After an internship in an architectural office in Winterthur, he decided to study at the Zurich University of Applied Sciences from 2002 - 2007. Since 2004 he is coowner of the architectural office Marazzi Reinhardt.

image © Ladina Bischof

SPECIAL THANKS TO Alcino Delgado Ana Assunção António Amaral Artur Sousa Filipa Delgado Sousa Hélder Gonçalves Javier Prado José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Matteo Brioni Rita Leite de Castro Roberto Arias Rui Caldas Sofia Teodósio Thomas Allaert Tomoaki Uno

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PUBLICATION DATE 2022 March COLLECTION AMAG magazine NUMBER 26 TITLE TOMOAKI UNO ISBN 978-989-53330-2-8 ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164

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EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TEXTS AND TRANSLATIONS Introduction essay texts were originally written in Portuguese by the respective authors.

AL and JMP Introduction essays to JP - Tomoaki Uno AL introduction essay to EN - Ana leal JMP introduction essay to EN - Clementine Dobbelaar Projects description texts were originally written in Japanese by the author.

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