Architects: Planetage landscape, Ramser Schmid
Location: Zug, Switzerland
Management And Landscape Architecture: Planetage landscape architects, Marceline Hauri, Christine Sima, Karolina Katsabi, Helge Wiedemeyer, Ramon Iten, Thomas Volprecht (Planwirtschaft)
Photographs: Guido Baselgia, Courtesy of Planetage landscape + Ramser Schmid
The World Health Organization (WHO, the Commissioning Organization) is the directing and coordinating authority for health within the United Nations system. On 23 June 2014, WHO launched an international, two-stage architectural design competition for the extension and redevelopment of WHO Headquarters in Geneva.
French architect Dominique Perrault will preside the jury that also includes Bernard Tschumi, Momoyo Kaijima, Diébédo Francis Kéré, and Bernard Kouhry. Registration closes September 19. For complete information, please go to the competition’s official guideline here.
trans magazin, a semi-annual journal published by the Department of Architecture at the Swiss Federal Institute of Technology ETHZ, seeks to address “issues in architecture and urban development from a variety of perspectives.” Managed by an independent student editorial team since 1997, the publication studies and discusses humanities, politics, philosophy and the arts. It is “a platform for interdisciplinary discourse” packaged in a beautifully printed, weighty periodical.
Hans Ulrich Obrist, Herzog & de Meuron, & Atelier Bow-Wow’s “Stroll Through a Fun Palace” – Switzerland’s Pavilion for the Venice Biennale 2014
“We often invent the future with elements from the past.”
From the Curators. Within the Biennale’s context of re-examining the fundamentals of architecture over the past century, the Swiss Pavilion focuses on the English architect Cedric Price (1925–2003) and the Swiss sociologist Lucius Burckhardt (1934–2003), two great visionaries whose work resonates with and continues to inspire the new generations of the 21st century.
Both were serial inventors. The trans-disciplinary cultural centre designed by Price, Fun Palace, for example, which was never realized, is emblematic of our own era. It lends itself more to the choreography of 21st century time-based exhibitions than to the object-based displays of the 20th century; it fosters a more communal experience, largely free to operate outside its material limits, and ventures into other realms of human experience. In Price’s own words, “a 21st century museum will utilize calculated uncertainty and conscious incompleteness to produce a catalyst for invigorating change whilst always producing the harvest of the quiet eye”.1