ETH Zürich   Studio Adam CarusoETH Zürich  Studio Adam CarusoETH Zürich  Studio A. CarusoETHZ   Studio Caruso

The project aimed to reactivate the former “Mosterei” as a contemporary cidery, capable of processing fruit sourced from surrounding orchards, silvapastures, and agroforestry systems, as envisioned during the research phase. The intention was to re-establish the Linthal cidery as a central figure in the revival of a once-thriving, now largely forgotten, regional agricultural tradition.
 
Upon first inspection, the architecture of the building strongly evokes the appearance of a sacred structure. The tower and expansive roof in particular create a spatial division reminiscent of a nave and transept, reinforcing this impression.
 
A key feature of the new cidery is the garden located behind the main building. Historically, this area housed a fruit orchard over 70 years ago. The reimagined "Mostereigarten" draws inspiration from the Hortus Conclusus and traditional monastic gardens, reflecting the initial architectural reading of the cidery as a place of identity and symbolic significance within the context of agricultural production. Like the monastery gardens, it functions as a site of experimentation, with various soil types and species of apples, pears, and other fruit trees. With the yields from the adjacent orangery and herb garden, the fruits are supplemented with products like apricots, cranberries or rhubarb in order to create new products and flavors. Selected varieties from this “laboratory” are then propagated in the nursery and distributed regionally. A new pavilion replaces the former garage and serves as a venue for public tastings, gatherings, and garden-related activities.
 
The original structure consists of two distinct sections: a former cow stable and an annex constructed a century ago for the original Mosterei. The stable now houses the Production Hall, where fruit is processed and pressed. The annex contains the bottling area, where the juice is packaged into bottles or bags.
 

The Production Hall’s spatial concept is inspired by the traditional layout of tithe barns, historically used for storing agricultural levies owed to the church. To accommodate the cidery’s modern machinery—such as the two-belt press and the washing-and-grinding system—ceiling structures have been removed and internal walls replaced with supporting columns, creating a more open and functional interior.
 
In compliance with cantonal food sanitation regulations, the production areas are designed to ensure hygiene and control. As the existing outer shell of the former stable is permeable, glass boxes in the interior are erected at the points, where fruit is exposed to the environment in order to keep the surroundings clean and protected.

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 Since the start of the industrial revolution, the western social system has been built on constant growth. Growth in population, economic performance, technological capabilities, cultural output - no area of human life has been untouched by this dynamic.

But it can no longer be ignored that we are at a breaking point. The planetary boundaries have been reached or already exceeded in many areas. The climate crisis as well as the biodiversity crisis are both negative consequences of this system.

A change of course is therefore not only needed, but inevitable due to demographics. Demographic developments will radically transform the society we know. Even if it still seems to be a distant future in Switzerland at the moment, the population here will also start to shrink in a few decades, even in urban areas. This is already the case in many European countries, and there are also areas in Switzerland that have been shrinking for decades. The area around the Klausen Pass is just such an area.

This project examines two case studies on both sides of the Klausen Pass to find out what kind of architecture makes sense in a shrinking society. How can places be created that enable a sustainable form of growth and coexistence in such a location? On the Glarus side, a new scheme is proposed for the former woollen weaving mill in Rüti, while on the Uri side, an new approach is implemented in the former Gasthof St. Anton in Spiringen.

Such shrinking places have one advantage: the forces of the market are significantly weaker and projects that are not aimed at optimising profits also have a chance to thrive. There is an opportunity to utilise these places creatively through small interventions and make them usable for society.

The projects are characterised by the fact that they consist of a large number of small interventions that can be carried out without great expense over a longer period of time. If an intervention is a success, it can be built upon; if it is a failure, it can be reacted to. In this context, architecture is not understood as a project, but as a process.
 
 
 
 
 
 
 

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Ennenda is a place with a rich history that continues to shape its identity today. The intensive textile industry has left an indelible mark, contributing significantly to Ennenda's character. The architecture and facades of Ennenda stand as testament to that era, embodying both industrial prowess and wealth.

A notable historical landmark is the hanging tower on the Trümpi site. Despite being a reconstructed version of the original, this building still defines Ennenda's landscape, evoking memories of fluttering cloths from a bygone era.

The museum encapsulates this very essence of Ennenda, represented through its facades, placing them in the context of both historical and contemporary narratives. Just as vibrant prints from around the world were once replicated for textile printing, the exhibition mirrors these facades, faithfully reproducing selected elements.

These replicated facades serve as backdrops, layered with stories from the past and present. The building already hosts various functions, and the exhibition further enlivens the area by doubling as a part-time theater where these stories come to life. It creates moments where diverse people and perspectives converge, casting familiar scenes in a new light.

The set pieces are a blend of timber frames and three-dimensional textile facades.
As a ghostly presence, these facades shift between being a backdrop for dynamic projections and standing as delicate shadows that evoke the essence of Ennenda’s past. They create an ethereal atmosphere, showing the layers of history and capture the ephemeral nature of memory, reflecting how the town's history continues to influence its present.

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The aim of the KW Walzmühle project is to restore the existing buil- dings of the Alpenbrückli complex and introduce new infras- tructures in order to re-activate the site and its reach onto the surrounding area and its population. The implementation of a bold communal hall linking the former grain silo and the old mill is meant to generate an intermediate space that could be used by the new users of the complex as well as the daily passers-by from the region. The site is in close proximity to the centre of Glarus as well as the train tracks and stands on a pedestrian path that sees a daily flux of users crossing the old mill factory thus making it a place with a high potential for social & commercial gatherings as well as a distribution node for locally produced goods.

The new site would offer a new commercial hub for the city of Glarus, allowing local producers & suppliers to gather in a centralised environment where each could benefit from the experience and networks of each other. The goal is to introduce a variety of co- working spaces, showrooms as well as storage facilities that could enable national and international investors and distributors to come and meet in person with a broader range of small to me- dium-scale producers in order to facilitate the export of locally produced goods across the rest of the country as well as beyond our borders. The importance of the local economy and locally sourced productions is becoming a critical part of fair trade poli- cies as well as the development of suburban regions that develop products further away from economic centres such as Zurich.

Diverse state entities and private companies have already taken the challenge to boost the economy of smaller companies and expand the reach of new start-ups and producers outwards of the valley in order to bring the region to a more competitive state in opposition to the country‘s leading food distributors like Coop and Migros. These mega companies control the majority of Switzerland‘s food market and thus possess an essential influen- ce on the prices and distribution networks of goods across the country making it very difficult for smaller companies to maintain a sustainable business and push their products onto the Swiss market on their own.

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Referring to Lucius Burckhardts ‘Der kleinstmögliche Eingriff’ written in the 1980s, the project aims to de-objectify the Marriott Hotel that is located at the most central locations, yet remains mostly unnoticed by the cities’ inhabitants. In the sense of Burckhardts aesthetic survey, the project follows six paths that lead up to the many entrances of the building and proposed the smallest possible interventions to initiate transformation. By promoting a change in perception of the building and its relationship to the urban landscape the buildings strength of accessibility can once again be valued. It could then become a space for the public that ultimately prevents it from demolition.

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Re-working the mosaic questions the arbitrariness imposed by the cadastre and sug-gests to the inhabitants of the neighborhood a new appreciation of their surrounding landscape. A series of architectural and landscape interventions revisit the fragmen-tation caused by the urban mosaic as it is today and thus draw a constellation along the Triemlifussweg highly beneficial for biodiversity. Their complementarity offers residents a sustainable infrastructure that allows them to feel native to their place and thus reinforces the feeling of belonging to a community.

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The design proposes the conversion of the former parking garage of CIBA (Chemical Industry Basel). Today, the building is owned by Novartis and can only be used by its employees. The building is the only one of the available buildings situated on public land. Following the imminent departure of Novartis, the building is expected to be subject to the so-called „Heimfall“, whereby it will become property of the city.
The context is characterised by a high rate of foreigners, young people and low-income earners. The existing neighborhoods are organising themselves surprisingly well despite difficult conditions. There is a strong liveliness, which can be observed in numerous social and cultural institutions and their high frequency of visitors.
With the planned reorganisation of the former CIBA area, large-scale changes and gentrification processes are to be expected, which will lead to rising rents and eventually displacement.
In order to provide the local people with a public space of opportunity, a "Volkshaus" for Klybeck is to be initiated as an interface between the existing and new developments. In the spirit of the "Volkshäuser" of the emancipatory motivated labour movement around 1900, the project is organised on its own initiative in the form of a newly founded association.
In order to support the process of appropriation by the users, a temporal factor is included in the project: at no point should there be an end to the design process. Uses and interventions influence each other, the project is constantly in motion. This also corresponds to the structural logic of the existing building. The ramp system of the double helix emphasises a continuous space, which becomes a place of community. The regular structure of the building is overlayed with specific situations on a human scale. The monumental structure stands self-confidently along Horburgpark and uses its existing representational power.

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