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11 2 Vorld Ardlitcc ture Nr 266 Valerio Olgiati World Architecture ~lagaziJlP Puhlica tions Lkijin g 20 12 Cilill tSC alld Ellglish SSN 1002-4IB2 127 pagrs

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20 11 12 HHIT The Natioll~ [ IU SIUJl I of ~lodTIi rL TokIO --V ILEllln OLCIAII-shy

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2009 l10ya l Illstitute of Britioil ArdJitecls (11111 1 ) London -- ~LEHI()

OLCIAT[-shy2009 Accadenlia eli arcl litetlura ~Itlldrisio Univltrsita della Sizzt ra italiallltl

VA LERIO OLeIXlr introdudioll leelure hv ~[ari() Ca rpo 1008 Swiss Federal Ill stitute of Trdillology (IT II) Zuerich 11 il ze rlalld

VA LEHIO OIGIATl 2002 Ga lNic ~llI SClllIl Boze ll Ital y vale ri o olgiali - id 199) Swis F(rleral IIlStitll ~ of Ted Iliol OOY (ETII) Zurid I Switzrlalld fjas

(ell1e Ilalls Flillls 199fl Calria AaIlL Milano Italy I progftlo illtroductioll I(clllre by

Kenlleth Fralnpton

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Conversation

One Question for the Architect Who Does Not Believe in Anything Valedo Olgiati and Markus B cit~whmid

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Markus Breitschmid (ilfB) Valerio Olgioti fo r some yeo nnw slates repea ledly that he do e not believe il1 onylhing Tn (I more recenl statement made jiw C text fo r C monographic edil ion by the ipanish puJli(ution [1Cro(juis Olgiati also pronoullced The nLOst radical and most lleaul~ILlI kill d (iO magnlkent uui lcJin u wuulrll)c a vllilcling lhat can exist if onh one particLl laruay and lUi other way despil e theiut thal il i not the result oIan ideal frwe surveyed ureilite middottum (1 it 11011 f (I ~

lcen Imilt und riesr riJ ed in recent ri e(U dls these w () SlCl lel71 rll iJy VlJlerio Olginti - partiwlndy Iwe jbUoued Olg iuti uncltP I

willing t acceplthem not as an iresolvfllgtle conlradietion - (f

fropos( an oppmochjor wrhil l- (turejbr which one (annoim J

pre(wJrI1ts easilcy we rxtnind them (It oil The J()sition Ih at Valerio Olgiali urchiw Ilure iniwuiLs lilhin lhe prodUCliull (~r contemporary archil edure is IWI olLLy evident in l lU physical appearance ~Ihis buildings What maies Ow physiluL uflpearm Il

qhis IJUilri ings 1()ssihL( is Oil ideati()nal appoml us Ih ut buLMs his urchilecLure corucpt ll lllly ThejiJllowinp is [l lt testiOIl iJl d -

Va lerio Olgiati thaL seell (j eXrrU1 (tn explanatioll how his 1m

statements pointed 0 11 1 ubmw ore p()ssible to co-exist 01( WI

we cw1 injiJ I~ presenl un urchileclLlmllheorelicuijilLLruloliol1 fi his Lwtk The riifjimgtt7l seclions 0 lhe reply iJy Valerio Olgiali haue heen wmpiled Ily v]arkus Breilschmid bused on Il series I ((lnversal iDns )(wep f1 Olginli and Brei lschmid held in FUms suitzerloru (Ind IJ lu(rslwtf Vigini( [wLueelt DecemwI lOll (Inri Felmuuy 20 f f

Il 10 - lIow is it possibl e fOt a huilding to exis l in only Ou (

palt i u lar way and no other way if the ar eh ilee l does nl be lieve in anything I l

Val( rio Olgiali Tlii s is a IlUl ~L i()11 I hal heel mk ing Oil (r l J

years I always ask Illysdr L1w questioll Ito I (all lltak( a l

building that is lIot a rbitra ry alld is also 1I0t d ( tl ~ nllill ed Il) al ( ideal [low call I make a building tlta l is 1101 il1liillIlta i anel ca oll ly exisL in one particu lar u) bu t is abo lIo t UH~ result of a rule or a law Wltat lh is ul tima Lely Illeans of cour (~ is thaI It I h i buildings Cln no t I)c par I uf a tradition or a l in f~agc yet the J cannot be rClllovnd frolll s()(idy lhat lIobody CUll ( l l gag( ~ willI ll tellliXlhile Illy hui ldillgs a rc lIo tlililil eclto tl1e characL(tisti lli aL is implied by Ill qu(~ ~Lil)ll abo( it is Lrue Lha l Ill y huilJi

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strive Lo be parLicular yet general Maybe U It lllosl n~( c IIL t

building of Illill e tll aL (knlOlls lrat es Ll l i~ queslioll ( ~xcecdillg 11

well is Lll e PlanLabof Audilo rium Cee pp~2 -11 ) bUL I a lso 10 JI

point to litany urlbu ilt projects of the past d calle suct as tlte Etgt IL Lea llling Centr (20I)l See p 63 helO ) or eve ll Curtlll back tile Office Building Binz in ZLlr ich (200 l ) flow to II wkt J

bui lding llial Ovl1 a gen ra l va lid ity ill our I lreilici T ~

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so iely ha occupied Ill y mi nd for a IO llg ti l1le Tlllrdore J II ~ Ul til a t a ll of Ill buildillg grapple iUI tlt is t~ry tilliel y pro lJleu for arcl li Leltlu rc lL Ieally g00 all lite ay bark to lll Sello()1 Paspels (n+u 02 ()~ ) r ll t pro l l ~ II or 110 lillidill l ltl I

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arbitraril y or incidenlally - in our postmodern epoch in which n o gLli(ung rulgt3 exj~ t anymore is not just a problem that I am

JI1lerned NiLh sa maller of iacl I think all archi tec ts of today wowd find themselves challenged with this problem if they made an effort to observe and analyze our world I would say it is a general problem of our time I find the problem of how a building can exist in only Oflf~ particwar way without the architect having an ovcrarching belief system to be the most difficult yet also the most important problem for architects of our epoch Once I understood this to be the challenge of fundamental importance for cOlltemporary architecture I have taken it on e er since Tt is a philosophical problem for architects of the 2 ] st century not unlike the quest to accomplish a total architectural space was the central philosophical problem for architects of th e 20st ce ntury (a problem Ludwig Mies van der Roh ultimately resolved) or the quest of style was the central philosophical probl -m for architects of the 19st century (a problem resolved by Karl Friedrich Schinkel) Here I also wowel like to say that it is the precondition for an archi tect to obsen Te and analyze the world in orde r Lo identify the f1wdamental currents of OLlr civiliza tion I try to under tand the fundamental challellge of our time and my buildings attempt to respond to thiS challenge I do not consider rny building to be priva te affairs that 1jLlSt uuild for my own bpnefit My buildings should deal with the most fundamental challenltTc of om Lime and Lhey should do it in a general nature It is important to know in what form the world exists in the era one works Schinkel and Mies van der Rohe knew the world they were operating in Maybe I need to proviJe a contex t why it seems to be a contradiction to staLe that a buildi ng can only exist in one parLicwar way if one does not believe in any Llling Maybe it is important to explain why tliis is a problem of magnitude for our postrnodern epoch more so than it might have been in th e past The reabOtI W11)

this is all illlportant prohlem fur our time is the fact that we do not have a belie able authOli ty any longer that tens L1~ how architecture ought to exist III other word nobody provides us with instructions what good ard li tprLur is any longe r Thi i a new condition we are fLnd ing ourmiddot lve ill There In iuht have been tinHos in the past that faced dpgr es of uncl~ rta i ll ty hut eveII du ring modernism ard lite ts were boulld tog ther by a fa irly d early described common eause th y w rc f1 hLil p [or 11 is a distinct characteristic of pos t-modernity that the most op1iisticated people of our era - whell they thin k about the

orld - come to the ondusion th at they do not believe in anythin ltT I ltav ~ IJcen quo ted seve ral times that rdo no t believe in allythillg but [ know very well that I am not the only p rson wl lO does I I( t beUeve L11 anythillg 5 a matter of facl it has becOl1w cyid ent that it i really a foil to believe in something to believe in a particular id aI in the middotorld as it p resents its~ li

to us tuday ft is almost a lit tle bit naiv to subscribe to a particular beli ef system or a particul ar i d t~al or an ideology today llowever J also do lIOt think th at it is a particular advan tage for the people of post-fIloJernity 1I0t to believe in anything 1 do not think postIllotl ern peop]( in tentionall y sLrove for it It probably wo uld bp easier to believe in sometliillg thall not to believe in an~thin(T but tlli s is Lhe siLllatioll we find ouriielv in toLlay Ultimately it i- a fact that Lll ere is no ideal anywh ere ill the world thaL is pm crful enough to con ince people to subscribe to Therefore_the question here is an allshyencompassing phi]osophical problem tll at haf emerged as a parti cul ar probl ern fo r Ollr postl11odern ociel) It is not only a prob lem in architec ture but it is a l 0 a probl 111 in architecture As all ani1i lell I deal with it in the doma ill of building HaVing laid out til e situation we filld ourse lves in as a civilization I

10

want to emphasize tht~ following L too do no t beli eve in anything but lIotwithslalluing my positio n it is not acceptable to me to declare that every body can do now what tver Ite or site wants Sure to sorne degree postm dern men and wom en ca n do whatever he or she wan ts to do but it vill nOLamount to anything meaningful if you approach it wHit anything goes I d ea rly reject snch rela tiVism and my buildings tell yuu (] ea rl ~

that I reject such an approach because they are conceived and built very precisely If we ever would cOllie to an agreement in architc ture that anything goes it would be the death of good architecture hI archiLecLme not everything goesl t y building aim to have a general va lidity Ye t my building do s ) without subscribing to rules and laws th at others have es tabl ished b for me nOr rio my buildings present ruleg and la for others to follow r tll ink this is difficult to und erstand How can a huildi ll be of general validity without being th e r -suIt or rite soure of pred -termined rule - and laws The shor t answer to this ques tio and also to the initial ques tion is that my buildings are not ymbolic in lIature nor are the historical in nature but they al

pure architec ture rchitec ture has to be derived from archi tecture In one of ou r past conversations I already lated that my architecture is not symbo lic of sonictliing My bujldim bull do not tand in re fe r~nee to someth ing else other than themselves Already thell I kn ew Lh al what govem middotd rny approacJ l to architecture Va nothillg mor an 1 nothing less than the architectural idea for a uuildilF Not an ideal for a ll I

build ing but just an id ea for onr build ing 1 reeallcd that you once had madp a disti ncLi on Vtween tl wideal alld the idea il c different philosophical approa middothe ill aesLhetics Yes it is auso lutely correc t th at I1 ly approa middot11 i ~ no t Lo middotuCcUl nh to a tlleor of a specific ki nd of eLl lical or He tllCLlt i leal but Hli

approach that allow~ for a COIIClJfll Wid er wlIi cl l W D an th illk [I

and lIla ke jllclglllenb I am cOllvin ced Llnlt Lll e li iohes t order uncl er which mankind call exist is no t a d t -rmi ned sytern bll I

a refl ec ti ve-discursive sys tem Thercf()n~ my t uildin b are nO

symbolil in the serl e [hat ti l yare a piecp of a lineage Evpry a ulli lding is it own tllin T Not only d- TlIot be li -v in anylililJ Ii Illy building too ar J 1I0t abour anythillg ~I y build ill do li t

pr li t a pa rti ular con tOIlt rrO~ e7e r ill y build ing l r i vl~ to 1 ( ubjecls that nw k pl~ ple think aDd let tll m em r itl Lo a di course S _if OU were to ask me what Lny buildillgs arc OJ

about I would say my bltilcLngs are ahout thf ar l lilecloll irs ( Ulat fost r a el i course I a l_ want to ma l unoll r ddiocati U

abou Lmy work fy bllildings af nM ymholi ( ill tlte W I Ii g tbey do nOLrefer to a par Li cular contellt llfyond th e b lli ld in g~ HI

LiJ ern selve my bUi ldings are also not liitilorica1 My buildingmiddot d do 1I0t poillt forward or backward ill tifll e This is Yry 3)

illlportanl Wmiddote have to rell1cllIber It r middotmiddot what iL lIleallS to be 31 Ilistorica1 TlIe concvp Lof hist ry is imbued wi tl optimism II I we can leam sOl11o thin Q 1)0111 our pamiddott for Our fu ture v1 01

bUildings though do not e i t o that w - (an ieam sOInetil il_ (I from ther-II that wtil bring betterment fo r tIle world al least I UI

in [i llY direc t way Tani not driven by th fl] Olivation Lli at e tmiddot to city ollglit to have a bui lJing of n lirll~ because my bLLildings d( beller the jJeople wlto live in tlwt city I know or arcllitects II I1 f

respected arci liLccL of international staLure ~ 110 think of Lil( ar own buildings in those ahn i t fIl isgiona ry term s Iy builLlir ar do lot sta lld for such a hisLoriGal mission My buildi ng anlI th ohjeets alon cr a lill eaap that leads to some ~OrL Jf [J roride lll l ( This is ltI hilL [ mean b hi stori~ al Tiler is 1I0tl Iln r t() b (~ lear ul frolll my buildings ill a Llirect m RrIl kl My bu illillgs are h completely a h istorica l 1ani sp middotak ing alJ)ul the alti sLDri (11 r nature of my arclli Lec tur Ul all ill lell ( iLlul a~ 110 lilt 1 II thillk that Llli s iIll Jleduul pulllUl1 IIdll1lIII ~~ Ihl 111- hUll

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(ally ram con fiu( nt that my buildings age very lI oer time Fur example r think the School in Paspels (a+u

(I~ III - quiclJy approachincr to be 20 years old - demonstrates It time l tssne~- of my buildings It is not a fashionable building

II al plopk gel tired of visitjllg arld it still fun ctions very well 111 ju1programmatically as a school out more importantly ltllltpptuaJly a~ an object to brillg forward a discourse I think li ll allll ( 111 be sa id about buildings such as The Yellow House ill rJilll~ (ata 0204) tliat was conCLivcd between 1995 and 1999 f lI lt Bardill tudio (See pp81-97) that was conc ived between ~IH I2 alld 2007 I learned that the only vlay to make architec ture Iil ill i~ not symbolic and not historical is to make buildings that an pUJch architectural I really had to distill ill my mind what i hliidamentally architec tural about bUildings As soon as I II I uhl ((lliceil( buildings wi til extra-architectural subject matter th huildings lose their pow r of generality The introduction of middotIramiddotarchitec tural subject nlat tel into buildings makes them Ialll [or ollr imagination Therefore I refrain to introduce any )IIhllli( or iIi storical content into my buildings Various people atl l lllpl 10 allach speCific contents to my building whereas I see 11111 al all For example people want to know vhat the IImil l1ll1l1 011 the walls of the Bardill Studio (See pp84-97) 1111011111 l d O(middot 6 1I0t mean allY tiling but that ornament Jas to be tllll be(ause iL makes the building beLl er I accept that huild i ll~s are fundalllentally th e making of objects and the 11Iillg of rooms The room of a building and the shape of a bUJld ill ~ art liIe two indispens ible basic materials of an middotltilt( tunmiddot Hut 1also learned that it is still possible to make arbilralYbuildillg even if one accepts the making of object and n~llIl~ to 1)( tile primary La k of architec ture Therefore there is 11111 11101( OJsic conditiun that I aIll emoracing in my arri lllt(lure Lh e force of rrravity Gravity til natural condition thaI load fall s to the rrrollnd is the une undiputable raw lIlaltrial itll Ihieh all architec ture has to concern itself ltlrt fJIW the rcsistallce that gravity IJoses [or bu il dings imbu s an Itltefure liLh generality It applies always and everywhere It dill nol malter where buildings are buill whether in Africa ia lIltri(a or Emope Gravity is beyond differentiations or Iullilmilrauilion and history Gravity also doe 1101 care how lIu [tt1about it Aain il i lite one Illing thatllwkes

arrJitll lurt gen ra l beyond any sY1llbulic and hislori eal II1IIlnll1s I embrace the relellLless prese nce of gravity for 111)

arrhilttlurp [ am aware that architec ture always ha - dea lt with mit But Idwt we have now in our epoch of post-modemity shyalltl hat is di(fr rent from other eIJo lIs of the past - i that we 1111 lUlLbelirIe in anything anymor and thereJure all the other f11lln licand historical tra-arellite lural subjec t matt r lhat all ahlal-s l1a~ been a part of Illaking buildings has fa llen away Ihnd our time a fascillatin o Lint for architects because at no IIllwr lillie had good buildings to be so purely architectural as Ih haw to be no For this very reason I abo do not ullihnand IllallY contemporary architecb who 5e -m compelled 1lllI troduce an extra-archi tectu ral cuntent to their buildings r III 11111 understand why architec ts of today would do so Finall y nmiddotJih(middottllll i liberated frum all its extraneous subject maIle r

dnd III be pure architecture The doors are open to mak pure dftmiddothih ure ill which a building doe not stand for anything else lilJII ihelr But as pointed out above thi s liberty can not work if U awroachcd it as -anything goes belallse buildings ultilllaltl) are inventions ot how to deal r110st adequately in hl iill~ a buildi ng as all ooject will rooms under the re i tance fJltIi ll Tllerdup ltow an archiLect conceives a bUilding

1IIIlitHIII de(id wheth er a building is a good building or not ~~ j(IIilildillg AIld just to be clear ho an ar hitect conceives

a building tectonically is not solely a structural response although a buildings structural system is extremely illlportant for a building to make sense and be magTi[icellt and beau tiful The tectonic resolution of a buildinIT is ultimately a matter of the highest artistic order It is best if tlte t ctonic re olution of the building brings forward a sense of the magical and even a sense of the mythical Yet even the magi al and mythical cannot be nonsenSical tJl ey too have to be part of the leetonic system that the architect invents for the buildin g as it is the case in the aforementioned ornament on the walls of the Bardill Studio (See pp84-97) But in regard to the initial question how it is possible to say that a building can onl y exist in one particular way and no other way without believing in anything it is importan t to point out here that buildings can indeed be judged as good or not good without having an extra-architec tural symbolic or historical dimension to them ] f buildings are fundamentally architectural if they are pure architecture in the sense that architecture itself provides the rules for architec ture tten it is possible for a building to exist in only one particular way and no other way without the architec t having to believe in sOlilethillg

MB In his reply to the question ofhow an architect wlw does not believe in anything mn claim tha t a building con only exist in one particular wa)~ Valerio Olgiati takes the position that standards in architecture still do exist even in an era in which a centrifugal f orce rips apart any consensus Iww buildings Light to be But Olgiati does not e-(pose himself as (t rationalist The rationalists among the architects make building in which we are toformjudgments by means ofdeduction Hihile such a deductive system brings forward u generczl ualiclily that reaches be)-ond the individual a quality Olgiuti strives f or what we deriv( Fom a rationalist appruach is not f ertiLe beyond a cerlO in pointfor what the spectfic ideal that is aciu()cated stanrijur Oil the other side of the ~pectrum in rerrard to the question at hand it i5 clear that Opoundiati has little in cornm an wilh a minimalist or phenomenologist approach to architecture OLg iCli rej Jcts til minimaliSlS and phenomf nologists approach ) crause thlse architects make buildings in which we aro lohrm nul judgments by means of in ducti orr anclfounded on experience alone Vhlerio Olgiati s upproa h is neith r of Ihe a(1) mentioneci Th rationalists approach is impossible ji )f Olviati lJ crlllse he seeks an archilecillre that triggers a dis ow~se thal i li)crated f ron1 any given particular contPnt The minimalists phenomenologists approach is also impossible fbr 01 iati because the interrogation (If huildings by the onlookers is for these archil cts supposed to occur without asking questions What Olgi-ati outlines is u transcendental approach lIwt necessitates both the concepts of the rationalist approach as well as the experien e and sensations of the minimalist phenomenologist approach Oliiati rccc)Onizes that the predicate - in architecture the predicate uoulcl be the particular building as it exists in the world - adds somethil1f3 new to the experiencing subje t II building not only ousht to [riBBer seniotions in the onlookeni as the minirrwlislsphenomenolugisls contend_ the f ecundity of thought is drived from the purliculur uuilding by rrLPans of concepts that the onlooker brings to the building These concepts that provide gen gtraZity ar transcendenlals structures ofour mind d nul come from sensations but would have no validity without il

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~~7~- ~~S~~~L~~~~nRSeen from a distance the floor plates projecting from the facade fI~~ IIlI Dfb i ~1J J )l~ c iJlW I) fJwith their elliptical openings look like flying carpets with

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generate a sense of distance since they prevent neighbours I j I~VJc i IJBSl~71- ~ ~qf ~~

from seeing into each others apartments At the same time the Uf Jl1j (tctJ IiH1~tciec gtT-E~

correspondence between each of these round forms and the O~fJlt )toL Tl0 1Dl1iii e~~Al

individual apartments gives residents a feeling of living alone lJtci~ 1 J 1 JC 71- H~middotp c~ llll e3lt

in a centre The perception of space changes according to the b~n~z~mtt~1AT~~~tt~T

pOint of view and the position of the sun The apartmenL floor l ~~1tf g~ ~ t1W~ EJ~ I j fll t-gtt~

plan are divided into a living area in the west and a sleeping ~UL Ie J gt T~ft9~ 71 - ~ ~IfIiID~t

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J 7~- ~~ ~~~~~ between In spatial terms the balconies form an extension of the living room This impression is further strengthened by the large elliptical openings The exposed concrete structure is made of red-brown concrete poured in situ The outer walls are clad with glass panels in the same color They appear fragile and light and cO IlLra L with th solid concrete structure The u c of the same color for the cladding and the reflections in the glass blur the clear contours of the heated volume As a result the elemental appearance of the stone construction is amplified

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LO)$JiLL ~O)N lIfiJiIF7 79Jlt7 71[lJi~b1n~ gt t-O)~IUlThe placernent of the new auditorium creates a new central ~flt3iO)flt~tfO)ii)cIJl4li z 17) J F ~ c1JI) ftlb1itsquare within the overall structure of the Plantahof agriculture

1~Pi9~ iiiL7 7if- ~ bLO)WiLcI4Ji -t7 ~ CIJJllto) ~O)tt middot~f )rschoo l The high facade holds together the new piazza The inner space of the auditoriulTI Ii s in half-light Two wind ows f~~~b1n~ alt~81HIW8Jlb) (7) L lt (7)Ji LLMI~rljgt llr~r( i

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th e Luilcling by lite abutments The structure combines in (7)~3~ttcC7)k~~~tl~ lttlS ~~~ t~

equal measure a fram e and a solid cons truction The result is a (7) Jl~ tlg MyenIlt ~ J l~~In(7)$i jWJ c 3ijiyen

hybrid of pillars and walls expressing an architectural co neep t ~tl~ iaiiil 7 ~- 1 c J I) J H~Zltyen

and lending the building characte r The J1e auditorium is Illultifunctional and has a capacity of 130 to 180 seats In addition to its conventional use the new hall has the capacity to host different kinds of eve nLs such as seminars congresses a nd panel discussions

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Tit design of th e II w en trance tn ule Gri so ns parliament bui ldin a prov ides the building it eli and the insLiLution it houses -ith a uiLalle idelltity and a sumptuous refin ed character The idea is to allow all visit ors with or without di sabilities to access Lh e builclin g ill th e sallie way natura ll y and cO lllfortably The s t o n~r part of the new building is made of while monoli thi c ill situ lo ncrete wh il e th e railing is made of mass ive bronze The white CO il lde is comp s cI uf wh it cement white sa lld and gray grave l frolll the loca l ar a The walking surfaces have been saud ed duwll alld roughened prom UI C square 0 11 th e so uth side a rump lead to the PI -exi btin g ntrance door The proportiolls of th e base and the room height are dasica lly monumelltal and imbu the entrance with a public and fe live character Th I of stretches out ove r lIH~ ranlp and has a width of 18 m an area uf 70 1111 alld a weight of 90 ton ntis heavy clell1ent is only supported by a thill pillar alld by a hangin g (olu mn The irIll refs ion of h eavincss lelld s tlH~ space under th e roof a s ~ nse of interiority and prot et ion Th( simultalleity of exposed alld hidden forC(~ti results ill a olll ewliat unrea l character Tir e hangin g COlU IIIII stands nex t to Lll c clltrallce door alld lead s tlw visiLor in sid e th e bui ldin g It barely touche th e ramp an d seems to hang frorn Ul e roof Sli ghLly rotated out of th e surround in g geometry it stands on tire highet point of lIl e ba~e and eerliS to continue rotatillg It ]Jlayfull y balance Lh e apparentl y weightless roof as if gravity did not exist

Valerio Olgiati

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Essay

How Does Valerio Olgiati Confront Arcllitecture~~ - Looling for Hints in I(arl Barth~s Theology Kenjiro Hosaka CuraIOl The Nalional Must~um of Modern Arl Tokyo

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The Empty Office Valerio Olgiatj li nn is ocatd ill tl lC I1lountain villago of Flirns about half all hOllr by bus from the andenl Swiss city of J IUJ

Anyone YI ho makes Lllf~i r way up llJ t~ slope OP(~ Il S the large door and enters the offic e is Sure to be surpr ised Lh at there is nothing in f ide The J(~ arp of coursp SOIlI C deks and t ltairs but almost nOlle of the stud y Jllodcls Ilock-up or saJllplcs of material that you usually filld ill all architecture firm You do occasionaliy find LlIillgs like site mod Is bUL tlley lIIusLbe discarded at sOine early daLe Oil the floor above the office there is an atLi -like space that is used as a rr(~c tin g room Alld JlaLLITall y Lh en is almosL nothing then eitll er Tlw only things are a large Lahle and chairs 011 llle Labl e is a wireless ntou~e and keyboard thal ~ee rll S to be Ll ~e ci for preseIltations Tile only other thillg is an hourglas

Swiss Humor The hourgla ss however is by 110 means ti ll1an The dev ice IlJeasures ouL one Il our and i too hig to hold ill one hane Its hard alld heavy IL ex ud es a s trallge StIISC of llultlor and to SOIlIcone frolll Japall (like m yself) it see llls dec idedly Swi s It (oIlLains the sanl e kind of sCllibility L1tat you find in tile eriou 5 th erefore [UlIIIY or cltlmcsL (regardless of lIo ( ~X( ss ive) Li w reror( guildeis Iurk of artists like fischli and Weiss and [oman Sign er The same kind o[ SIiss hUlllor seen ls lo ex ist in Valerio Ol uiati B ar middoth ite(lure Sec for examp the repealing palle rn in Perm jluseUn1 XXI (See pp 68-n ) Bul even 1I10 r e than tlta t h i IX tTacliOI1 of onl y on part I this pallcrn in Entrance Lo Lhe Cri tiolL Parlialll nl Building ( ee pp 4()-57) Tlt e ra _Ltllal the 1II0tif is 11IuJLipli ed and that it PAis L~ in a Rll ssian contex t is surprising enough bUL ao oUbider callfioL help b ut mile

and hegin lTIaking a des ign wiLli CAD

God Is Not in the Detail The hu mo r Lhal is (v i (l( ~ nL in Olgiati s bu ildin gs seL rn~

dorived from these oml sKct( hcs This is lwcltlu se the forlll s call b(~ aciJi eved with worels arc vcry lilr1iLed - stilllllorf tlle detail Oigiati alld hi s sLafr ignore tlt e detajb and s tn~ design a best tltey (ltI1l vitll Ul e inadequate signs of lallguagl Tn Lh ese circllrus lall (es ill whicil deLail ed (ornls arc illlpU~sihll

Lil ey sLri ve to make a stro ng space or bujlding Hcn~s an episode thal perfec Ll y cmpliIies the situation I Id

vith Olgia ti to vi sit 11is wOTk PlanLahof AwiiLnriulI1 ( ~cc pp j2-L~5) Pointing to the wouli tic panel s aLfixr d to the Ialb sa id One of our middot[aH Nathall cattl e up wiLh that forfll It ~1

bad Olgiati gcrt e rou ~ vi(I or tlt e pallcb which dOlllill atcd nJOst of tlt e buildillgs illterior sugges ts tlIe special ljualitl IJI

ili s architecture Tn tenll li of tlte spa ((~ that waS n-alizld throll the esscnce of Lh e uuilding which is ill effect a prcst lIlatiolll Ll w slluclural rela tion ship he tween vertical wall s alld 11

a AS-degree slltLrlt lllf shape of L1le pa ll r l didll tlllall(r ill til slight es t Alld if J might be so bold I I ould like Lo uggcstt li1I ()giaU s work displays a certain d(gn ~ ( of doubt ill (ganltll renwrk thalllas often heell altriiJLltcd to Ii es V(II (( 1 111111( I is ill Lit e detail

Architecture a R velalion Foproing nldy Lool F likc skelche and mod I Olgiatl tarlq dejgn wiLh words ALth e ro I of th i a nLi-rllaLeria Li sI11Iiclta rejccLi o [1 of similitud and analogY 1 Ar hitcc tural design an act that is CO I1 Rtltl Tl tly p ur ued l conLradicUon and diffi LilLY This is bec[u i3 rlesignillf a buil ll is impossible without firsLlakin l illLO aCCOunL th e cOns Lruclllln process As a res ul t it is (ssellt ially a prot ss of trial Jod crrll

bas d on LI Ie simili tude of drawings all( l n lOdels in Lhe sLaglaL Lhi s design llla l so befil s a parliament building as a forum for cii8cllssiolls Lhal li e somewhere be tween the ea rnes l alld frivolous

The Architecl WllO Doesnt Sketch Let me r tum to the hourglass Although it is probably on th e table to be used in IIlcc Li II Lll e meetings that take place in the room are different frurll Llloe at many oth r arehite lUIal finns Tlli is becaus as a ruk Olgiati escheYI sketching Ie stead of d veloping an it ~ a by dmVl ]1 0 ou paper he and his staff use words J lwy dis uss (i llciuentally in contrast to the simple image ( l Ili ~ bliilriings Olgb li Irim seU io ex tremely loquacious and at the ame lilll t attache grea t ilUportawe to dialogue) ArLer th y lIa reached an agre(llIcut ltllId arc cOllfidellt that all idea posse a strong rOnll Olgiati s staU lWn Lo their cOnlputert

that occur prior to con tru tion Knowing ttat the pruu~ i lillIe m ore tha ll an att l1Ip t at Similitud e makes it f1l1puSi 111 conceirc of a ll alLerna tt TIan OIgiati does lI t helie f ill a clHllpromise of this killd ITe dOtI

allow simi]itude to inl rvene in the d sign proce s 11 reliance on imi1Hucie prevenl him from approaching trutli The folloYl ing staLement OITI hi Iconographic AUlulioglO1 suggest thi aLti tud e 111e Taj Mahal To me Lllis was 1I1It lI

the ultimaLe experien ces it was almost like a revc laLiol1 llli the to n s iLh their reddish-urowll ea rt h-like tUlles lIld CIlc1u s d in lJcauLi(uJ tow rs r a lIing toward tlIC II ( (II II Ihi tc ntarblf Taj Maha sholle br illia nLl Tll i- IllliJt 1)( I IufJ(JersLood as a true rev latioo - ltI purr t1I1HJ joh l

It is surely (Jot a r r (()i nri( In l c thal Ulgiall Uelt till nl