‘Technology means architects can try things that seemed impossible a short time ago’
space, starting below ground. A ground-level glass facade wraps around one side, allowing northern light to pour into the space across a dramatic row of V-shaped columns, which Baier-bischofberger says were inspired by the work of Italian architect and engineer Pier Luigi Nervi. They lend a fantastic dynamic to the rectangular hall, while a row of softly lit, giant display cases fills the ‘found spaces’ in-between their bases. The rest of the hall is pretty much empty, allowing space for whatever Bischofberger chooses to exhibit. It is punctuated only by a pair of broad spiral staircases in pale concrete and maple.
The symmetry of the organisation in the Designhalle also allows maximum flexibility in terms of where the actual entrance to the building is – and there are three options. This reflects what has been the greatest headache for the architects: the big picture. ‘Our client isn’t very interested in master-planning,’ says Baier. ‘In the beginning it was very frustrating because he would say, “We’ll do this and then I will think about what I need next.” But then we got used to it and thought, OK, this is more organically grown, a bit like a city.’ As a result, the entire Factory site has the choice of two main entrances, east and west, and every building has at least two entrances, with options for more, should Bischofberger later decide he wishes them to connect or function in different ways.
The spiral staircases of the Designhalle both lead to an upper floor, which is far more domestic in scale, with pitched roofs, skylights and off-white walls, like an exaggerated attic space. ‘We have visualised a more interior type of exhibiting here,’ says Baier-bischofberger.
The most interesting aspect of the campus, apart from what the buildings contain, is that they represent a meeting of the parametric and the pragmatic. ‘We are the generation that started out inking drawings and graduated on computers,’ says Baier. ‘Technology has only recently allowed a shortcut for architects; now we can try out things that seemed impossible a very short time ago.’ What he means is that the data the architects generate in the 3D design model (after much testing with physical models) can go directly into the production process as patterns for the formwork.
Another thing the architects are obviously good at is challenging suppliers and craftsmen to help them find ways to construct their ‘impossible’ designs. ‘Once you get people out of their comfort zone and offer up your own as well, then you can get them excited and motivated,’ says Baier. ‘When you get everybody on board is when it gets really interesting, because you arrive at new results – you do things that are exciting and everybody is then proud of them in the end. That’s a very beautiful space to work in, if you are able to create it.’ Public access to the Designhalle is to be announced. baierbischofberger.ch; brunobischofberger.com