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Restoration of the Cercle De L'ermitage in Epesses, Switzerland

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Restoration of the Cercle De L'ermitage in Epesses, Switzerland DOCUMENTATION ISSUES Restoration of the Cercle de L’Ermitage Finally, the building is not labeled as a His- torical Monument, and must therefore meet in Epesses, Switzerland all standards (security, insulation, comfort, etc.) of a common transformation, without any possible concession. BY JEAN-CHRISTOPHE DUNANT Archaeology of a relic from the 20th century Given the lack of visible traces, it was dif- In 1935, Alberto Sartoris transformed an old mill into a private club for artists: le Cercle de l’Ermitage. ficult to estimate what could still remain from The young architect conceptualized the space as a manifesto of rationalistic architecture. The resolutely the Cercle de l’Ermitage. Therefore, the first modernist choice of the intervention contrasted with the rural and bucolic existing building. concern was to restore the original space. The In 1971, the work disappeared under fake rustic decoration and everybody considered it lost, only number and the quality of the items discov- remaining one of the most famous axonometries of the Italian master. Forty-five years later, the work ered during the demolition, will orientate the reappears miraculously while the space is under transformation into a private residence. The demoli- restoration project. This process is similar an tion work has revealed an unexpected amount of original elements, which will allow a faithful and rigorous restoration of the Cercle de l’Ermitage. archaeologist's exploration, but also implies that the space needs to be restored to a liv- able condition. The demolition work has revealed an un- “One day we will reconstruct decorated with heavy false rustic decor expected amount of original elements. They the Cercle de L’Ermitage!” typical of the seventies. Only the typology were hidden behind stucco decorations mak- ing up the interior space. Thus, thanks to this Alberto Sartoris, 1987 remained, a luminous circle embedded in the ground of the dancing floor and a back awkwardly makeshift job, important original 54 – 2016/1 stairway. I decided to undertake the study pieces were discovered in their quasi-inte- In 1933, a winemaker from Epesses and of this work and was able to meet Alberto grality despite their great fragility. An inner owner of a water mill, asked Alberto Sartoris, Sartoris. He was so disappointed and furious sliding glass screen, separating the restaurant a rationalist Italian architect, to transform the about the demolition and disappearance of from the gallery, still contained intact original docomomo latter into a private club for artists: the Cercle his masterpiece that he no longer wanted to structural window glass. A piece of the origi- de l’Ermitage. The young architect proposed to talk about this case. However, the students' nal steel railing gave important information rearrange the interior in a radically modern interest rekindled the flame of the old master about the sections, materials and colors of the way, in order to embody and conceptualize who then said: “one day we will reconstruct internal barriers. The structure of a lumi- the space into a manifesto of rationalistic the Cercle de L’Ermitage”. This sentence, 27 nous ceiling of 15 square meters reappeared architecture, without modifying the outer years later, sounded like a prophecy. behind a false plaster vault. Finally, a 12 meter envelope. Once the construction work was Since, I have contacted every new ten- long wall, made of steel angled profiles, was finalized, the project was published in the ant or owner to alert them of the historical discovered, although very damaged by rust. The main elements used by Alberto Sartoris Documentation Issues internationally renowned journal The Archi- content of the site and possible hidden tectural Review1. The following year, the public remains. I took advantage of this opportunity for the Cercle de l’Ermitage appeared to be in a administration refused to give out the license to conduct structural surveys and analysis more or less good state of conservation, but for a private club, fearing the place would on site to examine for possible remains. After sufficiently complete in order to restore the turn out to be synonymous with debauchery. several bankruptcies, the restaurant ended place in a very faithful manner. As a result, the building became a bar- up closing and was put up for sale. The new restaurant, known as the Vieux Moulin. Until owner, intrigued by the origin of the building, Intervention strategy 1948, Sartoris continuously transformed the commissioned me to transform the space into restaurant, adding multiple annexes, princi- a private residence. As the building was not protected by the pally intended for service. But in 1971, at the In the light of numerous parameters on office of the Historical Monuments, the time of a new transformation, the architect which this renovation depended, the success transformation work was undertaken saw himself stripped of his piece of work, the of this operation holds to a miracle. There through a regular process, under the sole latter disappearing under a jumble of fake was indeed almost no visible trace of the responsibility of the architect and his client. beams and stucco. original work. Moreover, resulting from inner The use of experts then became necessary. In 1987, while studying architecture at the transformation, there was a great possibil- Some of Sartoris's archives, made available EPFL, I was intrigued by the title of one of ity that decorative elements have been by the Archives de la Construction Moderne led the famous axonometric drawings from irreversibly replaced. Secondly, changing by Professor Pierre Frey, were a source of the architect Alberto Sartoris, the Cercle de the building's allocation from bar-restaurant essential information, including plans, color l’Ermitage, Epesses. Living in this small village to a private residence, implied redrafting studies and black and white photos of that of the Lavaux region, I could not picture the the original program. To makes things even time. Additionally, the advice from Professor whereabouts of this avant-garde architecture. more complicated, the building is located in a Franz Graf, (Laboratory for Techniques and Pres- I later discovered that the site corresponded wine-growing zone in the heart of Lavaux, ervation of Modern Architecture, EPFL), helped to an actual restaurant and dancing club a UNESCO World Heritage site. develop a strategy of intervention balanced 78 01 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Axonometric 02 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Plans. projection of the bar. © EPFL-ACM, Fonds Alberto Sartoris, 1935. © EPFL-ACM, Fonds Alberto Sartoris. 54 – 2016/1 docomomo Documentation Issues 03 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Axonometric projection of the dancing-bar, chromolithography. © EPFL-ACM, Fonds Alberto Sartoris. 79 04 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Bar. Opening 05 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Bar. Le Vieux of the club. In the background of the dance floor, the painting of R. T. Bosshard. Moulin, le Cercle de l'Ermitage disappears under a jumble of fake beams and © EPFL-ACM, Fonds Alberto Sartoris. Photo by Claude Budry, 1935. stucco. © Jean-Christophe Dunant, 2010. 54 – 2016/1 docomomo 06 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Gallery. 07 Alberto Sartoris, Cercle de l’Ermitage, Epesses, Switzerland, 1935. Gallery. Le Opening of the club. View from the gallery towards the dance floor and the bar. Vieux Moulin, le Cercle de l'Ermitage disappears under a jumble of fake beams © EPFL-ACM, Fonds Alberto Sartoris. Photo by Grete Hubacher, 1935. and stucco. © Jean-Christophe Dunant, 2010. Documentation Issues between maintenance and replacement of of the last century. All the materials and meters underground had no water drain- the existing elements. As we were facing colors were reproduced using the same pro- age installed, thus allowing the rain water an exceptional chromatic work, color was cess: steel, chrome, glass, linseed oil paint. to enter through the wall and inside the evidently a fundamental aspect of the trans- • Recreate the main fixtures, such as the dwelling. He decided to install an inner formation. An important stratigraphic study bar made of chromed steel and glass, by self-supporting sheathing made of welded allowed us to precisely analyze the shades examining Alberto Sartoris's archives, steel angles and recollect the permanent and type of the paints that were used. Finally, plans, axonometric drawings and various dripping water by a hidden collector the artisanal experience of some companies color studies. installed between the existing wall and significantly contributed to the success of this • To proceed by analogy when the purpose the sheathing, thus allowing the runoff transformation. and usage of an item changes. For instance, of the excessive water back to the old In order to ensure a consistency in the the original dumbwaiter becomes a fire- mill's moat. The plastic effect and flexible intervention, five guidelines were established place in the living room on the upper floor look of the steel sheathing's folds, evokes directing every decision: and a wine rack on the lower floor behind a textile while the vertical lines enhance • Free the main space of the Cercle de the bar. the sensation of ceiling height. As a result l’Ermitage which was to be restored, by in resolving sanitary issues, this sheathing placing the program of the living quarters Strong aspects becomes a major element of the architec- in the annexes that were built later. of the Cercle de l’Ermitage tural project. • Preserve as much as possible of the • The sliding glass screen: while planning the original elements, even though they have The renovation allowed the enhancement of interior as a succession of superimposed defects, traces of wear or alteration. the project of Alberto Sartoris.
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