AMAG 33 MILLER & MARANTA ONLINE sample PREVIEW by AMAG PUBLISHER

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG 33 MILLER & MARANTA

EN | PT

SPECIAL THANKS TO

Founded in 1990. Memberships of the Swiss Society of Engineers and Architects SIA and the Association of Swiss Architects BSA.

and the ETH Zurich. Graduated from ETH Zurich in 1986. Master of Business Administration 1990 at IMD Lausanne. Management consultant at McKinsey & Co. from 1991 to 1994 in Zurich. Quintus Miller, born 1961 in Aarau. Since 1994 permanent collaboration Studied architecture at the ETH Zurich. with Quintus Miller in Basel. 2000-2001 Graduated from ETH Zurich in 1987. Professeur invité at the EPF Lausanne. Design assistant at the EPF Lausanne and 2001-2005 Member of the Urban the ETH Zurich between 1990 and 1994. Planning Commission of the Canton Since 1994 permanent collaboration of Basel-Stadt. 2003-2019 Member with Paola Maranta in Basel. 2000-2001 of the Urban Planning Commission of Professeur invité at the EPF Lausanne. Riehen. 2007-2008 Visiting professor 2004-2008 Member of the Urban Planning at the Accademia di Architettura of the Commission of the City of Lucerne. Università della Svizzera Italiana. 2005-2017 Member of the Monument 2008-2010 Guest lecturer at the ETH Preservation Commission of the City Zurich. Member of the FHNW University of of Zurich and 2011-2021 Member of Applied Sciences Council since 2018. the Monument Council of the Canton of Basel-Stadt. 2005-2010 Member of Jean-Luc von Aarburg, born 1975 in the Commission for Fine Arts of the Liestal. Studied architecture at EPF municipality of Riehen. 2007-2008 Visiting Lausanne, TU Delft and ETH Zurich. professor at the Accademia di Architettura Graduated from ETH Zurich in 2001. of the Università della Svizzera Italiana. Joined Miller & Maranta in 2001, from 2008-2010 Guest lecturer at the ETH 2007 as a member of the management Zurich. From 2009 full professor at team and from 2013 as a partner. the Accademia di Architettura of the 2009-2010 Co-lecturer at ETH Zurich. Università della Svizzera italiana. 2014 Admission to the BSA. Board member of BWA nw since 2020, Paola Maranta, born 1959 in Chur. observer for competitions and tenders in Studied architecture at the EPF Lausanne Northwestern Switzerland.

INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

MILLER & MARANTA

Awards for complete works 2018 Heinrich Tessenow - Medal 2013 Prix Meret Oppenheim 1997 Swiss Federal Art Scholarship

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

Alcino Delgado Ana Assunção António Amaral Arménio Estima Ávila Sousa Barbara Kern Bettina Haberbeck Schlempp Carmen Estima Filipa Delgado Sousa Gina Folly Hélder Gonçalves Jean-Luc von Aarburg José Manuel Pedreirinho Konrad Profanter Laura Maifreni Laura Torchio Martin Tschanz Matteo Brioni Miguel Carvalho Nils-Holger Haury Paola Maranta Paulo Lima Quintus Miller Ralph Feiner Rita Leite de Castro Ruedi Walti Rui Caldas SIA Sofia Teodósio

CURRENT TITLE AMAG 33 MILLER & MARANTA PUBLICATION DATE 2023 December COLLECTION AMAG MAGAZINE SERIES INTERNATIONAL ARCHITECTURE RUN NUMBER 5000 numbered copies FREQUENCY Quarterly PAPER Arena White Smoth 140 / 350gr TYPEFACE Cordia New DIMENTIONS 240x320mm TYPE OF PRINTING Offset CMYK 4/4 ISBN 978-989-53905-9-5 ISSN I2182-472X ERC REGISTRATION 126 164 LEGAL DEPOSIT 377392/14 PRINTING LusoImpress EDITOR-IN-CHIEF Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Filipa Figueiredo Ferreira Inês Rompante João Soares TEXTS AND TRANSLATIONS Pages 003 and 005, original texts in PT, translation to EN by Pedro Cardigo. Essays and project description original texts in EN by the authors, translation to PT by Pedro Cardigo.

MILLER & MARANTA

PORTUGAL PVP 49,90€ PRICE WILL VARY PER COUNTRY

OWNER AMAG editora LDA

VAT NUMBER 513 818 367

PUBLISHED BY

AMAG 33 MILLER & MARANTA

EN | PT

AMAG PUBLISHER is an international publisher that carefully conceive, develop, and publishes books and objects directed related to architecture and design. Mainly in 3 different series: AMAG MAGAZINE, AMAG BOOKS and AMAG OBJETS, with a deeply conceptual approach, each collection represents a challenge and a new opportunity for the production of unique and significant books, meeting the highest quality standards and a differentiating design, absent from standard trends, representing significant values and content to inspire each reader and client. AMAG MAGAZINE (AMAG) is an architecture technical magazine, in print since December 2011, published from March 2023, quarterly and concomitantly, in two series: AMAG (international architecture technical magazine) and AMAG PT (portuguese architecture technical magazine). AMAG 32

ATELIER ORDINAIRE EGR ATELIER JEAN-CHRISTOPH QUINTON AMAG PT 03 JOÃO MENDES RIBEIRO AMAG 31 JO TAILLIEU ARCHITECTEN STUDIO JAN VERMEULEN GRAUX & BAEYENS ARCHITECTEN AMAG PT 02 BARBAS LOPES ARQUITECTOS AMAG 30 ATELJÉ Ö JOHANSEN SKOVSTED NORRØN AMAG PT 01 DIOGO AGUIAR STUDIO AMAG 29 BOLTSHAUSER ARCHITEKEN LILITT BOLLINGER STUDIO RAPHAEL ZUBER AMAG 28 CLANCY MOORE ARCHITECTS RYAN W. KENNIHAN ARCHITECTS STEVE LARKIN ARCHITECTS AMAG 27 DESCHENAUX ARCHITECTES FELIPPI WYSSEN MARAZZI REINHARDT AMAG 26 TOMOAKI UNO ARCHITECTS AMAG 25 AIRES MATEUS AMAG 24 MORQ AMAG 23 CARMODY GROARKE AMAG 22 VINCENT VAN DUYSEN AMAG 21 WESPI DE MEURON ROMEO AMAG 20 TONY FRETTON ARCHITECTS AMAG 19 TALLER HECTOR BARROSO ESTUDIO MACIAS PEREDO AMAG 18 ÁLVARO SIZA double issue AMAG 17 KÉRÉ ARCHITECTURE AMAG 16 ELEMENTAL AMAG 15 FRAN SILVESTRE AMAG 14 ADJAYE ASSOCIATES AMAG 13 BAST BUREAU ARCHITECTURES SANS TITRE GENS ASSOCIATION LIBÉRALE D’ARC AMAG 12 BAROZZI VEIGA ARCHITECTS AMAG 11 BECHTER ZAFFIGNANI INNAUER MATT BERNARDO BADER AMAG 10 COSTA LOPES AMAG 09 JONATHAN WOOLF SERGISON BATES AMAG 08 AIRES MATEUS PRIVATE WORK AMAG 07 BUCHNER BRÜNDLER ARCHITECTS FUHRIMANN HÄCHLER ARCHITECTS AMAG 06 AIRES MATEUS ALBERTO CAMPO BAEZA CARVALHO ARAÚJO EDUARDO SOUTO MOURA G ARQUITECTOS TOPOS ATELIER DE ARQUITECTURA MOUSSAFIR ARCHITECTS

AMAG 05 AMAG 04 AMAG 03 AMAG 02 AMAG 01

PHILLIPE MEYER STUDIO MK27 VALERIO OLGIATI THAM & VIDEGARD JOHANNES NORLANDER IN PRAISE OF SHADOWS PETRA VINCENT VAN DUYSEN SHINISH OGAWA BOW-BOW KATSUTOSHI SASAKI IKIMONO | DIG WESPI DE MEURON ROMEO ARCHITECTS AIRES MATEUS private work

LONG BOOKS (LB) brings together a unique selection of projects that establish new paradigms in architecture. With a contemporary conceptual graphic language, the 1000 numbered copies of each title document works with different scales and formal contexts that extend the boundaries of architectural expression. Each title features one single work, from one single author. LB 16 ÁLVARO SIZA monte da lapa volume l LB 15 PAUL MURDOCH fligth 93 national memorial LB 14 ANGELOS CANDALEPAS the castle LB 13 BRANDENBERGER KLOTER ARCHITECTS school birrwil LB 12 BRANDENBERGER KLOTER ARCHITECTS school aarwangen LB 11 BRANDENBERGER KLOTER ARCHITECTS double kindergarten rüti LB 10 BRANDENBERGER KLOTER ARCHITECTS school pfeffingen LB 09 BRANDENBERGER KLOTER ARCHITECTS culture hall laufenburg LB 08 DAVID ADJAYE 130 William LB 07 DAVID ADJAYE Winter Park Library & Events Center LB 06 ANDRÉ CAMPOS | JOANA MENDES PEDRO GUEDES DE OLIVEIRA fábrica em barcelos LB 05 ANDRÉ CAMPOS | JOANA MENDES centro coordenador de transportes LB 04 CARVALHO ARAÚJO casa na caniçada LB 03 DAVID ADJAYE the webster LB 02 NICHOLAS BURNS chapel and meditation room LB 01 DAVID ADJAYE mole house POCKET BOOKS (PB) is an assemblage of small publications which compile theoretical texts by various architects or institutions in different collections. These writings reflect different areas of interest and performance in the architectural discourse. PB 05 PAULO DAVID | THE LESSON OF THE CONTINUITY PB 04 DOING GOOD FAZER BEM DOING WELL PB 03 NOTES ON ARCHITECTURE | BUILDING AROUND ARCHITECTURE FRANCESCO VENEZIA OUTSIDE THE MAINSTREAM PB 02 FORM, STRUCTURE, SPACE NOTES ON THE LUIGI MORETTI’S ARCHITECTURAL THEORY PB 01 EDUARDO SOUTO DE MOURA LEARNING FROM HISTORY, DESIGNING INTO HISTORY AMAG OBJECTS (AO) is a timeless series of products carefully crafted and tailed in limited series fromW architects who collaborate with AMAG PUBLISHER. Limited collections of objects produced with handmade technics and high-quality materials, to reify and distinguish ways of thinking about the project, between objects, photographs, and hand drawings. www.amagobjects.com SUBSCRIPTIONS AND SPECIAL ORDERS onlineorders@amagpublisher.com

CONCRETE WALLS – Vierobeton PLASTER WALLS – Primário fixador + Marmorin

Architecture: SIA Work: Casa Beirão Image: Francisco Nogueira

AMAG PUBLISHER

AMAG MAGAZINE

AMAG PUBLISHER is an international publishing house that conceptualises, develops and publishes books and products related to architecture and design, principally in 3 different lines of works: MAGAZINE, BOOKS and OBJECTS.

AMAG MAGAZINE is an architecture technical magazine, in print since December 2011, published by AMAG PUBLISHER.

With a deeply conceptual approach, each project represents a challenge and a new opportunity to produce unique and meaningful work that meets the highest standards of quality and features a distinctive graphic design, away from industry trends, representing meaningful values and content in order to challenge, satisfy and above all, inspire each and every reader and client. As an architectural publisher, we acknowledge that our work has the obligation to divulge and promote architecture not only through our magazine and books, but also, and simultaneously, through complementary activities and initiatives that are associated with it.

Since March 2023 a new brand image was launched to reinforces AMAG’s mature and ageless character, and the launch of a new series exclusively dedicated to Collectible and timeless, portuguese architecture, it is recognised as a rigorous respectively with AMAG 30 and inspiring bibliographic and AMAG PT 01. archive. It is crafted through minimal and thoughtful During the current graphic design, as a working year, both series, AMAG tool to promote architecture, (international architecture featuring not only globally technical magazine) and renowned practices, AMAG PT (portuguese but also unknown, select architecture technical and unsung ones. magazine), will be launched quarterly and concomitantly.

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

WWW.AMAGPUBLISHER.COM

AMAG INTERNATIONAL ARCHITECTURE TECHNICAL MAGAZINE

AMAG PORTUGUESE ARCHITECTURE TECHNICAL MAGAZINE

01 AMAG 32 COVER 01 ATELIER ORDINAIRE EGR ATELIER JEAN-CHRISTOPH QUINTON 02 AMAG 32 COVER 02 ATELIER ORDINAIRE EGR ATELIER JEAN-CHRISTOPH QUINTON 03 AMAG 32 COVER 03 ATELIER ORDINAIRE EGR ATELIER JEAN-CHRISTOPH QUINTON 04 AMAG PT 03 JOÃO MENDES RIBEIRO

MILLER & MARANTA

Executive Quintus Miller, Paola Maranta and Jean-Luc von Aarburg (Partners) Bettina Haberbeck Schlempp and Nils-Holger Haury (Associates) Associates Karin Bierlich, David Capell, Katrin Gromann, Sven Waelti

Team Rebecca Aldinger, Philippe Bärtschi, Gabriel Best, Julian Blecher, Sandra Bulheller, Valerie D’Avis, Philippine de Varine-Bohan, Annina Häner, Florian Happes, Beatrice Hatebur, Flavio Higelin, Harris Iliadis, Eliane Krähenbühl, Santiago Madueño, Roman Morschett, Viola Müller, Christiane Netz, Michelle Österreicher, Manon Pfeffinger, Bianca Radu, Andre Tenkamp, Sabrina Urbani, Tobias Vögtli, Halenur Yaman and Jon Zimmerli

BARN VORDER BRÜGLINGEN project: 2018 - 2022 location: Münchenstein, Switzerland client: Christoph Merian Stiftung in collaboration with: ZPF (structure) images: © Ruedi Walti

GLACIER GARDEN project: 2012 - 2022 APARTMENTS SEMPACHERSTRASSE location: Luzern, Switzerland project: 2011 - 2015 client: Stiftung Gletschergarten location: Basel, Switzerland in collaboration with: Conzett Bronzini Gartmann (structure), client: Stiftung SKB 1809 Lombardi (rock engineering), Müller Illien (landscape) in collaboration with: Schnetzer Puskas Ingenieure (structure), images: © Ruedi Walti August + Margrith Künzel (landscape) images: © Ruedi Walti MILLER & MARANTA AAM EXHIBITION APARTMENTS SCHWARZPARK exhibition: 2017 project: 2001 - 2004 OFFICE BUILDING HAMBURGER BAHNHOF location: Mendrísio, Switzerland location: Basel, Switzerland project: 2011 - 2016 images: © Ruedi Walti client: Baudepartement Basel-Stadt in collaboration with: Conzett Bronzini Gartmann (structure), location: Berlin, Germany client: EBP Schweiz AG THOUGHTSCAPE Jane Bihr-deSalis (landscape) in collaboration with: EBP Schweiz AG (structure, HVAC) exhibition: 2018 images: © Ruedi Walti images: © Ruedi Walti location: La biennale di Venezia, Venice, Italy in collaboration with: Fritz Hauser (music), Tweaklab VILLA GARBALD KINDERGARTEN PARADIESSTRASSE (exhibition technology) project: 2001 - 2004 project: 2016 - 2018 main image: © Miller & Maranta location: Castasegna, Switzerland location: Basel, Switzerland film projection images: © Barbara Kern client: Fondazione Garbald in collaboration with: Conzett Bronzini Gartmann (structure), client: Gemeinde Riehen in collaboration with: Fürst Laffranchi (structure), Jane Bihr-de Salis (landscape) Neue Holzbau (wooden structure) images at Miller & Maranta: © Gina Folly images: © Ruedi Walti images: © Ruedi Walti SPIRGARTEN RESIDENCE BALOISE BUILDING project: 2005 - 2006 project: 2010 - 2020 location: Zürich, Switzerland location: Basel, Switzerland client: Stiftung Spirgarten client: Baloise Group in collaboration with: WGG Schnetzer Puskas (structure), in collaboration with: Basler & Hofmann (structure, project Jane Bihr-de Salis (landscape) phase), August + Margrith Künzel (landscape) images: © Ruedi Walti images: © Ruedi Walti MINERAL BATHS HOTEL WALDHAUS project: 2005 - 2009 project: 1995 - 2021 location: Samedan, Switzerland location: Sils-Maria, Switzerland client: Aqua Spa Resorts client: AG Hotel Waldhaus in collaboration with: Jürg Buchli (structure), Hilpert (tiles) in collaboration with: Beat E. Birchler (structure), images: © Ralph Feiner Conzett Bronzini Gartmann (structure canopy roof) images: © Ruedi Walti OLD HOSPICE ST. GOTTHARD project: 2005 - 2010 APARTMENTS HARDSTRASSE location: Gotthard-Pass, Switzerland project: 2016 - 2022 client: Fondazione Pro San Gottardo in collaboration with: Conzett Bronzini Gartmann (structure) location: Basel, Switzerland client: ECOREAL Schweizerische Immobilien Anlagestiftung images: © Ruedi Walti in collaboration with: August + Margrith Künzel (landscape), Rytz (metal façade) and Thomas Boyle (structure) images: © Ruedi Walti MARKET HALL project: 1996 - 2002 location: Aarau, Switzerland client: Einwohnergemeinde der Stadt Aarau in collaboration with: Conzett Bronzini Gartmann (structure) images: © Ruedi Walti

CONCRETE WALLS – Vierobeton PLASTER WALLS – Primário fixador + Marmorin

Architecture: SIA Work: Casa Beirão Image: Francisco Nogueira

moltenigroup.com Amag PT_d GLSM_023.indd Tutte le pagine

18/09/23 15:42

D.151.4 ARMCHAIR — GIO PONTI

moltenigroup.com Amag PT_d HL6_023.indd Tutte le pagine

Dada Engineered

18/09/23 15:42

SALINE

MADE STUDIO

GANDIABLASCO LISBOA T. +351 21 396 23 38 gblisboa@gandiablasco.com www.gan-rugs.com

202311_amag_GB.indd 1

GBMODULAR Outdoor furniture collection by José A. Gandía-Blasco Canales

www.gandiablasco.com

GANDIABLASCO LISBOA Lg.Vitorino Damásio 2 F/G. Lisboa T. +351 213 962 338

23/11/2023 11:28:11

porcelain tiles | grés cérame | grés porcelânico

ENDURANCE ENDURANCE . RHYTHM . RHYTHM RESILIENCE RESILIENCE In aInworld a world of ever-evolving of ever-evolving materials, materials, wood wood remains remains a symbol a symbol of authenticity of authenticity thatthat ages ages withwith grace, grace, reflecting reflecting the the passage passage of time. of time. Endurance Endurance is is a reminder a reminder thatthat beauty beauty lieslies in the in the unique unique details details thatthat evoke evoke memories memories of of ancient ancient forests forests andand mankind’s mankind’s journey journeythrough throughtime.Crafted time.Craftedin in three three different different epochs, epochs, Neo,Neo, Vintage Vintage andand Antique, Antique, Endurance Endurance transforms transforms nature nature intointo experiences, experiences, setting setting the the master master design design for for functional functional andand aesthetic aesthetic environments. environments.

Num Numuniverso universode demateriais materiaisemem constante constanteevolução, evolução,a amadeira madeira continua continua a a ser ser umum símbolo símbolo de de autenticidade autenticidade queque envelhece envelhece graciosamente graciosamente refletindo refletindo a a passagem passagem do do tempo. tempo. Endurance Endurance é é a lembrança a lembrança de de queque a beleza a beleza reside reside nosnos detalhes detalhes únicos únicos queque evocam evocam memórias memórias de de florestas florestas antigas antigas na na jornada jornada da da humanidade humanidade ao ao longo longo do do tempo. tempo. Criado Criado emem trêstrês diferentes diferentes épocas, épocas,Neo,Neo,Vintage Vintagee eAntique, Antique, Endurance Endurance transforma transforma a natureza a natureza emem experiências, experiências, estabelecendo estabelecendo o design o design mestre mestre para para ambientes ambientes funcionais funcionais e e de elevada de elevada estética. estética.

Pavigrés Cerâmicas, S.A. S.A. Pavigrés Cerâmicas, Av. Alto das Domingas, 3780-244 AGUIM Av. Alto das Domingas, 3780-244 AGUIM PORTUGAL PORTUGAL Tel: +351 231 510 Tel: +351 231 600 510 600 export@pavigres.com | www.pavigres.com export@pavigres.com | www.pavigres.com

Paços do Concelho do Município da Trofa • By: Noarq • Photo: Duccio Malagamba

JJTEIXEIRA Rua São martinho, 397 4415-758 Olival Vila nova de Gaia, Portugal www.jjteixeira.pt

AIRES MATEUS, Casa do Tempo, Image Nelson Garrido

CMY

001

INDEX

THOUGHTS FROM THE EDITOR by Ana Leal

003

FORMS AND SHAPES by José Manuel Pedreirinho

005

ABOUT MILLER & MARANTA by Martin Tschanz

009

VOLTA SCHOOL MARKET HALL APARTMENTS SCHWARZPARK

013 025 033

VILLA GARBALD SPIRGARTEN RESIDENCE MINERAL BATHS OLD HOSPICE ST. GOTTHARD APARTMENTS AND HAMMAM PATUMBAH PARK APARTMENTS SEMPACHERSTRASSE OFFICE BUILDING HAMBURGER BAHNHOF KINDERGARTEN PARADIESSTRASSE

043 055 063 071

BALOISE BUILDING HOTEL WALDHAUS APARTMENTS HARDSTRASSE BARN VORDER BRÜGLINGEN GLACIER GARDEN 083 MILLER & MARANTA AAM EXHIBITION 091 THOUGHTSCAPE

121 127 137 149 155

103 CREDITS

173

113

167 171

ABOUT THE AUTHOR

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.

BY ANA LEAL

003

THOUGHTS FROM THE EDITOR

pela condição humana, na procura incessante de We often associate and recognise in “Swiss” architecture a strong formal expression and identity, enfatização das relações e do bem-estar comum, na integração dos seus projectos, seja num contexto exquisite rigour and extraordinary construction urbano ou natural, cuja materialização reflete a quality, whether in the quality of the materials, imagética e a imaterialidade do lugar. the precision of the construction details or the sophistication of traditional building techniques used O recurso a arquétipos formais e a uma linguagem in contemporary solutions. imaterialmente poética, reforça a narrativa comum transversal a toda a sua obra em termos formais, Miller & Maranta’s architecture is no exception, although it exceptionally represents the rule, through espaciais ou materiais. its enormous respect for nature and the human Uma arquitectura de silêncio, que incita à vivência condition, in its incessant quest to emphasise relationships and common well-being in the integration e a um diálogo re-interpretativo do ponto de vista of its projects, whether in an urban or natural context, racional, emocional e sensorial. Uma arquitectura viva e de vida. whose materialisation reflects the imagery and immateriality of the place. The use of formal archetypes and an immaterially poetic language reinforces the common narrative that runs through all his work in formal, spatial and material terms. An architecture of silence that encourages experience and a reinterpretative dialogue from a rational, emotional and sensory point of view. A living, breathing architecture. É comum associarmos e reconhecermos na arquitectura “suiça”, uma forte expressão e identidade formal um rigor exímio e uma extraordinária qualidade construtiva, seja na qualidade dos materiais, na precisão dos detalhes construtivos ou na sofisticação das técnicas de construção tradicionais usadas em soluções contemporâneas. A arquitectura de Miller & Maranta, não é excepção, ainda que represente de forma excepcional a regra, através do enorme respeito pela natureza e

ABOUT THE AUTHOR

José Manuel Pedreirinho, an architect, graduated from the Lisbon School of Fine Arts (ESBAL) in 1976 and has a PhD from the Architecture Faculty of the University of Seville (2012). He has been working independently since 1980 and has also been a professor since 1985, teaching in Porto, as well taking on the role of director at Coimbra’s University School of Arts (EUAC) from 1990 to 2014. Since 1979 he has contributed to several newspapers and publications, and has authored several books on topics concerning the “History of Portuguese Architecture of the 20th Century”. From January 2017 to 2020, José Manuel Pedreirinho was President of the Portuguese Association of Architects and of the Iberian Docomomo Foundation, as well as a member of the Executive Committee of the Architects’ Council of Europe (20182020). He is currently Vice-President of the International Council of Portuguese-Speaking Architects (CIALP).

005

BY JOSÉ MANUEL PEDREIRINHO

FORMS AND SHAPES

There are concepts that, due to their subtleties, are clearly expressed in one language yet sometimes difficult to clarify in another. This is the case with form and shape, the first referring to a whole complexity of relationships that link it to the structure itself and its functioning, consistency, materiality, texture, etc.; the other much more closely linked to the visual aspect of each object. Concepts that many of today’s architects use as a way of expressing their work, taking advantage of the many possibilities allowed by the countless technological innovations, emphasising contradictions or exploring some of the ambiguities of these concepts. Just as many Renaissance buildings deliberately deceived spaces and proportions, which in the Baroque reached extraordinary virtuosity, today we are confronted with realities that are increasingly more distant from what we see. This is in reference to the architecture of Miller and Maranta, architects with offices in Basel, a city at the confluence of three countries, but these are considerations that can somehow be extended to much of today’s Swiss architecture. With all the risk of being general, this is an architecture clearly marked by the manifest rigour of an approach that never isolates itself in any abstractionism, but expresses itself in a careful and always attentive relationship with the landscapes, or in the analysis of the development of urban structures, in the attention to preexisting buildings or the construction systems used. The intervention made on a cliff in Lucerne is certainly paradigmatic of this capacity, taking advantage of and adapting the voids in the rocky complex that is both the site and the object of the intervention. An intervention in

which the telluric dimension of the natural and the built adapt and complement each other in a fantastic journey made up of lights and shadows, times and spaces that synthesise the construction of the visit route through the interior of the mountain. A rigour that is precisely the synthesis of these and of the many and multiple complexities that each project is always faced with, but where the ability to surprise us is clearly present, maintaining that same rigour in the development of ideas and in the creativity of the forms employed. Há conceitos que, pelas suas subtilezas, são claramente expressos numa língua, mas por vezes difíceis de clarificar noutra. É o caso da form e shape, o primeiro referindose a toda uma complexidade de relações que o ligam à própria estrutura e ao seu funcionamento, consistência, materialidade, textura, etc; o outro muito mais ligado ao aspecto visual de cada objecto. Conceitos que muita da arquitectura actual usa, como modo de expressão das suas obras, aproveitando as muitas possibilidades permitidas pelas inúmeras inovações tecnológicas, acentuando contradições ou explorando algumas das ambiguidades destes conceitos. Tal como em muitos edifícios renascentistas deliberadamente se iludiam espaços e proporções, que no barroco atingiram um virtuosismo extraordinário, vivemos, actualmente, confrontados com realidades que estão cada vez mais afastadas daquilo que vemos. Vem isto a propósito da arquitectura dos Miller and Maranta, arquitectos com escritório em Basel, uma

ABOUT THE AUTHOR

Dr. Martin Tschanz graduated in 1990 as an architect at the ETH Zurich, where he subsequently worked as an assistant at the Institute for History and Theory of Architecture gta. He was and is active in publishing, including 2003-08 as editor of the magazine “werk, bauen + wohnen”. Since 2005 he has been teaching architectural theory and history at the Zurich University of Applied Sciences zhaw in Winterthur.

BY MARTIN TSCHANZ

009

ABOUT MILLER & MARANTA

Quintus Miller and Paola Maranta met during their and capabilities of the utilized elements. Collaborating studies at ETH Zurich in the 1980s. Their formative closely with builders and craftsmen, their expertise experience involved the teachings of analog and skills are effectively integrated into the process. architecture, challenging the traditional polytechnical approach of the school led by Fabio Reinhard and Yet, speaking solely of “narratives” might not be Miroslav Sik. This approach deeply engaged with entirely precise. These buildings don’t primarily historical models, often from the early or pre-modern engage the intellect to create a reality through eras, resulting in vivid, evocative, and almost theatrical imagination. Instead, the crafted reality itself projects at that time. generates effects that extend beyond, thanks to memories and associations. Engaging all senses, A narrative quality remains inherent in Miller & from the shimmering light and vibrant colors in Maranta’s architecture to this day. Their structures Samedan’s baths to the steam, water sounds, tell stories. Stories of resilience and the determination resonating acoustics distorting sounds, warmth, to defy the harsh nature at St. Gotthard Pass. and aromas. Stories of Earth’s history and the mythical underground world at Gletschergarten Luzern. Or stories of It’s no coincidence that stairs hold significance in a neighborhood transitioning from villas to an Miller & Maranta’s work. No architectural element industrial area and back to an exclusive residential invites interaction with the body as directly and district at Basler Hardstrasse, just to name a few. intensively, compelling users to consciously and comprehensively perceive spatial movement and, These narratives resonate with the essence of thus, space itself. Whether ascending the seemingly each place. “Building is Continuation” - this aphorism endless spiral in Castasegna or making a grand by sociologist, critic, and educator Lucius Burckhardt entrance on the Galatreppe staircase in Basel’s hotel. holds true for Miller & Maranta, even when dealing with seemingly independent solitary structures. Another recurrent element shaping their work is the Often, it involves continuing the legacy of an roof. Its archetypal symbolism for human shelter plays existing context, carefully studying its morphology, a role, as does its potential to awaken associations history, and significance. And it’s also about or gesturally influence space through a distinctive continuing the tradition of a building task, form. The hospice at St. Gotthard Pass illustrates this, understanding its essence, and subsequently facing south with a gabled front as the quintessential reinterpreting it. house, while to the north, it hunkers down compactly against frosty winds, uniting the typically conflicting Certainly, such architecture that consistently responds archetypes of house and crystal. to specific contexts must be diverse. It narrates through the inherent tools of architecture: through the The Markthalle in Aarau, a final example, is a tailored impact and significance of shapes, the dramaturgy structure in a historically striking urban setting. of spatial sequences, materials, and light. The often Simultaneously, it’s an impressive demonstration astonishing perfection isn’t an end in itself; rather, of how space can be centered around a column, it enables effects that can only be achieved by defining space from a core. By contrasting the existing thoroughly understanding and mastering the qualities energy emanating from the enclosure with a new force

013

1996 - 2000

VOLTA SCHOOL Basel, Switzerland

Volta school is located on the periphery of Basel’s industrial area on the site of the district heating power station. The school accommodates twelve classrooms and contains a double gym hall in the basement. The constrained situation on the southern side of the existing coal storage hall was mitigated with a layered internal structure of the school building and the arrangement of inner courtyards. A clever structural solution made it possible to superimpose the gym halls and the school building. The surrounding urban fabric is characterised by the contrast between the urban residential buildings, the nearby industrial area and the harbour. The demolition of the southern third of an existing heavy oil tank of the Basel district heating power station created a 6.2-metre-deep excavation pit, into which the new building was inserted. Located above the entrance hall and the sports hall, the school building is organised on four levels of classrooms. The deep volume is illuminated by large windows and the access area is structured by four outdoor courtyards. Classrooms are orientated alternately towards the outer facade, while the group rooms and ancillary uses are lit and ventilated through the inner courtyards. The windows of the exterior facade are designed as a combined wood-metal construction with integrated sun protection. The construction of the atriums consists of an 80-mm-thick chipboard support structure with a seamless, rear-ventilated facade and sliding timber windows. The classrooms and the gym are lined with painted

wooden panels. The wall panelling of the access zone and the courtyard facades are coated with a shimmering colour that emphasises the intense play of light during the day in the labyrinthine interior world. After reinforcing the existing foundations, the basement floors of the new building were built into the concrete trough of the old tank store, which was enlarged to the south. Multistorey, pre-stressed exposed concrete slabs span the gym over 28 metres in conjunction with exposed concrete ceilings and closed longitudinal facades. The outer shell of the building is made from exposed concrete and is a selfsupporting element that is only connected to the building at certain points. A escola Volta está situada na zona industrial periférica da cidade de Basel, junto da central eléctrica de aquecimento urbano. A escola dispõe de doze salas de aula e de um ginásio duplo na cave. O possível constrangimento causado pela proximidade de um armazém de carvão a sul da escola, foi atenuado pela construção de uma estrutura interna distribuída por pisos e pátios interiores. Uma solução estrutural inteligente que permitiu a sobreposição dos pavilhões gimnodesportivos e do edifício escolar. O tecido urbano envolvente caracteriza-se pelo contraste entre a presença de edifícios residenciais urbanos, a proximidade da zona industrial e do porto. A demolição de um tanque preexistente na central eléctrica, criou um poço de escavação com 6,2 metros de profundidade, no qual foi inserido o

novo edifício. O edifício escolar está organizado em quatro níveis de salas de aula, ao longo de quatro pisos, que se distribuem por cima do hall de entrada, no piso de rés-do-chão, e do pavilhão desportivo na cave. Grandes vãos permitem a entrada generosa de luz no edifício e a zona de acesso organiza-se em função de quatro pátios exteriores. As salas de aula estão orientadas alternadamente para a fachada exterior, enquanto as salas de grupo e de ocupação auxiliar para os pátios interiores. Os caixilhos nas fachadas exteriores são uma solução combinada de madeira e alumínio com protecção solar integrada. A construção dos pátios é feita numa estrutura de suporte em aglomerado de madeira de 80 mm de espessura, com fachada ventilada e janelas de correr em madeira. As salas de aula e o ginásio são revestidos com painéis de madeira pintada. Os revestimentos das fachadas da zona de acesso e dos pátios são de uma cor clara que reflecte o intenso jogo de luz durante o dia no labiríntico mundo interior da escola. Depois do reforço das fundações existentes, os pisos da cave do edifício foram construídos na cavidade de betão do antigo depósito, que foi ampliado a sul. Lajes de betão aparente pré-esforçado atravessam o ginásio ao longo de 28 metros, em conjunto com tectos de betão aparente e fachadas longitudinais fechadas. O revestimento exterior do edifício é feito em elementos autoportantes em betão aparente, ligados ao edifício apenas em determinados pontos específicos.

WEST ELEVATION

017

VOLTA SCHOOL

A A

4TH FLOOR PLAN

A A

1ST FLOOR PLAN

DETAIL

SECTION A

0 2

MILLER & MARANTA

0 2

01. Roof structure: Extensive substrate 80 mm Drainage mat 10 mm Bitumen sealing Foam glass 120 mm Concrete slab with gradient 250-380 mm 02. Window reveal: Plywood panel with oak bonding 30 mm Pivoting sash wood-metal Fabric blinds

03. Wall construction: Concrete wall 250 mm Mineral wool 120 mm Vapour barrier Battens 24 mm MDF board, painted 16 mm 04. Floor construction: Xylolite flooring 15 mm Underlay with underfloor heating 80 mm Sound insulation 20 mm

Concrete ceiling 250 mm 05. Sliding window wood-metal 06. Wall construction: Concrete wall 250 mm Mineral wool 120 mm Vapour barrier Battens 24 mm Fermacell plastered, painted 25 mm

1996 - 2002

025

MARKET HALL Aarau, Switzerland

The market hall on Färberplatz in Aarau occupies the elongated space between the inner and outer city walls of the old town at the point where the heavily frequented lane from the Graben to Schultheissenhöfli is located. The external form of the hall reflects the shape of the grown city and demarcates a small forecourt to the building and two narrow side lanes. Behind it, away from the hustle and bustle of the front of the hall, the building opens onto a tree-lined square that invites visitors to take a break beneath the old chestnut trees. The unusual construction of the new hall, made of delicate wooden slats, creates a clearly defined building volume in the street space. The slender supports come together at a shallow angle and form a closed structure. If, on the other hand, one looks perpendicularly on the facade, a view through the hall is revealed. At the same time, when viewed from the inside, the enclosed structure defines a covered square and becomes an interior space. The massive central support divides the interior space and gives it a special character with its strong presence. Due to the significant role it plays in the spatial and structural conception, it becomes the central element of the design in conceptual terms. Douglas fir, treated with a natural oil varnish mixed with shimmering copper pigments, was chosen as the material for the construction. The warm patina blends in with the surroundings of the old town. At the same time, the metallic pigmentation creates an iridescent effect

when the building is viewed from different angles, giving it a contemporary and elegant character. The ground floor plan of the market hall has the shape of an irregular hexagon. Along the outer walls are slender timber columns that support the roof. In the centre of the hexagon stands a heavy wooden pillar, supporting a longitudinal beam on two sides, which supports the ceiling structure. The roof structure is covered with a layer of plywood boards, creating a horizontally rigid panel that directs the lateral loads to the central pillar. The remaining structural elements are made of glued laminated timber, all constructed with weather-resistant Douglas fir. The width of the columns and rafters is unusually slender. For the wood joints, the architects and the engineers decided as far as possible to use solid wood joints without any steel elements. The shape of the market hall is reminiscent of medieval warehouses or armouries. However, thanks to its contemporary design and modern construction method, it is an expressi on of our era within the medieval fabric of the city. O mercado de Färberplatz em Aarau, ocupa o lote entre a muralha interior e exterior da cidade antiga, entre a rua mais movimentada de Graben até Schultheissenhöfli. O volume exterior do edifício é o resultado directo da forma geométrica do lote. No alçado tardoz, o edifício abre-se para uma praça arborizada que convida os utilizadores a um momento de pausa.

A construção invulgar do novo mercado, num grande ripado de madeira, dá origem a um volume que estabelece uma relação directa com o espaço público. O embasamento forma, com o desnível do terreno, um ângulo pouco acentuado e uma estrutura fechada. Se observarmos o edifício perpendicularmente à fachada é possível ver o seu interior. Ao mesmo tempo, quando vista pelo interior, a estrutura fechada define um quadrado coberto e transforma-se num espaço interior. A estrutura de suporte maciça divide o espaço interior e representa um carácter central no projecto em termos conceptuais. Para a construção do ripado de madeira, foi escolhida madeira de pinho tratada com um óleo natural pigmentado com cobre, que lhe confere uma patina quente e actua como elemento integrador do edifício na cidade antiga. Simultaneamente a pigmentação metálica, gera um efeito iridescente quando o edifício é visto de diferentes ângulos, que lhe atribuir um carácter contemporâneo e elegante. A planta do rés-do-chão do mercado tem um formato hexagonal irregular. No centro do hexágono ergue-se um grande pilar de madeira que suporta duas vigas cruzadas longitudinalmente que sustentam o tecto. A estrutura do telhado é revestida com placas de contraplacado que formam um painel horizontalmente rígido que distribui as cargas laterais para o pilar central. Os restantes elementos estruturais são feitos em madeira laminada colada,

MILLER & MARANTA

construídos com madeira de pinho resistente às intempéries.

mecânica sem recurso a qualquer elemento adicional de outro material.

A largura dos pilares e das vigas é invulgarmente estreita. As uniões de madeira foram executadas de forma

A forma do mercado remete-nos imageticamente para armazéns ou arsenais medievais.

No entanto, devido ao método de construção utilizado, representa claramente uma expressão contemporânea que se insere no tecido medieval da cidade.

027

MARKET HALL

SITE PLAN

MILLER & MARANTA

SECTION B

SOUTH ELEVATION

0 2

2001 - 2004

033

APARTMENTS SCHWARZPARK Basel, Switzerland

Schwarzpark is situated at the periphery of Gellert quarter. The huge green area once belonged to the historical Villa Schwarz. The new building is situated along Gellertstrasse above the prominent slope which slopes downward into an open park area. It follows the meandering course of the St. Alban-Dych, a levee, and the tree-lined avenue towards the adjacent Lehenmatt quarter. The new residential building occupies the most southern area of the park. The eight-storey residential building creates a dialogue with the surrounding multi- story buildings in Lehenmatt and Bethesda hospital. The structure runs eastward alongside the extensive lawn, becoming a “house in the park,” which emphasises the depth of the park area and the adjacent trees. The project is a response to the specific urban context in the park.

The apartment block has been conceived as sculptural, tree-like structure in the park. Echoing the trunks and branches of the parkland trees, the concrete structure of the facade creates an elegant, transparent volume. The filigree appearance of the structure is emphasised by the floor-to-ceiling windows and the glazed balustrades, which reflect the surrounding trees. This impression is reinforced by the colour patina: a brown-grey glaze on a mineral base, which was applied to the concrete facade, the entrance hall and the staircase. The filigree structure dematerialises the concrete and echoes the bark and trunks of the surrounding trees.

On the interiors, the apartments have light-yellow painted wallpaper, white ceilings and oak floors. The window frames are painted dark brown and frame the views of the surrounding trees. Thus, in terms of colour, the interiors The site is accessible through the tie into the exterior park and convey park’s old entrance gate. Meandering the impression of living in the trees. walkways lead the visitor past trees to The exterior construction is a hybrid both entrances, from where one can construction of prefabricated and catch glimpses of St. Alban-Dych. in-situ elements, which form a The upper split-level is reached via a short flight of stairs from where one arrives load-bearing facade. on the living level via an interior staircase illuminated from above. There are larger apartments to the north and south, which O grande parque verde de Schwarzpark, are accessible through a central hall, antiga propriedade da histórica Villa which leads into the living room bathed Schwarz, insere-se na periferia do bairro in natural light. To the east is a bedroom Gellert. O novo edifício situa-se area, while towards the west are multi-use ao longo da rua Gellertstrasse que rooms and a loggia. Similar but smaller desce para a zona sul do parque, ao apartments with rooms that run the entire longo do curso sinuoso do dique building depth are located in the central St. Alban-Dych em direcção ao bairro part of the structure. adjacente de Lehenmatt.

O edifício de oito pisos estabelece um diálogo com o hospital Bethesda e com os edifícios próximos em Lehenmatt. O volume acompanha a extensa área verde, como uma grande “casa no bosque”, que realça a profundidade do parque e as árvores adjacentes. O projecto é uma resposta directa ao contexto urbano específico do parque. O acesso edifício faz-se através do antigo portão de entrada. Passadiços sinuosos conduzem o utilizador por entre as árvores até ambas as entradas do edifício, junto do dique de St. AlbanDych. O acesso aos pisos superiores é feito através de um pequeno lanço de escadas, a partir do qual se chega aos pisos de habitação. A norte e a sul, existem apartamentos mais amplos, acessíveis através de um hall central que conduz à sala de estar generosamente banhada por luz natural. A nascente, a zona de quartos, e a poente, salas polivalentes e uma loggia. Na parte central da estrutura estão inseridos apartamentos espacialmente semelhantes, mas com áreas menores e divisões que atravessam toda a profundidade do edifício. O edifício foi desenvolvido como uma estrutura escultural, semelhante a uma árvore que resulta num um volume elegante e transparente. O aspecto de filigrana da estrutura é acentuado por longas e interruptas janelas entre o chão ao tecto e pelas balaustradas em vidro que reflectem as árvores circundantes. Esta atmosfera é reforçada pela patina colorida presente na fachada de betão, no hall de entrada e na escadaria, conseguida pela aplicação de um esmalte castanho-acinzentado sobre

MILLER & MARANTA

uma base mineral. Nos interiores, os apartamentos têm papel de parede pintado de amarelo claro, tectos brancos e pavimentos em madeira de carvalho. As caixilharias são pintadas de castanho-escuro e enquadram a vista das árvores circundantes. Os interiores relacionam-se cromaticamente ao parque exterior e proporcionam a

sensação de viver entre árvores. A construção exterior é uma construção híbrida de elementos pré-fabricados e in situ, que constituem uma fachada resistente à carga.

035

APARTMENTS SCHWARZPARK

SITE PLAN

MILLER & MARANTA

0.1

0.5

01.

04.

05 06 07

01. Extensive roof cultivation Substrate, 100 mm, filter fleece, drainage Root protection layer, 1 mm Bitumen sealant 2 x 3 mm, separation layer Heat insulation, polystyrene hard foam, 200 mm Reinforced concrete with incline, 200 - 300 mm Gypsum plaster, 10 mm 02. Glazing (6 mm float glass + 12 mm Inter-pane space + 6 mm float glass) Aluminium frame, bronze anodized/spruce 03. Aluminium lattice sunblind, bronze anodized 70 mm 04. Handrail steel profile, powder coated,25/70/4 mm 05. Balustrade composite safety glass, double toughened glazing 8 mm 06. Rolled steel, powder-coated 5/80 mm 07. Steel profile powder-coated 40/60/4 mm 08. Glazed prefabricated concrete element 250 mm, mineral wool heat insulation 80 mm, vapour barrier lathing 40/80 mm, heat insulation 30 mm, gypsum plasterboard, double layered 25 mm

2001 - 2004

043

VILLA GARBALD

Castasegna, Switzerland

On the Swiss-Italian border, the road winding westwards from the Maloya pass runs through a small village called Castasegna. The massive facades of the houses in the village line the road and impart an air of southern urbanity. Villa Garbald, in contrast was designed along the lines of a simple Italian country house for the then customs officer Agostino Garbald by the German architect Gottfried Semper in 1862. Surrounded by garden walls, the picturesque house stands high above the road with a vine-clad pergola partially screening it from view. The western elevation of the house forms the backdrop for the lower garden overlooked by the living rooms; whereas the rear reflects the internal division and adjoins onto the service rooms. The topography and planting separate the garden into a distinctive upper and lower area. The new guesthouse replaces the former barn. Thanks to its site in the orchard, the new building maintains its secondary character to the main building. The volume seems to emerge from the garden wall and, due to its height and slender volume, a tower-like form has been created. It is reminiscent of the roccoli towers in northern Italy which were built to capture small birds. The tower forms the spatial conclusion to the upper demarcation of the garden. With its amorphous shape it sets itself apart from the housing typologies of the valley and thereby remains subordinate to Villa Garbald. The building seeks to reflect the character of the old garden walls and vernacular village buildings without competing with the elegant architecture of Villa Garbald.

One enters the building through the garden and from the entrance hall one can either go directly into the communal seminar room or up the stairs to the guest rooms above. The seminar room opens out onto the garden and is furnished like a living room. Here, local chestnuts can be roasted on an open fire during long autumn evenings. The upper floors lie staggered along the staircase and the guestrooms can be accessed from the staircase as it spirals upward. On the landings, comfortable chairs invite one to take a respite and create opportunities for spontaneous interaction. On the top floor, the stairway widens to an area with an open fireplace and a spectacular panoramic view over the valley and mountains towards Italy. The Villa Garbald, the interior of which used to be richly decorated, has been carefully restored and subtly adapted to its new needs. Showers have been installed in the eastern part of the house above the newly designed kitchen. A later annex to the rear of the house was demolished and rebuilt to its original dimensions. Connected to the kitchen, the annex accommodates a large dining room which opens out onto the narrow, cobbled yard, creating an inspiring place to congregate. Na fronteira entre a Suíça e a Itália, a estrada sinuosa da escarpa de Maloya passa pela pequena aldeia, Castasegna, de carácter rural proveniente da intensa presença das fachadas maciças que ladeiam a estrada. A Villa Garbald foi desenhada em 1862 pelo arquitecto alemão Gottfried Semper, segundo o

modelo de uma casa de campo italiana simples, para um funcionário alfandegário da aldeia, Agostino Garbald. Rodeada por muros ajardinados, a casa ergue-se acima da cota da estrada, e uma pérgula coberta por vinha confere-lhe alguma privacidade. A fachada voltada a sul representa o pano de fundo para o jardim inferior com vista para as salas de estar; enquanto a parte traseira confina com as salas de serviço. A topografia e a plantação separam o jardim em duas áreas visualmente distintas. O antigo celeiro dá lugar a uma nova casa de hóspedes. A sua localização no pomar, mantêm o seu carácter secundário em relação ao edifício principal. O edifico é desenvolvido numa espécie de torre, que parece emergir do muro pela sua altura e volume esguio, que nos remete para as antigas torres a norte de Itália, construídas para capturar pequenas aves, ao mesmo tempo que estabelece a delimitação espacial superior do jardim. Com a sua forma amorfa, distingue-se das tipologias comuns da aldeia, ainda que subordinada à Villa Garbald. O edifício procura reflectir o carácter dos antigos muros de jardim e dos edifícios vernaculares da aldeia sem competir com a arquitectura elegante particular da preexistência. A entrada no edifício faz-se através do jardim e, a partir do hall pode aceder-se directamente à sala comum ou subir as escadas que encaminham aos quartos de hóspedes. A sala abre-se para o jardim e está mobilada como uma sala de estar, na qual podem ser assadas

045

VILLA GARBALD

de forma tradicional castanhas locais durante as longas noites de Outono. A escada central em espiral conduz aos pisos superiores e aos quartos de hóspedes. Em cada patamar, cadeiras confortáveis convidam a uma pausa e criam oportunidades de interacção espontânea entre os hóspedes. No último piso, a escada abre-se para

SITE PLAN

uma sala com lareira e uma extraordinária vista sobre o vale e sobre as montanhas em direcção a Itália. A Villa Garbald, cujo o interior se encontrava amplamente decorado, foi cuidadosamente restaurada e subtilmente adaptada às suas novas necessidades. No piso acima da cozinha foram instalados chuveiros nos espaços voltados a nascente da casa. Um anexo

posterior, situado nas traseiras, foi demolido e reconstruído de acordo com as suas dimensões originais. Com uma ligação directa à cozinha, o anexo acolhe uma grande sala de jantar que se abre para um longo pátio com paredes de pedra, que proporciona um espaço de convívio acolhedor e inspirador.

0 2

MILLER & MARANTA

VILLA GARBALD

GROUND FLOOR PLAN

049

MILLER & MARANTA

0 1

SOUTHWEST ELEVATION

2004 - 2006

055

SPIRGARTEN RESIDENCE Zürich-Altstetten, Switzerland

The urban centre of Altstetten is defined by the 1950s community centre with its wide forecourt facing Badenerstrasse. However, the buildings surrounding this centre on Lindenplatz date from different eras: there are historic remnants of the village from Altstetten’s past, a few striking buildings from the post-war period and more recent, larger-scale interventions. This urban and architectural diversity creates the neighbourhood’s heterogeneous character.

where the bathroom, kitchen and two interconnected living spaces can be accessed. On the attic floor, the care unit is organised in a horseshoe shape and encloses the communal dining room and terrace facing the courtyard.

a envolvente através da sua escala. A expressão formal do edifício Spirgarten confere-lhe uma forte imagem e sentido de identidade que evoca simultaneamente o tipo de arquitectura comum aos empreendimentos urbanos típicos dos meados do século XX.

O centro comunitário, proveniente dos anos 50, insere-se no centro urbano da cidade de Altstetten e estabelece uma forte relação com a rua de Badenerstrasse através da sua The proposed new building at the junction praça. Os edifícios que circundam o of Badenerstrasse and Spirgartenstrasse espaço envolvente à praça datam de relates to this area of tension and diferentes épocas e retratam o período assumes a mediating role in terms of pós-guerra, através de vestígios urban development. The volumetric históricos da aldeia de Altstetten, e structure of the new building responds ainda intervenções mais recentes e de to the scale of the existing buildings. maior escala. Towards Spirgartenstrasse, narrow, Esta diversidade urbana e arquitectónica five-storey buildings enclose the access é responsável pelo carácter heterogéneo courtyard, which becomes the spatial presente no local. end point of the important thoroughfare from Linden to Spirgartenstrasse. O novo edifício proposto para o Towards Badenerstrasse, on the other cruzamento entre a rua Badenerstrasse hand, the longitudinal facade ties into e a rua Spirgartenstrasse insere-se the existing urban fabric. The nuanced nesta zona de tensão e assume um volumetry creates a dialogue with the papel de rótula no que respeita ao surroundings through its scale. desenvolvimento urbano, e a estrutura volumétrica do novo edifício responde à With its architectural expression, the escala dos edifícios já existentes. Spirgarten residence has an independent, self-confident appearance with a Em direcção à rua de Spirgartenstrasse, strong sense of identity, while also edifícios estreitos de cinco pisos evoking the architecture of typical urban delimitam o pátio de acesso, que se developments from the middle of the torna o ponto espacial responsável twentieth century. The internal circulation por estabelecer a ligação entre a rua on the upper floors opens around the Linden e a rua Spirgartenstrasse. stairwells as an extension of the space Em direcção à rua Badenerstrasse a with seating areas that provide views fachada longitudinal constroi a ligação of the courtyard. The apartments are com o tecido urbano existente, e as accessed via an entrance hall, from volumetrias estabelecem um diálogo com

A circulação interna nos pisos superiores desenvolve-se em torno das escadas como extensão do espaço, com zonas de estar que proporcionam uma vista desafogada para o pátio. O acesso aos apartamentos faz-se através de um hall de entrada, a partir do qual se acede à casa de banho, à cozinha e a duas salas de estar interligadas. No piso superior, a área de serviços está organizada em forma de U e acolhe a sala de jantar comum e um terraço que se abre para o pátio.

MILLER & MARANTA

1ST TO 4TH FLOOR PLAN

GROUND FLOOR PLAN

2005 - 2009

063

MINERAL BATHS Samedan, Switzerland

The historic built fabric of Samedan, a historical village in the Engadine valley, consists of massive structures of houses along the old access road to the Bernina Pass, with mighty, gabled facades standing directly on the street demarcating narrow lanes.

them to be appropriately proportioned and designed for their specific function.

historicamente relevante, em torno da praça da aldeia voltada para a igreja barroca preexistente, e ao mesmo tempo, The high, spacious heated bath, illuminated assumir uma posição assertiva e de by skylights, is located on the first floor. destaque dentro do contexto. Com uma A large, russet red spa bath on the floor estrutura volumétrica subtil, o edifício above, which is connected to a small preenche o vazio criado pela demolição de hot bath lined in acid green colours, um antigo edifício comercial. Em direcção offers views of the magnificent Engadine The project attempts both to respect the à rua, a altura do edifício mantêm a escala mountains through a large, picture window. dos edifícios circundantes, que confina historically important context around the A steam bath divided into individual village square with the baroque church com o muro posterior da igreja e se insere chambers in fiery red tones nestles beneath na malha urbana da aldeia. and at the same time to take an assertive the skylights of the autumnal yellow hot position within the existing development. bath. Timber clad relaxation rooms are Em deferência para com a igreja barroca, located on the first floor. A staircase leads os novos banhos são subtilmente inseridos With its subtle volumetric structure, the up to the top floor, from where the ice-blue no tecido construído preexistente, building fills the void created by the outdoor pool can be directly reached. demolition of the former commercial permitindo que a torre da igreja permaneça building. Towards the street, the building’s um marco na praça da aldeia ao mesmo height echoes the scale of the surrounding The warm-tone facade is made of plastered tempo que o projecto tenta fazer jus à insulating brickwork. The handcrafted finish importância simbólica que os banhos buildings. The building adjoins the rear of the facade surface creates a textured wall of the church and thus ties into the públicos no contexto dos edifícios surface for the moving play of shadows in tradicionais de Samedan representam. urban pattern of the village, which is the oblique light of the narrow lanes. The characterised by closed lanes. A materialização definida contribui para a facades are reminiscent of the traditional, integração do novo edifício na aldeia, plastered walls of the neighbourhood in In deference to the baroque church, the e confere-lhe carácter autónomo. terms of materiality and surface texture. new baths are subtly inserted into the A partir de um espaço central, várias Windows of various sizes are configured existing built fabric allowing the church escadas labirínticas conduzem aos into the outer wall with deep reveals. Tiled diferentes banhos, que fazem lembrar tower to remain a landmark on the village square. At the same time, the architectural window surrounds refer to the discreetly as agradáveis experiências das termas decorated facades of the neighbouring design attempts to do justice to the romanas. Os tanques e as câmaras houses and at the same time refer to the significance of the public baths in the de banho são totalmente revestidos context of Samedan’s traditional buildings. building’s function as a spa. em cerâmica vidrada. As salas são The finely tuned materialisation integrates escalonadas em altura e dispostas como the new building into the village and at the câmaras, o que permite alcançar uma same time gives it character and autonomy. O tecido urbano da aldeia histórica de proporção adequada e direccionada à sua Several labyrinthine staircases lead from Samedan, no vale de Engadine, consiste função específica. a central hall to the various baths, which numa estrutura massificada de casas are reminiscent of the pleasurable com fachadas imponentes de duas águas O banho quente mais alto e de maiores experiences of Roman thermal baths. que se erguem directamente sobre a dimensões, no primeiro andar, tira The bathing chambers are completely rua, demarcando ruelas estreitas, que se partido da luz natural proveniente de uma finished in glossy, glazed ceramics. distribuem ao longo da antiga estrada de clarabóia. No piso superior, um grande The rooms are staggered in height and acesso às montanhas de Bernina. tanque de hidromassagem vermelho, arranged like chambers, which allows O projecto procura respeitar o contexto esta directamente ligado a um pequeno,

MILLER & MARANTA

SECTION A

0 1

071

2005 - 2010

OLD HOSPICE ST. GOTTHARD Gotthard Pass, Swizerland

The route over the St. Gotthard is one of the most symbolic Alpine crossings in Switzerland. The advance of modes of transport and the ongoing expansion of the pass have also characterised the structural development of the pass crossing. Today, there is an ensemble of buildings that has evolved over the centuries and bears witness to the eventful history of the pass.

structure built at the beginning of the 20th century was dismantled. To replace it, a new structure was created after stripping the building back to the concrete structure on the ground floor. In keeping with the historical post-and-beam construction, a basic framework of uprights was erected, into which horizontal beams were inserted. This dry construction method of solid posts and beams has been used in vernacular architecture in Canton Uri for centuries.

Actualmente, o presente conjunto de edifícios testemunha a passagem da história e a evolução ao longo dos séculos.

O Hotel St. Gotthard, a pousada de juventude e o antigo hospício, situam-se nas proximidades de dois pequenos lagos. O Antigo Hospício, situado ao lado de uma pequena capela, ocupou originalmente duas cabanas Hotel St. Gotthard with the youth hostel alpinas. Construído como casa paroquial in the former stables, the Old Hospice em 1623, foi reconstruído no século XVIII with chapel and stables and the Old Sust como hospício dos Capuchinhos. stand in close proximity between two Guests enter the hallway through the O edifício foi gradualmente ampliado, small lakes at the summit of the pass. original wooden door under the mighty renovado e adaptado de acordo com The Old Hospice stands adjacent to a facade and are welcomed at a small as necessidades e é actualmente small chapel and originally replaced reception desk. A stone staircase leads to reconhecido como o Antigo Hospício. two alpine huts. Built as a parsonage in the upper floor, where communal spaces Na sequência de um grande incêndio 1623, it was rebuilt in the 18th century as are located. A larger parlour with the old em 1905, a estrutura interior foi alterada a Capuchin hospice after a avalanche stove and two smaller side rooms become e a capela reconstruída. from Monte Prosa subsided. The building a meeting place in the harsh climate at was gradually extended, renovated and the exposed summit of the pass. O potencial do Antigo Hospício e da adapted to requirements and is now sua imponente fachada, reside na known as the Old Hospice. After a major The upper floors accommodate the sua posição estratégica no cimo da fire in 1905, the interior structure was guest rooms, which are arranged on montanha. As diferentes partes do altered and the chapel was rebuilt. either side of the corridor. Reminiscent edifício, foram agrupadas sob um grande of the building’s history as a simple inn, telhado, as janelas de sacada reflectem a The architectural potential of the Old the rooms are sparsely furnished with nova função, e o piso adicional por cima Hospice with its imposing facade lies in an armchair and a chest of drawers for da capela foi reduzido para devolver ao its defensive position on the summit of the the traveller’s clothes with a bed alcove espaço sagrado o seu antigo significado pass. The various parts of the building and an ensuite bathroom. The solid na história do caminho. are now united under one enormous roof. wooden construction frames the intimate Dormer windows reflect the new function. guest rooms and imparts them with a O desenho da fachada reflecte as The additional level above the chapel rustic character. diferentes fases passadas ao longo has been reduced in order to impart the dos séculos. A introdução de uma sacred space with its former significance nova camada, reforça o impacto da in the history of the pass. The design fachada a sul. Nos interiores, a estrutura A travessia de St. Gotthard é uma das of the facade reflects the various construída no início do século XX travessias alpinas mais simbólicas da layers of the past centuries. These are Suíça. O desenvolvimento dos meios de foi demolida, e em substituição supplemented by a new layer, which foi desenvolvida uma nova estrutura transporte e a sua expansão contínua strengthens the impact of the monumental condicionaram a evolução estrutural até à estrutura de betão no piso south-facing facade. In the interiors, the do rés-do-chão. e natural do seu atravessamento.

MILLER & MARANTA

075

OLD HOSPICE ST. GOTTHARD

3RD FLOOR PLAN

SECTION A

MILLER & MARANTA

01. DETAIL

02.

02. 03.

02.

03.

02.

06.

04. 05.

07.

08.

09.

10.

079

OLD HOSPICE ST. GOTTHARD

01. Roof structure: Lead sheet 2.5 mm Separating layer Wood panelling 30 mm Rear ventilation 45 mm Bituminous waterproofing Slated timber formwork 30 mm Thermal insulation 260 - 320 mm Wind sealing foil Installation level 40 mm Wooden boarding 30 mm 02. Floor construction: Solid wood floor 20 mm Homatherm silent Top 60 mm Cement slabs 50 mm Coconut fibre mat 5mm Solid wood floor 100 mm 03. Floor construction: Solid wood floor 20 mm Underlay floor 60 mm Reinforced concrete 160 mm 04. Floor construction: Solid wood floor 20 mm Homatherm silent Top 30 mm Superholorib floor 100 mm Chapel vault insulated with mineral wool 150 mm

05. Floor construction: Solid wood floor 20 mm Underlay floor 60 mm Reinforced concrete 280 mm 06. Facing Shell 07. Floor construction: Solid wood floor 25 mm Homatherm silent Top 60 mm Reinforced concrete 280 mm 08. Floor construction: Natural stone slabs 40 mm Mortar bed 60 mm Reinforced concrete 200 mm Thermal insulation 100 mm Plaster 15 mm 09. Floor construction: Solid wood floor 25 mm Underlay floor 75 mm Reinforced concrete 200 mm Thermal insulation 100 mm Plaster 15 mm 10. Floor construction: Natural stone slabs granite 40 mm Mortar bed 60 mm Reinforced concrete floor slab 200 mm

MILLER & MARANTA

01. 02. 03. 04. 05.

0.2

06.

07.

03. 08. 09.

10. 11.

13.

12.

14. 15. 16. 17. 18.

01. Lead sheet 2.5 mm 02. Waterproofing membrane stamisol DW 03. Roof boarding 30 mm 04. Rear ventilation 45 mm 05. Waterproofing stamisol 06. Insulation wood wool 320 mm 07. Tyvek h1 wind paper 08. Installation level 40 mm 09. Wooden boards 30 mm 10. Insulating glazing 11. Window frame wood/metal 12. Window frame spruce/aluminium sharp-edged 13. Spruce soffit lining 20 mm

14. Timber battens spruce 25 mm 15. Homatherm/pavafloor 60 mm 16. Cement slabs 50 mm 17. Fleece sound insulation 5 mm 18. Solid wooden ceiling 100 mm 19. Exterior plaster 20 mm 20. Fire-resistant chipboard 25 mm 21. Secondary air flow 22. Ventilated box lining 23. Shadow gap 10 mm 24. Drip tray aluminium angle 25. Reveal panelling spruce 26. Exterior window, single-glazing frame spruce

14. 35. 16. 36. 37.

27. Interior window insulating glazing frame spruce 28. Drip tray aluminium angle 29. Reveal lining spruce 20 mm 30. Reinforced concrete 500 mm 31. Insulation 160 mm 32. Osb panel 15 mm 33. Insulation wood/rock wool 80 mm 34. Timber infill 210/40 mm 35. Homatherm silent top 60 mm 36. Sound insulation 5 mm 37. Solid wood battens 100 mm 38. Existing masonry 500 mm 39. Vermiculite fill 50 mm

2004 - 2013

083

APARTMENTS AND HAMMAM PATUMBAH PARK Zurich, Switzerland

Villa Patumbah in the south of the city of Zurich was built between in 1885 by the architects Chiodera & Tschudy for Carl Fürchtegott-Zundel on the south of the site. The architectural design in a lavish colonial style with many Far Eastern motifs reflects the client’s extensive travels to South-East Asia. The gardens were designed and realised in 1890 according to plans by Evariste Mertens. With the ornamental area adjacent to the house, the generous kitchen garden, the extensive landscaped park and the peripheral woodland, an extensive park of great spatial richness was created. In 1929, the site was divided into a northern and a southern section by selling the land facing the lake. The location of the site on the northern edge of Seefeld district is characterised on the one hand by villas along Zollikerstrasse, most of which are surrounded by extensive gardens. On the other hand, the block development along Mühlebachstrasse conveys the urban character of the lower Seefeld neighbourhood. As part of an extensive volumetric study, an urban development concept was proposed that maximises the spatial depth of the historic park. It is largely able to compensate for the loss of historic substance and, in particular, thematically develops the existing site. Both volumes are orientated towards the beautiful gardens. The complex forms of the undulating volumes are a response to the park landscape and are integrated into it through the delicate openings and the facade surfaces covered with plants. The intention was also not to upstage the

garden’s main building, Villa Patumbah. In order to mitigate the unusual depth of the building, the architects have designed a variety of floor plans that respond to the needs of families. Atriums carved out of the volume facing the Zollikerstrasse side provide light to a large internal hall and structure the building volume along the street. The connection to the park is established via spacious, open-plan living areas with covered balconies. Multi-storey flats for families were built along Mühlebachstrasse. The aim was to achieve a high level of spatial quality by combining different types of maisonettes, all of which have a raised living space. As a volumetrically distinct building, the multi-storey hammam completes the development to the south. Its special use is emphasised on the exterior by a complex roofscape, which is based on the original architectural language of oriental architecture. A Villa Patumbah, situada a sul da cidade de Zurique, foi construída em 1885 pelos arquitectos Chiodera & Tschudy para Carl Fürchtegott-Zundel, na zona sul do terreno. O projecto, desenvolvido num estilo colonial luxuoso, com influências evidentes do Extremo Oriente, reflecte as muitas viagens do cliente ao Sudeste Asiático. Os jardins foram projectados e realizados em 1890 segundo o plano de Evariste Mertens. A área adjacente à casa, a horta, o extenso parque e o bosque periférico proporcionaram uma grande riqueza espacial. Em 1929, a venda dos terrenos em frente ao lago originou o seu fraccionamento em dois.

A área de inserção a norte do distrito de Seefeld, é uma área residencial constituída por habitações unifamiliares e no sentido oposto, a sul, por edifícios de habitação multifamiliar que lhe conferem um carácter urbano. No âmbito de um estudo volumétrico exaustivo, foi proposto um conceito de desenvolvimento que maximizasse a profundidade espacial do parque histórico, capaz de compensar a perda histórica e, em particular, desenvolver tematicamente o lugar. Os dois volumes abrem-se para o jardim. As suas formas complexas tiram partido da paisagem natural do parque e integram-se facilmente através das aberturas das fachadas apropriadas por plantas. Para atenuar a profundidade invulgar do edifício e permitir o usofruto do jardim foram desenvolvidas várias tipologias de apartamentos em resposta às diferentes necessidades. A ligação ao parque é estabelicida através de grandes espaços exteriores cobertos. Ao longo da rua Mühlebachstrasse foram construídos apartamentos com vários pisos com o objectivo de alcançar um elevado nível de qualidade espacial. A sul, num edifício volumetricamente distinto, constituido por vários pisos, foi inserido o hammam. O seu programa de carácter especial é visível pelo exterior através da cobertura complexa, que nos remete à linguagem original da arquitectura oriental.

MILLER & MARANTA

BUILDING B GROUND FLOOR PLAN

BUILDING B SOUTHWEST ELEVATION

APARTMENTS AND HAMMAM PATUMBAH PARK

089

2011 - 2015

091

APARTMENTS SEMPACHERSTRASSE Basel, Switzerland

The historic perimeter block structure of the Gundeldinger quarter south of the railway station still has a familiar urban character today. The spacious quadrangles with four to five-storey buildings, laid out in a regular grid, are configured in small sections along the streets conveying a balanced and homogeneous expression. During the second half of the 20th century, many smaller buildings were replaced by longer and higher volumes, including along the southern section of Sempacherstrasse. This has led to a loss of diversity and small scale architecture. There are commercial uses within the peripheries of the blocks that have developed on merged sites, as well as large, green open spaces. For the development on Sempacherstrasse and the building in the courtyard area, two different development patterns were developed that respond to the respective contexts. Along the street a simple building with stepped terraces has been designed to tie into the streetscape. The internal structure corresponds to a contemporary interpretation of the classic perimeter apartment blocks and is enriched with delicate and glazed facades. An independent residential typology has been developed in the courtyard, which promotes utilising the courtyard in a specific way. The configuration and orientation of the apartments respond to the restricted spatial conditions and distinctive neighbourhoods. While the apartments on Sempacherstrasse have a clear front and rear, the courtyard apartments are

oriented in various directions due to the complexity of the building volume. This creates an exceptional living quality for the residents of the courtyard development and offers a high degree of privacy. Access to the buildings is via Sempacherstrasse, where the courtyard access is located. The courtyard area has been designed as a communal outdoor space. The new building in the courtyard accommodates 24 apartments. The complex volumetry of the four-storey structure with vertical incisions allows the units to be oriented in several directions. In addition, the staggered terracing of the individual residential units increases privacy. The timber cladding of the facades is interspersed with regular window openings. The units are accessed on the ground floor via a continuous rue intérieure that connects all three staircases. Spacious foyers at the foot of the staircases enhance the communal atmosphere. On Sempacherstrasse, the new building blends into the neighbourhood. The apartment units can be accessed from the street via a central staircase. There are two flats per floor which have the same typology. A generous living room offers plenty of space for daily living and takes into account the different conditions of use. The hall, which spans the entire depth of the building, can be freely furnished to meet the specific needs of the residents. All rooms, including the bathrooms and toilets, are directly accessible from the living space

and are generally separated by sliding doors. This ensures a higher degree of privacy despite the open plan layout. On the street and courtyard elevations, the apartments open onto balconies, which offer views across the spacious, green courtyard and the neighbourhood street. O perímetro histórico do quarteirão de Gundeldinger, a sul da estação ferroviária, mantêm até aos dias de hoje um carácter urbano familiar. Generosos quadriláteros compostos por edifícios de quatro a cinco pisos, dispostos numa grelha regular e configurados em pequenas secções ao longo das ruas, conferem uma expressão equilibrada e homogénea. Durante a segunda metade do século XX, os edifícios mais pequenos foram substituídos por volumes mais longos e mais altos, o que originou perda de diversidade e de volumes de pequena escala. Perifericamente desenvolveram-se zonas de uso mistas, entre ocupação comercial e grandes espaços verdes. Para o desenvolvimento da rua Sempacherstrasse e do edifício central inserido no interior do quarteirão, foram estabelecidos dois padrões que respondem directamente aos respectivos contextos. Ao longo da rua, um edifício simples, com terraços escalonados integrado no contexto urbana. A estrutura interna corresponde a uma interpretação contemporânea dos blocos clássicos de apartamentos perimetrais,

RESIDENTAL BUILDING SEMPACHERSTRASSE

095

SECTION A

2011 - 2016

103

OFFICE BUILDING HAMBURGER BAHNHOF Berlin, Germany

The office building at the Kunstcampus is situated on the Spandauer Kanal in the Berlin-Mitte district. The location behind the Hamburger Bahnhof remains strongly characterised by the former railway facilities. Along the canal there are large buildings with imposing neoclassical facades orientated towards the city and the water. The new building is intended to mediate between these two urban contexts through its design and simultaneously represent a confident and contemporary presence in the urban space. Within the framework of the existing development plan, an elongated building volume has been designed. This creates a prominent landmark in the heart of the neighbourhood, supported by the public character of the open and transparent ground floor area. On the exterior, the delicately designed volume opens up to the city thus becoming a prominent building with a strong physical presence. Visitors enter the transparent entrance floor via a square lined with delicate birch trees. The interior of the building is organised around a central staircase that opens up across all floors and encourages communication between users. The generous staircase leads to the five upper floors, which can be subdivided and utilised in a variety of ways. The spatial organisation of the supporting structure is based on flexibility for the users. This means that the spatial layouts on the floors can be adapted to suit specific requirements. Open plan office zones as well as smaller, individual spaces or combinations thereof can

therefore be created on the well-lit floors. The architectural expression of the new office building creates a strong identity that mediates between the different surrounding urban structures. The proportions and materiality of the facade surfaces integrate the new building into its surroundings. The deep reveals of the windows are designed according to the orientation and respond to the respective urban situation. On the elevation facing the square, characterised by the railway, slender verticals emphasise a more dynamic horizontal alignment of the floors, while on the stately waterfront side, an arcade on the ground floor and the stronger verticals create a static, almost classical expression. The facade is designed as a seamless, self-supporting exposed concrete sculpture in in-situ concrete, which is only connected to the internal load-bearing structure at certain points, thus minimising penetrations of the insulation level. O edifício de escritórios do Kunstcampus situa-se no Spandauer Kanal, no bairro Berlin-Mitte. A sua localização atrás do Hamburger Bahnhof é fortemente caracterizada pelas antigas instalações ferroviárias. Ao longo do canal, encontram-se grandes edifícios com fachadas de expressão neoclássica orientados para a cidade e para a água. O novo edifício pretende funcionar como elo de ligação entre estes dois contextos urbanos através da sua concepção e, simultaneamente, representar uma presença forte e contemporânea no espaço urbano. Em resposta ao plano urbanístico, foi desenvolvido um volume

de construção e planta rectangular, que representa um marco proeminente no coração do bairro, apoiado pelo carácter público da área aberta e transparente do piso térreo. No exterior, o edifício de desenho delicado abre-se para a cidade e constitui um elemento de destaque com uma forte presença física. A entrada no edifício é feita pelo piso do rés-do-chão, transparente, rodeado por bétulas. O interior do edifício organiza-se em torno de uma grande escada central que se abre a todos os pisos e favorece a comunicação entre os utilizadores. A generosa escadaria conduz aos cinco pisos superiores, que podem ser subdivididos e utilizados de diferentes formas. A organização espacial da estrutura de apoio assenta na flexibilidade e permite a adaptação de cada piso de acordo com as necessidades específicas de cada um. Assim, os pisos com maior luminozidade podem ser usados como escritórios em open space, ou como escritórios individuais mais pequenos ou combinados entre eles. A expressão do novo edifício de escritórios permite criar uma forte identidade que estabelece a relação entre as diferentes estruturas urbanas circundantes. Ao abrir-se para a cidade como um volume delicadamente desenhado, o edifício torna-se um ponto de referência significativo com uma presença forte. As proporções e a materialidade da superfície que constitui a fachada, garantem a integração do edifício na envolvente.

MILLER & MARANTA

107

OFFICE BUILDING HAMBURGER BAHNHOF

4TH FLOOR PLAN

1ST FLOOR PLAN

GROUND FLOOR PLAN

MILLER & MARANTA

OFFICE BUILDING HAMBURGER BAHNHOF

109

2016 - 2018

113

KINDERGARTEN PARADIESSTRASSE Basel, Swizerland

The design for the new kindergarten is inspired by the architecture of the surrounding residential area. Covered by a massive roof, the single-storey building blends naturally into the neighbourhood, which is characterised by semi-detached houses on the scale of a garden city. With its autonomous shape, it also establishes a visual reference to school buildings from the early 20th century. The kindergarten and daycare centre have been combined into a single building. The L-shaped volume defines sheltered outdoor areas that meet the respective needs of the children. The kindergarten is accessed from Paradiesstrasse, while the entrance to the daycare centre is on Störklingasse, near the local school building. This gives each of the two functional areas a separate entrance with a specific address. The new structure presents itself as a pavilion with a generous protective roof. The deep eaves and the irregular facade impart the building with a specific identity and scale that references its function. In the interior, the use of scale is maintained through the creation of different types of rooms. While the main rooms extend up to the roof ridge and are additionally accentuated and lit by a skylight, the smaller, more contemplative rooms are significantly lower and thus generate a specific spatial atmosphere related to the garden. The juxtaposition of these rooms creates a coherent floor plan that fulfills the desire for flexibility and allows the different functional areas to be connected spatially according to need. The rooms open up with generous windows to a covered front area, which

offers weather-protected recreational spaces with a connection to the garden. Roof spaces between the main rooms provide additional areas for the children to play or rest. The roof is finished in light grey aluminium sheeting, which also clads the deep eaves. Inside, all the rooms are clad in larch wood. O projecto do novo jardim-de-infância inspira-se na arquitectura da zona residencial no qual esta inserido. Com uma cobertura maciça, o edifício de um só piso integra-se naturalmente no contexto circundante, predominantemente caracterizado por casas geminadas à escala de uma cidade-jardim. No entanto a sua forma peculiar e autónoma, estabelece uma referência visual aos edifícios escolares do início do século XX. O jardim-de-infância e a creche foram reunidos num único edifício. O volume em forma de L define áreas exteriores protegidas que respondem às respectivas e diferentes necessidades das crianças. O acesso ao jardim-de-infância faz-se pela Paradiesstrasse , enquanto a entrada para a creche se faz pela Störklingasse , junto ao edifício da escola local. Assim, cada uma das duas áreas funcionais tem entradas distintas, com uma respectiva e determinada morada específica. A nova estrutura apresenta-se como um pavilhão dotado de uma generosa cobertura de protecção. O profundo beiral e a fachada irregular conferem ao edifício uma identidade e uma escala próprias, que remetem para a sua função.

No interior, o uso dessa escala é mantido através da criação de diferentes tipos de espaços. Enquanto as salas principais se estendem até à cobertura e são acrescidamente acentuadas e iluminadas por uma clarabóia, os espaços mais pequenos e contemplativos são significativamente mais baixos e proporcionam uma atmosfera espacial particularmente associada ao jardim. A justaposição destas salas cria uma planta coerente que satisfaz a necessidade de flexibilidade e permite estabelecer uma relação espacial entre as diferentes áreas funcionais, em função das necessidades. As salas abrem-se através de generosas janelas para o espaço exterior frontal coberto, que oferece protecção às intempéries e uma ligação directa ao jardim. Os espaços de cobertura entre as salas principais proporcionam áreas adicionais protegidas para as crianças brincarem ou descansarem. O telhado é acabado em chapa de alumínio de cor cinzento-claro, que também reveste os profundos beirais. No interior, todas as divisões são revestidas a madeira de pinho.

SECTION A

117

KINDERGARTEN PARADIESSTRASSE

GROUND FLOOR PLAN

SECTION B

2010 - 2020

121

BALOISE BUILDING Basel, Switzerland

Located outside the baroque city fortifications, the Baloise site near the railway station marks the entrance to the city. The surrounding street spaces extend as major arterial roads, along which there are high points in the urban fabric at regular intervals. The site presented itself for a long time as an urban structure committed to modernist urban planning, which created open voids in the urban tissue. The relationship between the street and the open space remained undefined and the positioning of the different buildings resulted in a somewhat incongruous urban planning situation.

facing the Parkweg for office employees on the upper floors. The hotel restaurant, which is open to the public, and the production kitchen are situated on the first floor. The conference and administration areas of the hotel are located on the second and third floors. A total of 260 rooms of various sizes are accommodated in the fourth to sixteenth floor. The top floors are used for office spaces. The subterranean floor accommodates a spacious ballroom, which is directly accessible from the ground floor via a spacious spiral staircase.

The urban masterplan for the site proposes an ensemble of three buildings that open up a public square on the west side. The square refers spatially to the Elisabethenanlage and links the open spaces around the railway station in a simple way. While the high rise creates an urban landmark thanks to its height, thus inserting itself into the overall network of high points in the urban landscape, the new ensemble of buildings is integrated into the surrounding urban structure through their overall expression and materialisation.

With its concrete facades that evoke the stone buildings of the surrounding area, the building ties into the city fabric. By emphasising the primary support structure of the façade with finely profiled artificial stone elements and the formation of open corner junctions on the facade, the building is given an elegant appearance that responds to the urban location of the site and the various functions of the building. Through fine adjustments and the differentiation of grid dimensions, the primary structure is given a sense of rhythm. The glazed corner junctions create an openness to the overall expression of the high-rise.

In order to emphasise the urban setting and to give the square an appropriate backdrop, the buildings relate to the existing surrounding structures, with their mostly natural stone façades. However, the urban layout allows the new ensemble to be perceived as the “Baloise site.” The ground floor of the high-rise building accommodates the hotel lobby, a lounge and a bar. There is also an entrance hall

Situado fora das fortificações barrocas da cidade, o lugar de Baloise, perto da estação ferroviária, marca a entrada na cidade. Os espaços de rua circundantes estendem-se como grandes artérias, ao longo das quais se encontram pontos altos do tecido urbano com intervalos regulares.

O local apresentou-se durante muito tempo como uma estrutura urbana comprometida com o planeamento urbano modernista, que desenvolveu vazios no tecido urbano existente. A relação entre a rua e o espaço aberto permaneceu indefinida e o posicionamento dos diferentes edifícios resultou numa situação urbana algo desconexa. O plano director municipal para o local propõe um conjunto de três edifícios que se abrem para uma praça pública do lado poente. A praça remete espacialmente para o Elisabethenanlage e estabelece uma ligação de forma simples com os espaços abertos em torno da estação ferroviária. Enquanto a torre representa um marco urbano através da sua altura, inserindo-se no conjunto de pontos altos da paisagem urbana, o novo conjunto de edifícios integra-se na estrutura urbana circundante através da sua expressão e materialização globais. De forma a realçar o enquadramento urbano e a conferir à praça um pano de fundo adequado, os edifícios estabelecem uma relação com as estruturas envolventes preexistentes através das suas fachadas, maioritariamente em pedra natural. No entanto, o traçado urbano permite que o novo conjunto seja percepcionado como o “sítio Baloise”. O piso do rés-do-chão da torre, acolhe o espaço de entrada no hotel, uma sala de estar e um bar. Existe também um hall de entrada voltado para o Parkweg para uso

MILLER & MARANTA

OFFICE FLOOR PLAN

HOTEL FLOOR PLAN

GROUND FLOOR PLAN

127

1995 - 2021

HOTEL WALDHAUS Sils-Maria, Switzerland

Hotel Waldhaus in Sils-Maria, built by Karl Koller around 1908, is one of the most impressive examples of historic grand hotels in the Engadine region in eastern Switzerland. In order to design the renovations and extensions an intricate study of the hotel was made. The basis of the renovations was to preserve the hotel’s historic atmosphere, while enhancing it with new interventions. The architects endeavoured to integrate the new spaces into the existing spatial structure, so that the new interventions would tie into the pre-existing structure. Nevertheless, the new elements remain distinct and avoid a historicist approach.

room structure allowing the features of the new interventions to blend in with the existing elements.

water and sand blasting. These surfaces are interrupted by large, bronze-framed windows. In its formal appearance and colour palette, the addition takes its cue from In addition to its functional purpose, the roof the existing architecture and is integrated has a representational function. With its deep into the rugged landscape. cantilevered eaves, the roof imparts the hotel its distinctive character. The construction Thanks to its bold form, the building fits in consists of a concrete structure with solid with the existing structure while also creating foundations, which has been placed above a confident architectural statement. the existing structure. The white concrete with Jura lime and fine sandblasted surface The existing bathing pavilion with training achieve a colour and materiality that pool is freed from disruptive additions, transforms the solid, mass construction into allowing the originally transparent interior a filigree structure that is integrated into the of the building to be perceived and main façade of the mighty hotel. strengthening the relationship to the surrounding landscape. A generous The initial task was to install a new bar, The existing indoor swimming pool, built staircase connects the entrance hall to a new lounge, the original reading room by Otto Glaus, Switzerland’s leading spa the new therapy and spa areas. and service rooms, including extensive architect at the time, in 1971, is located in technical equipment, on the practically the south-west of the Hotel Waldhaus. The The spa area is organised as a spatial intact hall floor. On the lower ground floor, single-storey volume is integrated into the continuum, which is lit by lofty atriums. new conference rooms and other service landscape as a pavilion-like building and There is a larch and a stone pine bath rooms were created within the existing was designed to create a strong link to the and two large relaxation areas, which are building. The new bar is integrated into an surrounding larch forest. lined with light-coloured, glass mosaics. existing lounge. Adjacent to the bar are Large skylights illuminate the shimmering the service room and the foyer, which both The new extension, completed in 2016, walls and colour the room with natural light. have a contemporary expression. The old accommodates the hotel’s spa and therapy Steam baths, sauna, showers and relaxation reading room has regained its character area and has been built into the rock below room complete the spa area. in a new location. The staging of the hotel the existing baths. The large cubic structure theme culminates in the design of the three has been integrated into the slope and thus south-facing windows, which view out onto retains the spatial qualities of the existing O Hotel Waldhaus em Sils-Maria, the rocky landscape. In 2012, an elegant, indoor swimming pool. A large section of the construído em 1908 por Karl Koller, é um wood-panelled smoking room with a picture building volume is located beneath ground dos exemplos mais impressionantes de window was added to the bar. level and is lit by generous skylights and grandes hotéis históricos presentes na atriums. These protrude from the ground like região de Engadine, no leste da Suíça. A further stage of the remodelling was to periscopes and capture the daylight for the Como base de desenvolvimento da open up the hotel’s entrance, which had various wellness areas below. proposta de renovação e extensão do been obscured by various installations, hotel, foi realizado um estudo profundo ao and also to replace the 1950s roof. On the exterior, the sculptural building has preexistente. A estratégia definida para a The redesign of the entrance hall lobby is been interpreted as a rock-like formation. renovação teve por base a preservação based on the sequence of rooms on the The light-coloured exposed concrete da atmosfera histórica do hotel, e o seu hall floor and complements the existing surfaces of the facades are textured by reforço através das novas intervenções:

A nova extensão, concluída em 2016, acolhe a nova área de spa e terapias do hotel, e foi construída num piso abaixo do preexistente. A grande estrutura cúbica foi integrada na montanha, preservando as qualidades espaciais da piscina interior existente. Uma grande parte do volume do edifício está integrado abaixo do nível do solo e é iluminado por generosas clarabóias que sobressaem do solo como periscópios e captam a luz do dia para as várias áreas de bem-estar interiores. No exterior, o edifício escultural foi interpretado como uma formação rochosa. As superfícies de betão à vista de cor clara da fachada, foram bujardadas através de jacto de água e areia. Estas superfícies são interrompidas por

grandes vãos com caixilhos em bronze. No seu aspecto formal e na sua paleta de cores, a ampliação inspira-se na arquitectura preexistente e integra-se na paisagem. A sua forma arrojada, permite que o edifício se integre na estrutura existente, proporcionando uma forte afirmação O edifício da piscina preexistente é mantido de forma integral sem adições perturbadoras, garantindo a percepção do interior originalmente transparente do edifício e reforçando a sua relação com a paisagem envolvente. Uma generosa escadaria estabelece a ligação entre o hall de entrada e as novas áreas de terapia e de spa. A zona de spa organiza-se como um contínuo espacial, iluminado por clarabóias e janelas altas:

uma sauna em pinho e duas grandes zonas de repouso, revestidas com mosaicos de vidro de cor clara. Grandes clarabóias iluminam as paredes claras e o espaço com luz natural. Banhos de vapor, sauna, duche e sala de repouso completam a área de spa.

GROUND FLOOR PLAN

WEST ELEVATION

0 2

137

2016 - 2022

APARTMENTS HARDSTRASSE Basel, Switzerland

The former site of the Allgemeine Plakatgesellschaft on Hardstrasse exemplifies the urban development of the area outside the historic city in the late 19th and early 20th centuries. With the demolition of the city wall, large estates with generous parks, some of which are still preserved today, were built along the St. Alban-Anlage. During the 20th century, these were complemented by business premises and workshops, which gave rise to the unique character of today, with a mixture of residential and production buildings in a green environment.

to the reflective surfaces of the facades which mirror the weather and seasons and constantly change in perception. The lower volumes, on the one hand the single-storey building along the boundary walls, and on the other hand the renovated existing buildings, further emphasise the connection between residential and production use with their concrete facades.

The design of the surroundings was developed in accordance with the architectural concept as an interplay The new development at Hardstrasse is of garden area and work yard. A path intended to reflect this history. The former of large-format pavers leads the visitor gatehouse and the large group of trees as through a lane to the various squares, a remnant of the former gardens form the which are created by the configuration address to the street. Along the site walls, of the buildings and entrance areas. the existing buildings were reduced to their original dimensions, thus creating an The open green areas have been open site that could accommodate three designed using a variety of materials new residential buildings. according to their location on the site and are executed as textured gravel surfaces. The three buildings are planned as Dense plantings of shrubs and trees free-standing volumes, which, through their simple form, seek to echo the commercial history of the site. In addition A antiga sede da Allgemeine to the roof form with steep gable roofs Plakatgesellschaft, em Hardstrasse, é um and the rhythmical arrangement of the exemplo claro da expansão urbana da windows, the materialisation also reflects cidade para fora da zona histórica, no an industrial use. final do século XIX e início do século XX. Com a demolição da antiga muralha da However, the gentle undulation of the cidade, foram introduzidas ao longo do facade, the precise detailing gives St. Alban-Anlage, grandes propriedades expression to the building’s function as a e parques verdes generosos, alguns dos residential building. The desired abstract quais preservados até ao dia de hoje. expression reinforces its conciseness. Durante o século XX, a integração de The appearance of the facades will edifícios de uso comercial e industrial no change over time, not only due to tecido verde e residencial, conferiu ao environmental influences that cause the local um carácter singular e distinto. natural metal to patinate, but also due

O novo empreendimento na Hardstrasse pretende reflectir e reforçar a história presente no local. O antigo vestíbulo e o conjunto de árvores remanescente dos antigos jardins, estabelecem a frente de rua dos novos edifícios. Ao longo dos limites do terreno, os edifícios preexistentes são reduzidos às suas dimensões originais, conferindo um lote amplo, capaz de acolher três novos edifícios residenciais. Desenvolvidos como volumes independentes, procuram através de uma forma simples, reforçar a história comercial do local. A expressão abstracta, o formato inclinado do telhado, a disposição rítmica das janelas, e os materiais de revestimento escolhidos, conferem ao conjunto um carácter industrial. Ao mesmo tempo que a ondulação suave da chapa que reveste a fachada e o rigor da pormenorização e detalhes construtivos, reflectem no edifício o carácter de uso residencial. O revestimento escolhido confere ainda uma dinâmica adicional à fachada, não só pela patina natural que o tempo lhe trará, como também pela capacidade reflectora da superfície de revestimento na reflexão do tempo natural e das estações do ano. A fachada de betão dos volumes mais baixos, no edifício de um só piso que determina a fronteira do lote, e nos edifícios preexistentes recuperados, estabelece e reforça a distinção entre a utilização residencial e a utilização industrial do complexo.

143

APARTMENTS HARDSTRASSE

1ST FLOOR PLAN

SECTION A ELEVATION

0 2

SECTION B

145

GROUND FLOOR PLAN

SECTION C

0 2

MILLER & MARANTA

0 0.2

01.

02.

01. External wall construction Extruded raw aluminium elements 30 mm Rear ventilation level with substructure 40 mm Wind paper Mineral wool thermal insulation 180 mm Reinforced concrete 220 mm 02. Windows and fall protection Windows: Wood-metal windows Sun protection: Vertical awnings (textile) Fall protection: galvanised steel with galvanised diagonal mesh

149

2018 - 2022

BARN VORDER BRÜGLINGEN Münchenstein, Switzerland

In addition to their botanical use, the Merian Gardens in the Brüglinger Ebene in Münchenstein have for many years been a popular excursion destination and one of the most important leisure areas for the inhabitants of the region. The extensive parks that surround Villa Merian were originally designed on agricultural land belonging to various estates. The Brüglingen estate, which had been developed since the Middle Ages, was expanded by Christoph Merian into a huge estate in the mid-19th century. Since the death of his widow, Margaretha Merian-Burckhardt in 1886, the estate has belonged to the Christoph Merian Foundation. Christoph Merian originally received the property from his father as a wedding present. In 1837, the Basel architect Melchior Berri was commissioned to build a tenants’ house and an agricultural building to the north of the manor house in Vorder Brüglingen. Unfortunately, the imposing barn burnt down in 1905, but was rebuilt in 1906. Together with the Berri barn and the tenants’ house, it forms the ensemble of buildings in Vorder Brüglingen. In 1980, the second Swiss Garden and Landscape Exhibition, “Grün 80,” was held in Brüglingen. In this context, the barn was renovated by Basel architect Hans Roduner. An event’s hall was installed in the hayloft and various rooms were created on the ground floor for Basel Historical Museum’s collection of carriages and sleighs. The installation of the hall meant that the high passageway on the north side of the building had to be covered. The actual remodelling project for the building is part of the general redesign of the garden landscape in Vorder Brüglingen, which began in 2017. The barn

now functions as a reception and event venue in the redesigned garden area. The ground floor has been restructured to accommodate the publicly accessible areas for visitors to the gardens. Here, there is a meeting point with information about the Merian Gardens, a daytime restaurant and a spacious foyer that can be used for events. The remodelled hall is situated beneath the large structural framework of the barn roof. Subsequent to the demolition of the stage building, the foyer in the former barn passage was extended up to the roof and was connected to the carefully renovated timber hall on the upper floor, which is accessed via a new staircase. Used for celebrations and events, the hall now opens onto the surrounding garden landscape through generous windows. With these new visual connections, the hall is now integrated into the gardens. The design of the wooden lounge is based on the existing wooden structures, which have been carefully extended and renovated. A large garden entrance was created on the southern facade facing Villa Merian. A simple balcony supported by three pillars mediates between the barn facade and the surrounding garden. A generous flight of stairs leads visitors to the garden, the iris collection and the canal with its water lilies. Additional entrances to the public areas on the ground floor were designed to correspond to the existing entrances on the southern and northern facades, but are cut directly into the solid stone-masonry. The supporting structures for the new openings and the balcony on the south facade have been adapted to the exposed large limestone blocks. They are made from light-coloured Jura limestone concrete and brush-hammered on the surface.

Para além de uma utilização de carácter botânico, os Merian Gardens, na Brüglinger Ebene em Münchenstein, representam um destino de grande procura para excursões, e uma das áreas de maior referência em termos de lazer para os habitantes locais. Originalmente desenvolvidos como terrenos agrícolas de diferentes proprietários, grandes parques circundam a Villa Merian. Em desenvolvimento desde a Idade Média, a região de Brüglingen foi ampliada por Christoph Merian numa enorme propriedade, em meados do século XIX. Com a morte da sua esposa em 1886, Margaretha Merian-Burckhardt (já antes viúva), a propriedade passou a pertencer à Fundação Christoph Meria, uma vez que Christoph Merian tinha recebido do seu pai, a propriedade, como prenda de casamento. Em 1837, o arquitecto Melchior Berri, proveniente de Basel, foi incumbido de construir uma casa para os caseiros da propriedade e um edifício agrícola a norte da casa senhorial em Vorder Brüglingen. Lamentavelmente, em 1905, o celeiro de carácter imponente que juntamente com o celeiro Berri e a casa dos caseiros, constituíam o conjunto de edifícios de Vorder Brüglingen, foi destruído por um incêndio, tendo sido reconstruído em 1906. Em 1980, teve lugar em Brüglingen a segunda exposição de jardins e paisagens suíças, a “Grün 80”, e nesse contexto, o celeiro foi recuperado pelo arquitecto Hans Roduner, oriundo de Basel. No piso superior foi integrada uma sala de eventos e no rés-do-chão várias salas para exibição da colecção museológica de carruagens e trenós do Museu Histórico de Basel.

MILLER & MARANTA

EAST ELEVATION

BARN VORDER BRÜGLINGEN

153

155

2012 - 2022

GLACIER GARDEN Lucerne, Switzerland

The Glacier Garden lies at the foot of a massive sandstone rock on Wesemlin Hill in the north of Lucerne. The formation of the sandstone dates back to a seaside beach in the then tropical region of Lucerne 20 million years ago. Since the Middle Ages, the rock has been utilised as a quarry and at the beginning of the 19th century, the sculptor Thorvaldsen made an enduring artistic contribution with the famous Lion Monument. After the glacier pots were discovered by chance in 1872, the Glacier Garden quickly developed into a tourist attraction in the Lake Lucerne region. The seventeen-thousand-year-old pots were gradually incorporated into a guided tour for tourists fascinated by the alpine geology. The development of the architectural ensemble is reminiscent of English landscape parks with its dispersed placement of individual attractions. A system of paths was created around the geological formations, including the Schwyzerhüsli, Schweizerhaus, observation tower, ticket office, club cabin with diorama, pump station for the waterfall and ponds and various covered passages. The present project clarifies the Schweizerhaus by the demolition of the extensions thereby enlarging the park area. This made it possible to redesign the park as a large landscape garden and subdivide it into coherent areas. A central square was created adjacent to the Schweizerhaus, from which the various parts of the exhibition are accessible. The interventions in the Glacier Garden are inspired by the scientific fervour of

the 19th century. The romantic curiosity with which people explored nature at that time and also wanted to penetrate uncanny phenomena is also intended to guide visitors through the Glacier Garden. Similar to the protagonists in an adventure novel by Jules Verne, visitors travel through a mysterious world. The story develops almost by itself - the journey is the destination. On the journey to the centre of the earth, the reader is entertained in an imaginative way, exploring and investigating various scientific phenomena. It is a multifaceted juxtaposition of natural science, adventure novel and utopian elements. The access portal leads to the visitor’s very own world within the rock. Daylight is filtered through the angled entrance and the visitor gradually enters the rock. Slowly, you are enveloped by the climate of the rock: a humid environment, largely independent of the seasons, in the rooms carved into the rock. The path descends gently into the depths of the rock. Various phenomena of the earth’s history can be discovered and experienced along the way. The natural phenomena can be explored with a scientific eye or scrutinised with a cultural-philosophical mind, leading visitors to subjective insights. The strong spatial atmosphere is characterised by the predominant material of stone and the elementary experiences of light and dark, narrowness and expanse, sound and silence. The geometry and position of the rooms is orientated towards the predominant diagonal layering of the sandstone and the existing fissures. This leads to

diagonal cross-sections of corridors and caverns, which reinforces the specific perception of the rooms. The rock is left visible in many places and only made invisible to visitors where this is necessary for safety reasons. The path ends in a large cavern that collects rainwater from the earth’s surface in a mountain lake. From a depth of around thirty metres, visitors climb step by step towards the light. Vegetation grows on the rock surfaces as the sunlight increases. Here the tour leads to the Sommerau, an enchanted place among the trees, which offers a view of the city of Lucerne. After the elemental experience of the underworld, visitors are back on the surface of the earth, cultivated by man. The tour leads past the observation tower via the existing rock path back to the central square. Additionaly, new museum rooms have been built in the northern part of the park as an artificial extension of the mountain. Excavated material has been used for the concrete structure. The outer concrete shell is a geometrically reduced form that follows its own rules: A moulded artificial rock, which is exposed to the weather and weathers over time. The inner structure, which houses the exhibition rooms, is subsequently built in wood and is detached from the outer concrete shell. The qualities of the Schweizerhaus itself have been strengthened and developed into a typical historical residential building with a remarkable interior. The existing cabinet of curiosities with stuffed animals, fossils, engravings, furniture, maps and reliefs showcases the museum design of

MILLER & MARANTA

SECTION B

0 2

MILLER & MARANTA

167

2017

MILLER & MARANTA AAM EXHIBITION Accademia di Architettura in Mendrisio, Switzerland

The monographic exhibition aims to shed light on Miller & Maranta’s architecture and to decipher their poetic language. Quintus Miller has been teaching at the Architectural Academy in Ticino for over a decade.

na galeria da escola, em Mendrísio. Cadernos de desenho, maquetes e uma enorme colecção de fragmentos de projectos dispostos sobre uma grande mesa, constituem uma “nuvem de pensamento”.

The monographic exhibition showcases the architectural work of the Basel-based office in the school’s gallery. Sketchbooks, models and a large collection of project fragments are laid out on a big table to form a “thought cloud”.

Este layout reflecte o modo operandis de Miller & Maranta, que consiste em reunir todos os aspectos materiais e sensoriais dos seus projectos em “nuvens”.

This layout reflects the way Miller & Maranta work, which is to collect all the material and sensory aspects of their projects in “clouds”. Their intention is to create an atmosphere in their spaces that evolves from external and internal influences as well as the perspective and the memory of the viewer. The framework of ideas is exemplified in the gallery of the Academy of Architecture showing among others their most renowned projects: the residential development in Schwarzpark, the hospice on the Gotthard Pass and the renovation and extension of Hotel Waldhaus in Sils Maria. A exposição monográfica de Miller & Maranta tem como principal objectivo identificar a linguagem poética presente e característica no seu trabalho. Quintus Miller é professor na Architectural Academy em Ticino há mais de uma década, e esta exposição apresenta o trabalho do escritório sediado, em Basel,

A intenção é criar uma atmosfera dinâmica nos espaços, que evolui a partir de influências externas, internas, bem como da perspectiva e da memória de cada leitor ou utilizador. O quadro de ideias é exemplificado na galeria da Accademia di Architettura in Mendrisio, que apresenta, entre outros, os seus projectos mais reconhecidos: o edifício residencial em Schwarzpark, o hospício em Gotthard Pass e a renovação e ampliação do Hotel Waldhaus em Sils Maria.

MILLER & MARANTA

EXHIBITION TABLE

AAM EXHIBITION

169

MILLER & MARANTA

171

2018

THOUGHTSCAPE

La biennale di Venezia, Venice, Italy

The evocative term “thoughtscape” is described by Quintus Miller as a “vast topography of interrelated thoughts.” As practitioners Miller & Maranta have a unique ability to advance traditional building techniques rendering them relevant in the construction of contemporary buildings. This imbues their buildings with a sense of culture and a sense of memory. This connection with memory is something they believe to be necessary. Their work is inventive, tactile, and sophisticated. This originates from the cultivation of what they call their “thoughtscape”, which is a combination of the random, the intuitive, the scholarly and the precise. By presenting this “unfamiliar constellation” of fragments, of spaces, of materials, the curious visitor is taken on an exciting trip, activating their own memories or experiences and lending some insight into the wonderful capacity of architecture to envelop and give form to unexpected associations.

Enquanto arquitectos, Miller & Maranta procuram tirar partido de técnicas de construção tradicionais na construção de edifícios contemporâneos, o que permite imbuir os seus edifícios de um sentido de cultura e de memória determinantes, que lhes é intrinsecamente característico. A relação com a memória tem um papel significativo e é em grande parte responsável pelo carácter criativo, sensorial e sofisticado presente no seu trabalho, que tem origem no cultivo daquilo a que vulgarmente chamam a sua “paisagem de pensamento”, enquanto combinação do aleatório, do intuitivo, do erudito e do preciso. Ao apresentar esta “constelação desconhecida” de fragmentos, de espaços e de materiais, o visitante é conduzido numa viagem curiosa, que estimula as suas próprias memórias ou experiências, através da extraordinária capacidade que a arquitectura tem de envolver e dar forma a associações inesperadas.

This exhibit which represents the Freespace of thought and creativity, reminds us of the way that A. S. Byatt describes poetry when she talks about “a kind of musical rhythm of firing cells with sensory content, a combination of the precise and the random.”

Esta exposição, que representa o Freespace do pensamento e da criatividade, remete-nos à forma como A. S. Byatt descreve a poesia, quando refere “uma espécie de ritmo musical de células capazes de disparar conteúdo sensorial, numa combinação entre o preciso e o aleatório”.

The exhibit beautifully displays the inner world and the driving force in the making of architecture.

A exposição apresenta e representa de forma bela, o mundo interior e a força motriz da arquitectura.

A expressão thoughtscape representa para Quintus Miller uma “vasta topografia de pensamentos inter-relacionados”.

MILLER & MARANTA

A A

FLOOR PLAN

SECTION A

BARN VORDER BRÜGLINGEN

IMAGES FROM THE PRESENTED FILM PROJECTION IN THE EXHIBITION ROOM

173

MILLER & MARANTA

VOLTA SCHOOL project: 1996 - 2000 location: Basel, Switzerland client: Baudepartement Basel-Stadt in collaboration with: Conzett Bronzini Gartmann (structure), August + Margrith Künzel (landscape) images: © Ruedi Walti MARKET HALL project: 1996 - 2002 location: Aarau, Switzerland client: Einwohnergemeinde der Stadt Aarau in collaboration with: Conzett Bronzini Gartmann (structure) images: © Ruedi Walti APARTMENTS SCHWARZPARK project: 2001 - 2004 location: Basel, Switzerland client: Baudepartement Basel-Stadt in collaboration with: Conzett Bronzini Gartmann (structure), Jane Bihr-deSalis (landscape) images: © Ruedi Walti VILLA GARBALD project: 2001 - 2004 location: Castasegna, Switzerland client: Fondazione Garbald in collaboration with: Conzett Bronzini Gartmann (structure), Jane Bihr-de Salis (landscape) images: © Ruedi Walti SPIRGARTEN RESIDENCE project: 2005 - 2006 location: Zürich, Switzerland client: Stiftung Spirgarten in collaboration with: WGG Schnetzer Puskas (structure), Jane Bihr-de Salis (landscape) images: © Ruedi Walti MINERAL BATHS project: 2005 - 2009 location: Samedan, Switzerland client: Aqua Spa Resorts in collaboration with: Jürg Buchli (structure), Hilpert (tiles) images: © Ralph Feiner OLD HOSPICE ST. GOTTHARD project: 2005 - 2010 location: Gotthard-Pass, Switzerland client: Fondazione Pro San Gottardo in collaboration with: Conzett Bronzini Gartmann (structure) images: © Ruedi Walti

APARTMENTS AND HAMMAM PATUMBAH PARK project: 2004 - 2013 location: Zürich, Switzerland client: Lis Mijnssen and Frutiger AG in collaboration with: Conzett Bronzini Gartmann (structure, project phase), Jane Bihr-de Salis (landscape) images: © Ruedi Walti APARTMENTS SEMPACHERSTRASSE project: 2011 - 2015 location: Basel, Switzerland client: Stiftung SKB 1809 in collaboration with: Schnetzer Puskas Ingenieure (structure), August + Margrith Künzel (landscape) images: © Ruedi Walti OFFICE BUILDING HAMBURGER BAHNHOF project: 2011 - 2016 location: Berlin, Germany client: EBP Schweiz AG in collaboration with: EBP Schweiz AG (structure, HVAC) images: © Ruedi Walti KINDERGARTEN PARADIESSTRASSE project: 2016 - 2018 location: Basel, Switzerland client: Gemeinde Riehen in collaboration with: Fürst Laffranchi (structure), Neue Holzbau (wooden structure) images: © Ruedi Walti BALOISE BUILDING project: 2010 - 2020 location: Basel, Switzerland client: Baloise Group in collaboration with: Basler & Hofmann (structure, project phase), August + Margrith Künzel (landscape) images: © Ruedi Walti HOTEL WALDHAUS project: 1995 - 2021 location: Sils-Maria, Switzerland client: AG Hotel Waldhaus in collaboration with: Beat E. Birchler (structure), Conzett Bronzini Gartmann (structure canopy roof) images: © Ruedi Walti APARTMENTS HARDSTRASSE project: 2016 - 2022 location: Basel, Switzerland client: ECOREAL Schweizerische Immobilien Anlagestiftung in collaboration with: August + Margrith Künzel (landscape), Rytz (metal façade) and Thomas Boyle (structure) images: © Ruedi Walti

BARN VORDER BRÜGLINGEN project: 2018 - 2022 location: Münchenstein, Switzerland client: Christoph Merian Stiftung in collaboration with: ZPF (structure) images: © Ruedi Walti GLACIER GARDEN project: 2012 - 2022 location: Luzern, Switzerland client: Stiftung Gletschergarten in collaboration with: Conzett Bronzini Gartmann (structure), Lombardi (rock engineering), Müller Illien (landscape) images: © Ruedi Walti MILLER & MARANTA AAM EXHIBITION exhibition: 2017 location: Mendrísio, Switzerland images: © Ruedi Walti THOUGHTSCAPE exhibition: 2018 location: La biennale di Venezia, Venice, Italy in collaboration with: Fritz Hauser (music), Tweaklab (exhibition technology) main image: © Miller & Maranta film projection images: © Barbara Kern images at Miller & Maranta: © Gina Folly

MILLER & MARANTA

Founded in 1990. Memberships of the Swiss Society of Engineers and Architects SIA and the Association of Swiss Architects BSA.

ETH Zurich. Graduated from ETH Zurich in 1986. Master of Business Administration 1990 at IMD Lausanne. Management consultant at McKinsey & Co. from 1991 to 1994 in Zurich. Since 1994 permanent Quintus Miller, born 1961 in Aarau. Studied co-operation with Quintus Miller in Basel. architecture at the ETH Zurich. Graduated 2000-2001 Professeur invité at the EPF from ETH Zurich in 1987. Design assistant Lausanne. 2001-2005 Member of the at the EPF Lausanne and the ETH Zurich Urban Planning Commission of the Canton between 1990 and 1994. Since 1994 of Basel-Stadt. 2003-2019 Member of the permanent collaboration with Paola Urban Planning Commission of Riehen. Maranta in Basel. 2000-2001 Professeur 2007-2008 Visiting professor at the invité at the EPF Lausanne. 2004-2008 Accademia di Architettura of the Università Member of the Urban Planning Commission della Svizzera Italiana. 2008-2010 Guest of the City of Lucerne. 2005-2017 Member lecturer at the ETH Zurich. Member of the of the Monument Preservation Commission FHNW University of Applied Sciences of the City of Zurich and 2011-2021 Council since 2018. Member of the Monument Council of the Canton of Basel-Stadt. 2005-2010 Jean-Luc von Aarburg, born 1975 in Member of the Commission for Fine Arts Liestal. Studied architecture at EPF of the municipality of Riehen. 2007-2008 Lausanne, TU Delft and ETH Zurich. Visiting professor at the Accademia di Graduated from ETH Zurich in 2001. Joined Architettura of the Università della Svizzera Miller & Maranta in 2001, from 2007 as a Italiana. 2008-2010 Guest lecturer at the member of the management team and from ETH Zurich. From 2009 full professor at the 2013 as a partner. 2009-2010 Co-lecturer Accademia di Architettura of the Università at ETH Zurich, guest lecturer at Miller & della Svizzera italiana. Maranta. 2014 Admission to the BSA. Board member of BWA nw since 2020, Paola Maranta, born 1959 in Chur. Studied observer for competitions and tenders in architecture at the EPF Lausanne and the Northwestern Switzerland.

Awards for complete works 2018 Heinrich Tessenow - Medal 2013 Prix Meret Oppenheim 1997 Swiss Federal Art Scholarship

PORTUGAL PVP 49,90€ PRICE WILL VARY PER COUNTRY