On the death of Silvia Gmür

Building design
Last Monday

Silvia Gmür passed away last Monday, 24.01.2022, at the age of 82. The Basel architect became known for her austere and radical buildings with a strong sculptural expression.

Silvia Gmür passed away last Monday, 24.01.2022, at the age of 82. The Basel architect became known for her austere and radical buildings with a strong sculptural expression.

She was one of the great Swiss architects and leaves behind an impressive body of work: Silvia Gmür. On Monday, January 24, 2022, the Basel architect, who was known for buildings with a strong sculptural expression, passed away at the age of 82.

50 years ago, in 1972, Silvia Gmür founded her own architecture firm in Basel after years of practice in Zurich (Ernst Gisel), Paris, London and New York (Mitchell/Giurgola Architects). At the time, it was still quite unusual for a woman to run an office on her own. In 2005, she restarted it together with her son Reto Gmür. She has been a Senior Consultant at the office since 2018 and was still present on site until two years ago.

Silvia Gmür has made a name for herself with residential buildings, but above all with hospital buildings in Graubünden, Basel, St. Gallen and Solothurn. She developed the formal language of her austere and poetic, radical and classical buildings by studying the history of architecture and its geometric principles. Her designs were also characterized by a special attention to the interplay of material, surface, light and movement. “I always wanted a profession in design,” Silvia Gmür once said. “I first thought about becoming a sculptor as a child. I decided on architecture relatively late, just before I started university. I was perhaps a bit pre-disposed in that respect, as my father and grandfather came from the construction industry.”

Together with her son Reto, the architect then designed the Institute of Pathology / Institute of Forensic Medicine at St. Gallen Cantonal Hospital (2005/2011) and the two-family house Casa ai Pozzi in Minusio (2009/2010). From 1995 to 2001, she worked intensively with Livio Vacchini in Basel and Locarno. She also carried out the conversion of the Papyrus AG commercial building in Basel (1998/1999) and three houses in Beinwil (1995/1999). She also realized the conversion and extension of Klinikum 1 West with a new operating theatre wing and a new women’s clinic in Basel (1997/2003).

The architect has received several awards, including the prestigious Prix Meret Oppenheim from the Swiss Confederation in 2011. At the time, the jury said: “With Silvia Gmür, the Federal Office of Culture is honoring an architect who has set her own accent of classical beauty in recent decades. The architect’s buildings are characterized by their concise language outside the mainstream.” She has also received the Riehen Culture Prize (2001) and the Best Architects Award several times, for example for the Müller residential building in Basel (2011), the St. Gallen Cantonal Hospital (2012) and most recently for the Bürgerspital in Solothurn (2021).

However, the Zurich-born architect’s work goes beyond construction and environmental design. She taught as a guest lecturer (architectural design) at ETH Zurich. She had studied architecture there herself from 1959 to 1964 and graduated under Werner Moser. She was also active on various committees, such as the Basel-Stadt Cantonal Urban Design Commission and the Federal Commission for the Preservation of Historical Monuments. In 1994, for example, she sat alongside Leza Dosch, Tita Carloni, Christian Menn and Stefan Engler on the jury for the Graubünden Awards for Good Buildings. She was also the first woman to chair the Association of Swiss Architects (BSA), which added the female form to its name last year under its second president, Ludovica Molo.

“We are infinitely grateful to Silvia for her commitment to architecture, her search for a timeless design and spatial expression in healthcare buildings, residential buildings and public buildings,” says her son Reto Gmür on the joint firm’s website. “The architecture firm has always been passionate about architecture and good solutions for people. We will preserve and continue this tradition in Silvia’s spirit.”

Tip: A detailed, transcribed interview with Silvia Gmür (May 2013) on her training, her role models, her architectural work, her practice and the position of women in architecture can be found in the Oral History Archive, Institute for the History and Theory of Architecture (gta), ETH Zurich.

A portrait of the office was written by Roberto Masiero: Silvia Gmür Reto Gmür Architekten (trilingual, 2016). In the recent publication “Frauen in der Architektur. Rückblicke, Positionen, Ausblicke”, edited by Ursula Schwitalla (2021), Silvia Gmür has her say with her own project.

POTREBBE INTERESSARTI ANCHE

Sebastian Stettner – Work assignment successful

Building design

From 1995 to 1999, the author restored five paintings from the main altar of the Franciscan church in Subotica (Hungary). The archive material available there already provided indications of the authorship of Sebastian Stettner (1699-1758). The documents in Subotica describe, among other things, the execution of the commission. According to them, Sebastian Stettner painted St. Michael “with extraordinary skill and expertise” in such a way that he […]

From 1995 to 1999, the author restored five paintings from the main altar of the Franciscan church in Subotica (Hungary). The archive material available there already provided indications of the authorship of Sebastian Stettner (1699-1758).

The documents in Subotica describe, among other things, the execution of the commission. According to them, Sebastian Stettner painted St. Michael “with extraordinary skill and expertise” in such a way that he steps on the devil. However, the client criticized the number of devils: “Why so many devils?” (Archivium 1751: 30). The artist therefore had to make changes to his painting and probably painted a completely new picture, as X-ray examinations showed no traces of overpainting. As things stand at present, he probably only submitted an oil sketch to the director of the House of the Order and chose the current iconographic concept before executing it. Unfortunately, these or other sketches by Stettner have not survived. They would have provided a better indication of his drawing skills and would have brought us closer to the art workshop where he studied.

However, by examining the materials and production techniques and evaluating the sources, a total of 14 works could be attributed to this master. The painter and gilder, whose origins are documented as “Dorst, Baijern” but could not be verified, settled in Buda (Hungary) in 1727, where he was granted citizenship in 1736. The city fathers made their decision dependent on the consent of two painters in Buda: Georg Falkoner (1646-1741) and Kaspar Landtrachtinger (1670-1744). Around 1738, his marriage to Maria Theresia Seth (1716-1789) enabled him to acquire a house in which he ran his workshop. His wife was also a painter and continued to run the workshop after Stettner’s death.
You can find out more about Sebastian Stettner’s painting technique in RESTAURO 4 / 2014.

Adding a storey to a house using a 3D printer

Building design
PERI realizes the world's first residential building extension with 3D concrete printing technology in Lindau.

The PERI company is realizing the world's first residential building extension with 3D concrete printing technology in Lindau/Lake Constance. Photo: PERI

After the first residential building with 3D printing technology, PERI has now realized the world’s first residential building extension – also with a 3D printer – in Lindau. You can read all about the project here.

Following the first residential building with 3D printing technology, the company Peri has now realized the world’s first residential building extension – also with a 3D printer – in Lindau. You can read all about the project and its significance for contemporary urban development in terms of redensification here.

A few weeks after Germany’s first 3D-printed house was opened in Beckum, the Weißenhorn-based formwork giant Peri is once again making a name for itself with a project on Lake Constance. This time with the addition of a storey to a residential building in Lindau, Bavaria.

The planning architect André Baldauf is extending the residential building by one storey. What is unique about this residential extension is that the load-bearing wall structures of the new storey are applied to the existing load-bearing structure using a 3D concrete printer. For this purpose, the old roof is first removed and a concrete ceiling is placed on top. In contrast, the ceiling is still being produced conventionally, as current 3D printing processes are not yet suitable for ceilings.

This creates an additional storey on the house with a floor area of 120 square meters and a height of 3.70 meters. The insulation made of Neptune gas insulates the double-shell walls. A new timber folding roof completes the extension at the top. With this project, Peri wants to show how flexibly 3D printing technology can be used in building construction. A particular challenge in the extension project in Lindau was the slope of the property, which initially posed difficulties for those involved in setting up the 3D printer. Like the house in Beckum, the extension in Lindau is a prototype project for Peri, with which the company wants to demonstrate the possibilities of its technology.

Similar to a 3D printer for plastics, the 3D concrete printing process from Danish company Cobod used here involves applying layers of specially designed concrete on top of each other until the desired wall height is reached. This is because the printer is set up as a gantry printer. This means that the machine stands on a structure that spans the work surface. This allows the print head to move in the resulting space. The print head uses a nozzle to apply layers of concrete two centimetres high and five centimetres wide as standard.

Layer by layer, load-bearing walls are created that can follow almost any curves and curves. The layer structure creates the corrugated look of the walls that is typical of this 3D printing variant. According to the manufacturer, the printer used (BOD2) takes around five minutes to print one square meter of double-skin wall.

The concrete used is a special formulation. The manufacturer HeidelbergCement has developed this specifically for 3D printing and calls it “i.tech 3D”. It is designed for good pumpability and high green strength and allows fresh-in-fresh printing. The special concrete is said to be fully recyclable and its development focused on the lowest possibleCO2 footprint. According to the manufacturer, up to 50 percent ofCO2 emissions can be saved compared to conventional concrete construction.

The advantages and disadvantages of adding storeys to buildings using 3D printing are similar to those of 3D building printing in general. In terms of time, costs and manpower, the technology already has an advantage over molded concrete in certain areas of application. In addition, complex shapes can be realized without high additional costs. However, there is currently no way to print reinforced walls with increased load-bearing capacity. This is because the choice of materials for 3D printing of buildings is still very limited.

3D concrete printing could provide a significant boost to urban densification. Where possible, a 3D-printed extension can also be harmoniously added to complex building structures. Compared to traditional construction methods, the disruption caused to the surrounding residents by the construction work would ultimately be reduced, at least in terms of time. This could therefore pave the way for greater acceptance. In the near future, the method could also offer considerable cost savings in some cases compared to traditional formwork concrete construction.

The 3D printing of buildings is still in its infancy and is currently undergoing a rapid phase of development. We can look forward to many more innovations in this area before certain processes become established and suitable for the mass market.

You can find more information on Peri’s 3D concrete printing process on the manufacturer’s website.

Also interesting: In Hamburg, the urban real estate developer Sprinkenhof is planning an administrative building in timber construction together with ADEPT. This is set to become Germany’s largest timber building.