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An assemblage of Aalto’s 1936 Stool 60.
An assemblage of Aalto’s 1936 Stool 60.
Juhani Lemmetti, seated in a 1936 Tank chair by Alvar Aalto, in his shop, Artek 2nd Cycle, in Helsinki, Finland.
Juhani Lemmetti, seated in a 1936 Tank chair by Alvar Aalto, in his shop, Artek 2nd Cycle, in Helsinki, Finland.
a display of vintage glass pieces, by Kaj Franck.
a display of vintage glass pieces, by Kaj Franck.
A dark blue Living Tower, 1969, by Verner Panton is a focal point in the 2,400-square-foot space.
A dark blue Living Tower, 1969, by Verner Panton is a focal point in the 2,400-square-foot space.
Here is the perspective from behind the altar. The high windows let in an ethereal sense of daylighting without the distraction of direct outside views.
Here is the perspective from behind the altar. The high windows let in an ethereal sense of daylighting without the distraction of direct outside views.
My first stop was Zumthor's celebrated St. Benedict Chapel in the snug village of Sumvitg. Designed in 1988, this serene, mysterious structure was built before Zumthor was an international household name.
My first stop was Zumthor's celebrated St. Benedict Chapel in the snug village of Sumvitg. Designed in 1988, this serene, mysterious structure was built before Zumthor was an international household name.
Unassuming, yet exceedingly elegant, the chapel is very petite next to the neighboring houses (and the Alps in the background), and blends in well with its environment.
Unassuming, yet exceedingly elegant, the chapel is very petite next to the neighboring houses (and the Alps in the background), and blends in well with its environment.
"In 1984 an avalanche destroyed the baroque chapel in front of the village of Sogn Benedetg (St. Benedict). A recently built parking lot had acted like a ramp pushing the snow from the avalanche up against the chapel. The new site on the original path to the Alp above the small village is protected from avalanches by a forest. The new wooden chapel, faced with larch wood shingles, was inaugurated in 1988. The village authorities sent us the building permit with the comment senza perschuasiun (without conviction). Yet the abbot and monks of the Disentis Monastery and the then village priest Bearth wanted to build something new and contemporary for future generations." --Peter Zumthor, 2009 Pritzker Prize Laureate
"In 1984 an avalanche destroyed the baroque chapel in front of the village of Sogn Benedetg (St. Benedict). A recently built parking lot had acted like a ramp pushing the snow from the avalanche up against the chapel. The new site on the original path to the Alp above the small village is protected from avalanches by a forest. The new wooden chapel, faced with larch wood shingles, was inaugurated in 1988. The village authorities sent us the building permit with the comment senza perschuasiun (without conviction). Yet the abbot and monks of the Disentis Monastery and the then village priest Bearth wanted to build something new and contemporary for future generations." --Peter Zumthor, 2009 Pritzker Prize Laureate
The door was an extremely interesting element, from the long vertical slats to the metal door handle that felt just right for the silent procession into the heart of the building.
The door was an extremely interesting element, from the long vertical slats to the metal door handle that felt just right for the silent procession into the heart of the building.
Before Zumthor was an architect, he was a carpenter, and his father was actually a cabinet maker. His attention to woodworking detail - simple, minimal, light - is evident in all of the construction connections in the chapel.
Before Zumthor was an architect, he was a carpenter, and his father was actually a cabinet maker. His attention to woodworking detail - simple, minimal, light - is evident in all of the construction connections in the chapel.
Its unconventional fish-like shape and signature wooden ceiling backbone with fins create a symmetrical, anchoring feeling while sitting in the pews.
Its unconventional fish-like shape and signature wooden ceiling backbone with fins create a symmetrical, anchoring feeling while sitting in the pews.
The chapel is continually open, and is accessible by both public transport and car. (These are the directions that I found most helpful.) I would heavily recommend either taking the train or plane to Zurich, then renting a car to drive the 3.5 hours to Sumvitg. I was here in mid-September, so the leaves were starting to change - but I imagine it would be even more magical in the middle of a snow-blanketed winter.
The chapel is continually open, and is accessible by both public transport and car. (These are the directions that I found most helpful.) I would heavily recommend either taking the train or plane to Zurich, then renting a car to drive the 3.5 hours to Sumvitg. I was here in mid-September, so the leaves were starting to change - but I imagine it would be even more magical in the middle of a snow-blanketed winter.
For an experiential visit (from the comfort of your chair), you can also watch this video of the journey up to and inside the chapel.
For an experiential visit (from the comfort of your chair), you can also watch this video of the journey up to and inside the chapel.
The color gradient in the cladding is quite beautiful - much of the bottom has lost a good portion of its original wood hues, due to weathering and the harsh climate of Switzerland.
The color gradient in the cladding is quite beautiful - much of the bottom has lost a good portion of its original wood hues, due to weathering and the harsh climate of Switzerland.
A view of the surrounding mountains, after a pebbly uphill path to the chapel.
A view of the surrounding mountains, after a pebbly uphill path to the chapel.
A feather of wit in a sea of gravity at Giardini (the pavilions at theArsenale were a bit more light-hearted), Tom Sachs mocks the successes and failures of modernism through the devices of Le Corbusier. Here, he presents a model juxtaposing the form of Villa Savoye with that of a McDonald's, collectively titled the 'McBusier.'
A feather of wit in a sea of gravity at Giardini (the pavilions at theArsenale were a bit more light-hearted), Tom Sachs mocks the successes and failures of modernism through the devices of Le Corbusier. Here, he presents a model juxtaposing the form of Villa Savoye with that of a McDonald's, collectively titled the 'McBusier.'
In contrast, the reading room adjacent to the bookstore at Giardini was a peaceful, appreciated expression of forms inspired by Alvar Aalto.
In contrast, the reading room adjacent to the bookstore at Giardini was a peaceful, appreciated expression of forms inspired by Alvar Aalto.
Andrea Branzi explores the concept of an 'infinite world,' choosing to portray this notion using large models surrounded by mirrors. Each attempts to symbolize a manifesto-type suggestion for the future of cities; some of the more provocative ones include 'the city as a high-tech favela,' 'the city as a living plankton,' and 'the city as a personal computer every 20 square meters.'
Andrea Branzi explores the concept of an 'infinite world,' choosing to portray this notion using large models surrounded by mirrors. Each attempts to symbolize a manifesto-type suggestion for the future of cities; some of the more provocative ones include 'the city as a high-tech favela,' 'the city as a living plankton,' and 'the city as a personal computer every 20 square meters.'
One strikingly simple, yet memorable pavilion was that designed by Portugal's Aires Mateus e associados, titled 'Voids.' In the action of extracting volumes, they connect a positive building form with its corresponding negative space -- a relationship that always exists inherently, but one that I have never seen so clearly and understandably articulated.
One strikingly simple, yet memorable pavilion was that designed by Portugal's Aires Mateus e associados, titled 'Voids.' In the action of extracting volumes, they connect a positive building form with its corresponding negative space -- a relationship that always exists inherently, but one that I have never seen so clearly and understandably articulated.
Cerith Wyn Evans opened with neon text from "The Changing Light at Sandover," a poem by James Merrill -- where the protagonist's setting, like that of this physical text, evokes a sense of suspension in space.
Cerith Wyn Evans opened with neon text from "The Changing Light at Sandover," a poem by James Merrill -- where the protagonist's setting, like that of this physical text, evokes a sense of suspension in space.
Sejima also included a room for a Lina Bo Bardi retrospective, the celebrated Italian-Brazilian female modernist. Drawings and diagrams line the walls, around an intricate 1:50 scale model of the SESC Pompeia building in Sao Paulo (which was actually crafted by SANAA).
Sejima also included a room for a Lina Bo Bardi retrospective, the celebrated Italian-Brazilian female modernist. Drawings and diagrams line the walls, around an intricate 1:50 scale model of the SESC Pompeia building in Sao Paulo (which was actually crafted by SANAA).
A clever installation by Pezo von Ellrichshausen Architects from Chile, this exhibit places two similar buildings in two different conditions. In front of large, backlit panoramas, the small cube sculptures seem drastically singled-out, detached, and devoid of context.
A clever installation by Pezo von Ellrichshausen Architects from Chile, this exhibit places two similar buildings in two different conditions. In front of large, backlit panoramas, the small cube sculptures seem drastically singled-out, detached, and devoid of context.
A glance into the visually cacophonous cafe at Giardini.
A glance into the visually cacophonous cafe at Giardini.
OMA's pavilion took a forceful, critical view on the debate of architectural preservation. Due to a universal growing sense of nostalgia, OMA argues against our desire to preserve "everything" and the diminishing window of time between construction and preservation. "The area declared immutable through various regimes of preservation is growing exponentially. A huge section of our world (about 12%) is now off limits..." Displayed on the bottom level was furniture designed specifically for Nazi clients by Paul Ludwig Troost, all of which was white-washed and initially condemned to the basement of Munich's Haus der Kunst post-1945. It was only in 2007, when OMA and Herzog & de Meuron were invited to rehabilitate the Haus, when the 'repressed' furniture was brought to light, and had to be ironically de-white-washed.
OMA's pavilion took a forceful, critical view on the debate of architectural preservation. Due to a universal growing sense of nostalgia, OMA argues against our desire to preserve "everything" and the diminishing window of time between construction and preservation. "The area declared immutable through various regimes of preservation is growing exponentially. A huge section of our world (about 12%) is now off limits..." Displayed on the bottom level was furniture designed specifically for Nazi clients by Paul Ludwig Troost, all of which was white-washed and initially condemned to the basement of Munich's Haus der Kunst post-1945. It was only in 2007, when OMA and Herzog & de Meuron were invited to rehabilitate the Haus, when the 'repressed' furniture was brought to light, and had to be ironically de-white-washed.
Composed with transparent slabs placed at 350mm intervals, the Primitive Future House by Sou Fujimoto Architects explores the variety of spaces created by these layers. Using 350mm as the main unit of measurement, they recreated the height of chairs (350mm), the 700mm height of desks (350 x 2), and the 175mm height of stairs (350 / 2) in a house-like topography.
Composed with transparent slabs placed at 350mm intervals, the Primitive Future House by Sou Fujimoto Architects explores the variety of spaces created by these layers. Using 350mm as the main unit of measurement, they recreated the height of chairs (350mm), the 700mm height of desks (350 x 2), and the 175mm height of stairs (350 / 2) in a house-like topography.
With playfully drawn graphics and animated models, Aldo Cibic's 'Rethinking Happiness' exhibit highlights different units of separate lifestyles, and attempts to unify them into mixed uses and new collaborations. (For example: herb garden + bike parking, golf driving range + agricultural station, etc.) This is their portrayal of Superbazaar, an emerging public space/subway station/hotel/concert hall/market/day care center/lots of other programs being planned on the edge of northern Milan.
With playfully drawn graphics and animated models, Aldo Cibic's 'Rethinking Happiness' exhibit highlights different units of separate lifestyles, and attempts to unify them into mixed uses and new collaborations. (For example: herb garden + bike parking, golf driving range + agricultural station, etc.) This is their portrayal of Superbazaar, an emerging public space/subway station/hotel/concert hall/market/day care center/lots of other programs being planned on the edge of northern Milan.
There are regular architectural models, and then there are SANAA's models. Sprawled out on the floor from wall-to-wall, using only the crispest of white paper, SANAA's rendition of their tear-drop-shaped Teshima Art Museum and the surrounding Seto Inland Sea is pristine and ethereal, right down to the shadowy abstract black globules that characterize their signature scale figures.
There are regular architectural models, and then there are SANAA's models. Sprawled out on the floor from wall-to-wall, using only the crispest of white paper, SANAA's rendition of their tear-drop-shaped Teshima Art Museum and the surrounding Seto Inland Sea is pristine and ethereal, right down to the shadowy abstract black globules that characterize their signature scale figures.
Swiss architect Christian Kerez fills up an entire room with a looming structural mockup of his steel-constructed Leutschenbach School in Zurich. With its strong horizontal planes and diagonal piercing members, this skeletal concept is also present in his Holcim Competence Center (which was displayed in wood in a second room. Why was he the only one with a second room, does anyone know?)
Swiss architect Christian Kerez fills up an entire room with a looming structural mockup of his steel-constructed Leutschenbach School in Zurich. With its strong horizontal planes and diagonal piercing members, this skeletal concept is also present in his Holcim Competence Center (which was displayed in wood in a second room. Why was he the only one with a second room, does anyone know?)
Atelier Bow-Wow displays what they do best -- delivering different interpretations of the concept of 'microhouse' -- in rows of seductively immaculate models.
Atelier Bow-Wow displays what they do best -- delivering different interpretations of the concept of 'microhouse' -- in rows of seductively immaculate models.
British firm Caruso St. John and German artist Thomas Demand built a full-scale mock-up of 'nagelhaus,' double-height shell of a structure that seems to be deliberately cumbersome. It is to be sited in Zurich, with an existing railway passing through it -- and the entire concept refers to a persevering little house in Chongquing, China that remained standing while its entire surrounding neighborhood was demolished.
British firm Caruso St. John and German artist Thomas Demand built a full-scale mock-up of 'nagelhaus,' double-height shell of a structure that seems to be deliberately cumbersome. It is to be sited in Zurich, with an existing railway passing through it -- and the entire concept refers to a persevering little house in Chongquing, China that remained standing while its entire surrounding neighborhood was demolished.
If you're looking for more, this video> captures the experience of discovering and meandering through the pavilion pretty well.
If you're looking for more, this video> captures the experience of discovering and meandering through the pavilion pretty well.
On the other side, a set of sculptural, geometric hangings are suspended from the atrium.
On the other side, a set of sculptural, geometric hangings are suspended from the atrium.
A clean connection detail shows how the parts of the staircase are vertically held together.
A clean connection detail shows how the parts of the staircase are vertically held together.
A neatly-framed spiral staircase leads the way to a second balcony level atop the central hallway that overlooks the ground floor on both sides.
A neatly-framed spiral staircase leads the way to a second balcony level atop the central hallway that overlooks the ground floor on both sides.
"Architecture is undergoing a crisis. Our buildings no longer satisfy people. It is necessary to start to create differently: in place of design and aesthetics to take inspiration from the deeper laws of nature," says Martin Rajniš. The description of their concept is a little on the enigmatic, archi-babble side, but the exhibit does convey a certain je-ne-sais-quoi about an underlying honesty of building construction and material.
"Architecture is undergoing a crisis. Our buildings no longer satisfy people. It is necessary to start to create differently: in place of design and aesthetics to take inspiration from the deeper laws of nature," says Martin Rajniš. The description of their concept is a little on the enigmatic, archi-babble side, but the exhibit does convey a certain je-ne-sais-quoi about an underlying honesty of building construction and material.
One reason why I enjoyed being here for so long was because it was a continuously morphing exhibit. In a span of a half hour, three teams of children spontaneously formed, which meant three different wooden towers were built and toppled.
One reason why I enjoyed being here for so long was because it was a continuously morphing exhibit. In a span of a half hour, three teams of children spontaneously formed, which meant three different wooden towers were built and toppled.

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