P R O J E C T R E S E R

PROJECT RESE RCH

JOCHEM MOERMAN CULTURES OF CRAFT P4 PRESENTATION (DRAFT) PROJECT RESE RCH

JOCHEM MOERMAN RESEARCH MENTOR: IRENE CIERAAD MAIN MENTOR: EIREEN SCHREURS MENTOR: MIKEL VAN GELDEREN MENTOR: SUSANNE PIETSCH B.T. MENTOR: HUBERT VAN DER MEEL ORGANIZATION OF RESE RCH

INTRODUCTION 1.1 PHENOMENA THROUGH ARCHITECTONICS

1.2 CLEINT RESEARCH: “THE CRAFTSMAN”

1.3 STUDIO AS DEPARTURE POINT XL 2.1 WOOD 2.1.1 BRIEF HISTORY 2.1.2 CRAFTSMANSHIP OF CARPENTRY 2.1.3 SUSTAINABILITY OF TIMBER 2.1.4 AUSTRIA’S WOOD INDUSTRY

2.2 URBAN PRODUCTION PLACES L 3.1 VORARLBERG 3.1.1 VORARLBERG AND CRAFT 3.1.2 WOOD ARCHITECTURE 3.1.3 LIVE-WORK PROXIMITY 3.1.4 REINTERPRETED VERNACULAR 3.1.5 KAUFFMANN ZIMMEREI

3.2 BREGENZ 3.2.1 CRAFTLESS AND WOODLESS CITY 3.2.2 IMPORTANCE OF CULTURE + TOURISM ORGANIZATION OF RESE RCH

M 4.1 MAKING CRAFTSMANSHIP VISIBLE 4.1.1 PRODUCTION AS A STORY 4.1.2ARCHITECTONICS AS A STORY

4.2 THE SITE

4.3 PROGRAM 4.3.1 CORE: HOUSING + “CO-MAKING” 4.3.2 SECONDARY: OFFICE + RETAIL + GASTRONOMY

4.4 IN SEARCH OF A NEW TYPOLOGY 4.4.1 FACTORY MEETS RESIDENTIAL BLOCK 4.4.2 RURAL HAMLET, URBANIFIED 4.4.3 URBAN CONTEXT S 5.1 THE VERNACULAR “EINHOF” 5.1.1 HINTERHAUS VERSUS VORDERHAUS 5.1.2 THE STRUCTURE 5.1.3 THE “TENNE” 5.1.4 THE “FLURKÜCHE” XS 6.1 FOUR VALLEYS, FOUR HOUSES 6.1.1 WALSERHAUS AND THE HEIDENGIEBEL 6.1.2 BREGENZERWALDERHAUS AND THE SHOPF 6.1.3 MONTAFONHAUS AND THE GIPSWAD 6.1.4 RHEINTALHAUS AND THE KLEBACHER

6.2 LOG CONSTRUCTION, EVOLVING

6.2 WOOD SPECIES OF VORARLBERG

INTRODUCTION

INTRO PARAGRAPH

1.1 POSITION IN ARCHITECTURE Humans, being part of the world, understand an expression that is more closely related to something that could be seen in nature. Tectonic architecture is an approach that builds from nature and leaves it with the craftsmanship of man. Utilizing materials won from the earth, shaped to allow affordance to shelter from rain or separate environments. The structure is glorified and the beauty of the building is found though it. Durable natural surfaces with exposed connections showing the intentions. Nothing veneered or hidden, as honesty is the essential to its purity. It is this architecture that achieves the most honest phenomenological building. Through having natural action-based signs like the smell of wood or the texture of stone strong individual memories well up to create the perceptual experience.

Phenomenology is the study of perceptual experience of, in our case, the built environment. The urban form in its composition and individual parts effect us daily, consciously and subconsciously. A basic example is that a bright, well- ventilated space brings positivity and thus productivity in a workspace. But also how some spaces can intimidate to the point were speaking becomes unbearable or uncomfortable. Furthermore, how urban spaces, through time and movement, are composed in one’s mind to form a ‘mental map’ of the local fabric. Rather than thinking of exact proportions, what the urban furniture looked like, or how many people were where, it is about how the assemblage of all these parts were perceived by the agent. Kevin Lynch, in his book The Image of the City (1960), studied citizens through interviews and concluded that the city could be understood as a network of paths, edges districts, nodes, and landmarks and that it’s the job of the architecture to improve this legibility.

Everyone’s so-called mental map of a space, in general, varies greatly from differences in how and where we grew up to the clarity in our thoughts when we engage with a space. How we read architecture is a very individual experience, but has been succumb to arbitrariness. The over saturation of signs and graphical cues in our culture today has led to universal visual triggers. Nobody knows anymore what all the symbols and information are that adorn the streetscape of Times Square. In these environments, our perceptive faculties become overloaded with codes requiring translation and numbing our though process. At this point anything beyond our own personal story seems blurred and vague, almost seeming unreal at times.

Our world is coded with signs, but Charles Peirce makes a distinction between INTRODUCTION code-based signs and action-based signs.1 He coined the word “asignifying” to describe action or process-based signs. Rather than translating codes and INTRO PARAGRAPH signs according to a prescribed language, asignifying is something that we are born with or naturally developed. It is a process, where the agent interferes with an environment and assigns affordances, or pragmantic useabilty, to an 1.1 POSITION IN ARCHITECTURE assemblage, or thoughtful composition. Therefore, through asignifying, we can Humans, being part of the world, understand an expression that is more see that a chair contains the affordance to be sat on and thus the definition of closely related to something that could be seen in nature. Tectonic the chair is extended past its outline and to the limit of its action. An architecture is an approach that builds from nature and leaves it with the assemblage, in this case is a composition of parts to form this complete affect. craftsmanship of man. Utilizing materials won from the earth, shaped to allow For one cannot simply read that the chair is made of wood and know it is a affordance to shelter from rain or separate environments. The structure is sitting device. It becomes more than a sum of interlocking elements but a glorified and the beauty of the building is found though it. Durable natural function-driven object. This reading process is a natural, subconscious surfaces with exposed connections showing the intentions. Nothing veneered progress that is inherent and imbedded into our society. or hidden, as honesty is the essential to its purity. It is this architecture that achieves the most honest phenomenological building. Through having natural After understanding this natural process of action-based reading, coined by action-based signs like the smell of wood or the texture of stone strong Pierce we look at a more general form of semiotics. Signs can have several individual memories well up to create the perceptual experience. meanings, with different intents, but it always create an effect. We have been lacing our building with an abundance of these signs that are only there is Phenomenology is the study of perceptual experience of, in our case, the built create an effect.2 It is true in the past few decades architectural discourse has environment. The urban form in its composition and individual parts effect us swayed to have stronger weight on the representational qualities. Or to say in daily, consciously and subconsciously. A basic example is that a bright, well- a different way, that architecture is used as a language to say something ventilated space brings positivity and thus productivity in a workspace. But beyond itself. In this heightened importance of semiotics in architecture, also how some spaces can intimidate to the point were speaking becomes design aspects like materiality and proportionality have lost territory. Although unbearable or uncomfortable. Furthermore, how urban spaces, through time as a discursive method this topic carries weight and significance, it has indeed and movement, are composed in one’s mind to form a ‘mental map’ of the run its course as a design tool. local fabric. Rather than thinking of exact proportions, what the urban furniture looked like, or how many people were where, it is about how the assemblage Tectonics is derived, etymologically, from the Greek tektonikos, which pertains of all these parts were perceived by the agent. Kevin Lynch, in his book The to building and tekton, which means carpenter or builder. Architectus is also Image of the City (1960), studied citizens through interviews and concluded close in origin, where archi- means a person in authority.3 However, both words that the city could be understood as a network of paths, edges districts, belong to the same root word, “tec”, which simply means to make something nodes, and landmarks and that it’s the job of the architecture to improve this appear and thus showing the clear connection between tectonic thinking and legibility. architectural practice.

Everyone’s so-called mental map of a space, in general, varies greatly from Tectonic architecture is an approach that builds from nature and leaves it with differences in how and where we grew up to the clarity in our thoughts when the craftsmanship of man. Focused on the art of making, celebrating the skills we engage with a space. How we read architecture is a very individual of the human hand and its ability to create space able to withstand the forces experience, but has been succumb to arbitrariness. The over saturation of of nature, creating a place cut from it but contributing to it and to create a signs and graphical cues in our culture today has led to universal visual space the application of building materials and how this attention forms a triggers. Nobody knows anymore what all the symbols and information are creative force in structural features, architectural design and building that adorn the streetscape of Times Square. In these environments, our constructions. And the constructions poetic potential is achieved through a perceptive faculties become overloaded with codes requiring translation and detailed study of light, clarity of form and space and the materiality. Details numbing our though process. At this point anything beyond our own personal and cladding are honest, with no veneers, finishes, or hidden supports and story seems blurred and vague, almost seeming unreal at times.

1 Peirce (1966). P.368 2 Hauptmann & Radman, 2014 3 Maulden 1983: p.45

that beauty is be derived from nature and crafted by man, as inspired by John Ruskin.4 Furthermore, letting materials achieve more than their functional or technical need but assume a poetic quality.

Landscape is timeless, dynamic never static, and always existent. Every location has a different composition, whether forest, desert or ocean. Tectonic thinking puts the importance of the natural context at the forefront of the design inspiration to help not only invite nature in but become a part of it. If done well, the building will contribute an element to the landscape that, when perceived doesn’t have a statement but are simply there, completing the native landscape. Once embedded firmly in the earth’s soil, it becomes hard to imagine the place where they stand without them. Here, in this vacuum of cultural semiotic, natural memory surface, memory that can be triggered by all the senses. Seeing as memories are rooted in past events, buildings that wish to create sensuous connections must respect the past condition, and make us what already existed with a new light. And thus nature-inspired buildings have this ability to slowing reveal our own memories and intertwine them with subtle new ones. Above memories, respecting the place in which a project lands also decreases the earthly impact. Locally-sourced materials, avoiding harmful chemicals and a durable construction are all tings that makes a building more sustainable. However, rather than adding active/mechanical climate systems buildings designed with an tectonic approach utilize the natural forces of nature to help manipulate the indoor climate.

In a tectonically inspired building, details are important as they show the join in construction elements. Peter Zumthor compares the construction of a building to that of Bach’s music in how it has a clear structure and how each detail in the individual thread of the musical fabric gives you the possibility to apprehend the governing rules of the overarching structure. These details can be beautiful while serving its purpose but are never mere decoration. These details, if done currently, have the ability to attract attention to its design while not losing feeling of the whole element. As Zumthor also eloquently states in Thinking Architecture (2010), “[Details] do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.”5 Adolf Loos takes it one step further to completely denounce decoration or ornamentation as degenerate and sinfull.6 A modern society had, in his view, transcended ornament. He makes a plea in Ornament and Crime for a call to arms in an architecture that would exhibit truth as nudity and form and the definition of beauty.

Phenomena is not the intent of a project designed with the tectonic approach. However, building that respect the natural site conditions and the craftsmanship of the human hand and head create a natural perceptual

4 Ruskin 1989: 28, 85 5 Zumthor 2010: 15 6 Loos 1910

that beauty is be derived from nature and crafted by man, as inspired by John Ruskin.4 Furthermore, letting materials achieve more than their functional or technical need but assume a poetic quality.

4 Ruskin 1989: 28, 85 5 Zumthor 2010: 15 6 Loos 1910

experience. People are drawn to authentic materials, raw textures and honest detailing. The phenomenological aspect of these buildings are subtle and naturally experienced. The building acts as a backdrop to daily life and doesn’t try to continually talk to the users. Moreover, it happens through a dynamic interaction of the space, moving through it, touching and smelling the materials. The building unfolds itself bit by bit through the use of it. In bringing the physical into the meta-physical, tectonics begins to talk of a poetic of construction.7

According to Peter Zumthor’s “Thinking Architecture” (2006), Zumthor believed that materials can assume a poetic quality in the context of architecture and the architect has an important role in generating a meaningful existence for them. Kolumba Museum, design by his office, is a great example of phenomenological architecture through the perfection of technique, materiality, light and form. Zumthor makes a clear statement on the functions of the floor, wall and roof. The floor, the container of historic remeninants, remains untouched, apart from a few inconspicuous columns piercing down to hold the thin light roof. The wall come down hard on the perimeter of the building as mask to the outside. The locally mined, ultra-wide bricks also become perforated at time, filtering light into the museums main attraction, the churches ruins. This masonry façade thus become the beauty of the building and not only a means to separate two environments. Here, the tectonic nature of the building is what gives fulfills Vitruvius’ three fundamentals. In Kolumba Museum, the former St Columba Church windows become part of the façade on the ground floor to maintain the memory of it.

Tectonic architecture is honest, raw and unapologetic, just as Mother Nature. Its reflection of nature’s beauty and physics reminds man of where he came from. Moreover the craftsman ability to defend against it more relenting attributes. It is the strong connection to nature’s materials and the honest assembly of them that starts the individual phenomena. Architects have this ability to change feelings of people through the design of buildings. Rather than lacing architecture with shallow semiotics, converting a mundane shed into a decorated one, we ought apply technique to assemble a clear structure with natural materials, won from the earth, connecting in an honest fashion. Only through this approach can we create truly individual perceptual experiences worthy of the individuals unique personally and background.

1.2 CLIENT RESEARCH: DEFINING THE “CRAFTSMAN”

A craftsman is a maker, an inventor, a caretaker, a function-driven artist, an Homo faber.8 Against common belief however, it is not a job description or a

7 Maulden 1983 8 Sennett 2008: 6-8. Homo Faber is one of two images of people at work, focused on the human condition. Compared to and superior to the animal

experience. People are drawn to authentic materials, raw textures and honest particular set of skills that defines a craftsman, but rather a mindset, because a detailing. The phenomenological aspect of these buildings are subtle and carpenter can be both a craftsman and a mere laborer. To go further, it is to naturally experienced. The building acts as a backdrop to daily life and doesn’t also say that craftsmanship is not defined by the quality of work, but rather, by try to continually talk to the users. Moreover, it happens through a dynamic the intention of the work. It is the idea that a craftsman is dedicated to good interaction of the space, moving through it, touching and smelling the work for its own sake. This is similar to how Immanuel Kant writes that every materials. The building unfolds itself bit by bit through the use of it. In bringing autonomous agent should be seen not only as a means to an end but also an the physical into the meta-physical, tectonics begins to talk of a poetic of end in itself.9 Utility of life or, in our case, product will come naturally once the construction.7 former is acted upon. Striving for perfection or best quality work is typically against the agenda of a functionalist, pragmatic or simply the utilitarian. According to Peter Zumthor’s “Thinking Architecture” (2006), Zumthor Because it is true that the result of a craftsman will not necessarily contain believed that materials can assume a poetic quality in the context of more affordances than the result from a functionalist. It is subjective, anyways, architecture and the architect has an important role in generating a to judge a maker by the finished form of his product, as beauty is in the eye of meaningful existence for them. Kolumba Museum, design by his office, is a the beholder. Craftsman, or artisan, in traditional Japanese is called shokunin10. great example of phenomenological architecture through the perfection of However the word shokunin carries more meaning than the English word technique, materiality, light and form. Zumthor makes a clear statement on the craftsman; “Shokunin means not only having technical skill, but also implies an functions of the floor, wall and roof. The floor, the container of historic attitude and social consciousness…a social obligation to work his best for the remeninants, remains untouched, apart from a few inconspicuous columns general welfare of the people,” I believe that a craftsman, consciously or piercing down to hold the thin light roof. The wall come down hard on the subconsciously carries around a heightened moral standing. That is to say perimeter of the building as mask to the outside. The locally mined, ultra-wide that, he does not do it for the sake of his occupation but for his honor. bricks also become perforated at time, filtering light into the museums main attraction, the churches ruins. This masonry façade thus become the beauty Craftsmen, historically, were a well-respected profession in the times when the of the building and not only a means to separate two environments. Here, the skills of another were a necessity to having favorable or good quality tectonic nature of the building is what gives fulfills Vitruvius’ three products. Meaning that people weren’t able to go a big-box store to get fundamentals. In Kolumba Museum, the former St Columba Church windows cheap Swedish furniture. Also, there was simply more accountability as a become part of the façade on the ground floor to maintain the memory of it. craftsman’s works remained local. Today however, quality products can be produced without the required intervention of a craftsman’s head and hand. Tectonic architecture is honest, raw and unapologetic, just as Mother Nature. As Campbell states it, “The artistic craftsman (or craftswoman) is still set Its reflection of nature’s beauty and physics reminds man of where he came against a division of labour that involves the separation of design and from. Moreover the craftsman ability to defend against it more relenting manufacture – a dichotomy that carries with it the implied, if not explicit, attributes. It is the strong connection to nature’s materials and the honest contrast between inalienable, humane, authentic and creative work, on the assembly of them that starts the individual phenomena. Architects have this one hand, and purely mechanical, unfulfilling and alienating labour, on the ability to change feelings of people through the design of buildings. Rather other.”11 The latter was the Henry Ford, assembly line version of making, one than lacing architecture with shallow semiotics, converting a mundane shed that puts the workers in series rather than in parallel. This so-called “factory into a decorated one, we ought apply technique to assemble a clear structure worker” was a product of the 18/19th century industrial revolution. The factory with natural materials, won from the earth, connecting in an honest fashion. worker, is one that is characterized as being a assistant to a machine rather Only through this approach can we create truly individual perceptual that using machines to assist you. Paxton’s glass house for the first ever World experiences worthy of the individuals unique personally and background. Fair in London’s Hyde Park, was a product and contributor to the industrial

revolution and is seen as a turning point from man-made to machine-made,

not to mention function-driven prefabricated architecture. It should be said 1.2 CLIENT RESEARCH: DEFINING THE “CRAFTSMAN”

A craftsman is a maker, an inventor, a caretaker, a function-driven artist, an 8 laborans as it inherent the ability to think critically about the action that he is Homo faber. Against common belief however, it is not a job description or a doing, ask why. 9 Immanuel Kant’s second formulation "the rational being, as by its nature an end and thus as an end in itself, must serve in every maxim as the condition 7 Maulden 1983 restricting all merely relative and arbitrary ends" 8 Sennett 2008: 6-8. Homo Faber is one of two images of people at work, 10 Nagyszalanczy 1998: 131 focused on the human condition. Compared to and superior to the animal 11 Campbell 2005: 25

though, that the development of mechanized production was a great achievement and has its affordances in certain areas of production. It helped create new and different jobs and also introduced branding and objectivity. The downside is that the excitement of the machine era distanced the head from the hand. Perhaps the initial development of an economic product can be considered a craft, even if it is mass-produced and shipped worldwide. After all, the process of making a product cost and material efficient takes experience and skill, and can be labored with love just as a violinmaker in Amsterdam can.

How the story comes full circle is the reassurance of craft as something of valuable. The excitement of the multiplicity of the Crystal Palace and everything it represented wore off and people started the lean away from the uncharacteristic style of the modernist world. Arts and Crafts, a socialist countermovement in the 19th century helped fuel the reassurance to craft. John Ruskin led the charge calling for a new functionalist art form that also contributed to society. Practically, he suggested an 'honest' architecture with no veneers, finishes, hidden support nor machined moldings and that beauty must be derived from nature and crafted by man.12 However, machine-made products had found a place in the economics of consumption and although people see its value, quality-driven handwork will never have the position in society that it once had.

As a designer, is there anything to be learnt from a craftsman? Or better yet, what does craftsmanship in architecture look like? The architect’s craft is the drawing. The drawing, a communication device, but is furthermore a formal intent for an intervention in the built environment. And then, what if the job of the architect stopped there and the builder sought to the accurate completion of the “intent”. Therefore the craftsman would have a more direct connection between head and hand. This would empower the builder like he once was, and no more will he be considered as a pawn of the architect. In this way, the architect and craftsman would be equals, partners working together to product a well-rounded product.

The development of tools in the workshop has always threatened the knowledge of the one controlling it.13 Tools, in a way, contain their own inherit knowledge and background, and when the controller of that tool picks it up, they are essentially empowered by previous knowledge. A screwdriver, for example, is a product of someone else’s skills or craft if you will, and that inherent energy of knowledge is encapsulated with that tool. Does that mean that the craftsman then forgets what his grandfather taught him about wood- to-wood connections? Yes, and rightfully so as the old ways have to make way for the new, more efficient way of doing things. Doing things that may

12 Ruskin 1989: 28, 85 13 Sennett 2008: 39

though, that the development of mechanized production was a great have a similar or improved quality but, either way, to stay stagnant in your achievement and has its affordances in certain areas of production. It helped profession will only mean that your product will either become unaffordable or create new and different jobs and also introduced branding and objectivity. obsolete. The downside is that the excitement of the machine era distanced the head from the hand. Perhaps the initial development of an economic product can Craft is translated into German as Handwerk, literally hand-work. This way of be considered a craft, even if it is mass-produced and shipped worldwide. craft, as a work of the hand, should be used when looking at tools. Machines, if After all, the process of making a product cost and material efficient takes you will, are simply elaborate tools that simply contain an assemblage of experience and skill, and can be labored with love just as a violinmaker in affordances. However, affordances can only be fulfilled by the intervention of Amsterdam can. an agent or craftsman. Machines were introduced to help create the 500 pleats in an Austrian Juppe, but it was still considered Handwerk and widely How the story comes full circle is the reassurance of craft as something of praised. Tools, whether it is sanding paper or a 5-axis Bundegger CNC valuable. The excitement of the multiplicity of the Crystal Palace and machine, should simply be considered as an extension of the human hand. everything it represented wore off and people started the lean away from the The type of tool is irrelevant, then, to the level of craftsmanship in an object or uncharacteristic style of the modernist world. Arts and Crafts, a socialist the amount of knowledge of a craftsman. It is in the case of the Ford-type or countermovement in the 19th century helped fuel the reassurance to craft. assembly line model where tools threaten the development of a craftsman’s John Ruskin led the charge calling for a new functionalist art form that also skills. contributed to society. Practically, he suggested an 'honest' architecture with no veneers, finishes, hidden support nor machined moldings and that beauty Machine has claimed territory in the realm of making and thinking, and that will must be derived from nature and crafted by man.12 However, machine-made never change. In fact, when it comes down to a single task, a machine can products had found a place in the economics of consumption and although easily trump a person as it has consistency and precision. However, it is when people see its value, quality-driven handwork will never have the position in a person seeks to broaden their knowledge beyond Fordist assembly line and society that it once had. understand various steps and stages, that the craftsman become more valuable. We have to understand that machines are but a complex assemblage of parts that should be used to aid a craftsman and act as an As a designer, is there anything to be learnt from a craftsman? Or better yet, extension of the hand. If machines or computer’s are seen as the second what does craftsmanship in architecture look like? The architect’s craft is the generation of tools than we read than as aiders not replacers. drawing. The drawing, a communication device, but is furthermore a formal intent for an intervention in the built environment. And then, what if the job of the architect stopped there and the builder sought to the accurate completion of the “intent”. Therefore the craftsman would have a more direct 1.3 STUDIO AS A POINT OF DEPARTURE connection between head and hand. This would empower the builder like he The point of departure for this project from the Interior Studio’s position in the once was, and no more will he be considered as a pawn of the architect. In this architectural practice, specifically the design methodology, and the way, the architect and craftsman would be equals, partners working together importance of the tectonics and materiality in buildings. Furthermore, the to product a well-rounded product. studio itself, “Cultures of Craft”, provided the initial graduation question of how can architecture help to reinvigorate the culture of craft, through The development of tools in the workshop has always threatened the dissemination, education or production. However, to begin answering this knowledge of the one controlling it.13 Tools, in a way, contain their own inherit social underlying question, research began not with social, but with tectonic knowledge and background, and when the controller of that tool picks it up, investigates into a specific building material, in my case, wood. Therefore, from they are essentially empowered by previous knowledge. A screwdriver, for the start, the project always contained both social aspirations and material example, is a product of someone else’s skills or craft if you will, and that ones. Exploring and researching wood craftsmanship in Vorarlberg, Austria led inherent energy of knowledge is encapsulated with that tool. Does that mean to additional social and tectonic agendas that added to and complemented that the craftsman then forgets what his grandfather taught him about wood- from the specific studio-wide observations and discussions. Therefore, after a to-wood connections? Yes, and rightfully so as the old ways have to make few weeks, research was happening at several scales and themes from “what way for the new, more efficient way of doing things. Doing things that may is craft?” to the logistics of prefabricated hotels manufactured with mass timber in Reuthe, Austria. This proved, up to this point, a successful method of working as it reduced “getting stuck” and isolation from peers while 12 Ruskin 1989: 28, 85 formulating a project that is still in the interest of the individual. 13 Sennett 2008: 39

The requirement to write a series of three reports, starting with a general definition of craft, was a great way to help organize and purge some of the research data previously collected. Through reading various books and discussing it with classmates we all got a clearer understanding of craft, beyond the romantic imagery. These reports also added the translation of the general studio theme to my specific project. This early stage of the project led to the first thesis question: “How can architecture help reinvigorate wood craftsmanship?”

We were aided in the formulation of our own project through implementing various supplementary assignments. First was the craftsman video that aided in getting straight to the detail and the material implications. In my case, I went to Reuthe to film a carpentry workshop that specialized in prefabricating walls or whole modules into a fully integrated package to improve quality and construction speed. Not only was it great to see their way of working but also their thinking when talking to Mattias Kaufmann, and hearing how he still considers this method completely “hand-werk” or craft-like, and a natural progression from the way his grandfather worked. Discussing how to future- proof craft while watching a tradesman caulk the wood window frame for the triple-pane glass in the small village of Reuthe is another example how this project continued to simultaneously work through the scales and address social and technological/material issues.

Another key moment that helped me confidently progress my project was the scenario assignment. Here we were assigned to pitch two or three narratives or “scenarios” that would set the bases of our thesis project. As I am often only confident to move forward knowing other options are tested and proved less desirable, this assignment was ideal for me. Also seeing other project proposals and the feedback widened my perception of what a thesis project could entail. This point in the year I characterize with quick confident decision making that helped move my project forward.

While formulating this project and building the narrative, I saw reoccurring segments of collecting information, making observations, and reading, followed with checkpoint moments of organization to understand and clarify my narrative, a constant pulse of unrestricted exploration and romantic dreaming, and purging and sequencing. This process of purging and sequencing was, for me, equally as important as data gathering. After the site and program was determined, a second thesis question was stated: “How can architecture improve the relationship between live,work, and make in an public urban space?”

It was clear from the offset that this project would operate on, and address various scales in both research and design. This gave many various influences early in the formulation stage. Although this assured a more holistic project, it

did create an abundance of design wishes, my basket was too full. Not only The requirement to write a series of three reports, starting with a general were there many aspirations but also it was unclear which to act upon and definition of craft, was a great way to help organize and purge some of the even how to present the research. I believe this is also a critic of how the research data previously collected. Through reading various books and studio was organized as the translation from research and project formulation discussing it with classmates we all got a clearer understanding of craft, to design was abrupt and unguided. In fact, although I was pleased with my beyond the romantic imagery. These reports also added the translation of the research narrative at P2, the translation to an urban typology was the weakest general studio theme to my specific project. This early stage of the project led point. So weak that I abandoned it completely moving forward. It would have to the first thesis question: helped me greatly to understand better how to organize this basket of design “How can architecture help reinvigorate wood craftsmanship?” aspirations to become a toolbox for my design.

We were aided in the formulation of our own project through implementing After P2 I continued to explore different typologies and massing in a “trail and various supplementary assignments. First was the craftsman video that aided error” manner. Although so many versions were discarded, I collected aspects in getting straight to the detail and the material implications. In my case, I of most versions that found a place in my current plan. Understanding the went to Reuthe to film a carpentry workshop that specialized in prefabricating special relationship between the individual residential unit and the urban walls or whole modules into a fully integrated package to improve quality and massing was developed slowly. Rather than isolating each design decision, construction speed. Not only was it great to see their way of working but also and tackling them one by one I continued to test and tweak until the perfect their thinking when talking to Mattias Kaufmann, and hearing how he still form found its place. Once excited about the urban framework, things sped up considers this method completely “hand-werk” or craft-like, and a natural quickly and were solidified. progression from the way his grandfather worked. Discussing how to future- proof craft while watching a tradesman caulk the wood window frame for the triple-pane glass in the small village of Reuthe is another example how this project continued to simultaneously work through the scales and address social and technological/material issues.

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2.1 WOOD

2.1.1 A BRIEF HISTORY The story behind wood and its usage in the construction history is one of more tremulous and arguably the longest of any building material. Wood predates in stone as a building material, used to built primitive teepees on the North America plains, Kanak huts in new Caledonia or Mycenaean wood columns in Greece. We narrow our scope to Europe and see new techniques develop like the solid wood walls of the Russian loghouses, to the infilling technique of England’s half-timbered buildings, and then how Norwegian Vikings brought these building styles home and engineered some of the tallest wood building to date, the stave church. In forested areas, wood had always been a logical building material as it was light enough to be handled and strong enough to build strong building. Carpenters passed down knowledge and traditions down through the generations and each region developed their own formal expression. Wood was the starting point for every building project and was valued above all other trades.14

However, for a period of more than a hundred years, construction practices retreated from using wood, due to massive city fires and deforestation. Where forest once covered over 90% of central Europe, by the 19th century this amount had shrunk to around 10%15. Through industrialization and new construction methods, metal’s and concrete were able to get refined to a point where they could reach heights never imaginable in wood, creating much denser urban cores. Industrialization was followed by modernism, a style promoting the objective and hygienic lines of glass, steel and concrete.

However, as pressures for more sustainable building practices and materials persist, people are again looking at wood to build cities. Through research and development, new technologies have emerged that can meet the needs of today’s design norms while surpassing the safety standards of other materials. This has led to a return of the material with sustainable benefits rather than nostalgic memories persuading people to turn to wood. Wood is the only commonly-known, building material that is grown free, renewable and also sequesters carbon. The two biggest solutions to climate change are to reduce our emissions and find carbon storage, and wood does both of those things. The engineering behind the material is already done when the tree is fallen, melting at 1700o C not required. Every tree, designed by nature, is different, meaning that new buildings in wood have modern, sleek lines with unique and

14 Mayo 2015: 4. 15 Mayo 2015: 4. Read “Introduction: a story of building with wood” (pg. 3-6) for more detail of the decline and resurgence of wood as a building material

characteristic textures and details. Unfortunately, rather than gaining inspiration and knowledge from past master-builders, designers have simply continued with modernist styles that were designed in concrete, masonry or steel. Norway, to me, suffers from this greatest as it has, arguably the richest history and most successful applications of wood in the world. However, new projects in Norway, especially those in the western province of Rogaland, take little to no cues or inspiration from its traditional architecture. Techniques and aesthetics that took centuries to meticulously and blood-stakingly develop, were just tossed aside for eco-techno building with a #woodisgreen stamp on it.16

“By applying appropriate tools and techniques to a good piece of timber, a woodworker’s imagination is limited only by the nature of his material – a material that often seems to have a life of its own”17

2.1.2 CRAFTSMANSHIP OF CARPENTRY Growing up and submersing myself in the beauty and tranquility of the mountainous region of British Columbia has given me an intimate relationship with forests. It is a vital part of our ecosystem, absorbing the sun’s energy and carbon and then emitting oxygen to continue the earth’s natural cycle. Using the free, simple ingredients of rain, nutrients and photosynthesis a tree can grow over 100 meters tall. The most different production of the material is done naturally. When using wood in our buildings we are harnessing earth’s natural ability to house us, giving mother natures her fingerprints in our buildings. This relationship between the forest and timber building was the basis for my fascination with wood building and the material itself.

Working with the material itself can be as serene as walking through a forest after a rainfall. Perhaps it is the various smells of different wood species as you sift through the pile to find the right piece. Or once you have the piece, it is the process of planning, cutting, and routering the piece so it marries perfectly with its soon-to-be neighbour. Then feeling the edges, to check for sharp points until a splinter catches your finger, telling you there is more work to be done. And throughout this process you create something, slowly, piece-by- piece, adding affordance and beauty in every initiative decision. Sometimes, after working hours, even days, on a piece, it breaks and is unusable. Pain of losing valuable man-hours becomes engraved in one’s memory and the action that caused the damage will never be repeated again. Bit-by-bit experience is built up from making mistakes and observing a master until wood’s reaction to

16 Zwerger 2012, Mayo 2015: 101-136, furthermore, simply browse architecture websites to get a quick categorical overview of contemporary wood project. Most painfull to see is Reiuf Ramstad Arkitekter’s Gehry-like Community Church Knarvik getting coined as the “modern stave church.” 17 Holan 1990: 147.

time, pressures or machines can be fully predicted. The connection between head, hand and material becomes ever closer, creating a dialogue between creator and creation.

There are two major characteristics of wood that makes it very different to any other major building material. The first that is that every piece is completely unique and even carries its own story in the rings of the trunk, records of a particular fertile season can be seen on a thicker ring in the trunk, while a harsh wind storm can leave its mark on twisted and spliced branches. Not to mention the general variety from forest to forest and the even greater difference between species. Secondly and more importantly, wood inherently contains the molecular structure to resist tensile and compressive forces. The complex organization of hollow fibers has already been finely arranged in successive rings to form a simple and efficient form with a complex makeup, all without human intervention. The complexities of the interwoven fibers and inconsistent densities become understood, even predictable when working extensively with the material.

Wood is dynamic, even after the tree is fallen, the material can splice and crack, warp and crown, and decolour. It is clear that wood has a natural embodied energy when working with it, but this is also energy for fire, termites and rot. The splicing, twisting and resinous bleeding of cut timber will only be limited after endlessly cutting and/or processing logs and making mistakes. Additionally, learning to cut without binding the blade, calculating the angle of a bevel at a 3-piont connection, or knowing how cherry wood will react to rain and sun are examples of the wide array of experience that is gained when working and observing the material. Knowledge gained of the material, traditionally by apprentices, is a long journey, as it in not something that can be so easily quantified and described.18

Not only does the apprentice have to learn the tectonics of the wood, from fibre to forest, but also how to use it once processed. Wood only gains utility and affordance through a respectful intervention of an experienced craftsman. The learning process does not only include observing and studying the mechanics of a master’s skills, but to go past the physical into the metaphysical to truly understand how, and more importantly, why he works. For a craftsman, unlike the functionalist, will ask why. We cannot understand why one would over-perfect, over-engineer, or over-insulate if we just look, and we must learn the culture, motivation and psyche behind the craft to understand the craft itself.

18 Zwerger 2012: 10.

time, pressures or machines can be fully predicted. The connection between head, hand and material becomes ever closer, creating a dialogue between 2.1.3 SUSTAINABILITY AND WOOD creator and creation. The building industry accounts for almost half of our energy uses and greenhouse gas emissions.19 Also, because the growing population is There are two major characteristics of wood that makes it very different to any migrating to cities, 1 billion people will need a new home in the next two other major building material. The first that is that every piece is completely decades, making the question of how we are going to house people ever unique and even carries its own story in the rings of the trunk, records of a more pressing.20 Right now the materials of chose to build these city particular fertile season can be seen on a thicker ring in the trunk, while a buildings are steel and concrete. They take both a tremendous amount of harsh wind storm can leave its mark on twisted and spliced branches. Not to energy and emit even more emission to produce, transport and construct. Not mention the general variety from forest to forest and the even greater to mention the dangers it puts workers in when, for example inhale poisonous difference between species. Secondly and more importantly, wood inherently concrete dust, or look at blindly weld torch. However, wood is the only contains the molecular structure to resist tensile and compressive forces. The commonly-known, building material that is grown free, renewable and also complex organization of hollow fibers has already been finely arranged in sequesters carbon. The two biggest solutions to climate change are to reduce successive rings to form a simple and efficient form with a complex makeup, our emissions and find carbon storage, and wood does both of those things. all without human intervention. The complexities of the interwoven fibers and The earth can actually grow our buildings, just like it grows our food. Fast- inconsistent densities become understood, even predictable when working growing, young forests rapidly absorb carbon and release oxygen. While on extensively with the material. the other hand, old forests release their stored carbon slowly as they decay or rapidly burn through wildfire.21 To promote the sustainable forestry carbon Wood is dynamic, even after the tree is fallen, the material can splice and cycle, these young trees should be harvested and replanted with a healthy crack, warp and crown, and decolour. It is clear that wood has a natural sapling. Research and development has revealed ways in how we can still use embodied energy when working with it, but this is also energy for fire, termites smaller logs to produce larger and stronger elements. Engineered wood and rot. The splicing, twisting and resinous bleeding of cut timber will only be products glue small members together to produce large building elements limited after endlessly cutting and/or processing logs and making mistakes. that are competitive to concrete and steel, while using much less energy and Additionally, learning to cut without binding the blade, calculating the angle of pollution to produce. These products include mass panels like CLT (cross- a bevel at a 3-piont connection, or knowing how cherry wood will react to rain laminated timber) or LVL (laminated veneer lumber) and beams like glulam, and sun are examples of the wide array of experience that is gained when microlam or LVL. During their lifetime, they continually store carbon until it is working and observing the material. Knowledge gained of the material, used for bioenergy, making the entire cycle carbon neutral. History shows, that traditionally by apprentices, is a long journey, as it in not something that can the biggest drawbacks of using wood to build our cities is fire and 18 deforestation, and both of these issues are solved when using mass timber be so easily quantified and described. 22 23 panels created from certified wood. Not only does the apprentice have to learn the tectonics of the wood, from fibre to forest, but also how to use it once processed. Wood only gains utility I believe that wood is the most technologically advanced and affordance through a respectful intervention of an experienced craftsman. material I can build with. It just happens to be that Mother The learning process does not only include observing and studying the Nature holds the patent, and we don't really feel comfortable mechanics of a master’s skills, but to go past the physical into the metaphysical to truly understand how, and more importantly, why he works. 19 www.architecture2030.org, Specifically the building sector consumes %47.6 of For a craftsman, unlike the functionalist, will ask why. We cannot understand energy produced and 44.6% of CO2 emissions in United States. Data is sourced why one would over-perfect, over-engineer, or over-insulate if we just look, from U.S, Energy Information Administration. 20 and we must learn the culture, motivation and psyche behind the craft to Green 2013: 2:30. 21 Mayo 2015: 7-10 (Forests, forestry, and carbon). understand the craft itself. 22 Mass timber panels are comparable to using a large log on a bonfire. It needs a large amount of heat and flame to make to burn and when it does it can burn very predictably. 23 Certified wood is made from forest that are certified by one of the 50 recognized forest-certification programs world-wide, with the two most well known being FSC and PEFC. The basic requirement for these programs, amoung other things are protection of biodiversity, species at risk and wildlife habitat; sustainable harvest levels; protection of water quality; and prompt 18 Zwerger 2012: 10. regeneration (e.g., replanting and reforestation).

with it. But that's the way it should be, nature's fingerprints in the built environment.24 -Micheal Green

2.1.4 AUSTRIA’S TIMBER INDUSTRY Austria is one of the first countries that comes to mind when talking timber construction. Most known are the chalets in the secluded alp region but today is known for being one of the first to mass produce engineered wood products. These products, like CNC panels, Glulam beams or even whole prefabricated houses, have been shipped from Austria all around the world for decades, including the Netherlands. There is no city that stands as a clear center of this movement but the western provinces or Vorarlberg, North Tirol and East Tirol, have the highest concentration of wood manufactures and the strongest culture of wood craft.

Austria, along-side Germany, developed the first CLT panels about two decades ago. CLT has boomed since the 90’s and spread globally and today Austria is the world leader in CLT production, producing 375,000m3 or 60% of the DACH-region. However, today companies in Austria are suffering from a decrease in exports. This is because their biggest clients, like America, Japan, and United Kingdom have started manufacturing their own panels. Although Austria produces them at a lower cost, the transportation premium makes the local company more economical. Unlike Germany, Austria’s timber industry relies on export. Furthermore, most of it’s export is value-added lumber, meaning lumber that has been altered to be stronger, longer, and/or more stable than rough-cut logs. As a result, it more closely follows the economic wave of its neighbors. For example, because southern European countries are recovering from a painful recession, more expensive engineered wood products, like glulam and CLT, have declined.

This value-added product, CLT, hasn’t changed at all since it was invented. This is similar to the glulam industry, which also hasn’t seen much major reinvention since it came to market. Now the knowledge of how to make a glulam beam has spread around the world and it is economically produced globally. So, although it is a “value-added” lumber product is does not have great profit margin and is not a large export product anymore. In order for Austria to stay ahead of the trend they have to invent a new product.

Dieter Kainz from Stora-Enso Timber argues and says to “embark on a new path or wait until you are unable to maneuver”. He says that this new “value- added” timber product should be a smart mass-timber panel, CLT 2.0 if you will. It should become lighter and more user-friendly, perhaps through universal connection systems and optimized coordination of planning and production he says. The application must also go beyond pure timber construction so that any construction company can use it. The Austrian

24 Green 2013: 11:05

carpentery/engineering community has a lot of innovation potential and there is a demand for higher-priced products. The current market contains highly integrated products, like Kauffmann Zimmerei in Reuthe and it adds a great deal of value to the product. One market is the storm disaster response, with cheap quick homes that can be shipped to another country.

Harald Berchtold from Berchtold Zimmerei talked about how a particularly intricate detail on a house triggered an investment into new machinery. The house in Ebnit, Bregenzerwald is cladded in horizontal larch boards that protrude at the corners. Also, the ship-ladder stairs that access attic required complex connections. This, and along with a few other dovetail details, is the reason that he bought the 6-axis CNC machine from Hundeggar. Interestingly, he wasn’t happy with the how it defected in the middle, resulting in a mere 1mm error. Nonetheless the equipment manufacturers tweaked the machine to reduce this deflected so that Berchtold could finish the mitter joints on the deck perfectly. The added-value of the house was clearly achieved with architectonics of the house, inside and out, which wasn’t possible without this machine. This goes to the influence that a design can have on the timber industry. Carpenters in the Bregenzerwald, like Berchtold, want to improve their faculties and widen there capabilities. Projects like this allows companies to make that leap to a new, faster, more-precise way of working. This desire to improve on quality is at the core of what craftsmanship is. The timber industry in Austria clearly leans heavily on one product, CLT. However, by designing beautiful, original details, carpenters will get the chance to try something new and even expand or upgrade the facility.

2.2 PRODUCTION PLACES Over the course of the 20th century, the Industrial area has gotten pushed out of the cities for reasons of logistics and pollution. Cities want to improve hygiene and noise pollution at the same time that factories needed to improve efficiently to stay competitive. As individual businesses grew and strived for new level of efficiently they willingly left the cities. Furthermore, businesses have become international, with transportation becoming increasingly important.

During Modernism, the factory became driven not by aesthetics but by efficiency and functionality. The factories exterior represented what happened inside and it became a symbol for the modernism movement, it was a new typology. A common example here was the Fiat factory with its test track on the roof of the factory, a building as a breathing machine. Another example is Le Corbusier‘s factory with its large open windows which made work much more comfortable for the employees. Architects became interested in factories as they were an ideal testing ground of the light space and air aesthetic that came with modernist buildings. Van Nelle Factory in Rotterdam is a great example of this and is also an icon of functionalist architecture. Ever

design decision from the conveyor belt bridges to the electrical channels case in the concrete screamed efficient work flow, form followed function. Only a decade after the Van Nelle Factory was built, Rotterdam was repairing it heartless city and turned to modernism to create the framework. Each function was placed in a different area with beautiful wide boulevards connecting everything. In fact, Rotterdam got built from the influence of the same man that commissioned Van Nelle, Cees Van Der Leeuw. This new trend of functionist urbanism segregated and labeled each building to a function rather then letting various building types bleed into each other. Therefore, factories lost its urban face and retail lost its connection to production space, which was also isolated from residential areas. Perhaps functionalism can be credited to building money-making, hygienic factories but it was a damaged the vibrancy and diversity of cities. The Garment District in New York was similarity segregated from the other function of the city. In the this case, the factories, because of its dirty and noisy image were sent to occupy big warehouse buildings working 24/7 under florescent lights.

Production work has changed as technologies are advancing. The trend is now going from mass-production to just-in-time mas-customization with the aid of CNC milling and CAD robots. Now the production is becoming interesting and companies like Volkswagen are capitalizing with the introduction of the transparent factory in Dresden. Here the factory becomes public with community facilities and tours of the production line. At the end you can customize a car for yourself and you can drive it out of the factory. People are getting more interested in how their products are being made. VW’s factories isn’t alone as Zaha Hadid’s renovation to the BMW factory also puts things on display, as the Philipp Stark’s Knife factory. The relationship between visitor and production is best shown in Diego Rivera’s art where he shows people seeing the assembly line by Henry Ford for the first time. He investigated the relationship between the visitors and the workers. People are interested to see authenticity within the factory. People want to go behind the scenes and they want to know how the products they consume are produced. This led to the Industrial Hybrid which included the Factory as a Showroom. As we know it is much more entertaining if you buy a product that you have seen being made. This is similar to the idea of today‘s bistros and restaurants and the fact that they cook in front of you. It is also prevalent in the beer industry, where it has become trendy to buy or drink beer directly next to where it is made, in so-called brewpubs. Another example that is now possible with the development of technology is to use 3D printing in the immediate just-in-time production and retail. The Normal Store in New York uses this technology to produce earphones that fit the customers perfectly. This is an example of a showroom as a production space and a retail space as a production space.

Through mixed-use city centers new community space and new maker spaces can be introduced more easily. The factory‘s future possibly lies in makerspaces such as in London with its co-working spaces and sharing

communities. The Tech-Shop in San Francisco and HSSMI in London are both co-working community spaces where people can use tools and equipment by renting space on a daily or weekly basis. By sharing printers, a secretary, and meeting rooms, small start-up cmpanies are able to greatly reduce the initial first cost while still have access to many of the things they need. Furthermore, it allows for cross-pollination between various companies, people and ideas.

Shift in technology has allowed production to be cleaner and for many business require less space. This means that a large amount of manufacturing can be returned to the city center. The city is vibrant and the collision between public and production sparks creativity. The process of manufacturing companies to return to the center is also a re-branding process. In many cases companies that move all or a portion of that production to denser urban fabric add a public face to the name. This can be seen in Antwerp with the Diamond District. The workshop or factory should not be closed off from the street but transparent and showcase the wonders of making. As a sort of factory museum, this future-proof, urban factory should invite public in and tell it’s valuable story. Especially as the story of how something is produced is forgotten or ignored as it often comes from distant countries. Moreover the public, urban factory can educate through short-term workshops, and give tours for visitors. Many factories do give tours, like wineries or even the Volkswagen factory in Dresden, but are typically far from an urban center.

-L- 3.1 VORARLBERG Vorarlberg is Austria’s western most province and is one of the wealthiest areas in Europe, in monetary, knowledge and resource. To the west, the Rhine River flows through a wide valley into Lake Constance. This valley plays host to the bigger cities in Vorarlberg, including Dornbirn and the capital Bregenz, and acts as a main artery through the Alps. Above the flat river delta is the Bregenzerwald, a wooded and hilly plateau where the inhabitants live much like the ancestors before them lived. This means more appreciation of the land they occupy, making the most of the resources that they have, harvesting only what is required. Today, Vorarlberg is the most heavily industrialized region in Austria, but it produces with the lowest energy consumption.25 This is thanks to hydropower feeding 80% of all electric demand, using biomass boilers for over a quarter of heating needs, and adopting passive haus standards as the basis for new housing projects. 26

3.1.1 CRAFT CULTURE Culture is very important to the people of Bregenzerwald. They are actively retaining and holding on to the things that make them stand out from the rest of the Alp regions and the world. In a way, they are pushing away international culture, in everything from consumerism to fashion and culinary. Driving through the windy roads, between chalets and cows, it is not uncommon to see a tall, plump man blowing an Alphorn during a small village event and ladies walking around in a Bregenzerwald Juppe.

Much of the alpine culture is unchanged since the medieval period when skills guaranteed survival. Especially in the isolated alpine valleys where the people relied on each other’s skills to make it through another winter. Vorarlberg is essentially a series of, until recently, isolated valley. Each valley developed and retained their own festivals, construction systems and rituals. The agricultural traditional of the Almatrieb or wearing the Juppe on Sunday are examples of how the people in the Vorarlberg valley still operate similar to how there ancestors did. Rather than creating social hierarchy through wealth and job occupation, the locals respect each other equally, from doctor to plumbing as each member of the community plays an important role.

Seclusion from other cultures developed strong traditions of carpentry, woodcarving, baking, pastry-making, and cheese-making. Vorarlberg has remained a wealthy and healthy region because of its natural resources but also through its consumer culture. In most of the western culture, the demand is for cheap products with a short lifespan. When that product is worn out, it is thrown and quickly replicated by an updated version of the previous product. Therefore, repairs are superfluous and long-term accountability of a product is

25 Dangel 2009: 12 26 Gross 2013: 2; energieautonomie-vorarlberg.at

virtually non-existent. Consumption in Vorarlberg, has kept quality over quantity, as it has for centuries. The craftsmen of Vorarlberg continue to best meet the demand of its people and thus, the money stays in the region. This means materiality before size, wall thickness before floor area. Furthermore, people of Vorarlberg are modest and honest, and again the products mirror this with clean and simple lines instead of catchy forms, and gimmicky features.

The Juppenwerkstatt in Riefensberg still produces traditional Juppes for the ladies of Bregenzerwald. This workshop is embedded into a museum: taking a guided tour, visitors learn about the individual stages in beautifying the skirt, from achieving its shimmer to pleating. They are still custom-made to fit the individual wearer using the same process that they have been for the last few centuries. One of the most labor-intensive portions of making the dress was the pleating, and there is only one machine in the world that is used, and it is over a hundred years old. The Juppenwerkstatt is only a few years old and was formely the local Krone inn. The building is shared with a residence and the girl that grew up to be an orthopedic surgeon and lives just down the road. She prides herself with the craftsmanship of her house, that fact that it is almost energy neutral and that her chickens can sleep in a coop that is also adorned with photovoltaic panels. She also told me how Bregenzerwald isn’t the Austrian in a chocolate box that caters to tourists, that the culture here is “real”. She is not a designer, but yet she has great respect for good design and quality craftsmanship, as do most people in the area.

The most well known craft-related building and association in the Vorarlberg is the Werkraum Bregenzerwald. The building housing the main exhibition, a small store, and a café is centrally in the Bregenzerwald, in the town of Andelsbuch. The intent of the Werkraum is to concentrate the energies of local craftsmen and promote innovation while maintaining autonomy for each individual business. They achieve this by hosting events and competitions, like Handwek+Form, which calls on all members of the Werkraum every three years to submit an entry. This event has become one of the most popular events in Bregenzerwald. One of the member of the Werkraum is Markus Faißt. He runs, through his workshop, events and classes so that you can experience, up-close, the process of how log becomes lumber and then becomes a useful, beautiful piece of furniture or art. His works, whether it is for dining, living or sleeping travel around Bregenzerwald and abroad. On one end of the spectrum is CREE, which developed a proprietary, prefabricated and hybrid building system that is material and space efficient, focused on integrating all the services in the design but was less affordable for most market-level projects. Both companies display, what I believe is, the essence of craftsmanship, tectonic and creative product making to meet the needs of our society. In this case the craftsman were inspired by a very well know material in Vorarlberg, wood.

3.1.2 WOOD ARCHITECTURE Vorarlberg and its story with the use of wood is one that is unique in Europe and perhaps the world. In its goal to stay regional and sustainable, craftsman, master builders and architects have turned to wood, time and time again, to answer so many pressing questions. A locally sourced, and locally worked material utilized to build everything from barns and museums to kitchen cabinets and solid wood doors. Every part of the log is used, starting from large elements for buildings and the smaller elements for furniture or laminated to create larger engineered timber products. Cut-offs, bark and sawdust are brought to one of the many wood boilers, to heat its respective community. But exploiting its intrinsic qualities is just one reason why so many in Vorarlberg have devoted themselves to this special material with heart and hand. From sustainable protection of nature to a unique style of living and a delight to the senses, wood eases the burden on the environment and the day-to-day.

In the building traditions of other countries it may be stone masonry or hand- made tiles, but in Vorarlberg, that status is given to wood. The fact that wood is also durable and still looks great even after centuries has much to do with the care with which it is selected, felled, dried and worked - a care that has been handed down through the ages. Thus roofing tiles are made from water- repellent larch. All facades of the building silver fir, while Swiss pine is used for terrace floors and structural elements. When felling the wood, the phases of the moon play are every bit as important as the timing of what is felled when, and for what purpose. Wood acquired in winter, out of the growing season, is a naturally long-lasting wood for construction. By contrast, wood felled in summer when the moon is waxing is suitable for pile constructions in water, such as wooden jetties or boathouses. It may sound like a country saying, but this is knowledge confirmed empirically over centuries and now backed up by laboratory tests.

3.1.3 REINTERPRETED VERNACULAR Deeply rooted in the regions longstanding tradition in building craft, about four decades ago, architects, from the 3rd generation of the Vorarlberg Schule, started to establish a new regional language. A take on critical regionalism that was, on one side technical, cost-efficient, and functional and on the other, sensible and contextual. Contrary to what was happening in the rest of Europe, Vorarlberg built its new techniques and modern style on its past traditions, culture and vernacular architecture. In fact, Austrian architect Dietmar Steiner recalls that when he went to school in Vienna in the 70’s that his colleagues from Vorarlberg like Roland Gnaiger, Bruno Spagolla, and Markus Koch always did projects for there home region rather than Vienna or abroad, like all the other students were doing.27 Furthermore, that Vorarlberg architects were immune to the international debate about architectural theory.

27 Steiner 2015: 23

Just as the traditional architecture did, this new contextual expression explored the relationship between technology and ecology, while also between housing or client needs and the requirements of the industry. Designing with the intent of integrating structure, assembly, and function rather than superficial fashionable forms. As the newly-built projects mimic the old, which are now actively preserved, the landscape of Vorarlberg, and especially Bregenzerwald, has a beautiful juxtaposition that goes to show that it is possible to respect tradition while at the same time not rejecting contemporary life.

A Bregenzerwald house has always been something well respected in Austria, to the point that Austria even had it on their 100-schilling bank note. By keeping the same massing and form, the rhythm through today’s hamlets has remained the same. The new style is aesthetically characterized with a single- ridge roof and large punched windows with no ornamentation. But what has made this style famous in the architectural community is how ii beautifully marries the vernacular architecture with new technologies. For example, where houses were traditionally built with interlocking or “cogged” logs, new construction also utilizes the structural and insulation qualities of mass timber walls with CLT engineered panels. Not only has structural strategy and materiality, like silver fir cladding, been reinterpreted but also how the house is organized.

Houses in Vorarlberg were often built into the hillside, giving it two entrances at grade. The lower one access’ the workshop, storage spaces and/or stable for livestock, while the upper entrance goes to the living spaces. The kitchen, living room and dining room were on this floor. Cooking was done over a wood-fired oven, which simultaneously heated the space, and to help the heat spread throughout the house, walls and doors were minimally used. The sleeping quarters were always on the top floor, in separate rooms. Contemporary houses still follow this general separation of dwelling spaces. Today the central wood-fired space heater remains, but cooking now has its dedicated appliance. Another change is that the lowest floor house cars instead of horses or, if close to a village, a small store, instead of a workshop.

3.1.4 LIVE-WORK PROXIMITY As work is central in the culture of the Vorarlberg region it is natural that their place of residence is also closely linked to their place of work. Typically, the houses of the Alp region are detached from the stables or workshop as steeper hills didn’t allow for larger buildings. However, areas in Vorarlberg, like in the Bregenzerwald, show different tendencies. Here the traditional farmhouses were split, roughly in the middle, between work and live. Livestock occupied the Hinterhaus facing up the hill and the family took the Vorderhaus. Both sides of the house had a very different character, set of requirements and construction. The Hinterhaus was more filigree, semi-heated, and built of log/post-and-beam hybrid while the other was compartmentalized, darker because of the small windows, and constructed of Strickbau a form of log

construction. Over time, because of expanding businesses or families, many of these traditional homes have been renovated to contain office space in the Hinderhaus or additional bedrooms. The division of the spaces and the envelope remain mostly unchanged; showing the versatility of diverse uses under one roof.

In the Bregenzerwald, perhaps because of this live-work proximity, many of the companies are run by one person, in fact from the 1,930 places of work, more than half are one person companies (OPCs), of which, 51.3% are run by woman.28 This dates back many decades when woman would learn a handiwork, like felting, sewing, or kntting, to help bring a little more money into the family. In the 60’s and 70’s the “Fergger”, or middleman, would supply raw materials, picked up the finished products and even paid the workers. Today, however, “home-offices” sell directly to the customer, either through village markets, the Internet, or selling through a nearby store. These craftsman/craftswoman are also balancing the spreadsheet, branding the product, and ordering materials. Furthermore, the reason of work is no longer about bring in additional money during the quiet winter months but a means to express one’s creativity and feel self-fulfilled.

The downside to not having is a boss and a formal working environment is the loss of communication, a chit chat about the local events, but also getting inspirated from other peoples work. Woman used to work out of the local parlour, knitting, sewing and patching while socializing. Today this is less common and there is only one co-working space in the Bregenzerwald with only a few desks, more suitable for work done behind a computer. If the co- working model, which is a simple one based on sharing, is transfered to a making environment, it could bring many individual businesses together, as it traditionally was. In this environment, members could benefit from other ideas or support but also simply something to take their mind off of their work. Furthermore, this place could also provide a stronger voice to the public, a larger platform upon which to display your works to the city. However, for this model to prosper, it has to be flexible, affordable, and close to the residential quarters.

3.1.5 KAUFMANN ZIMMEREI Kaufmann Zimmerei is a carpentry workshop in the small town of Reuthe, Bregenzerwald. The company is a multi-generational business that has adapted traditional methods with new technologies and tools to meet today’s needs and remain “future proof”. It has been built up to become one of the biggest carpentry companies in the Bregenzerwald. One area that they have grown expertise in, and has also made them stand out from competition, is the extended level of prefabrication within the workshop.

28 Ritter 2015: 109

Because of the prefabrication, the workshop sees many different out-of-house trades come and co-ordination and communication are key to make the work flow smoothly. Speaking of communication, drawings are continuously used as a medium between the carpenters and the engineers and technologist upstairs. In a way, it was the nucleus of the complex choreography in the workshop. The offices where the engineers and managers work is only a few steps away, meaning that those employees, about six or a third of the whole working staff often came downstairs to observe the work progress or refresh their memory on, for example, a particularly tricky stair detail.

Matthias Kaufmann, an experienced carpenter, engineer and grandson of the founder explained not only the working environment but also the culture in the Bregenzerwald. Most importantly, is how Matthias still considers his companies work “craftfull”, although it has adopted the aid of computer-aided machines. Matthias’ grandfather was also an accomplished carpenter/builder and he would manually plane large logs into massive beams on the job site, sometimes in the rain. Today, they do it inside with machines, and instead of solid cut lumber they work with laminated beams and panels. The skill-set might have changed over the years but the essence is the same because the knowledge and respect of the material hasn’t changed. Both generations carried a wide array of skills and know-how that they where able to cater to the many needs of the client in an efficient manner. Ability to produce custom project at a high quality and an efficient manner has remained through the generations but in order for Kaufmann Zimmerei to stay relevant and competitive, they have adopted and developed new techniques and use more mechanized, time-saving equipment.

Around the Bregnezerwald, there are multiple workshops like Kaufmann, trying to progress the industry for the love and advancement of the material. They do all vary, however, in there size, capabilities, and levels of prefabrication. For example, Sohm HolzBautecnik is more geared to producing engineered wood products, like CLT panels. They have also developed a proprietary product called Diagonal-Dowel Timber, a unique all-wood connection between solid timber panels. Another, Markus Faißt Holz Werkstatt has an educational portion alongside the workshop.

Bregenzerwald isn’t romantic when it comes to working with wood. It is actually very hard to imagine carpenters from Bregenzerwald smelling or even being emotional with their own wood products. It is simply the most logical product for the area as there are enough trees to sustain the local population, the carpenters know the trade and it insulates the building the best. There are of course many other pragmatic reasons why people so readily turn to wood to make their house, furniture or products. Through its extensive use, the craft of wood, or any craft, has become a deep part of the culture. The fascination and optomision from viewing Kaufmann Zimmerei’s workshop, driving through the culture-rich landscape of Brengerzerwald, and learning about the vernacular architecture of this region is to become the bases of this thesis.

3.2 BREGENZ Interestingly, there is a fairly stark contrast between life in and make-up of the city and the rural/suburban areas. This is firstly evident in the material palette of the buildings lining the streets. In the city it is predominantly stone and stucco cladding with wood detailing and when you leave the city it is almost always wood cladding. Secondly, there is also a difference in the way the people show their culture. In the cities it is large festivals, like the Bregenzer Festspiele or art museums showcasing international artwork. Where as in more rural areas like the Bregenzerwald, culture is showcased where it happens, like in the case of Juppenwerkstatt, where visitors can see something being made that will actually be used. Thirdly, people from the Bregenzerwald or other rural areas of Vorarlberg work very close or even underneath where they live. Actually, in most cases people do work under the same roof as they eat and sleep.29 People from Dornbirn and Bregenz are more likely to travel to or from the city for their office-bound job. Lastly, there is also separation in the way that way that people interact with their neighbors. In the city, although people live close together there isn’t a strong bond while in the rural areas each small town or hamlet grow close together, almost dependent on each other.

At the mouth of the rhine river, right where it flows into Lake Constance, is the capital of Vorarlberg. Bregenz, in its dense city heart and the open shores, hosts numerous cultural facilities like museums, art galleries and vocational schools. In the center of the city is the “cultural mile” where multiple museums and concert halls are lined up next to each other. In the summer, Bregenz hosts the province’s biggest festival, called the Bregenzer Festspiele, on the water of the lake with a floating stage. The city pivots between Austria and its neighboring countries, Switzerland and Germany, and it is often the first sight of Austria when traveling from the west. As the capital of the province it also tries to give a taste of what you could expect beyond the city borders with, for example, the lift to Pfänder Mountain giving 360 views of the surrounding landscape. However, the biggest thing that Bregenz fails to show visitors is the unique craft culture in the province. Brochures, websites and tourist offices of Vorarlberg all talk about the exemplar architectural building around the province, but yet the capital has nothing to show for it. Bregenz has both no vernacular-inspired wood buildings like in suburban or rural areas of the province and doesn’t showcase the province’s craft through museum or other programs. This is really a shame as more people are becoming curious about authentic and local production but don’t have time to visit the Werkraum in Andelsbuch.

29 Ritter 2015: 109

-M-

4.1 MAKING CRAFTSMANSHIP VISIBLE Viewing the vibrant craft culture in the Bregenzerwald is exciting and brings optimism for our consumerist future. The intention of this thesis project is to bring this excitement to the city in Vorarlberg that has the highest traffic of visitors and currently has an absence of craft culture, Bregenz. The excitement of the regional craft culture and craft expertise will be brought to the city of Bregenz in two ways. Firstly, showcasing Bregenzerwald craft culture through the contents of the building. The program itself will appeal to the conscientious consumer interested in learning where his or her Austrian products might come from. Furthermore, displaying how craft is an integrated part of society in Vorarlberg. Secondly, a building that showcases regional wood craftsmanship through the architectonics of the building itself. Being as the city is built with predominantly stone and concrete, a wood building having exposed and honest detailing will speak for itself. In summary both the shell and the inside of the building play an equally vital role in telling the story.

4.1.1 PRODUCTION AS A STORY At first, it seems the most logical way to exhibit the culture of craft of the Bregenzerwald is through an exhibition space. Similar to how the Werkraum in Andelsbuch display’s works of local craftsman. But something that the Werkraum misses is the story behind the product, which is the most intriguing, especially for someone visiting Vorarlberg for the first time. Furthermore, this is not along the lines of Austrian culture, which is one that believes in learning from doing. If the project is to showcase the culture of craft in Bregenzerwald it should do so along their terms, in an integrated, “real” way.

Nina Rappaport, an Americian architectural critic from New York, makes a plea for bringing places of production back into the city where it once was. However the workshop or factory should not be closed off from the street but transparent and showcase the wonders of making. As a sort of factory museum, this future-proof, urban factory should invite public in and tell it’s valuable story. Especially as the story of how something is produced is forgotten or ignored as it often comes from distant countries. This is not to far off from what is happening to the beer industry where it has become trendy to buy or drink beer directly next to where it is made, in so-called brewpubs. Moreover the public, urban factory can educate through short-term workshops, and give tours for visitors. Many factories do give tours, like wineries or even the Volkswagen factory in Dresden, but are typically far from an urban center. This approach, of telling the story in the place of production, is ideal for Bregenz. Therefore the program wouldn’t be dissemination, education or production, but actually dissemination through production. That is to say that the culture of Bregenzerwald will but shown with the workshop spaces.

4.1.2 ARCHITECTONICS AS A STORY It should be noted, this project does not simulate Bregenzerwald culture in the city of Bregenz but rather creates something that is new, taking influence from the Bregenzerwald and other rural/suburban areas in Vorarlberg. Therefore, the neighborhood design has to respect and respond to the existing urban context, in it’s typological response and massing. Furthermore, to understand spatial requirements of the transit hub adjacent to the site. With that being said, this project intends to shift the paradigm of construction and program in an urban context. To stand out a little, respectfully, from the other stone and stucco-clad buildings around it will only aid this intent. The project reinterprets vernacular and contemporary architecture of the Bregenzerwald, in terms of materiality, organization and composition. This is of course similar to what the current generation of Vorarlberg school has become famous for. The details and cladding are honest, with no veneers, finishes, or hidden supports and that beauty must be derived from nature and crafted by man, as inspired by John Ruskin.30 In this case the representation is very important as it represents the craftsmanship of the province.

The intervention with a craft building in a craft-rich region should be done respectfully. To showcase the craftsmanship of Vorarlberg in the capital that shares its own name is a difficult task, but there are a beautiful array of precedent project in Vorarlberg to help guide. It will be a piece of the city that reiterprets one of the richest craft cultures and reinterprets it in an urban setting.

4.2 THE SITE Bregenz has a dense but small center, which is completely built up. It ends abruptly, with suburban dwelling sprawling southward and eastward. The northwest edge of the city borders Lake Constance, which hosts many recreational events and activities, and the Bregenzer Festspiele. This border between recreational Lake Constance and the cultural city center is clearly drawn with the train tracks and the major access road going in and out of the city. On the southwestern fringe of the city, just before it turns to suburbia, is the main, outdated train station and regional bus terminal. Adjacent to the site of the train station is a massive parking lot, which, in turn, is the entrance to the city for people coming via public transit.

Both, the transit hub site and the parking lot would be optimal locations for the proposed intervention as there is heavy foot traffic, from visitors, commuters and locals. Furthermore, the proximity to the train and bus station shortens travel time greatly for commuters or people wanting to visit from

30 Ruskin 1989: 28, 85

neighboring town. Also, the generous size and large adjacent roads provide easy access for large vehicles.

However, the City of Bregenz also sees potential in the site and started a two- stage masterplan design competition five years ago. The final, but rough framework was laid down by Dietrich | Untertrifaller Architekten, who won phase one of the competition. This essentially broke the massive area of the two sites into manageable portions. Design and construction would basically start on the parking lot side and work its way west to the train station and beyond. The parking lot site is to become a large shopping center with some accommodation on the periphery and will be called SeeStad. Across the road, the train station will be completely replaced and will be met with a large residential complex and an office tower.

City planner in Bregenz, Clemens Gössler, explains the struggles of satisfying the different parties when planning the project. There were actually many interesting proposals for cultural facilities, like a new provincial library or a new vocational school, on the sites but the investors unfortunately rejected it. There was also talk of constructing the 35 meter tall office building in a wood/concrete hybrid system developed by CREE but that was also too expensive. The current master plan has an asterisk written in the corner, as a finally plea, that any building anywhere on the site can combine, to any level, cultural facilities. It is clear that the site will really flourish with an infuse of cultural programming. This only goes to supports the original proposal of a culturally and publically minded workspace.

The portion of the site that has the greatest potential is the area directly west of the train station. On the master plan, it is proposed to be multi-family residential on a podium of parking and stores. As part of my intended program is live/work, it would not be too far from the intended user groups the city proposed. Looking at the intentions of this thesis, the urban context and the proposed master plan, this project will become a mixed-use neighborhood development and not solely one building. This piece of city will respond to the context but also take a position on where the future city should. More specifically, it will contain spaces to live, buy and make, focusing mainly on the two production typologies mentioned previous.

Adjacent to the large parking lot are two exemplar mixed-use perimeter blocks. These blocks have typically residential on the upper floor, but at times also hotel or offices. On the ground floor, on the perimeter is entrance to commercial space. The hollow block is publicly accessible, and provides a little isolated oasis from the busy city outside, but unfortunately houses mostly car parking. The more private interior also gives access to the residential apartments in the block. This is a great reference for typologies as there is a uniform language in the massing while each individual building still has a its on individual character. As Bregenz is a fairly small city, the suburban neighborhood is only a few steps from the very center. The unusual proximity

of the detached house gives influence on the future typology of this urban segment.

4.2 THE PROGRAM This project has several intended user groups that vary greatly. First are the craftsmen or inspiring craftsmen to rent space in the communal workshop. In general it is for a craftsman from the Rhine Valley or Bregenzerwald that wants full access to tools and machinery, in a more social atmosphere with baring the rest of the startup costs. These craftsman can also make use of the fact that the building is intended to be publicly visible and gain clients from visitors. A portion of the floor area will be dedicated to retail where every member craftsman can sell products. Perhaps it is a single-person company that wants more access to tools or clients, or a craftsman like Anna Strolz, who wants to balance making and selling. It could even be a small group of craftsman that aren’t sure how much they will expand over the coming years and want to remain flexible. The second intended user group is a tourist or visitor wanting to learn more about the craft and culture of the province. Furthermore, someone that is intrigued to learn about a sustainable model of consumerism. The conscientious buyer will feel very comfortable when they can see the products being made under the same roof as where it is sold. As one of the intentions of the project is to bring wood construction to the city, so therefore the intended user group is actually extended to the city of Bregenz at large.

4.4 IN SEARCH OF A NEW TYPOLOGY 4.4.1 FACTORY MEETS RESIDENTIAL BLOCK 4.4.2 RURAL HAMLET, URBANIFIED A hamlet is a group of houses smaller than a village, that is a collection of a few buildings without a central point, like a church or public house. Originally, it was an economic unit and, as such, was subject to rent, division of the estates amongst farmers resulted in several estates with their own houses. Farmers were economically independent but joint to other farmers with a hamlet act. There were wells and alpine-dairy cooperatives, and the common commercial area, the “Allmende”.

4.4.3 THE HILL, RESURFACED

simple gable form... built into hill...

parallel to neighbors... with access to nature + city...

-S- 5.1 THE VERNACULAR HOUSE In Vorarlberg the line between live and work is blurred or, at times, non excistent. The built form of the vernacular houses reflect this idea as well. Typically, the houses of the Alp region are detached from the stables or workshop as steeper hills didn’t allow for larger buildings. However, areas in Vorarlberg, like in the Bregenzerwald, show different tendencies. Here the traditional farmhouses were built as an Einhof, where spaces for work and daily life took place under the same roof.

5.1.1 TWO FACE The Vorarlberger Einhof was transparent in the sense that you could make out the organization of the dwelling from the exterior. The house is split, roughly in the middle, between work and live, created the Hinterhaus (backhouse) and Vorderhaus (fronthouse). Livestock or workshop occupied the Hinterhaus facing up the hill, the Maiensäß and the family took the Vorderhaus. Both sides of the house had a very different character, set of requirements and construction.

The Hinterhaus was more filigree, semi-heated, and built of log/post-and- beam hybrid. While farmers would house their cattle, carpenters would store their materials and have a small workshop, and today an entrepreneur uses it for their office. Due to large spans and a filigree construction, the space is able to adapt to a wide spectrum of programs. Today, as most herds have outgrown the small stables and the carpenter works at the nearby Zimmerei, the Hinterhaus reinvents itself to meet the needs of its owner. While maintaining the same structure and skin, the Hinterhaus becomes a garage, or a guest bedroom, or an indoor play area for the kids.

On the contrary, the Vorderhaus is functionally compartmentalized, darker due to the small punched windows, and constructed of Strickbau a form of log construction. The organization of the Vorderhaus is similar to a typical Austrian Flurküchenhaus, where heating comes from the central hall throw a wood-powered fireplace. On the other side of the wall, in the kitchen, the oven/stove also takes the heat from the fireplace. The family dines in the same place the food is prepared and entertain guests in the Gaden adjacent. Upstairs, underneath the roof rafter are the bedroom spaces.

5.1.2 WOOD As traditionally Vorarlberg was not an extremely prosperous region so they had to utilize local, inexpensive resources to construct their homes. Therefore, they turned to timber and their well-known craft in carpentry for not only the structure, but also the cladding, finishing and furniture of the house. Two opposing structural principles were used, mass log walls and column-and- beam. The Vorderhaus, with its compartmentalized rooms is built with the solid mass logs, notched and overlapping at the corners. This technique is Haus Höscheler in Doren

called Strickbau, which is a form of log construction less common in the rest of Austria, where the dovetail corner is more prevalent. The weight of the roof squeezes the logs together to make it airtight and the thickness creates ample insulation. The Hinterhaus is made with a framework of columns, beams and cross braces to support the roof above. The walls were originally not filled with any type of insulation, and only clad with vertical wood siding on all three sides. This was the cheapest and most straightforward cladding system. But the gable facing the street and the public, was clad in shingles.

5.1.3 THE “TENNE” The Tenne was the grade entrance to the Hinterhaus. Typically the floor was made up of hard-packed clay. It was the portion of the Hinterhaus that as the cows going in and out or the tractor, but also the place where grain could be threshed. Simply put, it acted as an interior courtyard in many senses, and the reason why these houses are called Einhof.

5.1.4 THE “FLURKÜCHE” What the tenne is to the Hinterhaus, the Flurküche is to the Vorderhaus. It is at first, the entrance to the dwelling, but equally the central heating. In Vorarlberg this hall goes across the building from eave to eave, making the entrance to the house on the side of the building. The evolution started with heating the house through fire, then introduction of the chimney to make the smoke leave while keeping the heat. Later, the fire was connected or transferred to a stove for making food. In the Bregenzerwald, the stove has been moved to the other side of the wall in the designated kitchen but other housing types in Vorarlberg have keep the stove in the hall. The hall also gives access to the floor above through a wooden staircase.

-XS- 6.1 FOUR VALLEYS, FOUR HOUSES Vorarlberg has traditionally always been quiet secluded, apart from the Rhine valley, from other areas in the Alps. This has created several distinctive regions, each with their own culture and story of origin. Furthermore, several of the valleys were settled or influenced by people outside Austria. Today each valley in Vorarlberg still prides themselves in their unique culture. This is evident in traditional dress, agricultural festivals, but also building technique and aesthetics. The four valleys are the Rheintal, Montafontal, Kleinwalsertal, and Bregenzerwald.

6.1.1 BREGENZERWALDERHAUS AND THE SHOPF The Bregenzerwalderhaus or simply Wälderhaus is the most well-known of the 4 house types. It is a building form that is also highly respected around Austria and was even portrayed on the 100 schillings bank note! The Wälderhaus is an examplar Einhof with the stables or workshop being always connected to the living quarters with a Tenne. As the Bregenzerwald has a strong culture of both Carpentry and agriculture (mainly cattle), the formerly described Hinterhaus was mostly either a workshop, called Wirtschaftstrakt, or the stables and hayloft. The building is very wide and long but only 2 or 3 stories high. Roof slope was 20˚ (+/- only 2˚) with larger overhangs on the eaves and living gable. Although not particularly striking or containing many unique features, the Bregenzerwald house gained its fame through modern quality craftsmanship and durability. There was one feature, however, that the Bregenzerwalder house was well known for, the Schopf. The Schopf was veranda located on the south-east corner of the house. It contained built in furniture and the could be closed off from wind and rain in the winter with shutters. Therefore it could be used throughout the year as a semi-outdoor living space. As Bregenzerwalderhauses were built at a time when the people were poor and only built modest houses, meeting the basic needs of the family, a Schopf was something of an addition to not only the house, but also to the family.

6.1.2 MONTAFONHAUS AND THE GIPSWAD

6.1.3 RHEINTALHAUS AND THE KLEBACHER

6.1.4 WALSERHAUS AND THE STÄNDERBALKEN The Walserhaus from the Little Walser Valley in most unlike the other three V orarlberg house types as it takes direct origin from the Canton of Valais, Switzerland. The Walser people settled in this small valley several centuries ago, bringing with them their distinct building style. This valley is blocked from the rest of Vorarlberg, having access only through Germany so the both the

technique and aesthetic never cross-pollinated with the rest of Vorarlberg or Austria.

Being as the Little Walser Valley is much steeper, the Walserhaus only contains dwelling quarters, with the stables or workshop detached. Furthermore, these house were much more narrow and taller making the gables approximatly 1:1 in proportion. Another major difference is that each facade was absent of any cladding. Walls were made thicker, or with two layers/rows and the roof overhang was substantial so that primary load bearing structure could remain exposed. The structure was always made of a log construction technique called strickbau. Logs are squared, so they lay flat on one another and at the corner are notched and extended past the exterior wall face, called Gwätt. At times interior walls also protrude past the exterior wall and are either simply notched or are keyed and connected to another of its kind. The vertical beam detail is something that is very unique but is never translated to a modern building.

Vorarlberg has four characteristic houses from different regions that each has certain elements that make them unique. The four houses are Rheintalhaus, Walserhaus, (Bregenzer)walderhaus and Montafonerhaus. One architectural feature is taken from each house: Klebedächer skirt roof, the Schopf porch, and the whitewashed foundation walls and the dormer and applied throughout the project. The project also has four different types, the office tower, the gallery apartment, the loft, and the live/work duplex.

6.2 EVOLUTION OF LOG CONSTRUCTION Careful evolution of techniques and principles of the architect and craftsman over centuries led to buildings with life spans of 200 to 300 years. The evolution started with the “Ständerbohlenbau”, a post-and-beam construction method where vertical posts were simply driven into the ground. The filigree frame is then filled with planks of 80-120 mm thick. “Fachwerkbau” or timber- frame is often what comes to mind when imagining traditional European construction, but Vorarlberg looked where many different construction styles meet, gravitated towards log construction due to abundance of straight and long trees.

The “Blockbau” or log construction is the building technique that is most commonly used for traditional houses or farmhouses in Vorarlberg. Here timber members are stacked horizontally and are kept in place by its own weight and a perpendicular wall. Therefore how these log walls meet is critical to the integrity of the house. The “Kopfstrick”, or locked lap joint, is the oldest cornering technique where member extend beyond the face of the wall. By the end of the 18th century this technique was slowly replaced with the “Schwalbenschwanzstrick” or dovetail, which angled the seat so the log was

unable to slide out while maintaining a flush corner. The dovetail is famously Austrian and is often referred to as the “tryroler hake”. Prestige was often displayed through more a intricate dovetail detail, at the corner or middle in the wall with a curved seat or animal outlines. While Austria developed the dovetail, Swiss craftsman perfected the locked lap joint and is still used to today by Zumthor and Caminada.

“Stickbau” is a construction technique that is being revived by these Swiss architects and is based largely on the vernaculur houses of Appenzall, but utilizes new technologies like CNC milling. Exteriors wall are load bearing and are structurally made up of often two rows of squared logs, as there is no cladding used, the locked lap joint is used to reduce chance of water penetrating into the wall. Insulation, typically wood fiber, is the only thing added to leave the wall open and breathing. Even without air barrier or vapor barrier, this wall can be very air tight.

The Canton of Valais, especially in the town of Verbier build their wood chalet using a perticuallry interesting connection detail. Here interior beams extend past the exterior wall and are retained with a wood member running vertically through the beam end. This prevents the wall from buckling outwards without having a wall running perpendicular to it. The “Raccard Typique” is also is a precedence to my own work as it enables prefabrication of large wall elements that can join onsite with the use of nails and glue.

6.2 WOOD SPECIES Every species of wood has their strengths and weaknesses. A look into the organization of various species helped understand the relationship between these. Some species like pine, grow very quickly, resulting in a lower fiber density. Other’s, like Silver Fir, grow straight and with less knots, making it a perfect board material. Understanding these various charecteristics allows me to pick the proper material for the proper job.

Silver Fire has assumed the position of the main tree in the Bregenzerwald. This giant tree prefers the shady slops of the mountains, where it grows slowly. This produces more narrow annual rings. Freshly felled, its wood is heavier than spruce, more weather-proof and free of resin. Wood from the silver fir has traditionally been used on the facade facing the weather. Its use as an interior design element was long frowned upon now, however, thanks to its dense, straight , mainly knotless growth, present-day architects and craftspeople really appreciate it as a building material.

This evergreen tree grows to a height of 40 m and is widespread throughout Europe. The very light heartwood splits well. Shingles made from this wood are mainly used in areas where there is a tradition of painted shingles. This is in any case always recommended as it does not contain any naturally protective substances.

This deciduous coniferous tree grows mainly in the central and uppermost regions of the Alps and the Central European Uplands. It is one of the hardest coniferous woods and extremely flexible. The reddish to brown heartwood has a high resin content. The outer, light sapwood is removed for shingle production. Split larch shingles have been used as a roofing material in Europe for centuries and have certainly proved their worth.

Traditional Houses or chalets in the Alp region are the best reference when designing the construction system. This is because vernacular architect embodies lessons and techniques passed down through generations. Craftsman learned from their ancestors, setting the base line for new discoveries. Materials used had to be local, strong to withstand decades of rain and sun and isolate against cold winters. Wood plentiful material that, if used properly, was able to meet the needs of the people.

REFLECTION

This report intends to clarify my research and design process and project narrative. The first half of this report will reflect on the means I used to reach this point and the experience of it, chronologically. In general this process had three stages: research to formulation to design. Lastly, a summary of the project narrative, organizing my research and design into five different scales that all relate to each other but highlight various opportunities revealed through research coupled with an architectural solution.

7.1 RESEARCH The point of departure for this project from the Interior Studio’s position in the architectural practice, specifically the design methodology, and the importance of the tectonics and materiality in buildings. Furthermore, the studio itself, “Cultures of Craft”, provided the initial graduation question of how can architecture help to reinvigorate the culture of craft, through dissemination, education or production. However, to begin answering this social underlying question, research began not with social, but with tectonic investigates into a specific building material, in my case, wood. Therefore, from the start, the project always contained both social aspirations and material ones. Exploring and researching wood craftsmanship in Vorarlberg, Austria led to additional social and tectonic agendas that added to and complemented from the specific studio-wide observations and discussions. Therefore, after a few weeks, research was happening at several scales and themes from “what is craft?” to the logistics of prefabricated hotels manufactured with mass timber in Reuthe, Austria. This proved, up to this point, a successful method of working as it reduced “getting stuck” and isolation from peers while formulating a project that is still in the interest of the individual.

“How can architecture help reinvigorate wood craftsmanship?”

7.2 FORMULATION We were aided in the formulation of our own project through implementing various supplementary assignments. First was the craftsman video that aided in getting straight to the detail and the material implications. In my case, I went to Reuthe to film a carpentry workshop that specialized in prefabricating walls or whole modules into a fully integrated package to improve quality and construction speed. Not only was it great to see their way of working but also

their thinking when talking to Mattias Kaufmann, and hearing how he still considers this method completely “hand-werk” or craft-like, and a natural progression from the way his grandfather worked. Discussing how to future- proof craft while watching a tradesman caulk the wood window frame for the triple-pane glass in the small village of Reuthe is another example how this project continued to simultaneously work through the scales and address social and technological/material issues.

7.3 DESIGN (RELATIONSHIP BETWEEN RESEARCH AND DESIGN) It was clear from the offset that this project would operate on, and address various scales in both research and design. This gave many various influences early in the formulation stage. Although this assured a more holistic project, it did create an abundance of design wishes, my basket was too full. Not only were there many aspirations but also it was unclear which to act upon and even how to present the research. I believe this is also a critic of how the studio was organized as the translation from research and project formulation to design was abrupt and unguided. In fact, although I was pleased with my research narrative at P2, the translation to an urban typology was the weakest point. So weak that I abandoned it completely moving forward. It would have helped me greatly to understand better how to organize this basket of design aspirations to become a toolbox for my design.

After P2 I continued to explore different typologies and massing in a “trail and error” manner. Although so many versions were discarded, I collected aspects of most versions that found a place in my current plan. Understanding the special relationship between the individual residential unit and the urban massing was developed slowly. Rather than isolating each design decision,

and tackling them one by one I continued to test and tweak until the perfect form found its place. Once excited about the urban framework, things sped up quickly and were solidified.

REFERENCES Campbell, Colin. 2005 "The Craft Consumer" Journal of Consumer Culture 5, no. 1 : 23-42.

Dangel, Ulrich 2010 Sustainable architecture in Vorarlberg energy concepts and construction systems. Basel and Boston: Birkhauser

Green, Michael. 2013 “Why We Should Build Wooden Skyscrapers." Video In TED: Ideas Worth Sharing, 12:22.

Gross, Adolf 2013 "Vorarlberg on the Way to Energy Autonomy." State Government of Vorarlberg, Austria. pp.1-21 Holan, Jerri 1990 Norwegian Wood : A Tradition of Building. New York: Rizzoli.

Mayo, Joseph 2015 Solid Wood: Case Studies in Mass Timber Architecture, Technology and Design Oxon and New York: Routledge

Nagyszalanczy, Sandor 1998 The Art of Fine Tools Newtown, Ct.; [Emeryville, CA]: Taunton Press

Ritter, Silke 2015 “A room of one’s own” In Christian Zillner (ed.) Umgang Bregenzerwald pp. 21-29. Bezau: Druckhaus Gossler

Ruskin, John 1989 The Seven Lamps of Architecture. New York: Dover Publications.

Sennett, Richard 2008 The Craftsman New Haven: Yale University Press.

Steiner, Dietmar 2015 “The Driving force behind the way of life.” In Christian Zillner (ed.) Umgang Bregenzerwald pp. 21-29. Bezau: Druckhaus Gossler

Zwerger, Klaus 2012 Wood and Wood Joints Building Traditions of Europe, Japan and China Basel: Birkhauser

REFERENCES Internet Sources Campbell, Colin. http://architecture2030.org/buildings_problem_why/. (03-01-2016) 2005 "The Craft Consumer" Journal of Consumer Culture 5, no. 1 : 23-42. http://www.energieautonomie-vorarlberg.at/de/ (05-11-2015) http://en.sohm-holzbau.at/diagonaldoweltimber/. (12-12-2015) Dangel, Ulrich 2010 Sustainable architecture in Vorarlberg energy concepts and construction systems. Basel and Boston: Birkhauser