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    123 views15 pages

    From Old and New PDF

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    Yvette Chen

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    © All Rights Reserved
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    of 15
    m Old and New to Old-New La Longeraie Education, Culture and Leisure Centre, Morges, 1991-1996 in Tschanz, gue \entic popular art Instead of insider art”: this was one of the slogans with which, st exactly twelve years ago, Miroslav Sik challenged the world of architecture as ‘pioneer of “Analoge Architektur”! Since then, the voices have grown more mod- , the black uniforms of the revolution have been cast aside in favour of grey and eet colours, and even jackets by Helly Hensen are now considered acceptable of clothing in Professor Sik’s classes. The once characteristic mixture of pathos nostalgia has largely disappeared from the projects that have emerged during nt years from the classes of the Federal Institutes of Technology in Zurich and inne. Now more than ever before, the projects are endowed with poetry hard the heels of banality. The talk is no longer of analogous architecture but of old- architecture What has remained Is the endeavour to design architecture on the is of the specific setting: “locus regit actum”.? Remained, too, has the desire to take arms against the tendency towards the “Sundayfication of life”, and to create sidings for everyday living. . :nwhile, almost five years have passed since the La Longerale Education, Culture Leisure Centre was inaugurated. At the time, | missed the opportunity of visiting new buildings, but now at last | have the chance of forming my own opinion. it Is perhaps a good thing that everyday life has made its mark upon them in the time, was always, the Impression when the train from Zurich to Lausanne reaches this Just past Puidoux is overwhelming: emerging from a short tunnel after a long ney through the highland hills, the: view over Lake Geneva opens up unex- ‘dly, and suddenly we find ourselves in the midst of vineyards with the light ing on the blue-green lake below and the cloud-wreathed Savoy Alps. ach Colonial Style” ival in Morges Is, at first, somewhat sobering. Leaving the station subway at the entrance, | cross the motorway and follow a road framed on the right by a high that affords only an occasional glimpse of a half-hidden country estate. On the far below, the motorway traffic flashes by, strangely quiet behind the thick slabs 2 noise protection wall. | walk on through a seemingly abandoned shopping and centre, and at last, by a signpost to the motorway sliproad, | catch sight of the idings of La Longeraie behind a large parking lot, they too half hidden by huge e trees, * Miroslav Sik (ed,): Analoge Architektur (catalogue), Zurich 1987, 2 Atelier Sik 1997/98 EPF Lausanne, Lausanne 1998; programme for the study year 1999 at the ETH Zurich leo In the eoxt on La Longeraio in Werk, Bauen + Wohnen 1111996: “Bur that’s exactly What iti all about, tie old-new effect” (p. 21). > Miroslav Sik: “Ein Campus fir ales in Werk, Baven + Wohnen 11/1996, p 1 “Miroslav Sik: "Versonntig- lchung des Lebens = Flim al moderne Analog archithese 5/92 p. 67-70; “The world is 99.9% grey = and that’s good? Course programme ETH Zurich, summer 1999 rola 8: “€in Campus ‘orale nz Werk, Baven + Wohnen 11/1996, p22. “Miroslav in Campus furalle; in: Werk, Bauen + Wohnen 11/1996, p. 22. oe The complex makes the impression of a curious mixture between openness and secrecy, the openness resulting from the asymmetrical, U-shaped courtyard, the secrecy from the fact that this courtyard takes the form of a small park behind which the buildings hide, withdrawn behind deep loggias. Access Is provided by a flight of steps at the side of the building, sheltered by an upper loggia which, with its discreet floor decoration and tables and chairs, makes a somewhat domestic impact. By the time | enter the hotel and reach the reception desk by means of a vestibule and a few steps, | am feeling thoroughly at home, ‘embraced by a strangely indescribable atmosphere. Its this that Miroslav Sik describes as the “French Colonial Style”, a description that is as diffuse as it is to the point. It would be possible to Interpret the design of the facade, which with its elements of concrete and French windows is reminiscent of the architecture of Auguste Perret, as “French”, and the deep loggias evocative of southern climes, inviting one to linger and perhaps to study in the open air, as “colonial”. The expression may also allude to the character of a motel which, with the large car park and proximity of the motorway, is just as relevant as the promise of great peace created by the glimpse into a still more deeply concealed courtyard with a church just visible behind. The hotel and congress centre La Longerale is owned by the Catholic Church, and the complex includes a church and a presbytery, as well as a multi-purpose hall which is used primarily for gymnastic classes by a nearby school. Parts and the whole Whereas the access courtyard affords a view through the trees across the lake to the far-off Alps, the courtyard between the church and the presbytery has an almost Introverted feel to it. Sheltered by a wall and framed by a colonnade, itis reminiscent of a cloister and conducive to contemplation. A passage leads on into a courtyard axially dominated by a church that looks as if it were standing on a pedestal. It has a stony, almost urban look about it, with formally arranged flowerbeds and flowerpots, suitable for large gatherings of people. On one side it is framed by the gymnastics and meetings hall, on the other by the hotel wing, to which it Is directly connected by a rear entrance. This building is something of a problem in connection with the courtyard, for its north facade Is slightly too tall and dominating, and too obviously a back wall to be part of a “cour dhonneur”* Although the moods of the different courtyards vary widely, the overall impression is one of unity because the different parts are ingeniously linked together by paths and passages surrounding the hotel entrance. The close, corner-wise positioning of the buildings also provides constant glimpses from one area into another, and the transitions are additionally softened by the connecting motif of the colonnades which are variously designed as deep, inviting loggias, narrow covered walks or, in the case of the church, as a portico. 10 7 Sik writes about the facade: “

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