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lun'II\Pf I'OJl('(' \J1 'MI S of .:; igHilic;ul'lce La Karl Dcutli .. a
Ill eoJogian who was nnl only irllvorla llL
ill S,I iLzer land bUl in Llle enlire world. UnfnrLuuaLely, I IIC\ vP,
no idea wll ctiJ er OJ giaLi is a pious Christian or wlicllwr /I e
CaLholk Of But il you. were to rep lace U1 8 word "Cmf'
in Ba rth 's theo logy wi th the word "a rcllj teclUj'c," and lll('
i.ica Ln Olt;iali \ practi ce. iL would perJl aps prove
1\ ccording lo BarUJ , Cod is not an enLiLy lhat people
r;i1 Jl prnpo,;p or depicl as God. We call only Ulink or kllOw Cod
wlJ en li e is ready to all ow Uti lo kIIOw Hinl - in oLher words.
at L1 le Lime pI' revelation. \ViLll th is doc trillf' , ilarlh negated
19 th-eelllLU') liilluralll lPology, which had b y Lhal point
into anLhl'OpoJugy. f urllwr, hI" II Pgatcri the Iray language was
u::.eu in Lheology; i.e.. the wJalogy 0 1 hl" ill g (Iuw/ogia f! ntL, ) lhat
was used 10 PInphasize silu.iJitl.l de. Instead. Ba rU! advocaLed the
inlporlauc
p
of "n'vPiri ed Lheology."
An Exhiliilion "01'" Al"ebiLecture
Yuu ('aIJ ' tublt ally 6Cl' "arc1lileclu]'(' ," But you can it a!'; a
rcvplati oll. ,III J a(:( :epLiIlI! tlii s nolion, we caJ I beli('vc ill ils
Scm\(' 01 lit'lid hc,;l pxpre:-isud by ill I nxj libiti on
eJll'alcd all olll ()l giaLi (or arl'llilpctl.lrc ihell).
III tl lC ('XlliJ)ilioll . '\ LJich lravpllpd t() }VI( ' udrisio, Londoll , Porto,
awl Tokyo l)cl4illllillg aL Ll w.
lI(Jcil :-lchuJ p }:TII ) ill ZOrich, OlgiaLi clnd Dr. Laurenl StaJdcr, a
pro lpsso r 01 arcilil<'clilral theory at E1' [-J. attempted lo COIl"'tTUcL
"urci liL('(:lllre'" ill Uw lIIind. Iu clI lIlrast tn the verLi cal
nf I:33-:;('al p all "jcQnograpllic autobiograp hy, "
laid out on till' flour, as til e ho ri v.o lllal ill Lh e
dhplay. Tlli" which discou raged a vi PIV 01'
bolll ill,;pircd tl w vi(:'wer to cO II :;ider 1IoVI' Olgiati sec::;
an'llil pc; tllre.
()l giaLi developed thi s approad I fur lher in the 20 12 Veni ce
An :llilpctul,(, Bi eTII H:L1 tl (See pp. 6]). Elltru:;Led witl! tl w curati QIl of
a IlUgP rOOln in L1le [\r:-;enaic, lIP asked 4 1 Hn: hitects hom around
tilt' world LO ::; uhllliL Ul eir own iconograplLic autobiographi es.
II IVa,; lIal-u rall y very int Prpsling tn look at each of thel1l (lheru?),
hut whal was eV\?n morp illteresting wa:; the impression you had
witell Plllcriug lhe room. Beneath a large, whil e, horizontal slab
thaL rlnaLcd up ill the dark room was a :; Inall er :slab, or a l.abl c,
witll Jllan }' [l pnI'l l' sUl' mlllHli ng it. BaLhed in refl ected ligh t. our
facps And insici e OUT head :s , a clear link was ITtadc
betll PP l1 eacll of the photographs tile archiLe(: Ls lwd chosen and
tJl eir actual works (thougll it' s worth menlioning
wereu't any photos of the works nn wsplay). Tllis corl1binalinn
of a number of and a IIWllber of viewers alone created
"ardritedt,lre." The giant slab hall the appearance of a
Il101l0liLil tltat aJ)sorbe.d these O1giaLi 's superb exhi biti on
ingenuously cx prp.st'ed tl w true nalure of architecLure.
A Dialectic System
Still , ardrilects Illust design buil(tings. In oLber words, ratll er
Lhan cUl lling Lip with immaterial , mptaphysical concept s, li ley
arc paradoxicall y co nfroII ted with creaUng a building.in the reaJ
world (I wo uld ventm'c Lo say that buildings thal are referred to
as "unbllill" lwvp no corlllcction to
How does cUI archiLecLdeal with For the answer,
we rni gitl ollce again turn lo Karl BarUI's theo logy. "\,{Thile Bartll
argued lhat tl lP onl y way Lo obtain knowl edge of Cod was via
dialec ti c. OJgiaLi 's buddin g::; alsn contain. an inherent dial ectic
systcm. In effect. he l el s them speak f or themselves.
To underSLand Ul b ernpllCi sis on Lit e dial ecti c, let's return to
the k Ol1ographil Au{ohiogrophy. 111 that coll ection, Olgiati
l',x<lmjll ed a noor pla ll I'm a Ilall huilt for Ilw lIf1biJi tl ill
l6S0s il l Uw GraubOudpl1 region of TLlllut!h
l1Uilding's fnrlll i!' rouglriy !')rt Il ITlPl rical. ils desig.n is 11 01
1'00 111 Oll L1I P ri gllt side ha:; fl oor:; , and a I"Lwl ted ('
covered ",-ill! stu ct:O. On til e oUlPr halld . Lll e J'lll ))ll 011 iitl
Ill adp of woud <I!]d lrigId )' OITl <llllCnLpcl. is "ilul
;,;<I)'S about th p liuildiJl g: 'Til e duality is t'he basic pri mi
Crauhi'mden'::; lraditional archi tp(' ture. 'Il to
lwrnlOnic: rnaL(: hing two dirferc nt eharacter, bUI
a resol utioll about how basical ly different
can li ve 0[1 (" iwside thp otll cr. Tlti'i cilaracl er COITl::1i\lllll rl,
culturc ill CrauhulId('.II. '
IImv ('an a nUlllller of worlds LlwL arc fi.lI1dalll etilalJl' d"
and II.egal e eacll oUter tn exist ill a sin glpit
To deal will! II lit' quesl; oll , you cannot lhink of arcilit
witil out Ul e use of a dial ectic
Ln say, tlte mad is pr(' upilous. \VII Y';> To rdcr
to cli alc:di(:al tll<' ology. tl lP fact Ul at a di alectic Ill etil()d l:
rpq uireJ to obtain a kllllldedgc of God IIl alu lt ""
cannot idelltify tIll' LruLiI uf Cod Clild a certaill of
and that we call 1l ot theology a,. ilM"
of (alld becausl' we can't identify LI)(,I11. 1I'p. an' fun
opt (or a dillcrelll Illcthnd). III otil er WP
Cod Lrall sce nds our abililY to IIlillk rali ona lly (1;-; i111111(J 1l
AJ'{:l!i Lecl ure then L" Ul e ::;a ll l(> a=:; Cod.
Toward a Diversity without Coofliet
Tll erp are o f" course precedent s for lile I.ltie of dial ecti c tl
iT.1arciliL.ectural des.ign. Hobert Vellturi ami Louis Kahll:l
'Vlallfredo T,lfuri points nul, tlvn illlportHlIt r:xa nl ple<
VCIIlurCs hook rind Conlrudi('linn in All
J.)ubJi sbpd in 1966. It j1Pc<t lll c w'idely availahle aft!;.!" a
editi on c:anlP out in 1977. Olgia ti , who was a unil'l' r, itl
in Uw '80s, surely had a copy.''; I Illust adrnitlhal ill
lhe pJan a lid pllotognrphs of Luri 's Mo ther's 11oLlsf'. 011
Ill osl illll)ortanL I\ orb of 20lh-cenlury ardlil cclurc. l il il l
hy iLs :-1irnilarily lo Rudoll' OJgiali's CVakrio'" fathcr) hOIl
for (iXa rllpl e, LiIC sullt lc be nd in lll<' stairca sp. which
in the oJ'bolh plan". if there is a diITp)'('ll cp brtll l'
Ul e LW", iL i::i thaL we C;J lIuot see lil e in LiI P i''''''
Mot her 's /JOU:ie.
Let me return nnw lo the suhj ed al lJalld. The llIultiple
w()rlds indicaled hy Ol giali are 1lI0re c01llplex lhan \'1
(or for lilaL matLer Olgiati"::;). \'(Thy'? To start wilh
conc:l usion .. beca use Olgiali a "itl!oul
Take. [or cxarnple. Olgiali' s Vi,;iling Centpr I\at'
(See pp. 98-J I De=:;pitp havill g a degrpp. uf S)'IIIIIH'tn
would be LUlthinkahJc in a regular building, lhe \\orl.; i
with a scili.zophreni(' di vprsit y. Sp_e alnn in
02:0tl ). [11 lhi ;; plan. which .is so beauliful thal it c0 uld II!'
picture. tlt e classrooms alld Lil e circu'lati on area arc
such a fier<' e competilioll otller thal il b
lo tell ,,,hid I is the figure and which is tJ w ground. Tlri,
relati onship Hltlrkedly different frolll early preCl.'deJlt
succum hed to tile of cOIltradi cUoll .
SpcaJilng Buildings and A Love of Architecture
By (.!Jnbedding a dial ectic sy-s Lerll in a building, Olgiati
a structure to sp eak aboul metapitysical alld ,\11
archit ecture. This not to say Lilal the building it,'!' I!"
arcititeduTe or Lhat the building is rdalivizcd 011 till'
exislpll ce as a pbenorllenon in an cll virOIIllI l.'Jlt . hut rail
Olgiati sirnply conlinues tn rnake LI
and relen Ll essl y [:()I) rroll Li JI g archil cdure w r)l ctlIillg
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"lllllt'r LUTll ill'C'tf>. liL" muin rival ill tll e EPFL Learnil1g
I i p. 63, helow) cornpeLilioll was SANAA. Wllil e their
'IOINI\I a b so aJ) stracl Utat it at firs t glance to be
in iLself, it remained thoroughl y concreLe. OlgiaLi 's
'1'1,,;11. on Ihe other hand. appeared at [irst gl ance Lo he
11' 11', bUl in fa ct set OLit to attain ahstracLion through an
11'[1'111 11 di alec ti c system.
iJlI' 'i' II ,C th at SAJ.'XAA allcrnpled t o realize abstract
'1I \1'r( ure in the real world, I would lil,e to refer to lhern as
iii L, I:;' , .\t tli E' same Lilli e, l wouJrllike t.o confirrn Olgi ati ' s
TII like alti tud e. Olgiali Im ows that arehiLccLl.1re i s
"lI li ll liial can llOI he realized or speak and lliat it can only
I hi ' Illall Lfcsl ed as a revelation. I wnuJrl a]so like to suggest
1i'1'l er ZUlll thor's worl<: a similar lack of interebt in
lal I!I Isic" . ZIHlILhnr's buiJdill gs are extremely literal and even
:11 IIII' aJ)sLr:wL qllality oJ slJblimity is present, it never resulL
IIl1'lapl l\ sicaJarcJl itectur,
\ ';III I)If.;iali cOllfronL witll this type of aLtiLude?
111 1'1' iI!!aili usc a thf' ologkal If!rrn. I that ttl(' reason
1,,11'" Bv L1li s I dOIl'l lUt:an a mere lov\' for archit ecture.
,ll\lTr lher of arrhi LecLs l wve that. 0 1gi a li, on Lhe otlier haJld ,
Il lal arch.it ecture Joves humall beings, anu tlli!:> fact
11i1 1 Iiii' POill t of His conunent to me lbal
il il r'I'lur(' is my life" sho ul d br spen in this Ji gll t. '
Tmllsllll,en Fum Japanese by Christopher Stephens.
Note,
I In <I spnSf" Ihis IIliglll al ,;o I",cn SCI' II as i.I I'nll :li ca l ITiLil' b1i1 ill' ,,- li m,,""
Sik 's " allalub'lll ' url'liil" cluIT. ' ",liidl Ii illlhll'll l'!> ill E'I' IIIII lli e
lal e IIJa(),;. For Inorc Oil analugll<' al'<:liiIPJ ture, sec c\dalll (:a1'll "o. " \\ihal(,ll'r
Il appPIl('u Lo r\llalogllt : Ai l Fil",\, :;9, PI'. 7!1 -7.>,
'2 Mallfn,do Tafuri. "1'1", of .Jeff"rw lI, " 'I'll I' Spli err all d IIII' LO/>.'Tililil :
/ Jvwl! -(;orrl es IIlId Archil cclUreji'Oll1 "iroll ""i 10 IiiI' 1<)70", Irall s, b) ""'I('grillo
d'AciPl'll o and Hub"rl COIlllolI)'. t:mllhricl g": MIT I'n's,. I 'm7, PI' . 2() 1-:104,
':1 As .'\daJl'J Caruso \loinls oul , Vl'nluri ';; inflLH'Il CI' Oil " lucienl, al ['I'll ill Ihl ' ' 70s
is nrt en ulldl'n,,, limul ed, Op, !'iI " 1' , 7:i,
'4 " Intervi ew l'IiLIl \lu lerio Ol giali ," Vill" ri o DlgiaU 01 IiiI' Huseum, cxh. rat.: The
Nalional MUS('UIlI oj Mod( '1'Jl ,\1'1. Tnkyo. 2011, p, :17,
I hall ' prilllaril l' n'lied III I JapUJlt' s(, Iransl;] Li oll 01' :\ Nell' Didi onal')' of
Chri sLian Tlwnl og)'. ediled by "\Ian Hidwrtl"nn ulld .Iolill Bowden, Pn',;",
198;]
Kplljh'o Hosaka tborll in 1(76) i s ('u ralor of lil e Nali')lIal \111"1' 1.In1 nf
Ar l , Tokyo, Ho;;aka gradualed II illl in '\rtlli sloi'l frolll Keio Ullin'r,ll \',
and is sl,,; f'ia liwd ill ('olll('llll'orar) ' art. IlIod,'1'II art. ilnd Frunl'i s Baron , li e li as
(',mal ed mall Y exhiiJilion,; such as ":\rdlill'dural Cneuliol!: PI ' II' r \'Iiirkli alld .lUll
\ oki " (2() OB; , Drawing" (200H). "Tollch till ' World" (200()). " WI 11'1'< ' j,
\ rl'iI il<" 'llIr,,'/ SCI'''TI illSlilliali oll s bl' .Japanese ,\rcliilecl s" ::20 10). " Leiko Ik' !lI1ura:
Transfigurati on" (:W II ;, ""alcr io Cl tgiali " (2() II ). " !)oubt" Vi , ioll: COIII( ' lllpOrarl
\rl I'ruln.Jilpa1l ." Ilosaka i;; ('o-IITil( ' r of nIHil )' boob induding ".lUll ,\ nl<i
COlJJpkLr Work, 1991 - 20(H" (20()4, Ii\AX Puhlisliing) and " I II il! b,' a curator"
(2009. Filnl '\rl; , alld II'ril", nl<lnv arl il'l", as a ("llliribllior 10 111<1111' map:azill ... ,
a1ld Il PW'loapcr induding ":; uiJaru" "Bijul sil -Ip"ho" and ";\ "alii-shirnhull", Hu,;aka
i s also ('urn: II I I, all adjl.lll cllecllll'lT or Arl l i llil'(>rsil )"
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Dyr, 2008
TIl!' II C\I t1Il1Selllll bllildillg vari es un every floor, a form lltal
derive ' fro 11 I a il f!sigll lhat , lacks djfft> rCIIl III a
wries of cliffl!r ' lill y sizet1 [1001':" Tllic; praglllali c idea ICllds LlI e
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('ulli c character, Tlte ,' ize of lll e sLructure Illal ('s il rcadable
a,' a lall itllark ill lit > w'lJaI1 and suburban on tex l. Tlt p. wholp
cun lrll cli oll - racacle, slabs and walls-i,' tnade or while ill situ
COllcrcte, Til e centra l I1Ur:! PUS 'olltain,; Ji[fprelll c/ p-valnrs. 2
Clllcr""cm:, stair ases, duet. for infra ' Lrucll.lrp alld service spac 's,
TlI e Ill ain lobby p, rving the elltire buildill g is locat ed 011
lite enlrance I 'vel. Froll1 here onc an Lakc atl csc:alalor lO
III ' rnUSelllll [0, cr or a tairca 'e I aLiillg to all ulldergroulld
auditorium and to the ducaLion c('!lIler and libraI'. 0 11 L1lP.
secolld above-ground Ie el. Illside lil c InUSCllllI area a wi nil i 110'
slair 'ase cOllnec: u; all floors , All slahs are equipped \liUI
structural rib ', which allow [or spalls in wltidl ledUlical
ill lall a Li ons arp. celllrailludeus. Wllidl Lll easures
J2 x 12 m, COlltrols lit e horizolllal alld forces, Tlt e ;i tali c
of til e buildillg include 2 caJllil >\'er wa ll s traversill g Ul e llLl(:lcu:-;
cOlllbin ed I itll a lrLl 'cd ginkr facadc, Tllis optiolJ tlliows ror
rooII IS Ere ' of pillars.
Vaicrio Uigiali
and Data
I'mjcel Iii If': 1"'/'111 1\'11""11111 , XI
CIi"III : P 1'111 ,\rl Lall, ' r\'
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LCH'alioll : I'NII!. HII"-.'ia
C:O IIIf,, 'lili UJI : 1, 1 pri ze. 20ng
.\rcilil f'l'l : Valprio
Collabor<1lOn:: Fabrizio Ilall abio, flLl\'id Bella:;i, ,\1010 nlll'lli , \ aliial l
\Ial('rial,,: \\ ' lllI" ill, ,; ilu "OlHTl'le
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2nd.floor plm J

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emu",! f loorplan


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(jtll /1 . . 001 1)11111 / (j '" !' / 11'[ 1 '
The proj ecL is part 01 a feasibiliLY sLudy [or a cardiac centre in
th 0 United. Arab Enlirares. The building is made of white in
siLu concrete. The 111L1ltifuncLi onaJ nature of LIl ' project 'reat m;
a hi gh degree of compl exity. The use of a verti cal stnJ(;ture in
the f 0 n11 of a tower has a number of advantages i.n tenllS of
ensuring an effici ent form o[ orgallization. Short cuts provided
by el evators lll ean that one specific functi on can be qui ckl y
connected with allother, bypassing otlier. [J os:;ibl y unrelaLed,
funct ions. HelaLcd aeLi iLi e h)(:au' u aero s different noors (:an be
conne tl d with . hort sLaircases or ran IpS. TIl areas can also
be i.olated as a unit fro m oLl tside if neccssar. via elevator or
es alator. The v rti al con nections in tli e tower can be organized
in a way that all ow' medi 'al staff aud patient to IHove in
separate ZOll s wiLlIOut encoUrIterill g visitors, Pali ents call tlluS
be I' ll OVeU back to their beds arler all operati on without being
di sLmbecl . People arriving at the center by car are able to leave
behind the heal outside and enter the cool central lobby located
six meters LITlder the surface of the surroullding desert.
Val erio Ol giati
<:O) tt


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Inleri ur Z;ir'IC o(the unllIlnce Iu/,u.\'. /I ll

imllges un pp. 7,}-77 ('0/1'/( '.\" l !rWryer
{Jurl es!'/i Arcllit eh/ (! /l.

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and Data
PrujlTl llll. " Cardia .
Cilelll : (:ollfinf' IILial
Progrllm: \l neii!"a l (:enler
I.o('alioll : Lllil e,1 r\rnl. Ellliral.>
I'casib llily 2006
'\ rr hitecl: Val eri O Oi!rlali
Coll ahorator,; : 11Irl(; Bee.li . Aldo DIl Plii . 1\ ' l1 ll1all Cllirillf!hell i, IH.'r \r",' rn 'r
laleria ls: . "ite 111 - illl co ncri'lp
Seclion (scak 111 ,SOOj//S!. (WilR: II I .SOO)
, ,
-
Cantina II Carnasciale
lifercawie Vaidarr/o" flaly 2008
1"111-
1"11 1)7' , - ?"7'III$i"IIi/
"U Carr iBcia le" is an estate locat d ill the hill s of til e Chianti
region itl Tu:;call Y between Florellc alld Arezzo. Carnascial>
is horne to a sllIali winery and its " II Caberl ol" red I'line is
cOll sid f' rcd to he one of the be 't ill I taly. Tire estate has been
producill g will e ror around Lhirry years alld its wine-making
fa have nOl,1 beeomf' too small for ils operaLions. The new
project II'ill equip L1l e slate with a n C\1 and rtlodern wincry. The
building is organ ized on tilree levels. Tile access road leads to a
protected workillg space alld a portico offerillg a view over L1l e
vineyard. These outside space's are covered Ly a thin tent-like
concrete' 'kin aod stabili zed by an enclo ed habilabl e mOll oliLh .
At groulld level, an eXLroverted room provides space for public
cll ti vilies. The top floor contains guest rooms. The underground
level is til e i1eart of the proj ecl, housing the cel lars in whi ch
tire wi lle d velops its renowned c1IJractcr. Tl ere darknes>;,
clilllate and hlmlidity have to be keptuncier absolute COlltrol.
Tir e building is composed of red in-silu concrete. As ill the case
of a medi eval building in all opell landsca pe, lhe patilla will
graduall y transforrn the appeara nce or the building ov ' r the
roming decades.
Val erio Olgiati
Crl'dils and Data
Project title: Ca ntina II Carna,ciale
Clit'nl: Bettina ]{ogosk). II Carnascial e
Pmgranl: WilJt'r)
Lucati o n: Va ldan lo. \Lal )
Begin nf planning: 200S
Arcilil.l'rt: Va leri o OlgiaLi
Collaborator,;: !\aLliun Cliirill glwll i (projecl lll all agl' r)
MaLC'rial,: Bcd in-, iLu <:oner'tl', , Ief'!
r -{ 1[,' I;l: 7-tJ - j-It!l J'J
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III
Tit' Bardill Sludio building has I' '\-llaccd all old bam in lhe
proleclcd cent er o[ the village of 'charans. BLLilliing permissioll
was graliled by til e local authoriti es on eOlldiLiuli tJlat Lll e
new uuildillg would llave exactl y tJ w sa lri C volumc as tlt t. old
bal'll. Til e Lill ard BarllilJ , wll u li ves in a hOLlse a vcry
short walkill g di sllmce [t'(jfl l the ,; it L\ r(' luired olll y a sill gle
to \\'or k in. This wurking pace () CCUpi 0S 1e,;s tit an a third
or Lhe stipulaled volUllle, The rest of it is takl!" up by , III al riulI1
L1l at is Jellt a flI ollumental by a iafgf!, mum! opening
lO the -kyo lL i thi s e1emcllttltat ill ve:;l ' tlt e buil ding witll it.
grandeur and claritv in conlra. l to lilc arbilrary geonlclry or
its exlr rll a! appearanc ' and lit small dilll f' ll sions o[ it s vill ag
surroundin gs.
Valerio Olgi ali
Credits and Data
til Ie: I:l ardill Siudi o
Clielll: Lillai'll RUI'(J ili . IIl ue' ida" + 1' 0(' 1
Progranl : PrhuL-' illelier - {JIll:
L(kUli on: Sr hnnll"-. S" ilzerlalld
Be ,' 11 uf plall llill g: 2002
Begin of (:on'Lrut lioll : Ju'" 20()(,
LUllIl'l eli ulI : 2007
Arr h ilNt: Valunu Uiginii
ollaborator:; : I\a lliclll CiJirillgiJelii (I'rojl'<:I Illallager) . . '1 ikolai \I Li 11 (' 1'. Mariu lleC' li
COIL<lnw li oll Li lla rd Banlill
' LI1.I Cll lral l' II :.(i1u't:r: Pal rick CarIIl JaJlJl, COllzl'Il flro ll zilli CarlJ ll allll AC
An'Cl: " leli !' r "pa('( ': 70 In'
Carage. sLorugt'. lechni cal: ()S lll J
(au1'1 \'Cl rd : \ .SO III '
Volullle: ()6S Ill '
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I) T iv ",. , 11-74
L 'l"I;tIvO)u'9b'O)ie. ,<:.l6
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PII. R,t-R.i. (;(!i7eral I;i ell" ./iVIIl lite
{('('sl. {if!. .'lr.-fi7: Vi eu; oFtI!!' r nlmncr
./im11 I.hl' suullz. P/J. 90-91: Inlerio)"
uielL elwl o II)' tIisao Suzuki . All
pholos nil pp. 84 -9 7 eXl;epl 0., noted
by Arrlti u(' Ol;'illli .
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CmullI/ ./lml r pi al/. l.:ol1slrul"liol1 / lti!rr' -lIIiM!T!3l
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Side 11"<111 ("()lI rt)rtrd. detllil \ ("(1/(' : ( ii R : 1/ 1.:; )
p. 9."1. a/JOI:r': Vi,'Ii" 101mr ds III,'
("ourtyo rd!i..,,,/ tile tC/Irhilig SJ!iII" .
I I 9:J. /w /oU": ViI''" ' 1!(IIJe/i rel'/lIfr
till" SprIU'. PfJ . 91-fJ.; ( /,,'
up oIthe cO /lfty ard lmll wl// llumd
opcnill{J. 'Ulis page. l eji:
("(Instructio1l . This I mgt'. li ghl:
Omome((1s I 'on;('d in lIl1'./i1711111 "!
{)fJP(}si/ e. Vi l' lI ' (j/th e t("('sUi/dld.
the street.
(n A.
Q, F :
Visiting Center Swiss National Park
Zem ez, Switzerland 2008
~ ~ ~ ~ n ~ ~ ~ ~ 9 9 - ' ~ ~ 9 -
~ ~ ~ , ',Y I 114 ';I ',Y 2008
The idea of a sequence of several equall y 1arge exhibition space
defines the organizaLion and the volume of thi building. TlI e
basic cOllsLell aLion of two interse ling cubes resuJts
ill a formal logic Lhat 1 nd' tli building a pure and universal
appearance. The building Ita a multi-axial symmetry and is
based on stricL, geometri c rul es. From the outside it appea rs
regul ar alld ordered. By conLra. t L1H; interior organization is
diffi culL Lo deCipher. The visitor passes through , eveful idelltical
spaces. These are central rooms with views in all direcLi ons.
They are linked by a concealed sy .. Lem of walkways and stairs.
The circui t through the rooms ends ill the foyer on Ihe same
stair at which iL berrins. The clea r, concise and ordered exterior
appearance contrasts with an inter ior strucLure tha L i ' diffi cult
to read. The exterior shows and lJlast s the interior aL the same
Li me. The typology of the building is based on the joinillg and
subdivision of individual basic forms. The size of the worns,
materi als and spatial organization are all designed to make
the exhibi tion building sui tabl e for rreneral usc and to all ow
for future exhibitions. The building is made excl usively of one
I1laterial , white ill situ cOTlcrete. The structure [ OruI S a single
organism in which all tli e elemellts cornLine into an indi visibl e
whole.
Valeri o Olgiati
. 'il r: pion (gal e: I I'I.()()()/ (i L;(J (If R : I /(I .()()()
l, '? I''{ T'.( I'f.J
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fll ). (HI-99: IJisllll!l liil.'u o(lJllIltI,r.
F()nl flIP lI orlli SIreN. pp. /1111-/11/
Cf' lIem/uil.'lc./i'( JlII til<' ('(/.\1. "/lint
'1 his IJllge: lJi.\l lllll liielljiwllt/I'"
('how /Jy I lislio Suzuki. Jil ). WI -II
GI' IU'mll'ieu;ji'cJIllt/lI' IC('st .. 111 /1
()II pp. 911-//:j ('x('('pl liS llul,.d /Jr
Jalii c,. Miguel Jlemw
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East e/el;olioll / '1111'
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Floor pllll/ , ("() I/Slrll cti.WI / 'fll'ilIit!lII!'lI
[lTl-'
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Sec/iull . m ils/ruction (scul r:t: I ! 2UIJ)/ rliililI' ($fdR. : 11:200)
108
"16- /1)7: Vil'({ (?f the S/airways.
aVow: View 100c:ards thl'
/Tom fil e south mom on fhe 2nd
;t.F{, J: : 21t'i
F : 2
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'r
C"edits and Hala
Proj, '<:l Cellter :-\I\'i"" .\atiOllal Park
CliE" lIl: :ill"i;;s \ iatiullal Park, ZCrII CZ
Program: Exhibitioll buildillg. "isiting and inforJllali ulI C:(, f1t C'r
LrlC"nt ioll: Zf' rII f' Z. Swit zerlall d
Hq".-jll of plallning: Febman' 200:3
r;"gill of C"Oll oLrur-Li oll : J\pril 200{,
LOlllpl eti oll: ZOOS
Architect: \'ukrio Olgiati
Collaburators: Al<.lo lJu('lli (Pl'oj,'d IIlallag, :I'). Fabr izio ilallabio. Th,'., Banlldil
Pascal 1'1""11111;1'. 11<'1"\' ig Lin". Sara Wi r dcnilcr k
COIl:; Lnl<"ti ,lIl sUI"' I"\ ' i;;nr: Hi m SLupali . . \rciliLectura DC SA. :-\c:uol + Claudio
Bulfolli . Caslcll ulli &. Bulfoni. :-inlo l
.l ull \lIClrea Kil',,,. lng.-Buro. /'CI"II(' Z + IJr. :iC'hll'arz
CO II ;;uitillg
\laL,' riab: ill , ul atcd t:oIl croLr- :r.inpor sv;; t"lnl. brollZf'
' \I'(:a : 1. 7S0 111'
"olullle: 1).100 Ill '
_ ......... .
-..
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112
1111
'1
1 111 : Vir! I' (I/ IIiIl 'liI :jiwillg
'I Jhm! lilt' SlJlIlh mom ()/I Ihe
" w, Thi., JltlfW Ii:/i: J!ock-tlil
"nu)irll1l1'. [,/7ow A1'('/7 i /:"
'i, This pagf', righl : VieLe q/
lI!11d slai,." 10 1/11-' (,Illmnr:e,
II I 'lDJI1l$ iJ"':;
t: . Ii : '77"17 .
/lfU...
113
Office of VALERIO OLGIATI
Flims, Swilz('fland 2007
'l' }'
7.-{7. , 7IJb.7. 2007
The office bui lding has replaced an old barn in the protected
center of the village of F1ims. As stipulated by local building
regulations, the new three-story building accords with the
volume prescribed by the old barn. The fact that the architect
also li ves in the adjacent house di ctated tllf' lleed for a cl ear
separation between private and working ph res, and this
has been achieved by cl ear functional divisions between the
different If'vels. The result is a rich sequence of worlds and
views. An open grou.nd floor, created by setling the building
on piJlars, defines the garage and the ga rden area. Above it , a
huge concrete lab provid the base for the offi ce spaces. An
underground secti on houses archives and provides spaces for
storage and techni cal installations. A pillar running through all
the levels occupi s the centre of a slri ctl y symmetrical geometry.
The wooden building has been painted black several layers
of oil and alcohol mixed with pigments. Paillting the building
black has extroverted the interior spaces and draws the focus
to the outside view, The black buildill g fit. s well into its rural
surroundings of old barns, while also maintaining a sphinx-like
c:haracter.
Val erio Olgiati

'9{jfj lt!l(ilJ<::<I5? L.Jd,
7.>.
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'97.>0

Opposite: Vil'w qflhe qfjire building
(right) (Jnti It /1 eri a Olgiali\ {lfimt e
linus!' (lej i). Phuto by Sdill!! Wa lder.
AllpholOS on pp. jj(j-125 except as
not!'d Archive Olgiali.
1J; O. 1l!f"f!lll5t!;:I ;j: *
f:la

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;tJv:.l 7 7 {c1.llJtIe(
Sil!' {llan (.sca/e: t<) (.liaR : ' 12. 0(0)
11 4
2ndfloor p/ol1 / ZRi.if!iIill3l
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118
JijJ. 116 - 117: View./iwll Ihe sl rc(' /. TlI;S
pagc: VielC (!f Ihe f10rih e/r' lmliOfI.
JI 6 1J 7(': ' JJ;:t) \i<:>. r:I : Jt III
,,: F1ilW'. :,,, itz(' rlatld
iIiitr}i ;;' ,
:WO;{
. rOI1, tructiOll: ,\lay
!: \al, ' rio Olgi<lt i
,11"r<: \ athall Cilirillgllcili (I'rfljCt:l lItallag(' r), ikolai Mario Be(.li
Iltll ll1 Natllall Cliiringllelli
Patrick (;artlltafltl . HoiI' COll7.Nt Brollzilli
>;! 1I11 .\e
'. Hlack ilbit ll i:O llCrctf'. black paint ed rir, (:1>,,1'('1'
, , pan': 16,) nI'
Il il t. ,torage. [('('lillie: 1 () fit'
\.11,0 Il l '
2111Ij/o()/ plal/ . COnSlrucl;IlIl / 1Wi 'IlDUC{/
I s/j/oorp/an. ("onSltll cl;On (s('(/le: 11120;/ II!Pi'iliiIiiiTI:{J (iIllN. : 1/ 110)
1:!2
pp. 120- /21 : !tll eriur ui el.L Ist.f/our. p .
120 - 121 : I j:ili O)p;jm, 12:H'L 1. : 2
12:3. !luuve: I-[eelilll{ m OIll. 2Ild.fl oor.
ltio) :;, -{ -7' {Y 'J" iv-L," In "-l . '""F :
p. 123. li e/OIL': i nt eri or vi etl.'. I st .fl uor.
]2,1 - 125 lI1. :
pp. /2-1- /2:>: Vi ew o/'l //(' .)lIlin('dl alld
fiQ .
/it e s"Y/ight . Pl lOtO /)\. i h ' oo Suzulri .
O/Jpusi/('. 2 illwges: Vi ell'. f! /'uund.flou/'.
('('/i(lI1. ( 'OI IS/ru('tiO(( (iimie: I / JIJIJ)/ (I11IN : 1/ 1(0)
126
,
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l!it/rllt' pillar. ([ocui! (scale. lI.l .5)/tp-l., (foli!R : v
I?R
Winriull .
2imagf's: View QF the (I(fier'
J1 JU() Ot.GIATt, (;(Ins!ru elion.
r/lrA rrh ivp. OtKia!i.
: ( )- '.J : ';;7 [.., I):t . :t Iv':; ' j'

129
--- --- -


A Lecture by Valerio Olgiati - Fascination for Japan
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