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

Linthal, located at the end of the Glarus valley, carries a rich agricultural and industrial heritage that is still visible in its built environment, marked today by many underused or vacant buildings. Once a vibrant rural hub, it now bears the character of a transit zone, with essential services found only further down the valley. Yet within this apparent emptiness lies the potential for renewal. The unique landscape and close-knit scale of the village invite new ideas for how people might live, work, and engage with nature. Linthal is not defined by the anonymity of cities but by community spirit, resilience, and a deep connection to the land. Qualities that can become the foundation for a future shaped by sustainable agricultural practices and a strengthened rural collaboration. 
In order to create and maintain such a regenerative farming concept a new actor is introduced that concentrates the responsibility for administrative and organizational as well as distributary questions in one figure. Various agents are part of a regenerative farm and ask therefore for the orchestration of the system cycles. With the One Roof Cooperative a contact point occurs. Combining two associations under one large roof: the farmer’s and the gardener’s association, the cooperative fosters dialogue, support, sharing and negotiations. Located in a former farmhouse, it connects Linthal’s traditions on several levels. Remnants in the ambient land evoke the presence of hidden networks and practices that are then illustrated by these artefacts. Some of them still fulfilling a purpose, some being reprogrammed and others standing their ground as artworks. 
All together form a composition that allows people to experience natural landscapes and agricultural practices in a humble way without being disturbed. The scenery is about celebrating what is already there, identifying the potential and making it productive again. This does not solely imply economic profit, but more significantly the enhancement of communal identity and the collective appreciation of rural traditions and crafts. 
Architecturally speaking, the former housing unit is transformed into the administrative interface of the cooperative, while the barn part gets a clear communal and production or processing based orientation. Together they break with the linearity that was predominant in Linthal before and where everything passed through. Now it invites us to stay, learn, exchange knowledge and spend time appreciating the land and its advantages. Increasing energies all over the village come together in the farmhouse, get refined and then distributed to customers and interested parties. The large roof provides not only symbolic shelter from weather conditions for the program. It is also offering a space for gathering, for festivities and workshops, allowing for engagement in agricultural practices and the celebration of simple but honest joy of high-quality products. It is embodying the love for nature and tradition and shows its appreciation for handicraft, in architecture and in agriculture.
By not being fully insulated, the building questions the spatial needs architecture has to provide in a rural and food processing setting. Therefore, the project challenges how architects could work with existing buildings and proposes settle adjustments that blend in seamlessly while still showing that something is happening. 

 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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The Memories of the House Museum is devoted to the domestic spaces of textile industry related housing in Ennenda, Kanton Glarus. This museum spreads all over the village, like a fabric of spaces, each giving a specific impression of a domestic space.

The main exhibition is located in the former industrial site of the Jenny factory in Ennenda. It is situated on the ground floor of a Hängeturm, a reconstruction of a historical local building typology, specifically created to dry freshly printed fabrics. The exhibition consists of 1:1 reconstructions of 19th century domestic spaces from Ennenda. Copying, relocating and rearranging the rooms allows to compare the conditions of dwelling between different social classes that were all involved in the textile industry. It is an attempt to revise the way the local history has been written and to counterbalance the inequality of documentation and preservation of local buildings and stories. The reconstructions are built in timber, each with one section as a plaster cast of the original space. The exhibition of physical spaces is accompanied by pieces of local oral history in the form of specific stories told over speakers.

The Museum spreads into the village and the interventions at Kirchweg are the most direct extension of the museum programme. The row of houses at Kirchweg is under heritage protection and despite having survived for almost two hundred years, some of the houses have started to decay after losing the uses of the ground floor spaces. Previously some of those spaces were used for commercial functions. The houses had stayed relevant because they had the necessary room for adaptation: physically in the form of extensions on the northern side, legally in the form the law. Today this adaptation is partly hindered by heritage protection. With my interventions I aim to find a method to adapt three of those ground floor spaces and to restore their former use, whilst providing a programme that is needed by the museum whilst also becoming a cultural and public space for residents of Ennenda.

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Empty hall, machines gone, workers disappeared… forgotten by time, fortunes of dozens mills in Glarus, ghosts of the grandiose industrialisation, despite the collective fame of Glarus industry.

The labourers, who had devoted their whole lives in the mills, have faded out the line of sight of people, so as their single stories. Today, the columns has become the only witness of the past everyday life, with the names of the silent nobodies, which exposes their unspoken wishes to be remembered. There are thousands of concealed individual ordinary stories to be discovered under the collective glorious one.

The house of memory, a place, where the echos of old industry are going to be collected, while the new creative chapters are in process. A living chronicle of the local industrial past, composed of an archive filled by locals, as well as a research centre and atelier for scholars, artists, designers and entrepreneurs form outside. It is an exhibition and celebration space for all, a new story to be continued by thousands of individual participations. 

The house of memory is a bridge from the past to the future, honouring the industrial legacy of Glarus while inspiring innovation and creativity. We remember, we honour, we reimagine. Through remembering the past, we shape an open future.

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This project is a continuing dialog that aims at rendering visible the already existing, yet overlooked practices on site while re-attributing value to their process. It func- tions as an ongoing program of modification within the hotel framework that will better profit from the existing socio-cultural resources. A series of action and interven- tion varying in time and scale will generate a never-en- ding dialogue between the hotel and its actors in order to sustain change by fostering a light but durable change in the long term.

While remaining non-disruptive, a series of small-scale actions will reveal the value of the existing practices. With simple mean such as improving access to, or re- locating existing programs, light programmatic change will spread throughout the hotel while empowering their actors. New processes will be creating along the way al- lowing for the emergences of new relationship between the landmark and the social life of Zürich.

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The project explores the relationship of existing and intervention, the simultaneity of the market and storage as the current program and the sports center as a new form of cultural use are thematised and spatially intertwined.

Juxtaposition as an instrument to create complexities and contradictions. The tran- sitions between old and new, temporary and permanent, are consciously negated, leading to a new relationship of coexisting spaces without the enforcement of any external changes to the existing building.

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Following Traces
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