Schweiz: Vom Heimatstil Zur Guten Form Switzerland: from Rustic Style to Good Form

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Schweiz: Vom Heimatstil Zur Guten Form Switzerland: from Rustic Style to Good Form Schweiz: Vom Heimatstil zur guten Form Switzerland: from rustic style to good form The projects distinguished by semantic sobri- ety designed by Kienast Vogt Partner, Paolo Bürgi, Georges Descombes, Stefan Rotzler or Weber and Saurer have determined the image of Swiss land- scape architecture abroad in recent years. Die- ter Kienast in particular clearly rejected the eco- logical fundamentalism of the 70s and 80s by de- signing architecturally characterised landscape architecture. In education and practice, he helped young landscape architects in German- speaking Switzerland to acquire a new self-confi- dence. However, the modern severity of Swiss landscape architecture that people like to call “typically Swiss” is not a new phenomenon. It has manifested itself time and again as the opposite of an equally common alpine kind of naturalism, and is based largely on the confederacy’s “Puritan heritage” and “institutionalised Protestant work ethic” as certified by the Zurich art historian Udo Weilacher Stanislaus von Moos. The Swiss garden architect Ernst Cramer (1898-1980) had already attracted Die überwiegend von semantischer Nüchternheit geprägten Projekte international attention with his works ranging von Kienast Vogt Partner, Paolo Bürgi, Georges Descombes, Stefan Rotzler from naturalism to abstraction. Not only for Die- oder Weber und Saurer kennzeichneten in den vergangenen Jahren das ter Kienast but also for many other landscape ar- Image der Schweizer Landschaftsarchitektur im Ausland. Besonders Dieter chitects in Switzerland he was one of the early ex- Kienast erteilte mit architektonisch geprägter Landschaftsarchitektur dem amples to follow. Reason enough to use the ex- ökologischen Fundamentalismus der 70er und 80er Jahre eine klare Absa- ample of Ernst Cramer’s work to sketch the de- ge und verhalf in Lehre und Praxis den jungen Landschaftsarchitekten in velopment of Swiss landscape architecture in the der Deutschschweiz zu neuem Selbstbewusstsein. Die gerne als »typisch post-war modern era. schweizerisch« bezeichnete moderne Strenge eid- Der Gartenarchitekt Ernst Cramer als Leitbild In the course of attempts at cultural reform in genössischer Landschaftsarchitektur ist jedoch Europe at the beginning of the 20th century, fa- kein neues Phänomen. Sie manifestierte sich im- für die Schweizer Gartenarchitektur in der mous German architects such as Hermann mer wieder als Gegenspielerin des ebenso häufig Nachkriegsmoderne. Muthesius, Paul Schultze-Naumburg and Max auftretenden alpenländischen Naturalismus und Läuger propagated modern garden design. It was basiert nicht zuletzt auf der »puritanischen Erb- The example of the landscape architect Ernst no longer to try to imitate nature and landscape masse« und einer »institutionalisierten protestan- Cramer: the progress of Swiss landscape archi- but to admit that the garden was human handi- tischen Arbeitsmoral«, die der Zürcher Kunsthi- work. The modern architectural garden was con- storiker Stanislaus von Moos der Eidgenossen- tecture to post-war modernity. Ernst Cramers Staudengarten Ernst Cramer’s garden of hardy und Treppenanlage am Lehre- herbaceous plants and stairway rinnenseminar »Bernarda« in for the Bernarda teachers’ colle- Menzingen/Kanton Zug, gebaut ge in Menzingen, Canton Zug, von den Zuger Architekten Haf- built by the architects Hafner ner und Wiederkehr, 1953 bis and Wiederkehr of Zug, 1953 - 1958. Diese Außenanlagen ste- 1958. The grounds provide a hen beispielhaft für die klare typical example of Cramer’s Formensprache Cramers. clear formal idiom. 81 Ernst Cramers »Theatergarten« Ernst Cramer’s “Theatre Gar- mit bis zu zwölf Meter hohen, den” with up to twelve-metre- freistehenden Betonscheiben high, free-standing concrete auf der IGA 1963 in Hamburg. slabs appeared at the IGA Cramers umstrittene Anlage 1963 in Hamburg. Cramer’s bezeugt dessen Begeisterung controversial design docu- für die moderne Architektur ments his enthusiasm for the Oscar Niemeyers. Der »Garten modern architecture of Oscar Auf der Garten- und Blumen- At the garden and flower des Poeten« und der »Theater- Niemeyer. “The Poet’s Garden” ausstellung »Blühender show, “Blühender Herbst” garten« waren prominente and the “Theatre Garden” were Herbst« 1942 präsentierte (Flowering Autumn) in 1942, Vorbilder für die nächsten Ge- prominent examples for subse- Ernst Cramer auf dem Dach Ernst Cramer presented a gar- nerationen Schweizer Land- quent generations of Swiss des Kongresshauses einen den with an arbour in a pro- schaftsarchitekten. landscape architects. Garten mit Laube in betont nounced rustic style on the rustikalem Stil. Die Laube be- roof of the congress hall. The stand aus grobem, weiß ge- arbour consisted of rough, kalktem Mauerwerk, Boden- whitewashed masonry and the belägen, Sitzbänken und Feu- floors, benches and a fireplace erstelle aus Granit. Feigen, were made of granite. Oleander und Ziergräser ver- Fig trees, oleander and orna- liehen der Laube südliches mental grasses gave the ar- Flair. Anstoß erregte nicht nur bour a southern touch. Not die Signierung an einer der In- only was his signature, “Cra- nenwände »Cramer Garten- mer Gartenarch. B.S.G.” on arch. B.S.G.«, der gesamte one of the inner walls found of- Gartenentwurf Cramers wurde fensive, but also Cramer’s de- damals als mißlungen einge- sign was considered a failure. stuft. Auf der Gartenbauausstellung At the G 59 gardening show G 59 wagte Cramer ein Expe- Cramer dared to experiment: riment: Im Kontrast zur übri- in contrast to the rest of the gen Gartenschau schuf er mit show, he created “The Poet’s dem »Garten des Poeten« eine Garden,” a spatially abstract räumlich abstrakte Kompositi- composition made of four on aus vier grasbewachsenen grass-covered earth pyramids, Erdpyramiden, einem gestuf- a stepped earth cone and a ten Erdkegel und einem fla- shallow rectangular pool. The chen rechteckigen Wasser- design plan for “The Poet’s becken. Links der Entwurfs- Garden” of 1959 is shown on plan für den »Garten des Poe- the left. ten« 1959. 82 83 schaft attestierte. Schon der Schweizer Gartenarchitekt Ernst Cramer (1898- sidered a representative expansion of the house, Froebels Erben was represented at the exhibition und Städtebau war eine landschaftlich informellere Gartengestaltung wie- 1980) erregte mit seinen Werken im Spannungsfeld zwischen Naturalismus as “the art of creating spaces outdoors” and thus with a rather moderate architectural garden de- der stärker gefragt. Zudem wirkten sich nach dem Ersten Weltkrieg die ma- und Abstraktion internationales Aufsehen und zählte nicht nur für Dieter as an architectural task. In Switzerland the Swiss sign by Gustav Ammann. Ammann was the head terielle Not der Bevölkerung und die Wirtschaftsrezession auch auf die Kienast, sondern auch für viele andere Landschaftsarchitekten in der Werkbund (arts and crafts society) founded in garden architect at Froebels Erben. He had previ- Prinzipien der Gartengestaltung aus. Selbst in der Schweiz, wo sich die Not Schweiz zu den frühen modernen Leitbildern. Grund genug, den Weg der 1913 took the lead in the reform movement. It ously worked for firms such as Leberecht Migge, in Grenzen hielt, traten die ästhetischen Ansprüche an die Gartengestal- Schweizer Landschaftsarchitektur in die Nachkriegsmoderne am Beispiel organised an exhibition in 1918 that Swiss archi- whose modern stock of ideas he absorbed into his tung zugunsten funktionaler Kriterien in den Hintergrund. Der Garten des Schaffens von Ernst Cramer wenigstens skizzenhaft nachzuvollziehen. tectural history regards as the bridge to the mod- work. hatte nicht nur der Selbstversorgung, sondern auch der seelischen Gene- Im Zuge der kulturellen Reformbestrebungen in Europa zu Beginn des ern age. The Werkbund exhibition in Zurich was Gustav Ammann was later to acquire the in- sung und der Gesundheitsvorsorge zu dienen. Der informelle Wohngar- 20. Jahrhunderts propagierten namhafte deutsche Architekten wie Her- devoted among other things to the new trends in ternational reputation of a pioneer of garden and tenstil, propagiert durch die Schriften von Harry Maaß und Guido Har- mann Muthesius, Paul Schultze-Naumburg oder Max Läuger eine moder- garden design. However, renowned Swiss garden landscape design as the president of the Bund bers, setzte sich allmählich durch. Ernst Cramer, der 1929 in Zürich sein ne Gartengestaltung, die nicht mehr die Nachahmung von Natur und architects such as Oskar Mertens accepted them Schweizer Gartengestalter (Society of Swiss Gar- eigenes Büro gründete, folgte dem neuen Trend und gestaltete mustergül- Landschaft anstrebte, sondern sich zum Garten als menschliches Werk be- only with certain reserves as far as the all too ob- den Designers) and as the secretary-general of the tige Wohngärten nach den Regeln von Maaß und Harbers. kannte. Der moderne Architekturgarten galt als repräsentative Erweiterung vious dominance of architectural elements is con- IFLA. He was one of the early key figures in Ernst Allen voran erkannte Gustav Ammann, dass eine Erstarrung im Wohn- des Hauses, als »Raumkunst im Freien« und damit als architektonische Auf- cerned. The Zurich landscaping firm of Otto Cramer’s career. More than anyone else, Am- gartenstil langfristig keine befriedigende Perspektive sein konnte, und rief gabe. In der Schweiz setzte sich der 1913 gegründete Schweizerische Werk- mann furthered theoretical discourse in Switzer- 1933 dazu auf, sich nicht bedingungslos an Bestehendes zu klammern. Ver- bund an die Spitze der Reformbewegung und organisierte
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