ETH Zürich Professor Adam Caruso HS 2012

DENKMAL
WORKBOOK

Dominik Arni / Anna Salvioni

Simon Burri / Grégoire Farquet
Rahel Durot / Daniel Pflaum
Livio De Maria / Nicolas Rüegg
Matthias Elsasser / Nina Hug
Maximilian Kamlah / Michael Meyer
Lea Prati / Nadine Schütz
Dorian Mc Carthy / Enzo Valerio
Nadine Spielmann / Francesca Wyser
Michael Fehlmann / Lea Hottiger
Selin Demir / Stéphanie Savio
Lea Holenstein / Benedikt Zweifel
Mario Sommer / Andrea Zarn
Romana Castiglioni / Besa Zajimi
Rachel Hess / Sebastian Linsin
Lorenz Dahinden / Lukas Redondo
Laura Hänni / Meret Studer
Nike Himmels / Stephanie Mitchell
Ziyue Ding / Jingxian Ye
Nikolas Klumpe / Carolin Kubat
Florian Baumgartner / Daniel Itten
Julian Oggier / Louis Wangler
Ozan Enginsal / Manuel Maibach
Romana Sander / Corinne Wegmann
1 HS 2012

Denkmal

Every successive architect, employed upon a great work, built the pieces he added
in his own way, utterly regardless of the style adopted by his predecessors; and if two towers
were raised in nominal correspondence at the sides of a cathedral front, one was nearly
sure to be different from the other, and in each the style at the top to be different from the
style at the bottom.

John Ruskin’s essay ‘The Nature of Gothic’ was a critique of the battle of styles
that characterised much of 19th century architecture. In contrast to what Ruskin saw as
hollow eclecticism, of employing the appropriate ‘style for the job’, the Venetian gothic
was an organic architecture, given authenticity through its deep connections to the
material and culture of the Veneto, and life from the hands of crafts people that
constructed it. Ruskin’s polemic was also directed towards the developing discipline of
restoration, specifically the highly interpretive restoration practiced by his
contemporary Eugène Viollet-le-Duc exemplified by his projects for Notre Dame in
Paris and the medieval city of Carcassonne. For Ruskin, Viollet’s approach was a part
of the same 19th century malaise, substituting personal taste and arbitrary image for
the stone and sweat that lay at the core of architecture. Viollet’s fanciful completion of
historic monuments stripped the very life from the original structures, this speculative
and picturesque approach was, in Ruskin’s eyes, tantamount to forgery.
Nineteenth century urbanisation would exert unprecedented pressure on historic
structures, a situation that resulted in an emerging consciousness about historic monuments,
and how they could be retained and continue to be used. Surprisingly, this emerging
discourse would be largely influenced by the precepts of the English aesthete, Ruskin, and
not those of his French rival. The Society for the Protection of Ancient Monuments was
established in England by William Morris, under the direct influence of Ruskin. The
Society’s manifesto of 1877 advocates that historic structures should be protected and
repaired not restored, and that each repair should be distinct and show its age, as was the
case with Ruskin’s gothic cathedral. This principle, of every addition and repair being
important, of the building up of layers being a defining quality of historic monuments, would
be further refined by the 1931 Athens Charter for the Restoration of Historic Monuments,
and the 1964 Venice Charter. While it is hard to dispute that the residue of time is a core
quality of monuments, the logic that every layer should be distinct and of its time has led to
building additions that try too hard to be ‘of their time’, and whose brash contemporary
architecture is at odds with the continuity and organic qualities that Ruskin valued so highly.
This semester’s work values the wholeness of monuments. Designed additions extend the
atmosphere of historic structures instead of simply declaring that they are new.
The semester begins by looking closely at the matter of adding to and modifying
historic monuments. Some of our references, like the Engadinerhaus, conform to
Ruskin’s dictum of each addition in its own way. Others more closely subscribe to
Viollet’s freer handling of monuments, making a new and more ambiguous whole from
the original structure and its additions. In each case the character of the monument in
its current condition and its effect on the environment around it is described through
detailed surveys. With a new, softer, theory of addition the main project for the
semester was the design of an addition to one of four small museums in Switzerland.
2 HS 2012  Denkmal 3 References Overview

References

Koller, Glaus, Pfammater, Casada, Miller Maranta Miroslav Sik Leo von Klenze, Hans Döllgast
Miller Maranta Türelihuus Vecchio Ospizio La Longeraie Alte Pinakothek
Waldhaus p. 9 p. 13 p. 17 p. 21
p. 5

Meili, Peter Architekten Friedrich Fissler, Bosshard Vaquer Peter Zumthor

Zypressenstrasse Aufbahrungshalle Sihlfeld Haus Gugalun Chiesa San Carlo di Negrentino Kloster Müstair
p. 25 p. 29 p. 33 p. 37 p. 41
4 HS 2012  Denkmal 5 References Waldhaus

Plan / Section / Elevation Karl Koller, Otto Glaus, Ferdinand Pfammater, Peter Casada, Miller Maranta
Interior, Photographic Study Waldhaus
Sils GR
1908-2012

10 5 0
10 5 0 12

GROUNDFLOOR

Küche 12 Foyer 6
Hochzeitssaal 11 Fumoir 5
Speisesaal 10 Arvenstube 4
Empiresaal 9 Bar 3
Sunny Corner 8 Halle 2
Lesezimmer 7 Reception 1

7
8

10 11

5
2 9
3

311 310 309 308

268 267 266 264 262 261 260 259 258

275 274 270

218 217 216 214 212 210 209 208

225 224 220 211

174 168 167 166 164

175 172 171 170 162 171 160 159 158

124 118 117 116 114

125 122 121 120 112 111 110 109 108

74 68 67 66 64
75 72 71 70 62 61 60 59 58

LONGITUDINAL SECTION

0 5 10

EAST ELEVATION

0 5 10
6 HS 2012  Denkmal 7 References Waldhaus

Interiors, Photographic Study Plan Study

 8 HS 2012  Denkmal 9 References Türelihuus

Ground Floor Plan Türelius Nr. 69

Second Floor Plan Valendas GR
1485-1775

Second Floor
½ 1 2

d Floor
½ 1 2
10 HS 2012  Denkmal 11 References Türelihuus

Elevation Photographic Study

Section

Elevation West

0m 0.5m 1m 2m 4m

Section
½ 1 2
12 HS 2012  Denkmal 13 References Vecchio Ospizio

Exteriors, Photographic Study Miller Maranta

Gotthard Hospiz
Gotthard
1830-2010
14 HS 2012  Denkmal 15 References Vecchio Ospizio

Elevation Floor Plans

Section

III

North Elevation 0m 2 4

Ground Floor Plan 0m 2 4

VIII

Cross Section 0m 2 4
VI

Third Floor Plan 0m 2 4

16 HS 2012  Denkmal 17 References La Longeraie

Exteriors, Photographic Study Miroslav Sik

La Longeraie
Morges
1911-1996
18 HS 2012  Denkmal 19 References La Longeraie

Site Plan Detail Study

Section - Elevation
20 HS 2012  Denkmal 21 References Alte Pinakothek

Interiors, Photographic Study Leo von Klenze, Hans Döllgast

Alte Pinakothek
Munich
1836-1957
 The lowest part of the base is made
of massive stone slabs on which the
entire building rests. Above them is
a series of rough-hewn stone blocks
with highlighted joints, followed by a
22 HS 2012  Denkmal concave and a rolling moulding and
another finer than the first processed
stone series. The base ends in a
revolving cornice. In the area of
reconstruction on the south facade
the cornice continues only as a
Elevation simple concrete strip.
Directly on the cornice are the
arched windows of the ground floor.
Section These are about 1.70 m wide and
3.50 m high. The original windows
Plan have a rectangular frame of stone
with a cornice above. The triangular
area between arch and frame is
decorated with plant ornaments. The
space between the windows is not
organized and filled in with bright
brick in gothic composite. The bricks
have a size of about 7.5 cm to 33.5
cm with a spacing of 3 mm. Above
the bricks a natural stone band with
a meander ornament separates the
upper and lower part of the facade.
In contrast, the reconstructed
facade on the ground floor has
no mouldings or ornaments. Only
A velvet, flat plaster covers the highly
structured walls of the staircase and
lets the brickwork disappear. With
a huge effort the whole joint pattern
of the bricks has been traced, even
the old barrel vaults and lintels are
visible. Following the marks with
your own finger lets feel what other
fingers had painted for hours. On a
few edges however, the red bricks
shine through the chipped plaster.
Only a view from the window onto
the intrados reveals the difference
between original and patched
brickwork. The room seems strong
and massive due to his unity and the
powerful formed details out of brick.
Such as the strips of the pilaster on
both sides of the window detach
themselves from the vertical line and
form together a huge arch over the
window.
After a second glance does one
recognize some gaps in the wall
forming doors, concealing modern
house technology. The ventilation
grid allows a direct view into the
showroom behind. Also, fluorescent
South Elevation tubes disguised with a glassy sheet
are embedded into the brickwork
letting the wall lose its compactness.
The illusion that this strong room
I Early Netherlandish Painting - Rogier van der Weyden, Dirk Bouts, Hans Memling
IIA Early Netherlandish Painting - Lucas van Leyden, Quinten Massys, Cornelis Engebrechtsz
II Early German Painting - Albrecht Dürer, Lucas Cranach the Elder, Albert Altdorfer
IIB Early German Painting - Albrecht Dürer, Albrecht Altdorfer, Martin Schongauer
III Early German Painting - Stefan Lochner, Master of Saint Veronica, Barthel Bruyn
IV 15th and 16th Century Italian Painting
V 16th Century Venetian Painting
VI 17th Century Flemish Painting - Anthony van Dyck, Jacob Jordaens
VII 17th Century Flemish Painting - Peter Paul Rubens
VIII 17th Century Flemish Painting - Peter Paul Rubens and Joos de Momper
IX 17th Century Dutch Painting - Rembrandt, Frans Hals, Caravaggists
X 17th and 18th Century Italian Painting
XI 17th Century French Painting
XIIa 18th Century French Painting - Chardin, Lancret
XII Longitudinal
18th Century French Painting
Section
XIIb 18th Century Italian Painting
XIII Spanish Painting - El Greco, Murillo
1-6 14th to 17th Century Italian Painting
7 17th Century Flemish Painting and Still Lifes
8-9 17th Century Flemish Painting - Peter Paul Rubens
10 17th Century Flemish Painting - David Teniers the Younger
11 17th Century Flemish Painting - Adriaen Brouwer
12 17th Century Flemish Painting - Peter Paul Rubens
13 16th and 17th Century German Painting
14-23 17th Century Dutch Paintings
XIII
XIIb 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8
XII X XI VIII VII VI
XIIa
XI
Detail North Elevation
Second Floor
the arches above the windows are
distinguished with a double row of
bricks. Below the meander band,
which also continues as a smaller
concrete strip, there are cassettes in
the width of the windows. The wall
area consists of coarse debris bricks
in the same format as the original
brick masonry but with a much wider
gap and in block composite.
The original upper floor is divided by
ionic three-quarter columns standing
on pedestals. Between the pillars
are arched windows, about 3.00 m
wide and 5.60 m high. The windows
are exactly on the axis of the ground
floor windows. The columns are
shifted by half an axis between the
windows. The length of the axis is
4.88 m. The arches of the upper
windows are placed on a cornice
optically running behind the columns
and like the previous described
structural elements they are also
made of natural stone. Circular
stone disks with floral ornaments
are placed in the triangular fields
between the arches and pillars. The
areas between the elements are
filled with light brick. The top oft he
facade ends finally in a three-part
has been built to last for hundreds
of years is diminishing. However,
the room still keeps its fascination!
Standing on top lets one realise
how the floor suddenly erupts into
the depth where it disappears and
eventually rises as a stairway at the
other end of the room. Windows
and pilasters alternate along the
whole length of the room. While
the windows of the first floor are
arranged on the same level, the
pilasters become taller and taller to
compensate increasing height. The
rising stair and the ceiling create
an intensive sense of perspective
accompanying the strong rhythms
of the vertical carrying structure.
The ceiling looks similar to a cover
and appears rather ordinary with
its visible non regular pattern of the
concrete formwork. The roof slab
is butt jointed to the wall, there is
neither strip nor cornice. It is just
painted in pastel green and white
lines trace the foregone ceiling
construction. Shadows subside next
to the gloss of the windows over
the ceiling and draw a pattern on
the faint colours of the surfaces.
The same effect can be seen on
the floor and stairs. The windows
7 6 5 4 3 2
V IV
entablature in natural stone. In the
entablature frieze consoles designed
as volutes and round ornaments are
alternating. Six consoles between
the axis and one directly above on
the columns.
In comparison to the older parts the
23 References Alte Pinakothek
new facade on the upper floor is
designed in a significantly reduced
style. The window size and window
seat on the axis of the ground floor
window is the same, however, every
natural stone elements are left out. Facade Study
Only the cornice at the heigth of
the pedestals, the cornice on which
the arches of the windows are
placed, and the keystone are kept
as elements but made of concrete.
What is new, like on the lower floor,
is a brick cassette below the window
and another cassette in the column
axis beneath the roof edge. Instead
of the old stone columns new steel
columns reaching from the roof to
the floor are dividing the facade on
which the main girder of the new
concrete ribbed ceiling rests. The
ribs of the new ceiling continue the
consoles of the original entablature
in the same number and layout.
and doors reflect in the smoothly
polished natural stones. They slowly
lose themselves in the wide cause
of its tallness. Especially the door
frame, handle, hinge and baseboard
are glimmering. They are made out
of brass and give some pomposity
to the matt surface of the wall,
releasing the room from its dull
monotony.
Some benches are placed face to
face with the window wall in the
recesses between the solid piers.
They are out of a massive, white
lacquered wooden plate, which
hovers on top of two slim, iron
pyramids. Visible remain only the
legs of resting visitors on the bench
peek out of the recesses. Sitting
there, the room suddenly becomes
small and private. From far away the
sound of voices, slammed doors and
steps being reflected a thousand
times mashes to a constant noise,
which can be heard. It reminds of
a train station hall, yet all the busy
people are missing. Leaving the
private recess, 1 one is invited
5 to take
10
a last glance through the window
into the infinite depth of the park
before entering the gallery.
1 5 10
III
1 IIb
II
IIa
I
1 5 10
24 HS 2012  Denkmal 25 References Zypressenstrasse

Exteriors, Photographic Study Meili, Peter Architekten

Zypressenstrasse
Zurich
-1994
26 HS 2012  Denkmal 27 References Zypressenstrasse

Elevation Section
Plans









 28 HS 2012  Denkmal 29 References Aufbahrungshalle Sihlfeld

Elevation AUFBAHRUNGSHALLE Friedrich Fissler, Bosshard Vaquer

Section FRIEDHOF SIHLFELD Aufbahrungshalle Sihlfeld
Interior, Photographic Study Zürich
1917-2005
15 316 15119 81 7 79 91313 318 13 45 9 105
SECTION

15 3.16 15 11 9 81 7 79 9 13 13 3.18 13 45 9 1.05

A
U
F
B
A
H
R
U
N
G
S
H
A
L
L
E

17 314 17 39 9 105 9 51 14 53 9 105 9 37 17 314 17 9 9 81 7 79 9 20 14 20 9 1.6

17 3.14 17 39 9 1.05 9 51 14 53 9 1.05 9 37 17 3.14

17 3.14 17 39 9 1.05 9 51 14 53 9 1.05 9 37 17 3.14 17 9 9 81 7 79 9 20 14 20 9 1.67

ELEVATION 0 1 2 5m INTERNAL ELEVATION OF THE NEW CHAPEL OF REST 0 0.5 1

53
35
2.85
15
15 316 15119 81 7 79 91313 318 13 45 9 105
SECTION

15 3.16 15 11 9 81 7 79 9 13 13 3.18 13 45 9 1.05

15 3.16 15 11 9 81 7 79 9 13 13 3.18 13 45 9 1.05 9 38

A
U
F
B
A
H
R
U
N
G
S
H
A
L
L
E

17 314 17 39 9 105 9 51 14 53 9 105 9 37 17 314 17 9 9 81 7 79 9 20 14 20 9 1

17 3.14 17 39 9 1.05 9 51 14 53 9 1.05 9 37 17 3.14 17 9 9 81 7 79 9 20 14 20 9

ELEVATION 0 1 2 5m INTERNAL ELEVATION OF THE NEW CHAPEL OF REST 0 0.5 1

53
35
 1 2 2 2 2 1
19 38 22 2.56 20
119 2 38 2 22 2 2.56 2 20 1
119 2 38 2 22 2 2.56 2 20 1

0
0.5
1
2m
1 2 2 2 2 1 2 2 2 2 2 1 1 1 1 2 1
15 69 62 26 36 36 69 62 26 36 15 14 15 2 49 6 65 15
2 2 2
15 2 69 2 62 26 2 36 36 1 69 2 62 26 2 36 15 14 15 1 64 26 49 62 65 15

2m
1
0.5
0
UNROLLED PLAN OF THE BIG CHAPEL OF REST
Reflected Ceiling Plan, Interior Elevations, Floor Plan
Room Study Interior, Photographic Study
Aufbahrungshalle Sihlfeld References 31 HS 2012  Denkmal 30
32 HS 2012  Denkmal 33 References Haus Gugalun

Exterior and Interior, Photographic Study Peter Zumthor

Haus Gugalun
Versam
1709-1994
34 HS 2012  Denkmal 35 References Haus Gugalun

Section Detailed Section

vvv Plan

Long section
36 HS 2012  Denkmal 37 References Chiesa San Carlo di Negrentino

Exteriors, Photographic Study Chiesa San Carlo di Negrentino

Negrentino TI
1050-1942
38 HS 2012  Denkmal 39 References Chiesa San Carlo di Negrentino

Elevation Interiors, Photographic Study

Section
40 HS 2012  Denkmal 41 References Kloster Müstair

Site Plan Kloster Müstair

Elevation Müstair GR
775-1904

floor plan

0! 10! 20

XII

XII

XII

XII

XII
XII

19. Jh blacksmith‘s shop of the village 1707 Barn um 1300 cloistar wall um 1300 Gate Building 1689 Corridor Building with staircase 1890 Kindergarten ab 775 Cloistar Church um 788 Heiligkreuz Chapel
Remise 1500 extension of upper 1492 gothic interior work
floors 1m 5m 10 m

1m 5m 10 m

southern front elevation with timeline

42 HS 2012  Denkmal 43 References Kloster Müstair

Sections Reflected Ceiling Plan

CHURCH ENSEMBLE - TYPOLOGY

PLANTA TURM - TYPOLOGY

XII

XII

XII

XII

section

1m 5m 10 m

section

1m 5m 10 m
45 Student Projects

Student Projects

Bern
Dominik Arni / Anna Salvioni
Simon Burri / Grégoire Farquet
Rahel Durot / Daniel Pflaum
Livio De Maria / Nicolas Rüegg
Matthias Elsasser / Nina Hug
Maximilian Kamlah / Michael Meyer

Chur
Lea Prati / Nadine Schütz
Dorian Mc Carthy / Enzo Valerio
Nadine Spielmann / Francesca Wyser
Michael Fehlmann / Lea Hottiger
Selin Demir / Stéphanie Savio
Lea Holenstein / Benedikt Zweifel

Glarus
Mario Sommer / Andrea Zarn
Romana Castiglioni / Besa Zajimi
Rachel Hess / Sebastian Linsin
Lorenz Dahinden / Lukas Redondo
Laura Hänni / Meret Studer
Nike Himmels / Stephanie Mitchell

Schaffhausen
Ziyue Ding / Jingxian Ye
Nikolas Klumpe / Carolin Kubat
Florian Baumgartner / Daniel Itten
Julian Oggier / Louis Wangler
Ozan Enginsal / Manuel Maibach
Romana Sander / Corinne Wegmann
47 Student Projects

Bern
48 HS 2012  Denkmal 49 Student Projects Dominik Arni / Anna Salvioni

Ground Floor Plan 1:500 Exterior, Model Photograph

50 HS 2012  Denkmal 51 Student Projects Dominik Arni / Anna Salvioni

Exhibition Spaces, Model Photographs

Elevation 1:500
Section 1:500
52 HS 2012  Denkmal 53 Student Projects Simon Burri / Grégoire Farquet

Ground Floor Plan 1:500 Exterior, Model Photograph

54 HS 2012  Denkmal 55 Student Projects Simon Burri / Grégoire Farquet

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
56 HS 2012  Denkmal 57 Student Projects Rahel Durot / Daniel Pflaum

Ground Floor Plan 1:500 Exterior, Model Photograph

58 HS 2012  Denkmal 59 Student Projects Rahel Durot / Daniel Pflaum

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
60 HS 2012  Denkmal 61 Student Projects Livio De Maria / Nicolas Rüegg

Ground Floor Plan 1:500 Exterior, Model Photograph

62 HS 2012  Denkmal 63 Student Projects Livio De Maria / Nicolas Rüegg

Elevation 1:500, Exhibition Spaces, Model Photographs

Section 1:500
64 HS 2012  Denkmal 65 Student Projects Matthias Elsasser / Nina Hug

Ground Floor Plan 1:500 Exterior, Model Photograph

1:100
first floor
 66 HS 2012  Denkmal 67 Student Projects Matthias Elsasser / Nina Hug

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500

1:100

longitudinal section 1:100

cross section 1:100

68 HS 2012  Denkmal 69 Student Projects Maximilian Kamlah / Michael Meyer

Ground Floor Plan 1:500 Exterior, Model Photograph

Exhibition
Exhibition

Exhibition
Exhibition

Exhibition

Exhibition
Exhibition

Exhibition
Foyer
70 HS 2012  Denkmal 71 Student Projects Maximilian Kamlah / Michael Meyer

Elevation 1:500 Exhibition Spaces, Model Photographs

Section 1:500
73 Student Projects

Chur
74 HS 2012  Denkmal 75 Student Projects Lea Prati / Nadine Schütz

Ground Floor Plan 1:500 Exterior, Model Photograph

BÜNDNER KUNSTMUSEUM

LEA PRATI NADINE SCHÜTZ

GROUND FLOOR 1.100
76 HS 2012  Denkmal 77 Student Projects Lea Prati / Nadine Schütz

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500 Museum Café / Bar, Model Photograph

BÜNDNER KUNSTMUSEUM
SOUTH / EAST ELEVATION

BÜNDNER KUNSTMUSEUM
SECTIONS
 78 HS 2012  Denkmal 79 Student Projects Dorian Mc Carthy / Enzo Valerio

Ground Floor Plan 1:300 Exterior, Model Photograph

Villa Planta Chur

10 Meter
North
Piano Nobile 1:100

0
1
2
 80 HS 2012  Denkmal 81 Student Projects Dorian Mc Carthy / Enzo Valerio

Elevation 1:500 Exhibition Space, Model Photograph

Sections 1:500 South Elevation
Villa Planta Chur
Foyer, Model Photograph

Sections
Villa Planta Chur

Sections
Villa Planta Chur
South Elevation 1:100

2 1 0 5 Meter

BB

Section AA 1:100
AA

2 1 0 5 Meter

AA

Meter
82 HS 2012  Denkmal 83 Student Projects Nadine Spielmann / Francesca Wyser

Ground Floor Plan 1:500 Exterior, Model Photograph

N
84 HS 2012  Denkmal 85 Student Projects Nadine Spielmann / Francesca Wyser

Elevation 1:500 Exhibition Spaces, Model Photographs

Section 1:500

!"#$%&"$'"&
86 HS 2012  Denkmal 87 Student Projects Michael Fehlmann / Lea Hottiger

Ground Floor Plan 1:500 Exterior, Model Photograph

88 HS 2012  Denkmal 89 Student Projects Michael Fehlmann / Lea Hottiger

Elevation 1:500 Exhibition Spaces, Model Photographs

Section1:500 Museum Café, Model Photograph
90 HS 2012  Denkmal 91 Student Projects Selin Demir / Stéphanie Savio

Ground Floor Plan 1:500 Exterior, Model Photograph

N
92 HS 2012  Denkmal 93 Student Projects Selin Demir / Stéphanie Savio

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
 94
HS 2012  Denkmal

Ground Floor Plan 1:300

Obergeschoss 1:100
95
Student Projects

Exterior, Model Photograph

Lea Holenstein / Benedikt Zweifel

Längsschnitt 1:100

Erweiterung Bündner Kunstmuseum Chur Lea Holenstein & Benedikt Zweifel Entwurf Prof. A. Caruso / Final Crits / 18.12.12
 Ansicht Ost 1:100

96 HS 2012  Denkmal 97 Student Projects Lea Holenstein / Benedikt Zweifel

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500

Obergeschoss 1:100

Ansicht Süd 1:100

Erweiterung Bündner Kunstmuseum Chur Lea Holenstein & Benedikt Zweifel Entwurf Prof. A. Caruso / Final Crits / 18.12.12

Erdgeschoss 1:100

Längsschnitt 1:100

Erweiterung Bündner Kunstmuseum Chur Lea Holenstein & Benedikt Zweifel Entwurf Prof. A. Caruso / Final Crits / 18.12.12

Längsschnitt 1:100

Erweiterung Bündner Kunstmuseum Chur Lea Holenstein & Benedikt Zweifel Entwurf Prof. A. Caruso / Final Crits / 18.12.12
99 Student Projects

Glarus
100 HS 2012  Denkmal 101 Student Projects Mario Sommer / Andrea Zarn

Ground Floor Plan 1:500 Exterior, Model Photograph

HS 12 | Denkmal | Prof. Adam Caruso | Mario Sommer, Andrea Marco Zarn

ground floor 1:100
102 HS 2012  Denkmal 103 Student Projects Mario Sommer / Andrea Zarn

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500

EFAC

west elevation 1:50

HS 12 | Denkmal | Prof. Adam Caruso | Mario Sommer, Andrea Marco Zarn

longitudinal section1:100

cross section1:100

HS 12 | Denkmal | Prof. Adam Caruso | Mario Sommer, Andrea Marco Zarn

104 HS 2012  Denkmal 105 Student Projects Romana Castiglioni / Besa Zajimi

Ground Floor Plan 1:500 Exterior, Model Photograph

B
C

C
A
A

B
Professor Adam Caruso / HS 2012 / Denkmal / Romana Castiglioni / Besa Zajmi
 106 HS 2012  Denkmal 107 Student Projects Romana Castiglioni / Besa Zajimi

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500 Café, Model Photograph

north facade 1:50 Professor Adam Caruso / HS 2012 / Denkmal / Romana Castiglioni / Besa Zajmi
108 HS 2012  Denkmal 109 Student Projects Rachel Hess / Sebastian Linsin

Ground Floor Plan 1:500 Exterior, Model Photograph

Site Plan 1:1000
110 HS 2012  Denkmal 111 Student Projects Rachel Hess / Sebastian Linsin

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
112 HS 2012  Denkmal 113 Student Projects Lorenz Dahinden / Lukas Redondo

Ground Floor Plan 1:500 Exterior, Model Photograph

Basement Plan 1:500
114 HS 2012  Denkmal 115 Student Projects Lorenz Dahinden / Lukas Redondo

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
116 HS 2012  Denkmal 117 Student Projects Laura Hänni / Meret Studer

Ground Floor Plan 1:500 Exterior, Model Photograph

ground floor 1:100

118 HS 2012  Denkmal 119 Student Projects Laura Hänni / Meret Studer

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500 Museum Entrance Hall, Model Photograph

elevation west 1:100

elevation west 1:100

cross section 1:50

courtyard elevation east 1:100

courtyard elevation east 1:100

120 HS 2012  Denkmal 121 Student Projects Nike Himmels / Stephanie Mitchell

Ground Floor Plan 1:500 Exterior, Model Photograph

122 HS 2012  Denkmal 123 Student Projects Nike Himmels / Stephanie Mitchell

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500
125 Student Projects

Schaffhausen
126 HS 2012  Denkmal 127 Student Projects Ziyue Ding / Jingxian Ye

Ground Floor Plan 1:500 Exterior, Model Photograph

 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

128 HS 2012  Denkmal 129 Student Projects Ziyue Ding / Jingxian Ye

Elevation 1:500 Gallery, Model Photograph

Section 1:500 Exhibition Space, Model Photograph
Lobby / Café, Model Photograph

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
130 HS 2012  Denkmal 131 Student Projects Nikolas Klumpe / Carolin Kubat

Ground Floor Plan 1:500 Exterior, Model Photograph

First Floor Plan 1:500

DENKMAL
ADDITION TO KUNSTHALLE SCHAFFHAUSEN
Carolin Kubat / Nikolas Klumpe

Ground Floor 1:100

First Floor 1:100

132 HS 2012  Denkmal 133 Student Projects Nikolas Klumpe / Carolin Kubat

Elevation 1:500 Exhibition Spaces, Model Photographs

Section / Elevation 1:500

East Elevation 1:100

Cross Section 1:100 South Elevation 1:100

 134 HS 2012  Denkmal 135 Student Projects Florian Baumgartner / Daniel Itten

Ground Floor Plan 1:500 Exterior, Model Photograph

Sixth Floor Plan 1:500

sixth floor 1:100

FINAL CRITICS l Florian Baumgartner, Daniel Itten

136 HS 2012  Denkmal 137 Student Projects Florian Baumgartner / Daniel Itten

Elevation 1:500 Exhibition Spaces, Model Photographs

Section 1:500

cross section 1:100

east elevation 1:50

longitudinal section 1:100

FINAL CRITICS l Florian Baumgartner, Daniel Itten

138 HS 2012  Denkmal 139 Student Projects Julian Oggier / Louis Wangler

Site Plan 1:2000 Exterior, Model Photograph

Ground Floor Plan 1:1000
First Floor Plan 1:1000

situation 1:200 Louis Wangler, Julian Oggier DENKMAL Prof. A. Caruso

groundfloor 1:100 Louis Wangler, Julian Oggier DENKMAL Prof. A. Caruso

1st floor 1:100 Louis Wangler, Julian Oggier DENKMAL Prof. A. Caruso
 140 HS 2012  Denkmal 141 Student Projects Julian Oggier / Louis Wangler

Elevation 1:500 Exhibition Spaces, Model Photographs

Sections 1:500 Connecting Corridor, Model Photograph

h elevation 1:100 Louis Wangler, Julian Oggier DENKMAL Prof. A. Caruso

ion 1:100 Louis Wangler, Julian Oggier DENKMAL Prof. A. Caruso

142 HS 2012  Denkmal 143 Student Projects Ozan Enginsal / Manuel Maibach

Ground Floor Plan 1:500 Exterior, Model Photograph

Typical Floor Plan 1:500

GROUNDFLOOR 1:100

SECTION 1:100

TYPICAL FLOOR VARIATION 1:100

144 HS 2012  Denkmal 145 Student Projects Ozan Enginsal / Manuel Maibach

South Elevation 1:500 FOURTH FLOOR 1:100

Exhibition Spaces, Model Photographs
Section 1:500

GROUNDFLOOR 1:100

SOUTH ELEVATION 1:100

SECTION 1:100
 146 HS 2012  Denkmal 147 Student Projects Romana Sander / Corinne Wegmann

Ground Floor Plan 1:500 Exterior, Model Photograph

First / Second Floor Plan 1:500

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 148 HS 2012  Denkmal 149 Student Projects Romana Sander / Corinne Wegmann

Elevation 1:500 Exhibition Spaces, Model Photographs

Section 1:500

00
151 HS 2012

Professor Adam Caruso

Department of Architecture, ETH Zürich
www.caruso.arch.ethz.ch

Assistants
Martina Bischof, Maria Conen, Murat Ekinci, Stefan Fürst,
Oliver Lütjens, Anna Page, Antonella Vigliotti

Student Assistants
Dominik Arni, Baseli Candrian, Nike Himmels, Lena Paulsson,
Andreas Schmid

Concept design
Moiré, Marc Kappeler, Markus Reichenbach & Ruth Amstutz

Printing and binding

Reprozentrale ETH Hönggerberg