2005 Ward PH D

.
acknowledgements
I am indebted first and foremost to Jane Allan for her time, critical comment and untiring ears. The second important
acknowledgement of support must go to my family and friends who have been endlessly badgered into being listening posts for the
duration of this PhD (Clair, Tom, Gonnie, Andrew and Daniel thank you...). Thanks also to my collogues and the staff and associates
of GSA who have offered their comments, insights and support: Jack Cunningham, Bill Gilham, Bruce Peter, Christian Hermansen, Isi
Metztein, Nigel Munroe, Jimmy Sephen-Cran, Helena Britt, Leigh Bagley, Juliet Dearden, and Roger Millar. In the process of this project
a number of companies and organisations have kindly given their time and services: David Cloney and James Cambell of the Division
of Design and Engineering from The University of Paisley, David Gilbert from The Spark Erosion Centre and Thomas Pink. Lastly an
important acknowledgement must go to Carrick for funding this research.
i
.title Architectonic Jewellery
An interrogation of the translation of ideas from architecture to jewellery through the design and production of contemporary jewellery
I hereby declare that all material in this thesis is my own work and that no material has previously been submitted and approved for the award of a degree by this or any other University.
©Vanessa Ward, PhD, Glasgow School of Art, Department of Jewellery and Silversmithing. April 2005
ii
.abstract
Architectonic Jewellery movement. The identification of three strands (abstract, of architecture, a means to observe and articulate the act of experiencing (in responding to an
This research interrogates the translation of ideas interpretive and figurative), within architectonic jewellery architectural site) and altered the dimensions of material consideration in the design process.
from architecture to jewellery, through the design and explore this translation of ideas from one discipline
production of contemporary jewellery. Necessarily this to another. The contextual review was instrumental Idea development (chapter4), documents the development of ideas in the self-reflexive practice.
interdisciplinary focus has two contexts; contemporary in the identification of the positioning of the practice- The design process is explained in chronological order. The establishment of selection criteria for
jewellery and the architectural world from which based research. The method decided upon for the architecture initiated this iterative development. The three phases of response to the architectural
ideas are translated. The practitioner comprises the design of jewellery was through response to a selected exemplar are discussed, each phase resulting in the analysis of design and the alteration of the
third element, determining the way in which ideas are architectural exemplar. selection criteria. Phase one responded to Juha Leiviska’s Myyrmaki Church through secondary
interpreted and expressed. The aims of this research are sources. Phase two, to the Burrell collection and Phase three to Therme Vals. All three investigations
to define and locate architectonic jewellery and through The Role of architectural theory (chapter3), details the responded purely to the visual language of the architecture. Phase three comprises of two site visits
practice to contribute to this field. architectural context and understanding gained of the to Therme Vals, the second of which was preceeded by research into the architectural theory and
main exemplar, Therme Vals, Graubunden, Switzerland Phenomenology as discussed in Chapter 3. The research process culminated in the design of works
The Rationale and contextual review (chapter2), locates by architect Peter Zumthor. Associated with the Swiss in response to the second visit to Therme Vals.
architectonic jewellery as a sub-genre of contemporary Essentialists and continuing in a Modernist tradition,
or studio jewellery; positioned as a strand of Modernist the origins and philosophical underpinning of this This practice-based research positions architectonic jewellery and through the design process
jewellery emergent from a Constructivist tradition, architecture were established. An investigation into establishes a new paradigm that uses phenomenology as an interpretive tool.
parallels are drawn to the American Modernist Phenomenology provided a fundamental understanding
iii
.contents
.declaration & acknowledgements i

.title ii
.abstract iii
introduction 1
.footnotes 2
rationale and contextual review .introduction 3 role of architectural theory .introduction 34 idea development .introduction 61
.contemporary jewellery 4 .phenomenology as methodological tool 36 .phase one 67
.beginnings of modernist jewellery 5 .phenomenology and architecture 38 .phase two 71
.modernist jewellery 8 .swiss essentialists 45 .phase three 72
.architectonic jewellery 10 .contextual overview of swiss essentialists 48 .therme vals. visit one 73
.contextual review 15 .swiss essentialists and modernism 52 .therme vals. visit two 80
.footnotes 30 .footnotes 57 .design process 83
.footnotes 91
conclusion 93
.footnotes 99
.images 100
.bibliography 102
iv
introduction
exemplar required the establishment of a context within

architecture. The Role of architectural theory chapter
discusses the research into architectural theory and the
positions architectonic jewellery and its influences, understandings arrived at. Beginning at a macro level,
relating it to the American Modernist movement of the phenomenology is introduced as a philosophical basis and
40s. The contextual review explores the ways in which interpretive tool for the perception of architecture and
Architectonic Jewellery. the translation of ideas from architecture to jewellery later the chosen exemplar. Phenomenology is introduced
An interrogation of the translation of ideas from architecture occur, through a discussion of works and their makers. as a science in the first instance. The perspectives given
to jewellery through the design and production of This review identifies three strands of architectonic to illustrate its architectural relevance include those
contemporary jewellery. jewellery (abstract, interpretive and figurative), which define of Christian Norberg-Schulz and Juhani Pallasmaa. This
the types of architectural ideas and their translation. philosophical stance has particular resonance with the
The aims of this research project stem from two primary The Rationale and contextual review chapter concludes by chosen architectural exemplar, Therme Vals by Peter
questions, what is architectonic jewellery and how may I locating the practice-based research as: the design and Zumthor. The other architectural contexts discussed in
contribute to this field. Necessarily this interdisciplinary production of contemporary jewellery in response to a this chapter explore the cultural and historical milieu of
subject is comprised of three dynamics: the jewellery selected architectural exemplar. This chapter also crucially Therme Vals, and its architect. This research associates
(the artefact), the architecture (from which ideas are serves to position the next primary question: how may I Zumthor with the Swiss Essentialists and explains their
translated), and the designer (who interprets and creates). contribute to the field of architectonic jewellery? The two relationship to Modernism. This chapter details the
This is reflected in the structure of this written thesis. chapters that follow – Role of architectural theory and Idea architectural focus and understandings reached during this
The Rationale and contextual review chapter begins to development – answer this question. research.
answer the first questions – what is architectonic The Idea development chapter explains in chronological
jewellery? – with an investigation into the origins of The positioning of the practice-based research as the order the design process that culminated in the
this sub-genre of contemporary jewellery. This chapter design of jewellery in response to a selected architectural production of three jewellery collections responding 1.1. From Displacement series. 2002.
Bracelet. Silver
1
introduction
to Therme Vals. This self-reflexive the research project would take.
practice evolves initially through the The inclusion of investigations into
development of architectural selection phenomenology and the number of
criteria and then establishes a model architectural exemplars chosen reveal
of response in conjunction with the the reflexivity necessary to reach the
selected exemplar. This is followed by sought level of understanding.
the design and production of jewellery
in response to the chosen architectural
“Theories are based on experience,
site. The design process occurs in
which helps us understand more complex
three phases: firstly responding to things. This kind of theorizing involves
Juha Leiviska’s Myyrmaki Church, then understanding, which is a cognitive process
whereby who we are and what we know
the Burrell Collection in Glasgow, shape interactions and transform awareness.
and lastly Therme Vals. Response to In these instances, intuition and intellect,
these exemplars and the way in which grounded in context-specific circumstances
provide an experiential base for constructing
they altered the direction of the new frameworks of understanding.”2
research is discussed. The main focus
of this chapter details the response to .footnotes
Therme Vals. The theoretical discourse This description by Sullivan illustrates 1. A comprehensive discussion of
the positioning of the ‘self’ in a the primary and secondary research
in Chapter 3, the Role of architectural questions is provided in the conclusion;
theory, takes place between the first reflexive research practice that uses the decision to locate the research
and second visits to Therme Vals. an emergent methodology. In the case questions in the conclusion stems from
of this research, theories are brought the use of an emergent methodology.
It can be seen from this introduction together to create an understanding 2. Sullivan, Graeme. Art Practice as
to the written thesis how the research of the interaction between two Research: an enquiry in the visual arts.
disciplines. The iterative process of Sage Publications. California. 2005. p73
project evolved from the posing
of two primary questions: ‘what is selecting, experiencing, responding,
architectonic jewellery?’ and ‘how interpreting, designing and adapting
may I contribute to this field?’ The creates an experiential base from
many secondary research questions1 which a framework is emergent.
that arose in the process reflect the This demonstrates the implausibility
emergent methodology. In this way of adhering to a pre-established
it was impossible from the outset methodology. 2.2. Looking towards the entrance
of the 42° bath. Therme Vals. Peter
to foresee the path of development Zumthor.
2
rationaleandcontextualreview
.introduction
This rationale aims to highlight the key factors that Modernist style. This is touched upon in order to interpreted and used architecture and its principles in
contributed to the development of architectonic emphasise the appropriation of ideas from other their work. It will be shown how these works explore the
2.1. (left) Onno Boekhoudt. Room for
jewellery. In order to understand the origins of this disciplines, particularly architecture into jewellery. relationship between architecture and jewellery, creating
a finger. 1993. Wood and paint.
sub-genre of jewellery, it is necessary to begin with Additionally, American Modernist style can be considered an inter-disciplinary dialogue. The contextual study is 2.2 (middle) Anton Cepka. 1967.
the emergence of contemporary or studio jewellery as a precursor to architectonic jewellery. The literature crucial not only in defining and identifying architectonic Brooch. Fine silver, red, pink
gemstone, probably tourmaline
as a movement. One of the earliest expressions of review describes the selection of jewellers who feature jewellery but also in locating the parameters within which 2.3 (Above) Beate Eisemann. Neck
contemporary jewellery is through the American in the contextual study, and it shows how they have the practical research is located. piece. 2001. Iron, silver, rubber.
3
the overall genre of jewellery first developing around “Construction of spatial representations and artefacts out of the
the1930s. Contemporary jewellery, sometimes referred flow of human experience”.3
to as studio or art jewellery, is usually designed and

The value of jewellery as a cultural artefact as opposed
made by individuals. The value of the jewellery lies in
to being exclusively a sign of material wealth distinguishes
not just the material value of the works but in the ideas
contemporary jewellery from its historical counterpart.
expressed therein. Modernist jewellery refers to a specific
style of expression, which is a subset of contemporary “Jewelry making is ever evolving in new ways dictated by
jewellery. changes in the physical environment and especially the
social climate. Most of the major changes in the evolution
of jewelry making, in fact, have been impelled by people’s
Contemporary jewellery developed from a change changing ideals, values and attitudes.”4
in cultural values. Discussed below are some of the
contributing factors. This excerpt from the Cross The historically changing role of jewellery can be
Currents exhibition catalogue retrospectively evaluates seen to contribute to the attitudes and values within
the shift of ideas and values that contributed to the which contemporary jewellery is understood today.
emergence of contemporary jewellery. In turn, this can be seen to reflect attitudes towards the
body.
.contemporary jewellery “The word, ‘jewellery’, the noun, the meaning of which has been “Jewelry is firmly grounded in the human condition… inextricable
preserved and nurtured for countless years in a symbolic order from the presence of a living person: most jewelry is made to
“The origins of contemporary jewellery have been traced to
which once provided religious ceremony, and heraldry with their be worn, or to be imagined being worn. So like garments,
1936 when Sam Kramer began to make jewellery influenced by
material manifestations of meaning, and later was to enhance a the site of jewelry is the body” 5
Surrealism.”1
new code of recognitions based within a secular world, is in a
state of fractured continuance… In very recent years, a number
Kramer was part of the “non-rational” strand of of individuals, intent upon questioning and re-evaluating the Here Bruce Metcalf refers to jewellery in terms
Modernist jewellery. Contemporary jewellery or “studio” traditional values and functional roles previously available to of personal decoration, visual accent and as a
jewellery, have been influential in the bringing about of a fractured compositional device on the body, displaying
jewellery emerged more fully in the 40s (with Modernist state of meaning to the word jewellery… A hybrid ‘jewellery’ – a
jewellery developing more prolifically in America verb – emerged out of the necessity to speak about the world socially meaningful codes such as status, power
than Europe and Britain) gaining full recognition and of experience as it is; not how it was, or even how it should be. and/or sexual appeal.
Its formal, technical, material and functional aspects are no longer
prominence in the early 60s. derived solely from other or earlier jewellery. Its strategies are
often borne out of other disciplines and areas of knowledge.”2 Indeed all factors that have contributed to the
There exists some flexibility in the usage of the terms development of jewellery, be it value, social status, identity,
“contemporary” and “Modernist” within literature ritual and vanity, have been used as cultural capital in
documenting this period. The two terms are not Tom Arthur refers to the change in the symbolic value contemporary jewellery, to be questioned, played with 2.4. (left) Merry Renk.1948. Building.
and role of jewellery. This is reflective of the cultural and Brooch. Silver, evnamel
interchangeable and to clarify meaning for the purposes – and in some cases subverted. 2.5 (above) Naum Slutzky. 1929.
of this research, “contemporary” is understood to be social milieu of its time. Arthur echoes Harvey when he Necklace. White and fine gold,
speaks of: Chrysopras and Almandin
4
were available due to the mechanised buffing, precision
casting and stamping that had become available.
These mass-produced pieces were in demand by people

who had never been able to afford the luxury of jewellery
in the past.7 Even so, these pieces were impersonal,
machine made pieces of poor quality, as Evans comments:
“The jeweler’s reliance on the machine and mass production, and

the public’s satisfaction with the resulting products, led to a gradual
decline in creative expression with jewelry that reflected a cold,
machine-like look. The hand was no match for the machine and an
economically free society demanding large quantities of inexpensive
jewelry… Near the end of the nineteenth century artists began to
rebel against the lifeless machine aesthetic. At the same time, more
people began asking for jewelry evincing personal effort.”8
Evans discusses this reaction against the industrialised

aesthetic in relation to William Morris and the Arts
.beginnings of modernist jewellery
and Crafts movement – specifically in terms of the role
Modernist jewellery developed under the influence of Morris’s ideas played in the development of the Art
principles originating in fine art and architecture. Two Nouveau style, whose jewellery output was prolific. (2.6.)
clear strands have been identified: the first are the ‘non-
rational’ works of jewellers who were inspired by Dada The Art Nouveau style is key in the evolution of
and Surrealism, with the second being ‘rational’ works, contemporary studio jewellery not only because it
which are the focus of this text.6 The ‘rational’ strand abolished historicism but also because it set precedents
of Modernist jewellery exists as a parallel style to that for material usage as explained by Erhard Brepohl:
of architectonic jewellery, taking its influences from
“Numerous progressive artists of the Art Nouveau movement
Constructivism, the then prevailing machine aesthetic tried to counter the general decline of taste by consciously
as well as from architectural design theory. Significant incorporating the possibilities of the industrial techniques in their
impetus to the development of contemporary jewellery designs. At the same time, important one-of-a-kind pieces were
also being created. For the first time since prehistory, materials of
was borne out of a reaction to the historical imitations various kinds were brought together solely for design and creative
produced at the beginning of the 20th century. Chuck reasons without regard to their material value. It’s possible to
trace contemporary attitudes about materials to this period of 2.6. French Art Nouveau carved and
Evans writes that these were Baroque, Rococo, or
history.”9 tinted horn comb. Horn, black enamel
Victorian stamped out pieces, copies of the past that and rose diamonds. Probably by
Gaillard made for export.
5
rationaleandcontextualreview.beginnings of modernist jewellery
foundations are crystallised in the manifestoes of the
Bauhaus and advanced through its teachings.
The Bauhaus Manifesto of 1919 called for the unity of

all the creative arts under the primacy of architecture
and for a reconsideration of the crafts by the artist.11 Of
importance to the development of architectonic jewellery
were the various disciplines that were imparted to staff
and students. Howard Dearstyne discusses the hierarchy: Bauhaus who was both artist and technician, and was
the artist was considered an enhanced “craftsman”, but respected for his creative and experimental approach
the goal of all arts was architecture. to metalwork.13 (2.5. 2.9.) He later emigrated to Britain
to continue both as a practioner and as a teacher at the
“The Bauhaus had as great an impact on jewellery, as it did on all
Central School of Arts and Crafts in London.14
Morton makes a clear distinction between reactions the visual arts. Ideas conceived at that time are still valid, and in the
to the dominance of the machine: there were those later forties and fifties it became a great source of inspiration for
many jewellers.”12 Dr. Christianne Weber-Stöber summarises the impact of
who wished it absent, and those who tried to master it
Slutzky’s work on the language of Modern jewellery in
so that it may serve as a tool for artistic expression.10
her address to the School for Goldsmithing in Hannau
Walter Gropius, founder of the Bauhaus, fits into the
Germany thus:
latter category. Thus it can be seen that the Art Nouveau
style set a precedent in its free attitude towards material
usage in jewellery, further to this the ideas developed “Naum Slutzky renewed three important aspects of jewellery
creation: the reduction of formal creation without decorative
in design at the Bauhaus and the resulting celebration accessories, the technical kinetic stance and the procession with
of the machine aesthetic both contributed to the ideas new materials like synthetics, glass and chromium. These became
expressed in architectonic jewellery. established in the creation of jewellery.”15
Whilst it is simplistic to suggest these were the

Particularly influential on the development of modernist
only factors that contributed to the development of Moholy-Nagy began as head of the Metal workshop in
jewellery were the teachings of Ukrainian born Naum
architectonic jewellery today, they more significant shifts 1923:
Slutzky and Hungarian Constructivist Laszlo Moholy-
in attitudes towards jewellery and design. 2.7. (left) Margrate dePatta.
Nagy. !948. Brooch. Silver
“His classes [were] concerned with the elementary visual
2.8. (middle) Margrate dePatta.
Thus architectonic jewellery can be defined as a strand education and perception… thinking regarding construction, static
1950. Brooch. Silver
Slutzky ran the jewellery workshop from 1919 –1923 and dynamic factors, balance and space… his students were to
of contemporary studio jewellery which developed 2.9. (above) Naum Slutzky.
as a private enterprise in conjunction with the Bauhaus. demonstrate, for example, suspended equilibrium, the possibility
1961. Pendant. Silver bands and
from the well documented Modernist movement, whose of balancing something that rests on only one point, and similar
At that time, he was one of the only teachers at the blue enamel
phenomena.”16
6
Ralph Turner however comments that despite the influx
of the European avant-garde, who brought their “art
world” to New York, American studio jewellery largely
developed independently of European gold-smithing
traditions.18 It very quickly developed its own voice with
jewellers such as DePatta, Irena Brynner and Alexander
Calder, who were active and prominent within the field
both as practioners and later as teachers. Jamie Bennett
provides a qualifying perspective here by suggesting that
the programmes being initiated by designers trained in
the English or Scandinavian tradition grew philosophically
out of architectural principles rather than from studio
art practice.19 The studio art practice of the American
Modernist jewellers referred to here is work that is
developed from the making in the studio exclusively
The implications and possibilities for through practice, with the modernist kernels of theory
architectonic jewellery can be seen functioning as an attitude towards materials and design. additional notes
clearly in this description, and indeed The alternative view as discussed by Bennett in reference Margaret DePatta
were endorsed directly by Margaret to the English or Scandinavian traditions points to a more Originating from the San Franscisco bay
area, DePatta’s ideas stemmed from the
DePatta. The curriculum set by theoretical programmatic approach. Constructivist teachings of Moholy-Nagy.
Moholy-Nagy was developed through DePatta was a jeweller key to the
his later teaching of jewellery in the The European masters who emigrated from the Bauhaus American Modernist movement. Both
in her prolific and influential output and
United States. These principles were to the United States had great impact on and influenced through her activity in the development of
instrumental in the shaping of the ideas and ideals of the development of studio jewellery, resulting in a this scene, founding the Metal Arts Guild in
influential American Modernist jewellers. generation of practioners who continued on to faithfully the bay area in 1951.
work and teach in this style; this process and the effects of
“Before and during WWII, America became a haven for émigré this development will be shown through the explanation
artists from Europe and fertile ground for new modernist ideas to of Modernist jewellery. This period of American studio
take root. Joseph and Anni Albers set up a Bauhaus-type program
jewellery remains resolutely united and cohesive.
at Black Mountain College in North Carolina in the early 1930s,
Gropius, Breuer, and Moholy-Nagy immigrated to the US from
England in 1937 and Mies van der Rohe and Herbert Bayer
came from Germany. These talented designers became teachers
at universities in the United States and set up programs of study 2.10. Alexander Calder
based on the principles of the Bauhaus.”17 1955. Brooch. Silver
7
.modernist jewellery
In my view modernist jewellery emerged as one of the of art” and the eye of the public.20 In this way jewellery jewelry prompted the Museum of Modern Art to attempt to
dismantle the boundaries separating the fine and applied arts by
first expressions of contemporary jewellery. Examples of was seen in the context of an ‘art’ gallery and as such
staging a large exhibition, ‘Modern Jewelry Design’. It presented
jewellery influenced by Modernism can be found across asked that the visitors consider the ideas in the works to ‘a new concept in jewelry: wearable art’. This exhibition brought
Europe, Britain and America. The American Modernist be taken seriously. In doing so establishing contemporary to New York’s attention the philosophy of the wearable, modern,
‘miniature sculpture’ in which the values of the materials were
jewellery movement will be the primary focus, because jewellery as a significant discipline.
subordinate to the ideas.”22
it exemplifies the translation of ideas and influences
from art and architecture to jewellery. Additionally the The Walker Art Centre in Minneapolis was also
movement was also remarkably prolific, cohesive and well responsible for generating interest in the scene, by Modern Jewelry Design brought together one hundred and
recorded. holding a series of three exhibitions. The first, Modern thirty-five works. The exhibition provided a forum and
jewelry under fifty dollars, was to tour for two years around point of convergence for jewellers and artists such as
A series of landmark exhibitions between 1940 and America and was directed by Hilde Reis (a Bauhaus Kramer, Calder and DePatta. (2.8. - 2.10.)
1960 have helped to promote and define the concept of trained architect).21
American Modernist jewellery. The first, Modern Jewelry Other key exhibitions contributing to the visibility and
Design, held at the Museum of Modern Art in New York, establishment of Modernist jewellery as a genre were
“Official recognition of contemporary American crafts came as Modernist jewellery under fifty dollars in 1948 mounted by
was instrumental in promoting contemporary jewellery, early as 1939 with the formation of the American Crafts Council. 2.11. (above) Earl Pardon
and more specifically Modernist jewellery, “into the realm (In Britain, the Crafts Advisory Committee, later the Crafts Council, the Walker Art Centre. This exhibition went on to tour 1952. Bracelet. Silver, rosewood,
was founded in 1971.) By 1946, aesthetic standards in American motivating jewellers across America.23 ebony, tigers-eye, turquoise,feldspar.
8
rationaleandcontextualreview.modernist jewellery
“The Government’s Coldstream Report into Higher Education
of 1961 had a massive impact on art and design education. The
recommendations included a nationally recognised degree-level
qualification and a new emphasis on design. Change was inevitable
even where the old trade courses in jewellery and silver-smithing
had become successful art-and-craft hybrids.”28
Janet West, in Made to Wear, argues that this change in

Design Education was a turning point which instigated
rapid ideological changes to art schools around Great
Britain, resulting in the development of design based as
opposed to trade-oriented jewellery courses.
In the same year (1961), London hosted the First

International Exhibition of Modern Jewellery at the
These landmark exhibitions were instrumental in “Spurred on by the devastation of World War II, the trauma of
Goldsmiths’ Hall. Curated by Graham Hughes, the
establishing not only Modernist jewellery as a recognised the Holocaust, the fear of the bomb, the politics of prejudice, the
sterility of industrialization, and the crassness of commercialism. exhibition “spanned the period from 1890 to 1961… with
genre but also served to educate the public about the A new coterie of American artisans chose to express their over a thousand pieces on display”. It was a watershed
wider discipline of contemporary jewellery. In 1984, frustration with society’s conventions through the most intimate
event, “possibly a conscious effort to raise jewelry on to a
Gallery Fifty/50 in New York curated a retrospective art form: jewelry.”26
higher plane… This exhibition showed that there was no
exhibition titled Structure and Ornament: American particular trend or movement in jewelry at this time.”29
Modernist Jewelry 1940-1960. One hundred and fifty-nine In addition to the stimuli provided by the cultural and
works were located and brought together for this show. political circumstances of this post war period, subsidised Parallels to the dissemination of Bauhaus theories in the
The enthusiastic response from collectors, students and craft (and specifically jewellery) programmes were set US can be drawn with the emigration of Naum Slutzky to
craftsmen further celebrated this as an official style.24 up to rehabilitate returning war veterans as a form of Britain in 1933 and his subsequent teaching positions at
In 2003, the Montreal Museum of Fine Arts opened occupational therapy, as discussed by Mark Foley in the Dartington Hall, Devon, Central School of Art in London,
Messengers of Modernism, American Studio Jewelry 1940- catalogue essay for the Structure and Ornament exhibition The Royal College of Art and at the College of Arts and
1960, a retrospective touring exhibition bringing together at Gallery Fifty/50.27 Crafts in Birmingham.30
ninety-one definitive works from the period.25 In the
publication that accompanied the exhibition, jewellery In Britain however, the development of Modernist Thus although Modernist jewellery was to be found
historian and curator Toni Greenbaum highlights the work is far more fragmented; although as in the United across Britain and Europe, it occurred sporadically, lacking
cultural factors that led to the prolific craft movement of States, pivotal events can be identified as responsible the coherent momentum that the American Modernist
2.12. Earl Pardon, The Hippo.
that period: for instituting an environment conducive to the movement developed. 1952. Brooch. Silver, brass, copper,
contemporary jewellery scene. ebony, ivory, coral.
9
.architectonic jewellery
For the purposes of this research, architectonic jewellery jewellers, the different manifestations of architectural On the connection between the disciplines Maas
is categorised as a strand or subset of Modernist expression within jewellery. comments: “humans and edifices do indeed have at least
jewellery. I have defined architectonic jewellery as one thing in common: laws of proportion [that] govern
jewellery that considers or interprets the qualities or Of the three texts that survey architectonic jewellery, the ratios between the parts of both”.33 This connection
principles of architecture in relation to the body. only one, Architecture in Jewelry by Barbra Maas,31 attempts to the body is central in establishing a relationship
to clearly define the genre through carefully selected between architecture and jewellery. The proportions of
Limited texts exist on the subject of architectonic examples of work. Maas acknowledges the similarities and architecture and jewellery, regardless of scale have in
jewellery – this made for a sparse literature review. differences between disciplines through “the central issue common their relationship to the body. Whilst designed
The three texts reviewed are: Architecture in Jewelry by of their dimensions.” Touching on the differences, Maas to fit comfortably around the body, create intimate spaces
Barbara Maas, Architectonic Jewelry by Patrick Kapty and observes: or dominate the body, their proportions remain constant
a chapter from, Jewelry of Our Time by Helen Drutt and in relation to the human form. It is through the body that 2.13. (left) Jewellery by Architects.
Pablo Portoghesi. Ring. Gold
Peter Dormer, entitled Architectural Forms. we relate to the world and measure it; it is our medium 2.14. (middle) Jewelry by Architects.
All three articles touch upon different aspects of “Jewelry, with its direct relationship to the human body, necessarily through which the world is understood. Hans Hollein. Ring. Gold and lapis-
involves a more intimate aspect than the art of building, which lazuli
architectonic jewellery, the concept of scale and devotes its attention to free spaces.”32 2.15. (above) Jewelry by Architects.
proportion in relation to the body, the Modernist/ Maas’s assessment of the field of architectonic Peter Eisenman. Ring. Gold, lapis-
Constructivist influence and through citing examples of jewellery begins with the Cleto Munari Collection, a lazuli, turquoise, black onyx
10
rationaleandcontextualreview.architectonic jewellery
project established in 1985 by an Italian businessman, The Cleto Munari collection reflects the results of revisited. Twenty-two international architects were
“who invited twenty of the world’s leading post- another similar inter-disciplinary Italian project, a invited to ‘renew the domestic landscape’ with their
modern architects to submit sketches for a collection commercial initiative, that of the Alessi, Tea and Coffee designs. (2.17 and 2.18.) The resulting collection shows
of jewellery”. Maas criticises the results as, “Micro- Piazzas under the direction of Alessandro Mendini from architectural thinking applied to a different discipline,
architecture, …straying perilously close to the genre of 1979 to 1983. (2.16) Eleven international architects were or product; thus creating a synergy that was not
cheap souvenir jewelry and not all equally successful”. set the project of designing tea and coffee sets. Many of evident in the first collection. Another significant factor
(2.13.) these same architects also took part in the Cleto Munari differentiating the two projects was the architects’ direct
Collection project, resulting in very similar outcomes. involvement with the workshop and industry in the
Within her critique, Maas makes an important distinction production of the designs. The success of this project
between the works that simply allude to or imitate “The purpose then was to explore possible new paths for Italian shows the potential that absorbing concepts from one
architecture and those that are composed according design in a historical context in which the parabola of the ‘bel discipline and abstracting them into another brings.
design’ of the 1960s and 1970s was in decline and Italian design 2.16. (left) Pablo Portoghesi for
to architectural principles. Included in the principles In a similar vein, British jeweller Vicki Ambery-Smith is the Alessi Tea and Coffee Piazza
was coming under strong pressure to open up to the world. Since
category are designs from Arata Isozaki and Hans Hollein in our history design is the brainchild of architecture, the operation introduced into the Maas survey. Her oeuvre replicates collection.1979
2.17. (middle) Greg Lynn FORM
because they are: “substantially derived from architectonic drew explicitly on the origins of Italian design.”35 historical architecture in miniature. Maas criticises for the Alesst Tea & Coffee Towers
forms.”34 (2.14.) Ambery-Smith’s work and other examples of ‘mini- collection. 2003
architecture’, categorising them as the exception rather 2.18. (above) Weil Arets for the Alessi
Twenty years later in 2003, Tea and Coffee Towers was Tea & Coffee Towers collection. 2003
11
than the rule in architectonic jewellery. (2.19. - 2.21.) the significance of proportion and measure in Oriental suggesting her dismissal of this type of work for its
Architecture. Maas describes Knapp’s designs that, “call to literal imitation. Works of this nature have also been for
The analysis of the genre of architectonic jewellery mind the elaborate tracery that fills the rose windows in similar reasons, excluded from the contextual survey that
by Maas is successful due to the discerning selection the tympanums of Gothic cathedrals.”37 follows, as they do not adequately qualify as architectonic
of jewellers used to illustrate the field. In identifying jewellery.
jewellers whose focal point is architectonic principles, Maas finishes the review of works by focusing briefly
Maas selects for critical attention Michael Becker, Ruudt on the role of architectural allusions in narrative and Maas ultimately concludes that architectonic jewellery
Peters, Giampaolo Babetto, Bernhard Fruh, Eva Eisler, figurative jewellery; this point is illustrated with the work is clearly identifiable as a genre, made up of a rich
Wilhelm Tasso Mattar, Melanie Kolsch, Juliane Brandes and of jewellers Xavier Domenech, Ulrike Knab and Traudl complexity of variants, as is proved in her overview
Susanne Knapp. Kammermeier. of the field. Despite the Maas review being short in
Maas illustrates the range of ways in which architectural length in some1500 words, Mass is able to introduce 2.19. (left) Vicky Ambery-Smith. Italian
principles have been interpreted in jewellery; from Becker, The tone of the Maas article indicates her questioning fifteen jewellers who have delved into the subject of Temple 930AD. Brooch. 1996. Silver
whose earlier work is inspired by buildings blueprints and stance in relation to the validity of architectonic architectonic jewellery, touching upon the inspirations and gold
2.20. (middle) Vicky Ambery-Smith.
elevation drawings to Peters, who attempts to “rephrase jewellery as an independent genre. Maas comments that, and motivations of these artists and highlighting the most Brooch. Silver and gold
the language of architecture in the form of jewelry” .36 “direct copies of historical buildings or architectural successful as well as those works that have somehow 2.21. (right) Vicky Ambery-Smith.
Three brooches. Silver and yellow
Later examples are given, such as Kolsch, who investigates components… are the exception rather than the rule” failed in their aims to collaborate with architecture. As an
gold
12
overview that introduces the subject to the layman this
article successfully communicates the subject succinctly
and with an influential critical perspective.
Reservations such as those expressed by Maas are not

isolated. In the catalogue that accompanied Artitecture,
a recent conference held in Glasgow by Strathclyde The second text to be reviewed, Architectonic jewellery by
University, Professor Brian Edwards, identifies three Patrick Kapty, appears on the Modern Silver website. This
conditions under which art and architecture collaborate: article defines architectonic jewellery as an investigation
“The synthesis of art and architecture as a process of into pure form in three dimensions, as a subset of
production, Architects who employ artists to embellish constructivist jewellery (and hence Modernist works)
their buildings in order to give them added meaning and, and as “micro-architecture”. The term architectonic
artists who are directly inspired by buildings and cities.”38 jewellery is clearly defined as not covering architectural-
revival jewellery “where motives of architecture are
Pertinent to this review is the third condition; discussion superimposed on jewellery. And not jewellery designed by
at the conference touched on the scepticism of architects architects”39, reiterating the point made earlier by Maas.
that art pillages ideas and images from architecture in
a superficial manner.Yet no discipline can function in Architectural Forms introduces issues of ‘sizeless’ and
Kapty seems to confuse Modernist and architectonic
isolation, without drawing from its environment, especially ‘bigness’ when considering the works of Francesco Pavan,
jewellery when citing examples such as Margaret DePatta
not architecture. Ironically it has traditionally been Anton Cepka and Eva Eisler. (2.22. - 2.23 - 2.25) Particular
and Irena Brynner. Both jewellers’ work clearly relates to
architecture that has looked towards art for new ideas, it to these jewellers is the empasis on proportional
Constructivist principles, exclusively suggesting Modernist
has only been since modernism that architecture’s focus relationship to the body. These works establish within
classification over architectonic.
turned on itself. The ‘pillaging’ of ideas from architecture themselves their own rules for proportion, it can be
remains only when the art – or in this case jewellery seen in (2.22) that the elements of which these works
Whilst there is no clear dividing line between the two
manages only a literal translation. Each discipline brings to comprise are in relation to each other. “Pavan produces
genres, and, as suggested earlier, architectonic jewellery
its inspiration the dynamics of its own particular medium, small works in gold and silver that are ‘architectural’ and
has much in common with Modernist jewellery and may
thereby interpreting ideas in a new light. The contextual absolutely independent of size because their internal
be seen as a strand or subset of it, this confusion stems in
review will demonstrate the way in which successful proportions and the scale of the textures render them
my view, from the absence of definition.
works (i.e. works that do not operate only on a literal ‘sizeless’... They are not miniature versions of anything.
level), involve and interpret architecture, generating a They would not change if they were enlarged.”40
The third text to examine architectonic jewellery is
result that surpasses aesthetic borrowing and exists 2.22. (right) Anton Cepka. Brooch.
Architectural Forms, a chapter from Jewellery of our time: Art 1980. Silver and saphires
independently. ‘Bigness’, on the other hand is defined as a quality that is
Ornament and Obsession, by Helen Drutt and Peter Dormer. 2.23. (above) Franscisco Pavan.
understood to refer to a larger form. Brooch. 1972. White Gold
13
The works of Cepka are perceived by Dormer and
Drutt to be operating within similar scale range to those
of Pavan. Cepka’s delicate constructions “incorporate
images from 20th century technology… space stations,
cranes and utilitarian structures like electricity pylons”.
The authors relate this to his interest in the Russian
Constructivists. Whilst noting that Cepka interprets
spatial and architectural aspects of utilitarian structures,
organising them so that they “retain the essence of the
source material, but are by no means a simple reduction
of scale”.41
ways of expressing the

Reflecting on the work of Eva Eisler, Dormer and inspiration of architecture in
Drutt note that Eisler’s work makes a very direct link their work. This is further detailed in
to the built environment, through the composition the contextual review.
of geometrical forms, volumes and spaces. (2.25)
They acknowledge that Eisler’s jewellery provides the In my view these three texts join the dots between
opportunity to appreciate these Modernist architectural those jewellers around the world who share a common
elements and their interaction, which in the built fascination and particular relationship with the built
environment is impossible. Their observation, that this environment. Whilst architectonic jewellery is not a
is due to the difference in scale between the buildings driving phenomenon in the jewellery scene, it is cohesive
and ourselves and our perspective is simple yet often enough to have been recognised as a genre and to posses
overlooked. Similar perspectives can be seen in three- its own vocabulary, as will be illustrated in the contextual
dimensional models or plans of architecture; not review below.
unfamilar to Eisler who trained as an architect earlier in
her career.42
Dormer and Drutt comment that “the connection

between jewellery and architecture is one of the constant
strands in the development of the new jewelry”.43 This
2.24. (left) Zack Peabody. Split-Lap
text was written in 1995, and the intervening period has Bracelet. 1997. Stainless steel and
proved this point. Development can be seen in the form aluminum.
of new contributions from jewellers, exploring different 2.25. (above) Eva Eisler. Brooch. 1990.
Silver
14
.contextual review
This review will discuss the ways in which architecture as definition of architectonic jewellery and an identification
a subject has inspired and informed the work of jewellers of categories within the genre. The ten jewellers reviewed
in the context of architectonic jewellery. The works have have been grouped into three strands, this serves to
been selected in order to reflect the range. Due to the structure the review. The three strands that I have
scarcity of secondary sources, where possible, interviews identified are abstract, interpretive and figurative. It
with jewellers have been conducted. Secondary sources should be clarified that these are categories that have
that have been consulted, include: exhibitions, exhibition been imposed upon the works reviewed and do not
reviews, artist monographs and other literature. emerge as distinctions from the artists themselves. In the
conclusion, the role this contextual review played in the
As the literature review has shown, no consensus for location and direction of my own research is discussed.
a clear definition of architectonic jewellery has been
arrived at. It has been necessary for the boundaries “Art moves towards architecture not when it copies or represents
of this research to define this genre to locate my own it (which would be extremely banal), but rather when it imitates
practice and to determine the extent of the contextual it structurally – when it integrates the principles that underlie
2.26. Otto Kunzli. Black house.
construction”44 Brooch. 1985. Formica and steel and
review identifying key figures and works Following is my
Golden House. Brooch. 1990. Gold
15
rationaleandcontextualreview.contextual review
Thus a definition of architectonic jewellery emerges as:
Jewellery that considers or interprets the qualities or
principles of architecture in relation to the body; this may
be through concept, architectural space, use of space or
symbolically.
In an attempt to break down and further define

architectonic jewellery, classification of architectonic
expression is necessary. From the overview of this
literature three strands were discerned: Abstract,
Interpretive and Figurative:
concern itself with historical elements of architecture)

Abstract works deal with architectural principles and
celebrates vernacular industrial structures. Beate
qualities on a conceptual level; within this strand are
Eisemann’s work documents the gradual deconstruction
Giampaolo Babetto an Italian jeweller whose interest lies
of a power station in Germany; Eisemann’s project is the
in the numbering and proportioning systems of classicism.
closest example in this review to this research on Therme
Eva Eisler and Anton Cepka both of whom come from
Vals and the resulting practice.
former Czechoslovakia, thus the clear influence of the
Constructivist aesthetic45 visible in their work. The use
Figurative works use the image of architecture
of the Fibonacci sequence or the Golden Section in
symbolically; this strand has been included, so that its
the proportioning and design theory of their work is
existence is acknowledged, but is not central to this
common to Babetto, Eisler, Michael Becker and Claus
research. The use of the symbol of architecture to
Bury. Despite Bury’s architectonic experiments having led
communicate indicates jewellery as statement, narrative
him away from jewellery to sculpture rigorous adherence
or identity, not as architectonic. The jewellers selected
to the classic numbering system remains a factor in his
to illustrate this strand are Otto Kunzli of Swiss origin
design.
For the purposes of this research, architectonic jewellery and Onno Boekhoudt from Holland. It is no coincidence
that reflects a literal translation of architectural edifices that Swiss and Dutch jewellers are known for their
Interpretive works are responses to a specific
will be excluded. A point reinforced by Nicoletta Trasi, highly conceptual and pointedly intellectual approach to
architectural site; Michael Becker and Ruudt Peters are
in her introduction to Interdisciplinary Architecture and jewellery design.
located in this strand, their works recalling particular
previously discussed in the literature review in relation to 2.27. (left) Giampaolo Babetto.
architectural sites, immortalising them on an intimate Neckpiece. 1997. 750 Gold.
Maas and her critique of the Cleto Munari Collection and Of the jewellers in this review whose work falls into the
scale. The work of Zack Peabody (the only non-European 2.28. (right) Michael Becker.
the work of Vicki Ambery-Smith. abstract and interpretive strands, the pervading aesthetic Barcelona. Brooch. 1988. Gold and
in the review, and the only jeweller whose work does not
hematite.
16
passage from Jewelry of Our Time Dormer and Drutt, time innumerable formal treatises have been written,
discuss the irony surrounding the modernist aesthetic in expounding on theories of design and structure.47
jewellery: Critic Fil Hearn points out that only a few of the
numerous architectural treatises throughout history have
“Modernists often had an idealistic vision of the virtues of mass enjoyed wide and lasting influence. Hearn draws attention
machine-directed manufacture. They thought that machine to the irony that, it is the theoretical writings and ideas
production would generate not just precision but preciousness
not the architecture itself that are the most durable.48
– that the machined edge, the machined plane, and the machined
form would necessarily include finesse. But in fact, and this is borne It is these architectural theories and less formally
out by the technology used for the rapid construction of modern articulated ideas, which have stimulated architectonic
buildings, what machine production generates is an economical
jewellers to investigate this fertile ground. The translation
form of ‘good-enough production’. It does not often deliver the
quality of high finesse, that special finish that we want to call of both formalised design theory and the abstract
precious… Only in art can modernism’s perfection usually be qualities of architecture are the focus of investigation for
afforded and created.”46
jewellers working within this category.
“Assimilating classical proportions with modernity”49

The following review takes its structure from the
Giampaolo Babetto’s design theory is influenced by rules
defined strands of architectonic jewellery (These strands,
of proportion and perspective that originated in Roman
is one of a modernist, machined, highly crafted precision Abstract, Interpretive and Figurative allow for further
times, the most famous example of these systems in use
finish. It is only the work of Eisemann (appropriately definition within the genre of architectonic jewellery,
being the Parthenon in Athens, built around 430BC. These
reflective of her subject matter), which challenges this. Of enabling the clear positioning of my own work.)
systems of proportion, specifically the Golden Section or
the jewellers whose works convey the precision aesthetic Predictably, some jewellers’ architectonic oeuvre
Golden Mean50 fascinated Renaissance architects in the
of architecture it is only Babetto and Peters whose work oscillates between the different strands whilst others
15th century and have served to influence and intrigue
does not overtly celebrate technology, rather similarly sit comfortably across all three categories operating
artists and architects ever since. Babetto identifies these
their architectural interest lies in the Classical period. on different levels in different ways. An example of
classic systems of proportion as a design theory with a
(2.30. 2.31.) Babetto’s work although extremely finely this discussed later is Michael Becker whose works at
central focus for his works. It should be noted, that many
crafted and displaying a minimalist modern aesthetic, different stages fluctuates across these categories.
establishes its ties to a way of working that stems from
the Renaissance, a perspective that values the role of the Abstract works, as mentioned earlier are works whose
artisan or master goldsmith. Babetto considers himself expression is concerned with the principles and theories
to be working in this tradition. The architectural focus that affect architecture or the ideas that shape buildings. 2.29. (left) Michael Becker. Brooch.
of both Babetto and Peters marries the influence of the Composed in 30BC by Marcus Vitruvius, De Architectura 1997. 750 Gold.
Classical with the prevailing modernist aesthetic resulting 2.30. (right) Giampaolo Babetto. Ring.
is the first known attempt to write a systematic and 1991. 18ct Gold
in a finish that exudes machined perfection. In this comprehensive theory of architecture; since that 2.31. (above) Giampaolo Babetto.
Bracelet.1988. 18ct Gold
17
Following this period of work, a series was produced,

in response to Pontormo’s frescos54 in a figurative way
(2.32.), in an interview with Anny Nalli Nencioni he
Babetto is an Italian jeweller who was born in Padua in
speaks of his influence:
1947 and was educated at the Academy of Art in Venice
other jewellers are also influenced by these mathematical and the Istituto d’Arte Pietro Selvatico, Padua. The
principles, which are incorporated into their work but are Institute of Art in Padua, where Babetto now teaches, “I had heard about Pontormo’s frescos at the Certosa of Galluzzo,
is known for its distinctive use of gold and “research of long ago. I sensed a special stimulus inside me so I tried to discover
not however the sole focus for the design. it through my work. The harmony interested me particularly.”55
As Ralph Turner succinctly observed, Babetto assimilates jewels as an expression of pure art”52. The history of the
classic systems of proportion with principles of institute dates back to the end of the Second World War
modernity; the works are produced with exacting and it is acknowledged as the locus of Italian goldsmithing.
Babetto continues to work in an architectonic style,
craftsmanship in 18ct gold. Their delicate abstraction of Babetto’s architectonic works shown here were
interpreting and experimenting with harmony, rhythm,
Euclidian geometry possess a “chic-ness”51 that expresses produced from 1970 - 1990 (2.30. 2.31. 2.32.)
contained space and classical proportion.
a sensitivity to the interpretation of Modernism in the
works. They convey a Modernist aesthetic in their austere Establishing, “deliberate links with the Renaissance tradition. His The second jeweller to be reviewed is Eva Eisler, Eisler
Jewellery design corresponds to the principles of proportion as
reduction of primary forms and their clean lines. originally trained as an architect in Prague, before moving
observed in the architecture of Palladio. Characteristic, are the
Although these works are large, they remain visually ‘light’ simple basic shapes and gently taut surfaces, suggesting depth. A to New York where she studied jewellery at Parsons
due to the way in which perspective is introduced into matt gold finish lends his pieces a sinuous elegance, gives them School of Design. Shortly after her graduation from
a cool appearance whilst conveying an inner tension. With a 2.32. (left) Giampaolo Babetto. From
the forms. (2.27.) The weight of the mass is broken up, great feeling for form and craftsmanship as well as precision for Parsons School of Design in New York, Eisler began
Pontormo. 1990. 18ct Gold
the angles that are introduced, draw the surface area of execution, Giampaolo Babetto transforms the rules of classical art exhibiting her work in galleries in and around New York, 2.33. (right) Eva Eisler. Bracelet. Ring.
the work away from the viewer. in to contemporary jewellery.”53 where she currently lives and works. Brooch. 1998. Stainless steel
18
held together by tension. As a purist, I have always believed that
In an interview Eisler describes how as a child she had an simplicity is the tool for capturing the essence of form. Simplicity
is defined by the logic of geometry, the dimension of time, which
informal approach to jewellery or “putting whatever you signifies movement, and consistency of material. Multiple variations
could find on the body”56, this established a very natural and interaction between objects are crucial. An open configuration
in space also reflects the provisional character, the open-ended
attitude towards being a jeweller. These early experiences
approach, of my state of mind.”62
were extremely influential, in shaping the direction that
Eisler would take later in life. In the same interview, Eisler
recalls from being very young wanting to be an architect, In this statement describing her design theory Eisler
imagining the utopian ideals of the time, that projected communicates a rational architectonic approach, this
the modernist future as towers and elevated passageways is countered by a conversation from an interview
in the sky and pollution free transport.57 conducted with her where Eisler describes the role of
the body by considering the body as a landscape as a
Influenced by the ideas and concerns of architects as well as the idea that it should reflect certain ordering fertile ground that changes with emotions and moods.
opposed to a specific type of architecture, Eisler’s work is principles found throughout nature.”60 Eisler believes the body can change the expression of
more Modernist in sentiment than aesthetic, the emphasis a piece of jewellery by the way in which it is worn. For
being on her use of a culturally relevant language.58 Work produced by Eisler in more recent years displays Eisler jewellery relates to the inner condition
a development in approach; one that is mirrored in of the wearer, thus creating an intimate
In an article written in 1994 (the years immediately architectural design theory. This perspective is less rigid relationship with the work.63
following Eisler’s graduation from Parsons), Susan Grant in the reinterpretation of values found in Modernism,
Lewin, picks up on the modernist sentiment portrayed in and more fluid in the incorporation of her ideas and
Eisler’s work and comments: philosophies into a more holistic approach.
“Relying on the truth that people find comfort in order, Eisler

Eisler speaks of her current interest in ‘sacred geometry’,
attempts to lay bare the logic and conceptual order of our world in the structures and numbers that underlie forms in
through the order and purity in her work. Its intellectual and nature.61 When Eisler speaks of patterns, divine numbers
structural purity provides a sense of well-being and security that
comes from any well-ordered composition”59
and ancient architecture, similarities with Babetto’s
approach become apparent. It is clear that despite the
different terminology and process of arrival the same
This sentiment recalls the staunch utopian principles of concepts inspire and hold jewellers’ attention.
the modernist era, which reasoned that purity of form
2.34. (left) Eva Eisler. Brooch. 1992.
led to purity in people. This is described in Modern Stainless steel
“Over the past ten years I have been developing two parallel, open-
Movements in Architecture by Charles Jencks as “the ended series’ of objects titled ‘Tension’ and ‘Repose’. These explore 2.35. (right) Eva Eisler. Tension series.
a logical progression of three-dimensional modular structures Brooch. 1987. Slate, sterling silver,
belief that architecture could socially transform men as
steel wire
19
Eisler’s design approach and work show a fusion of
architect and jeweller, where the ideas drawn from
architectural training are expressed through the intimate
medium of jewellery. These works communicate
architectural expression on a level that architecture is not
able to do. Eisler’s perception of her work is as symbolic
or as a signature as when it is worn it acts as a personal
form of communication/expression that is not possible in
architecture, Eisler comments: “I have managed to be part
of the architectural movement and use the same ideas in
another form.”64 “he partially eliminated the passive role the consumer played in using
and wearing jewelry. By setting up a dialogue with the consumer
by means of explanatory drawings, or scenarios for activating the
Claus Bury was trained at the Kunst and Werkschule in jewelry, he gives the buyer of one of his pieces of jewelry a variety
Pforzheim in West Germany, graduating in 1968. Bury’s of options with which to create his own combinations. A brooch
work in the years following his graduation depicted highly or a ring, for instance, can be worn in multiple ways, or simply
become an objet d’art along with the drawing.”67
detailed constructed, imaginary architectural spaces.
(2.38.) Bury worked prolifically throughout the 70s on
these abstract constructions before, ‘defecting to fine In Architectonic Propositions C.E. Licka terms these works
art’.65 as ‘participatory jewelry’, for the relationship that they
establish between the blueprints and the wearer. Licka
Bury is best known for his jewellery, which pioneered connects these works as ‘provisional sketches’ the first
the use of boldly coloured acrylic and bonded metal, stages, in the development of his large-scale orthographic
this coupled with his conceptual approach to work projections, which involve people in the sculptural
and exacting craftsmanship was extremely influential manipulation of space.68
on the jewellery scene both in America and across Bury’s ongoing fascination with architecture is shown
Europe,66where he travelled while also, exhibiting and through his experimentation with different mediums,
teaching in the 70s. (2.36.) in a search for a format that adequately satisfies and
expresses his intentions. Jewellery as a medium proved
Bury’s works proposed a different type of involvement too limiting to completely express his ideas. Bury’s site-
of the wearer with the work. The development of specific sculptures initiated in Jerusalem from 1975-
“meticulously rendered blueprints” as a part of his 76 experiment with the manipulation and perception
process distinguishes his unique intellectual and of space through the creation of formal structural
2.36. (middle) Claus Bury. Brooch.
conceptual viewpoint; this scenario is explained thus: relationships.69 1969. Acrylic
20
Anton Cepka, like Bury uses both the mediums of These influences and the unique aesthetic that Cepka
Licka cites Bury’s Geometrical formation series Parts 1- sculpture and jewellery to express his architectonic developed is expressed in both jewellery and large
6 in support of this. (2.37.) In these works the body is constructions. Born in 1936 Cepka studied in Bratislava kinetic sculptures in Slovakia; Ralph Turner draws parallels
used as a structural coordinate, through geometry and and Prague during the 50s and 60s. This was a time when between his sculptural work and his jewellery:
tension an underlying system is suggested. Participants are modernism was becoming firmly established in Eastern
integrated into a spatial experience whereby they are able Europe. Cepka has been credited with establishing “a
new design ethic for jewellery that married 20th century “Movement is never far from Cepka’s thinking. In his earlier work,
to sense their own physical relationship to the space.70
there existed a plethora of ‘winged’ brooches… many of his pieces
Licka explains Bury’s specific interest in architecture as technology with humanity and poetic imagination.”73 contained moving parts with bright splashes of colourful acrylic,
an investigation with time-space relationships and in the punctuating form and line…These site specific works perched high
up to catch the wind. Vent and panels carrying brightly coloured
ordering of space, “the purpose behind these ‘activities’ The celebration of technology and optimism for the
graphic symbols twist and turn as if frantically trying to arrest our
was to experiment with and create new relationships and future are both evident in this work, this in tandem with attention.”75
experiential possibilities within a specific setting.”71 the architectonic structuring, point in particular to the
Constructivist facet of modernism that influences Cepka.
These architectonic sculptures like his jewellery, refer In fig xx the similarities between these Constructivist Both in his jewellery and sculpture,
to his constructed reality, “that make the observer feel drawings and the graphic quality of Cepka’s jewellery Cepka’s works are realised as delicate
2.37. (left) Claus Bury. Geometrical
like a visitor in an imaginary world where familiar forms are clear. Beyond simply developing just constructivist yet dynamic constructions. Whilst Formations Parts 1-6. Jerusalem 1975
of orientation no longer apply.”72 Bury’s oeuvre displays ideas in three-dimensions in his work, Cepka responds they communicate an interest in the 2.38. (right) Claus Bury. Brooch. 1978.
a complex, multifaceted relationship to architecture, he to particular structures to a technological iconography Gold 750, fine gold, silver 900, fine
mechanical, structural and engineering
silver, various copper alloys
currently lives and works in Germany as a sculptor. evoking “space stations, cranes and utilitarian structures aspects of technology and structure, 2.39. (above) Anton Cepka. Brooch.
such as electricity pylons.”74 the works are realised in an aesthetic 1964. Silver
21
that is far from the cold, hard and impersonal aesthetic
that is associated with these factors. The deliberate
imperfections and slightly wavering quality of the
structural lines in the work create humanness about
them. The works retain a personal quality reflecting
Cepka’s perspective and role in the translation of ideas
into jewellery. (2.40.)
The oeuvre of German born and based jeweller, Michael

Becker, can at various points be seen to sit in both the
abstract and interpretive strands, and therefore serves as
a convenient bridge between the two. In correspondence
with Becker76, he outlines the development his interest
in architecture has taken; throughout the 80s, the subject
of proportion fascinated him, his work of this time being
concerned with questions of the whole in relation to the
section and what formal considerations brought these “The analyses of particular buildings was my point of departure
together. In the process of development of his work in for designing groups of related objects. I developed spatial, three-
tandem with his interest in architecture, Becker describes dimensional brooches based on two-dimensional forms, rhythmical
units and principles of arrangement.”78
how a loosening up of ideas changed his focus from
working with proportion to the investigation of elements
of architecture, examining beginnings, transitions and In the 90s Becker made a series of pieces that
connections. From here, he began to study blueprints of responded to aerial views of Marrakesh, the images he
buildings, abstracting these diagrams into jewellery pieces. drew inspiration from were satellite photos and the
(2.40.) architecture that was visible from this type of digital
imaging.79
As the process of abstraction developed, the structures and the
rhythmic units and ordering principles became the focus from In his most recent work, formal elements in architecture,
which his brooches emerged. At the end of the 80s, Becker was such as pattern and repetition in structure (2.43.) are
preoccupied with architectural plans from the Renaissance period, 2.40. (left) Anton Cepka. Brooch.
including those of Palladio and Alberti. Contrasting with this was his investigated. Becker works almost exclusively in yellow 1988. Silver and perspex
interest in modern architecture investigating the plans of Mies van gold because of its material qualities; the way light 2.41. (right) Michael Becker. Esters.
Der Rohe (2.27.), Ludwig Wittgenstein77 (see fig XX) and Richard Brooch. 1988. 18ct Gold
reflects off the material and the play of light on the 2.42. (above) Michael Becker.
Meier. In Jewelry of Our Time, he pinpoints this:
works, being integral in the conception of the pieces, Stonborough. 1988. 18ct Gold
22
the rare exception to the use of yellow gold is white “I try to combine my personal feelings with a historical perspective. and worn. Peters’ works strongly reflect his personal
gold and the inclusion of coloured stones. The subject I used the Architectural language and meaning of a building to exploration and resolution of ideas but it is the wearers’
express my personal feeling about certain places.”80
of Becker’s work has been and continues to be, centred interpretation and their relationship to the work that
on and around architecture. Reflecting on the trajectory becomes important in the life time of a piece of jewellery,
of Becker’s involvement with architecture shows how The external appearance of these simple hollow forms, is not the makers. This is the process where the ownership
the level of abstraction from architecture, deepens in deceptive, the inquisitive viewer and wearer will discover and meaning are transferred; such is the nature of this
conjunction with his familiarity with the subject. rich detail that distinguishes these forms revealed inside. highly personal work. It is also a credit to the maker
This duality has been described as: “both hiding and that works convey both the original meaning and allow
Responding on a more personal level to architecture, inviting one to explore the enclosed secrets, referring to space for personal interpretation. This phenomenon is
Ruudt Peters explores the evocative power of particular both myth and history.”81 particularly evident in the medium of jewellery, due to its
2.43. (left) Michael Becker. 1996. 18ct
architectural Renaissance sites in his Interno series. (2.44.) The medium of contemporary jewellery and the intimacy with the body. Jewellery undergoes a process of Gold
These works strike the delicate balance between directly relationship between wearer and piece is an intimate being incorporated into the realm (both physically and 2.44. (middle) Ruudt Peters. Interno.
Brooch. 1990. Silver
referencing known architectural sites whilst communicating affair, the works demand to be understood and have psychologically) of the body.
2.45. (right) Ruudt Peters. Interno
Peters’ personal response and relationship to them. significance to the wearer in order to be collected Pantheon. Brooch. 1991. Silver
23
The Interno series comprehensively displays a highly
personal response to specific sites in the imitable
language of Peters. A counter-balance to this series can be
seen in the light-hearted witty response to architecture
by Peters, with ‘Pin and Brooch’ from his earlier works.
“Ruudt Peters produced a drawn decorative jewel in the true sense

of the word in 1983, with his drawings of Renaissance architectural
ornaments. He took the capital and base of a column from an old
drawing, stiffened them with acrylic and attached them to a double
metal pin. When worn, the pin vanished into the wearer’s clothing,
leaving just the ornaments visible and causing the body to function
as a column.”82 (2.46.)
This foray into the subject of architecture, demonstrates

Peters’ conceptual thinking, particularly Dutch in flavour,
its wit reminiscent of his contemporaries, Gijs Bakker and
Onno Boekhoudt.
Contrasting with the work of Peters, in indifference to
His jewellery touches on many subjects, working in what the body or wearer is the work of Zack Peabody. Peabody
he terms as ‘families’, he produces series of individual is the jeweller of non-European origin whose work is
works linked by a common theme. These ‘families’ are particularly significant in this area of practice under
works related through idea, material and technique, 83 review curiously he is also the only jeweller for whom the
role of history is a source of inspiration for the work.
Peters, “makes jewellery to give physical form to the complexity
of human relationships. He explores the complex nature of Originating from San Diego, Peabody’s jewellery draws
intimacy, celebrating moments that are personally and historically
our attention to the architecture in our environment that
significant.”84
goes unnoticed. Finding beauty in elements and structures
that serve utilitarian functions, Peabody brings these
The ideas inherent in Peters ‘families’ of jewellery elements into the world of the precious. Susan Grant
have traversed, subjects of history, change and alchemy Lewin discusses the way in which in these highly rational
to name a few, what remains constant throughout work function:
2.46. Ruudt Peters. Pin and bracelet.
Peters investigations, are the works’ deeply personal
1983. Acrylic, wire and laminated
perspectives on these subjects and his passion for making. photograph
24
“Peabody uses the strict formal language and materials of

engineering – skyscrapers, bridges and towers…Peabody’s works
reveal the means of their construction, with bolts, screws, and
interlocking strips all evident.”85
Grant Lewin contrasts these hard tectonic works with

the “soft randomness of the human body” reflecting on Although Peabody lifts these vernacular structures from
the works as speaking about the human need for security relative obscurity to preciousness through the medium
and clarity in the relationship of parts. 86 of jewellery, it is only their structure which is translated.
That he no longer works as a jeweller adds weight to The prevailing aesthetic of this work celebrates a machine
Peabody’s contemporary Claire Dinsmore’s comments aesthetic, in opposition to the finish and environment
when she states, “The wearability factor is obviously these structures were originated from. Despite this the Because of the indifferent and indeed strained
unimportant to Peabody”87 Dinsmore affirms Grant fact that the ill-considered industrially built environment relationship of Peabody’s work to the body89, the medium 2.47. (left) Zack Peabody. Caster
with only function in mind should transgress status and of jewellery ceased to hold particular value for him as a bracelet. 1997. Stainless steel and
Lewin’s, interpretation of Peabody’s work as revealing
aluminum
human ability, “our ability to create, to understand, and to serve as inspiration for the realm of the precious and means of expression and he turned instead to sculpture a 2.48. (middle) Zack Peabody. Brooch
order, to think, and to rationalize.”88 highly considered, contains a lovely paradox. more autonomous medium. 534. 1992. Stainless steel, niobium
25
and the role her documentation played in the process

of designing. Additionally the scope of the project is long
Beate Eismann is a German jeweller whose project
term and evolving. Eismann attempts to capture and
Industries, discussed here is most closely related to
document Elbe not only from one point in time but over
the nature of this research on Therme Vals. Although
time as well.
‘Industries’ is a more personal response to the
deconstruction of a historical site which references the Figurative works
social and political problems of the area. The similarities
between Eismann’s project and this research lie in the The two jewellers to be discussed in relation to figurative
idea of ‘response’ to a particular architectural site and jewellery are Swiss born Otto Kunzli and the late
particularly in the working process. Onno Boekhoudt from Holland. Both jewellers have
a conceptual and playful approach to jewellery. Kunzli’s
Industries was a long-term project, the site was visited work in the 80s fell into the category of, ‘unthinkable
Eismann’s response to the inevitable demolition of Elbe 2.49. (left) Beate Eisemann. Object.
several time before its demolition. Eismann responded body decoration’92 his works confront, exploit, and play
was to document her feelings and ideas about the power 2001. Aluminium, gold, stones.
emotionally to the site, documenting aspects of the site with the perceptions and notions society has towards 2.50. (middle) Beate Eisemann. Neck
station, immortalising them through the permanence of
through photography and writing.90 jewellery; this playful approach is also evident in Kunzli’s piece. 2001. Gold and lead.
jewellery. 2.51. (right) Beate Eisemann.
foray into the symbolic use of architecture in his work Neckpiece. 2000. Silver
Industries was born from a personal concern for the throughout the 80s and 90s. 2.52. (above) Beate Eisemann.
Eismann is a parallel voice within this contextual review
decommissioning and eventual destruction of Elbe.91 Neckpiece. 2000. Lead, silver and
to my own research, because of her conceptual approach amber.
26
An example of this can be seen in ‘House’ (2.53.) where, “Three vertical strips, their length (175cm) corresponding to that
tongue-in-cheek, Kunzli plays with the archetypal ‘fixed of Kunzli’s body… On each of the strips is a point where two walls
meet. This gives rise to a system of coordinates in a part of the
abode’ which has the wearer’s body for a landscape.95 building that people usually pass through quickly.”96
Kunzli has flirted with architecture in other ways besides In relation to the various subject matters Kunzli turns
playing with the symbolism it has to offer. In January 1991 his attention to, his penchant for drawing our attention
in the stairwell to the Museum of Modern Art in Antwerp to aspects that are normally ignored remain. Kunzli
Kunzli installed, ‘x,y,z’: continues to work as an artist, both in jewellery and
sculpture and as an academic, teaching internationally.
The playful use of archetypes is a particularly Dutch

trend, whether the contained meaning of the works is
intended to be taken seriously, or merely brought to our
attention remains in question. Which perhaps is the point;
these works may be read as an experiment in questioning
those aspects of our culture which are often taken for
granted.
Boekhoudt is regarded as one of the most important

‘The desire for protection’ series is simply a ‘metaphor contemporary jewellers and teachers; his expressive yet
for wanting protection’,93 Archetypal shapes are utilised sensitive work, “manages to touch the emotions, as well
for their graphic qualities and the immediate associations as the mind, because his work has a spontaneity and
they carry. naturalness about it.”97 Both as a teacher at the Reitveld
Kunzli’s primary concern with jewellery is to subvert its Academy, and as a practioner his work was highly valued.
conventions and meanings at any point in time. This is
made abundantly clear with ‘Shelter’; given to a group of
architects this work is, “intended to be worn as a hat.”
2.53. (left) Otto Kunzli. House. Brooch
Manfred Kovatsch one of the architects involved with 1983-1990. Uriol, pigment and steel
the ‘Shelter’ works, comments in ‘The Third Eye’, where 2.54. (middle) Otto Kunzli. xyz.
Staircase MUHKA Antwerp. 1990.
he speaks of the scale and accessibility of architecture Wood and pigment
as being the most human in orientation. In relation to 2.55. (right) Otto Kunzli. A roof over
Kunzli’s work, architecture is transformed on to the body, one's head. 1986. Wood, red varnish
and leather. Manfred Kovatsch,
its graphic qualities exemplified with irony.94 (2.55.) architect
27
The ‘house’ was a symbol for things to be contained

in, taking on many forms as can be seen in ‘hat-house-
dish’. (2.57.) For Boekhoudt the role of jewellery was
inextricably linked to this containing of ideas within a small
form. For Boekhoudt the house symbolised the shape of
the ‘thing’ that it contains.98 Also unique was Boekhoudt’s
Boekhoudt envisaged the concept of a ring being
command across the mediums of design, his ideas slip
‘room for a finger’, his foray into the symbolic use of
between jewellery and product design with ease.
architecture takes this concept quite literally. (2.58.)
‘Room for the Finger’, operates with unmistakable Dutch
From this review, it is possible to see the development
irony, the rigid shape of a house is split into thin layers
from contemporary jewellery to American modernist
that breaks up the solid mass, resulting in flexibility. The
jewellery and to read architectonic jewellery as a subset
lightness and humour with which these works play with
of this. The development of contemporary jewellery
ideas is enviable, they are at once understood in simple
was borne from a shift in cultural values, where the
terms, yet possess layers of meaning should one feel the 2.56. (left) Onno Boekhoudt. Room for
expression and identification of ideas developed greater
need to look further. a finger. Ring.
importance than the display of monetary wealth. This 2.57. (middle) Onno Boekhoudt. Hat-
house-dish.
28
expression of ideas was the primary motive for the design working in this style are European and their work displays influence and the prevailing modernist aesthetic. The
and crafting of contemporary jewellery. The awareness of modernist and constructivist expressions. The definition strands that have been identified serve to locate the
this type of jewellery was assisted by the endorsement of architectonic jewellery arrived at in the process of position of this research and establish the different ways
of these values by teachers in the educational system and research for this contextual review is; jewellery that in which the subject of architecture is approached by
exhibitions promoting this work. possesses the qualities or principles of architecture jewellers.
in relation to the body. The qualities or principles are
The development of American modernist jewellery, a later defined as architectural concept or theory, architectural Research on jewellers situated within the interpretive
expression of contemporary jewellery, had two strands, space and its use. These ideas are developed by jewellers strand has proved invaluable in both positioning the
rational and non-rational. The rational strand being of through interpretation or response to architecture in direction of this project and gaining an insight into
particular significance for this review, was one result of relation to the body. The symbolic use of architecture in the different approaches and working practices of my
the diaspora of Bauhaus émigrés, seeking refuge from the works is acknowledged for its reference to architecture contemporaries. In gaining an understanding of both the
war. Bringing their modernist and Constructivist thinking but is not considered as architectonic jewellery, nor commonalities and the diversity amongst practioners
with them, they took up teaching in America educating a indeed are literal translations of architecture writ small with similar influences the complex and multi layered
generation of artists with their approach. on the body, as previously discussed. relationships between architecture and jewellery is
uncovered.
Architectonic jewellery, is considered as continuing in the Within the review of architectonic jewellers, many
2.59. (left) Onno Boekhoudt. Room for
same vein as modernist jewellery, many of the jewellers similarities can be found in the source of architectural a finger. 1993. Wood and paint.
29
rationaleandcontextualreview.footnotes
.contemporary jewellery .beginnings of modernist jewellery .modernist jewellery

1. Foley, Mark. Structure and Ornament: American Modernist 6. Morton, Phillip. Contemporary Jewelry: A studio handbook. 20. op. cit. Schon.
Jewelry 1940-1969. Metalsmith. Vol 5. No 3. Summer. 1985 Holt, Rinehart and Wilson. New York. 1970. p48 21. op. cit. Morton. 1970. p48
2. Arthur, Tom in, Larsen, Helge (ed.). Cross Currents: Jewellery 7. op. cit. Evens. 1983. pxvii 22. op. cit. Turner. 1996. p12
from Australia, Britain, Germany, Holland. Museum of Applied Arts 8. ibid 23. op. cit. Schon.
and Sciences, Powerhouse Museum. Sydney. 1984. p6-7 9. Brepohl, Erhard. The Theory and Practice of Goldsmithing. 24. Isaacson, Mark. The Search for Modernist Jewelry. Metalsmith.
3. ibid Brynmorgan Press. Maine. 2001 pxvi Vol 5. No 3. Summer. 1985
4. Evens, Chuck. Jewelry: Contemporary Design and Techniques. 10. op.cit. Morton. 1970. p42 25. Messengers of Modernism: American Studio Jewelry 1940-
Davis Publications. Massachusetts. 1983. pxiii 11. Stein, Joseph. Bauhaus. MIT Press. Massachusetts. 1969. pxviii 1960. http://www.msac.uoguelph.ca/messeng.htm Last accessed:
5. Metcalf, Bruce. On the Nature of Jewelry. Metalsmith. Vol 13. 12. Hughes, Graham. Modern Jewelry, An International Survey 22.3.04 Click for PDF
No 3. Winter. 1993. p27 1890-1963. Crown Publishers. New York. 1963. p25 26. Greenbaum, Toni. Messengers of Modernism. Montreal
13. Norton, Deborah, Jewelry at the Bauhaus. Metalsmith. Vol 17. Museum of Decorative Arts. Montreal and Flammarion. Paris.
No1. Winter 1987 1996. p15
14. West, Janet. Made to Wear. The Lethaby Press. London. 1998. 27. Foley, Mark. Structure and Ornament: American Modernist
p14 Jewelry 1940 – 1960. Pages from the original catalogue were sent
15. Weber-Stöber, Christianne. http://www.stfz.art.pl/ao_ in correspondence with Mark Foley. Excerpts from the catalogue
cracoviana/wyklady/bauhaus.htm Last accessed: 4.4.04. Click for were published in Metalsmith. Vol 5. No 3. Summer. 1985. p36-39
PDF 28. op. cit. West. 1998. p16
16. op. cit. Stein. 1969. p279-291 29. op. cit. Hughes. 1963. p44
17. Schon, Marbeth. Wearable Art Movement: Part 1. http:// 30. Ibid p34
www.modernsilver.com/Walkerarticle.htm Last accessed: 25.3.05
18. Turner, Ralph. Jewelry in Europe and America, New Times,
New Thinking. Thames and Hudson. London. 1996. p9
19. Bennett, Jamie. Jewelry Mediating Jewelry. Metalsmith. Vol 18.
No 1. Winter. 1998. p25-33
30
.architectonic jewellery .contextual review

31. Maas, Barbra. Architecture in Jewelry. Schmuck. January. 2000. 44. Trasi, Nicoletta. Interdisciplinary Architecture. Wiley-Academy. Schools. http://www.gz-online.de/en/translations/Translation_June_
p18-20 (German article - English translation in supplement p3-4) Chichester. 2001. p8 02_three.cfm Last accessed: 25.10.04 Click for PDF
32. ibid. p3 45. “The Constructivist aesthetic – the assembling of planes 53. Falk, Fritz and Holzach. Schmuck der Moderne: Modern
33. ibid. p3 and line in space (as distinct from working solid form)” op. cit. Jewelry 1960 – 1998. Arnoldsche Art Publishers. Stuttgart. 1999.
34. ibid. p3 Dormer and Drutt. 1995. p72 p128
35. Alessi website. http://www.alessi.it/tct03/index.jsp?mWidth=10 46. op. cit. Dormer and Drutt. 1995. p25 54. “Pontormo, 1494-1556, A painter and draftsman, Jacopo
24&mHeight=768 Last accessed: 2.4.04 Click for PDF 47. Hearn, Fil. Ideas That Shaped Buildings. MIT Press Pontormo was the leading artist in mid-16th-century Florence
36. ibid. Massachusetts. 2003. p1 and one of the most original and extraordinary of the Mannerists.
37. ibid. 48. ibid. pxiv Pontormo enjoyed the patronage of the de’ Medici family
38. Edwards, Brian. Artitecture 2004. Collins Gallery and 49. op. cit. Turner. 1996. p29 throughout his career.”
University of Strathclyde. 2004. 50. The golden ratio is a number, approximately 1.618, which The frescos that Babetto was influenced by were excecuted in
39. Kapty, Patrick. Architectonic Jewelry. Modern Silver Magazine. when considered as a ratio posseses many interesting properties. the Medici Villa’s near Florence. http://www.guggenheimlasvegas.or
2001. http://www.modernsilver.com/architectonic.htm Last It was studied by ancient mathematicians due to its frequent g/artist_work_md_1305.html Last accessed: 2.11.04 Click for PDF
accessed:15.3.02. Click for PDF appearance in geometry. Shapes defined by the golden ratio have 55. Nalli Nencioni, Anny. Giampaolo Babetto. Aurum Publishing,
40. Dormer, Peter and Drutt, Helen. Jewellery of our time: Art, long been considered aesthetically pleasing in western cultures, Zurich. 1991. p39
Ornament and Obsession. Thames and Hudson. London. 1995. reflecting nature’s balance between symmetry and asymmetry. 56. op. cit. Eisler 4.4.02
p69-72 The ratio is still used frequently in art and design. The golden 57. This sentiment is correlated by Ralph Turner in his review of
41. ibid. p70 ratio is also known as the golden mean, golden section, golden Slovakian jewellery“Full-blown modernism took off with a flourish
42. ibid. p71 number or divine proportion. Source: Wikipedia. Last accessed: in parts of Eastern Europe during the 60s and nowhere was this
43. ibid. p71 1.11.04 http://en.wikipedia.org/wiki/Golden_mean Click for PDF more active and effective than in jewellery design.” Turner, Ralph.
51. Dormer, Peter and Turner, Ralph. The New Jewelry: trends and Slovak Jewellery. Crafts. No 56. Jan/Feb. 1999. p57
traditions. Thames and Hudson. London. 1985. p20 58. op. cit Eisler. 4.4.02
52. GZ journal on-line. “Italian Market Young Talent at Italy’s
31
.contextual review
59. Grant Lewin, Susan. American Art Jewelry Today. Harry N 18.3.02 The questions and correspondence with Becker, were 86. ibid.
Abrams Inc. New York. 1994. p80 replied to in German, as a result the direct translations are not 87. Dinsmore, Claire. Zack Peabody: Structures of Denial.
60. Jencks, Charles. Modern Movements in Architecture. Penguin completely clear and suitable and paraphrasing was necessary. Metalsmith. Vol 15. Winter. 1995. p44
Books. Middlesex. 1973. p43 77. Wittgenstein is best known for his contributions to philosophy 88. ibid.
61. op. cit. Eisler. 4.4.02 and not architecture, but he was always fascinated by architecture 89. Peabody, Zack. From personal correspondence with Peabody.
62. ibid. and designed and built one house in his life, agonising over 26.3.02
63. ibid. every design decision and its philosophical implications. The ‘villa’ 90. Blake, Kristina. Beate Eismann: Industries. Gallery Himmelreich.
64. Goldberg, JoAnn. Eva Eisler. Ornament. Summer. 1987. p43 completed in 1928, was designed with exacting attention to detail Magdeburg. Germany. 2002.
65. Licka, C.E. Claus Bury: Architectonic Propositions. Metalsmith. (Wittgenstein controlled where all the furniture and art should 91. “The electric power station, ‘Elbe’, that was built in the town of
Vol 3. No 4. Fall. 1983. p18 go, and would not let this change.) and great expense and for his Vockerode from 1937 to 1940, was in its time, a unique technical
66. op. cit. Dormer and Drutt.1995. p25 sister, Margarethe Stonborough-Wittgenstein. Wang, Wilfried. The and architectural achievement. It was constructed to meet the
67. op. cit. Licka. Metalsmith. Vol 3. No 4. Fall. 1983. p18 Architectural Review. September. 2001. Click for PDF rising demand for energy needed by the chemical industry that
68. ibid. p20 78. op. cit. Dormer and Drutt. 1995. p69 was situated in the central region of Germany. After World War II
69. ibid. p21 79. op. cit. Becker 18.3.02 the power station was dismantled and sent to the Soviet Union,
70. ibid. 80. op. cit. Dormer and Drutt. 1995. p177 as a part of the reparation tributes. Nevertheless, in 1952 the
71. ibid. p23 81. Brown, Gail. Ruudt Peters. Metalsmith. Vol 13. Fall. 1993. p41 rebuilding of the power station was begun. By 1959 its turbines
72. Bury, Claus. http://www.clausbury.de/ Last accessed: 5.11.04 82. Yvonne, Joris. Jewels of Mind and Mentality: Dutch Jewelry were fully working again, forming the base of the power supply
Click for PDF Design 1950 – 2000. 010 Publishers. Rotterdam. 2002. p35 of the German Democratic Republic. During that time 640 tons
73. ibid. 83. den Besten, Liesbeth. Not all is what it seems. Received from of brown coal were transformed into electricity every day. The
74. op. cit. Dormer and Drutt. 1995. p70 personal correspondence with the artist. 2002. coal was brought to the station by 15-20 trains and 2-3 trains
75. Turner, Ralph. Anton Cepka: Jewellery. Crafts. March. 1994. p55 84. op. cit. Brown. Metalsmith. Vol 13. Fall. 1993. p41 returned the remnants to the open cast mine. In 1994 all activity
76. From the author’s own correspondence with Michael Becker. 85. op. cit. Grant Lewin. 1994. p172 at the power station was suspended because of its outdated
32
.contextual review
technical equipment and the pollution which it was causing in

the area surrounding Vockerode. Because of these problems, its
time was over.” Eismann, Beate. Industries. Gallery Himmelreich.
Magdeburg. Germany. 2002.
92. op. cit. Dormer and Turner. 1985. p146
93. Kunzli, Otto. The Third Eye. Stedelijk Museum. The
Netherlands. 1991. p68
94. ibid.
95. ibid.
96. ibid.
97. op. cit. Dormer and Turner. 1985. p23
98. Joris, GJM Yvònne, Jewels of Mind and Mentality Dutch Jewelry
Design 1950-2000, 010 publishers. Rotterdam. 2000. p50
33
roleofarchitecturaltheory
and applied to a context other than that from which
it originated. This approach has been adopted for this
research. I considered theory as a ‘box of tools’ with
which to work in order to understand the vast and
complex subject area of architecture. I have subscribed to
a series of theoretical standpoints to be used as tools for
reflective thinking, and to gain a deeper understanding of
architecture with a view to practice.
This chapter explores the constituent parts of

contemporary Swiss architecture in order to illustrate
the context in which Zumthor (and specifically his
work at Vals) is situated. This chapter has been divided
into three sections, beginning with the establishment
of a philosophical standpoint that underpins both this
research and contemporary Swiss architecture.
.introduction
“A theory is exactly like a box of tools.”1 This first section illustrates the theories that have been
significant in contributing to the establishment of a
In ‘What Is Architecture?’ Ballantyne quotes Deleuze in formal philosophical approach to architecture. In this
relation to the practice of the philosopher who, as the overview of phenomenology, the perspectives of Robert
inventor of theories, reinforces the mode of thinking and Sokolowski and Terry Eagleton are introduced to explain
the ways in which a theory may be freed of its original the fundamental principles.
context and put to use. 2
Phenomenology is the study of how things are perceived;
Ideas are first appreciated from a philosophical standpoint,
it takes that which is presented to us in conscious
which underlies those theories and concepts that are
experience, as a starting point and tries to extract the
built on top of it. This foundation allows interpretations
essential features of experiences and the essence of what
across disciplines, it allows philosophical paradigms to be
we experience. 3
functional and useful, and it allows the abstract to rest in,
and be understood in terms of the real.
In this research the investigation of phenomenology
emanates from an architectural perspective. Key tenets
A theory or concept may be used as a mode of thinking
are highlighted for their specific relevance to architecture, 3.1. View from Therme Vals
34
roleofarchitecturaltheory.introduction
and then in relation to Vals. The identification of conditions that created the current architecture is
phenomenology as a way of conceptualising and reflecting given so that it may be considered within a contextual
on these matters has particular relevance to the Swiss perspective. Modernism is then addressed, illustrating
Essentialists,4 and specifically Zumthor. its constant unbroken tradition in Switzerland, showing
that it is an integral part of contemporary architecture in
The second section develops this philosophical standpoint Switzerland.
in relation to architecture, concurrently explaining its
relevance to Zumthor and Vals. Various interpretations The conclusion demonstrates why these theories have
of a phenomenology of architecture are illustrated, by been brought together: to articulate a formal context in
Christian Norberg-Schulz, Juhani Pallasmaa, Tado Ando which this body of research sits, so that it may operate in
and Tony Fry. This shows that despite the differences in a diachronic6 manner.
terminology and points of departure, the meaning that is
conveyed is the same.
Phenomenology as a philosophical ethos emerged as

the most appropriate approach for reasons beyond
synchronicity with the architectural theory. As a
philosophy, concerned with how things are perceived, it is
synonymous with the enquiry of this research; in essence,
on an abstract level, this research experiments with my
own perception and creativity.
From a design perspective, phenomenology holds

particular weight, because of the emphasis it places on
the ‘object’. The ‘object’ or ‘artefact’ is a central subject
or focus of what we ‘intend’ or perceive. This is also
evident in the famous catchphrase of phenomenology:
“back to the things themselves!”5
The third section begins by defining the Swiss

Essentialists, the group with which Zumthor is associated.
This explains the key characteristics of contemporary
3.2. view into 14° bath in
Swiss architecture. A brief overview of the cultural Therme Vals
35
Prephilosophical thought
Phenomenology does not
discount prephilosophical
thought; rather it validates it as
truth, truth through experience.
It offers a contemplative stance
that neutralises prephilosophical
thought whilst still allowing it to be
possessed by the self or dative9.
and Vals. . .
In hindsight the initial experience
of and response to Vals was
challenging, with the outcomes
lacking in clarity. (In terms of
phenomenology, the results of
the experience of this first visit to
that things in question cannot be properly brought to is precisely this sort of understanding: Phenomenology is reason’s Therme Vals would be considered
light without the words that name them. 8 self-discovery in the presence of intelligible objects.”11 prephilosophical thought.)
This was due to the spectrum

.phenomenology as methodological tool This theoretical perspective was of value in explaining
of sensorial information received,
Eagleton’s insights are central here: “If phenomenology secured a the experience and response to the first visit to Therme and lack of theoretical tools with
“Phenomenology is the study of human experience and of the
knowable world with one hand, it established the centrality of the which to analyse it. The result was
ways things present themselves to us through such experience.”7 Vals. Eagleton reinforces the role of experience in his
human subject with the other. Indeed it promised nothing less than a very intuitive response to the
a science of subjectivity itself.”10 description: architectural space that attempted
to abstract both the ideas and
In this research project phenomenology, as a tool, has experience, but ultimately lacking
provided the opportunity to examine the process of “Phenomenology, by seizing what we could be experientially sure in a systematic means to do so.
The dialectic illustrated by Eagleton is central to what of, could furnish the basis on which genuinely reliable knowledge
experience itself. The process of experiencing and
phenomenology offers: a precise location for the body could be constructed.”12 This dissatisfaction with the results
responding to Therme Vals – having had no prior from the first visit to Vals led to a
when considering the perception of objects, and in this
knowledge of the building, then revisiting it after search for theories and concepts
case architecture. Sokolowski elaborates on this point that could illuminate this process: a
extensively researching its context, architect and site – By establishing what is referred to as ‘transcendental
that identity, understanding or intelligibility reside within desire to question the experience
constitutes an experiment with perception and response. reduction’ the phenomenological attitude is entered, from another point of view, to
the objects themselves; it is our interpretation of the
allowing the act of perception to be observed in the extract information from it in a
(identities and intelligibilities of the) objects that define different manner that engaged an
As a conceptual tool, phenomenology provides an abstract, or from a neutral stance. Sokolowski describes
the self. alternative line of thinking.
approach through which to understand the site and the the advantages of this ‘philosophical perch’; by theorising
perception of it. The vocabulary of phenomenology has perception, distinctions may be identified and made
supplied a formal language with which to express the “Not only can we think the things given to us in experience; we about the subjective and objective correlates. 13 This 3.3. Looking down on top of
can also understand ourselves as thinking them. Phenomenology Therme Vals.
description of an experience; affirming Sokolowski’s view
36
roleofarchitecturaltheory.phenomenology as methodological tool
essences that is given to us through use and experience) The response to the discovery
of phenomenology was one of
where it is accepted that essences of things exist and can immediate recognition; it offered
be commonly understood. exact elucidation on what was
being attempted. It provided an
academic point of view, yet one
Sokolowski’s discussion of the reasons for eidetic that was directly applicable to the
intuition reinforces fundamental issues particular not design process.
only to phenomenology but also to philosophy itself. He
notes that philosophy recalls obvious facts, things that are
often overlooked or denied, and that this contemplative
act of revealing eidetic necessities is a gratifying pleasure.
Sokolowski speaks here of joy of knowing and revealing
the fundamental essences of things: the value that is
placed in the simple knowledge of what makes a thing a
thing.
It is with this understanding of essences that Zumthor

experiments at Vals, placing great emphasis on the
elemental meanings of materials, extracting from them a
truth or essence through design. 16
‘philosophical perch’ provides exactly the shift in point becomes a more powerful tool. “I remember the sound of the gravel under my feet, the soft gleam
of the waxed oak staircase, I can hear the heavy front door closing
of view or change in mode of thought required, to think behind me as I walk along the dark corridor and enter the kitchen,
reflectively about experiencing architecture. “It is from within the world that we perceive, our experience
the only really brightly lit room in the house.
is always perspectival, i. e. incomplete… Man can only act from
within a situation, this being understood in terms of his own
Whilst entering into transcendental reduction or Looking back, it seems as if this was the only room in the house
background.”15 in which the ceiling did not disappear into twilight; the small
approaching with a phenomenological attitude can hexagonal tiles of the floor, dark red and fitted so tightly together
occur without theoretical knowledge, Sokolowski that the cracks between them were almost imperceptible, were
draws attention to the advantages of understanding This acknowledgement dispenses with universal notions hard and unyielding under my feet, and a smell of oil paint issued
of truth. ‘Truth’ may exist for an individual, based from the kitchen cupboard.
this theoretical standpoint; by shifting into the
phenomenological attitude clearly and explicitly (through on experience. This places value on the individual’s Everything about this kitchen was typical of a traditional kitchen.
experience and response which emerge from their own There was nothing special about it. But perhaps it was just the
knowledge of its theories), a more complete appreciation fact that it was so very much, so very naturally, a kitchen that has
of the distinction between the two attitudes (natural and parameters. ‘Universals’ of a form can be seen within
imprinted its memory indelibly on my, mind. The atmosphere of 3.4. Interior of outside rest
phenomenological) are made. 14 And as a theory it then the concept of ‘eidetic intuition’ (insight or intuition of this room is insolubly linked with my idea of a kitchen.”17 areas at Therme Vals.
37
Juhani Pallasmaa
Juhani Pallasmaa is a Finnish
architect and critic who has written
prolifically on the philosophy of
architecture and worked across
many disciplines (graphic design,
product design, urban planning as
well as architecture). His current
focus is the sensorial interaction
with architecture. 20
Christian Norberg-Schulz
Christian Norberg-Schulz’s writing
has been extremely influential in
the development of ideas for a
phenomenology of architecture.
Motivated by the Heideggerian
concept of ‘dwelling’, its
manifestation in architecture
and the inadequacy of texts on
the subject, Norberg-Schultz
“identifies phenomenology’s
.phenomenology and architecture potential in architecture as the
Zumthor here describes those qualities of architecture exteriority, time and duration, life and death. ‘Aesthetic and cultural The varying viewpoints of Norberg-Schultz, Pallasmaa, ability to make the environment
practices are peculiarly susceptible to the changing experience of meaningful through the creation
arising from his own personal experience that inform his Ando and Fry are presented, to show the range
space and time precisely because they entail the construction of of specific places.”21
perception and design of architecture. spatial representations and artefacts out of the flow of human of interpretations that constitute the field of
experience’.”19 phenomenology and architecture:
Applying a phenomenological approach to architecture
aims to enhance the meaning of architecture. 18 It The phenomenological perspective on architecture Christian Norberg-Schultz interprets the ideas in
attempts to identify how character and essence are expressed by Juhani Pallasmaa is one that locates ‘man’s Heidegger’s essay Building, Dwelling,Thinking, in which
imbued in architecture, how empathies in perception are being in the world’ as central and co-defining. My earlier Heidegger distinguishes ‘space’ from ‘place’. Norberg-
felt and why. This inexact and slightly poetic science of discussion of phenomenology positioned it as a tool Schultz links this distinction to the ancient Roman concept
the mind draws on philosophy and psychology to grasp for understanding perception and the relationship of of ‘genius loci’ to which ideas on ‘place’ are tied. In
at definition. Fittingly most definitions remain largely the self to the world. The consideration of architecture phenomenology, ‘genius loci’ is termed ‘essence’. Norberg-
interpretive and subjective, for example: in phenomenological terms extends this concept of Schultz places emphasis on how we come to understand
phenomenology as a tool to redefine not only the and read ‘place’ as possessing meaningful character to
“Architecture, as with all art, is fundamentally confronted with reception and reading of architecture, but also how this the individual. Central to the Norberg-Schultz doctrine
questions of human existence in space and time, expressing and reading is created, and provides reflections for its future on the phenomenology of architecture is his desire to
relating man’s being in the world. Architecture is deeply engaged in 3.5. Lighting detail in outside
the metaphysical questions of the self and the world, interiority and application. communicate how places may be made more meaningful. rest area at Therme Vals
38
roleofarchitecturaltheory.phenomenology and architecture
In this research, the study of phenomenology as a way “I believe that we need today an ascetic, concentrative and
of understanding how meaning is contained in an object contemplative architecture. We yearn for an architecture that
rejects noise, efficiency, and fashion. We need an architecture that
extends beyond the architectural focus described here. does not aspire after the dramatic, but rather aims at lyricising the
How this translates to other disciplines, particularly real things of everyday life. We yearn for radical ordinariness and
mundanity, a natural architecture of the type that fills our minds
jewellery, is also the subject of this investigation.
with good feelings when we enter an old peasant cottage or sit
upon a Shaker chair. But alongside an architecture that breaks
Whilst the central theme so far has been architecture, beyond its boundaries and redefines itself, we need an architecture
of silence.”22 (1990)
the particular perspective in this research is the potential
of phenomenology to work across other disciplines,
Both Pallasmaa and Norberg-Schulz appeal for a return
specifically in this case jewellery. A wider understanding
to ‘things’, as opposed to the abstract. For Pallasmaa it
of the ways in which meaning may be contained in an
is his criticism of the superficiality of post-modernism
object or a space underpins this investigation.
that drives this. Writing in 1985, he argues: “The
ancient themes lack emotive power… because these
Pallasmaa’s focus differs from Norberg-Schultz’s thesis
collages of architectural motifs are no longer linked
on method in terms of the reception and understanding
with phenomenologically authentic feelings true to
of architecture. Pallasmaa uses the writings of Merleau-
architecture.”23 Some years earlier Norberg-Schulz’s
Ponty to position the self, by this means an examination
impetus for developing a phenomenology of place or
of the senses’ response to architecture and the task of
architecture was born from a similar discontent with
architecture are investigated.
the architectural theories of the day. In his case, it was
the excessive programmatic functionalist dogma that
It will be shown that Zumthor’s approach to
accompanied modernism, in which the loss of meaning
architecture emerges from a phenomenological
was manifest.
standpoint. The differences between the perspectives
on the phenomenology of architecture discussed lie “The purpose of architecture, [Norberg-Schultz] states is to
partly in the vocabulary used to explain the concepts. provide an ‘existential foothold,’ one which provides ‘orientation’ in
These variations emerge from the range of historical space and ‘identification’ with specific character of place.” 24
perspectives, interpretative and adapted. Weather they are
those of Husserl, Merleau-Ponty or Heidegger, meanings In order to understand this perspective of the
overlap despite the particularity of the language used phenomenology of architecture, the vocabulary Norberg-
to communicate them. This may also be because the Schultz employs must be explained. Place is differentiated
interpretations of these phenomenological approaches from space by the act of marking enclosure: 3.6. Stone rooftop of a
to architecture have occurred in the last sixty years, as traditional house in the village
“Any enclosure is defined by a boundary. Heidegger says: ‘A of Vals
Pallasmaa’s words here indicate: boundary is not that at which something stops but, as the Greeks
39
Character is the basic mode in which ‘presencing’ occurs Gaston Bachelard
(or in which places are ‘given’) in the world, it is what the Bachelard was a French
philosopher, regarded as a
self ‘receives’ from the environment. Norberg-Schultz goes phenomenologist. Relevant to this
on to explain that ‘character’ is the ‘how’ of places. Character research is his book ‘The Poetics
may to some extent be defined by: of Space’.
“Poetic images of matter do

“the function of time; it changes with the seasons, the course of the not spring from out instinctual
day, and the weather, factors which above all determine different depths, but instead arise in the
conditions of light. Character is determined by the material and ‘intermediate zone’ between the
formal construction of the place.”30 unconscious and the rational
consciousness, at the threshold
of rational thought, of objective
However, Norberg-Schultz places emphasis on character
knowledge about the world.”38
being determined by:
Bachelard reinforces the role of
“how things are made, and is therefore determined by the the poetry, which puts language
technical realization (“building”). Heidegger points out the Greek into question and also our
word techne meant a creative “re-vealing” (Entbergen) of truth, relationship to matter, in this case
and belonging to poiesis, that is ‘making’. A phenomenology of architecture. “Poetry helps us to
place therefore has to comprise the basic modes of construction return to a pre-linguistic stage of
and their relationship to formal articulation. Only in this way our development, to a period in
architectural theory gets a truly concrete basis.”31 which language did not determine
our modes of expression.” 39
Character arises from the way things are made. The Through extension, architecture
recognised, the boundary is that from which something begins its but as distinctly positioning life, creating and defining not ‘work’ that goes into an object or place is revealed as a and jewellery are made from
presencing. ’”25 a visual language that is ‘pre-
only dwelling but also existence. truth or essence; material nuances construct meaning
linguistic’ or poetic, in that their
to which the self identifies and responds. Norberg- definition is not concrete, but the
It is within the act of defining place or creating a “Architecture clarifies the location of human existence… between work of the ‘intermediate zone’, of
Schultz makes the connection that places/objects are
boundary that the origins of architecture may be found, the sky and the earth, in front of the divinities.”28 creativity.
made significant through identification and experience.
according to Norberg-Schultz. 26 The act of demarcation
Identification of properties, in character or essence,
(or defining of boundary) signifies the production of If space can be said to exist between the sky and the earth, develop from relationships established in childhood
meaning as described in this statement: place is the architecture that clarifies the location of the self. By through memory. 32
clarifying specific location in reference to the self, and therefore
“A boundary may also be understood as a threshold, i. e. , as an identification, character is determined. Norberg-Schulz states:
embodiment of a difference”. 27 Zumthor affirms this in describing his approach and
working process, where essences, characteristic of
“Character is determined by how things are, the atmosphere that
When Norberg-Schultz cites Heidegger, he reinforces the is created, or the essence of place – the essence of place is referred architecture and objects are sourced from memory in the
3.7. South facing view of the
importance of boundaries as not only marking difference to as genius loci.” 29 act of perception and creation. This is a personal language valley from the village of Vals
40
or frame of reference that serves to define for him the the house allows one to dream in peace”36 This poetic
world that he receives and his architecture. reasoning reinforces architecture as strengthening the
existential experience, of one’s sense of being in the
“When I think about architecture, images come into my mind. world and one’s experience of self. 37
Many of these images are connected with my training and work as
an architect… some [other] images have to do with my childhood. Zumthor states his architecture has no strictly theoretical
There was a time when I experienced architecture without thinking
foundation, yet he refers repeatedly to mental images or
about it. Sometimes I can almost feel a particular door handle in my
hand, a piece of metal shaped like the back of a spoon… Memories essences, created through experience, residing in memory
[like these] contain the deepest architectural experience that I which then inform his design.
know they are the reservoirs of the architectural atmospheres and
images that I explore in my work as an architect.”33
“I do not work towards architecture from a theoretically defined
point of departure, for I am committed to making architecture, to
Substantial value and importance are placed on the building, to an ideal of perfection…40 When I work on a design I
experiences and memories gained early in life. The allow myself to be guided by images and moods that I remember
and can relate to the kind of architecture I am looking for. Most
role these fundamental experiences play in shaping and of the images that come to mind originate from my subjective
influencing how we go on to perceive in later life is experience and are only rarely accompanied by a remembered
discussed in Body, Memory and Architecture: “The body- architectural commentary. While I am designing I try to find out
what these images mean so that I can learn how to create a wealth
image… is formed fundamentally from haptic and of visual forms and atmospheres.”41
orienting experiences early in life. Our visual images are
developed later on, and depend for their meaning on In Construction, Intention, Detail, Alter notes that in the
primal experiences that were acquired haptically.”34 They process of designing Zumthor searches for images in
constitute the complex psychological realm and have memory, evoking their characteristics, to see if they
more influence on our comprehension of the world than ‘fit’. 42 Memory and experience are authoritative, in the
we are able to recognise, state Bloomer and Moore in relationship between the different decisions made in the
discussion of haptic experiences. 35 design process.
Pallasmaa introduces phenomenology through Merleau- In Eyes of the Skin, Pallasmaa argues that the dominance
Ponty, to explain the “embodied vision… an incarnate of ocularcentrism in philosophical and architectural
part of the flesh of the world”. Pallasmaa emphasises the history parallels the separation of the self from the
single continuous existential experience within which world; meaning and understanding of the world exist
the perception of the body and the image of the world in an intellectual rather than in a corporeally ‘lived in’
are bound. Relating this to architecture, Pallasmaa cites manner. A case is made, instead, for a multisensorial
Bachelard, “The chief benefit of the house… the house phenomenological approach, which reflects the interior
3.8. Door detail of outside
shelters day-dreaming, the house protects the dreamer, world of experience (to which we inseparably belong) rest area at Therme Vals
41
reconstructed in artistic expression. 43 Or as Merleau- There are many similarities between Zumthor prolifically on their ethos, reflecting with their own
Ponty stated, “The body is our general medium for having and Japanese architect Tadao Ando, not least their vocabulary and in their own elliptical way the tenets of
a world.”44 approach to architecture and material. Neither are phenomenology.
professionally trained as architects, and both have
In The Geometry of Feeling, Pallasmaa defines the arrived at architecture through craft, graduating from the Ando brings another interpretation to the phenomenology
phenomenology of architecture as “‘looking at’ skills and understandings materials afford on a smaller of architecture, using the term shintai53
architecture from within the consciousness experiencing scale. Their works have a “stillness and quietude”51 as referring to the experiencing subject. In his essay Shintai
it, through architectural feeling in contrast to analysis of to them; architecture is “enshrouded in silence”52 as and Space, Ando describes shintai and its relationship to
the physical proportions and properties of the building has been described by critics. Both essentially have a architecture:
or a stylistic frame of reference. The phenomenology of phenomenological attitude towards architecture – whilst
architecture seeks the inner language of building.”45 not having stated as such outright, both have written “Architecture is the art of articulating the world through Tadao Ando
Tadao Ando is a contemporary
Japanese architect. He did not
In juxtaposing these ideas with the writings of Zumthor, receive any formal architectural
descriptions become inseparable and mirror one another, education49 but trained for some
time as the apprentice of a cabinet
as if in answer directly to the case made by Pallasmaa. maker. Winner of the 1995
Zumthor designs, constructs and reasons from the interior Pritzker Prize, his work is known
world of experience and memory from this the ‘inner for the introspective spaces
that are created, secluding the
language of the building’ is recalled and realised, he writes. inhabitant from the surrounding
urban chaos. 50
“When I design a building, I frequently find myself sinking into
old, half-forgotten memories, and then I try to recollect what the
remembered architectural situation was really like, what it had
meant to me at the time, and I try to think how it could help me
now to revive that vibrant atmosphere pervaded by the simple
presence of things, in which everything had its own specific place
and form…46
The design process is based on a constant interplay of feeling and

reason. The feelings, preferences, longings, and desires that emerge
and demand to be given a form must be controlled by critical
powers of reasoning, but it is our feelings that tell us whether
abstract considerations really ring true… 47 3.9. (above) Tadao Ando.
Chruch of the Light. Ibaraki,
Personally, I still believe in the self-sufficient, corporeal wholeness of Osaka.1987-8
an architectural object as the essential, if difficult, aim of my work, if
not as a natural or given fact.”48 3.10. (left) Tadao Ando.
Chruch on the Water.
Tomamu, Hokkaido.1985-8
42
geometry. However, the world is not to be articulated in isotropic, both an object among objects and Le Modulor
homogeneous spaces. It is to be articulated not abstractly, but as One example of this is ‘Le
that which sees and touches them”.
concrete places (topi) that are each related to a totality of history, Modulor’ (the 1. 83m tall
culture, climate, topography, and urbanity. A ‘place’ is not the
56
Fry’s analytical approach lends an anthropocentric system of
absolute space of Newtonian physics, that is, a universal space, but alternative view to the poetic and relational measurements) that
a space with meaningful directionality and a heterogeneous density was made into a human-figure
indulgently philosophical approach referent by Le Corbusier.
that is born of a relationship to what I choose to call shintai.”54
taken by others cited in this
discussion. “The Modulor is a measuring
In this, parallels can be drawn between the term shintai tool based on the human body
and ‘dative’. Shintai appears to represent the reception of and mathematics. The height of a
“The human body is present, as an man with an upraised arm may
the world from within the phenomenological attitude and
anthropocentric figure of reference, in all be divided into segments at the
subjective eidetic intuition (insight into essence) or genius loci; points determining his position in
that is designed. At its most basic it stands
between designing and the designed, space his feet, his solar plexus, his
“Man articulates the world through his body… The world that sometimes as agent, sometimes as object, head, his fingertips.
appears to man’s senses and the state of man’s body become in and often as effect (subject)…57 The
this way interdependent. The world articulated by the body is a These three intervals produce a
body is the standard reference point of
vivid, lived-in space. The body articulates the world. At the same series of the Golden Section…
measurement for that which is fabricated
time, the body is articulated by the world… In this way the body “The numbers of the Modulor,
and how it is perceived.”58
in its dynamic relationship with the world becomes shintai It is only which are chosen from an
the shintai in this sense that builds or understands architecture. infinite number of possible
The shintai is a sentient being that responds to the world.” Ando Here Fry touches on premises which values, are measures, which is to
continues then to confirm the commonalities between shintai and say real, bodily facts. To be sure,
have been renewed throughout they belong to and have the
“the old anthropocentric idea of the genius loci”55 in ‘Shintai and
the history of architecture. In The advantages of the number system.
Space’.
Ideas that Shaped Buildings, Fil Hearn But the constructions whose
dimensions will be determined by
From a somewhat more scientific perspective, Tony Fry, introduces Vitruvius, dating back to these measures are containers or
in A New Design Philosophy, presents a phenomenological antiquity where parallels are drawn extensions of man.”60
attitude to design and architecture in a more rational “between the elaborate system of
The internal proportions of ‘Le
way. Using the term, ‘anthropocentric’ in a qualitative proportions inherent in the orders Modulor’ were rather difficult61 but
sense he describes the co-dependence of the body and and the natural proportions of the it reasserted the age-old concern
human body”. Hearn gives two of proportions and standards
the object and therefore world. His emphasis lies in the
based on the human body. 62
rethinking of the body central to design as a language for reasons for this; because buildings
future application. The following quotes used to illustrate are constructed for humans alone,
this are taken from Design and the Body of Competition, the relative measurements should
indicating Fry’s further consideration of the body as reflect those of the people and
object, and indeed suggesting commodification, bringing that this system of measurement
3.12. Le Modulor: human-
a new reading to Merleau-Ponty’s idea that “our body is was derived from nature – an
figure referent by Le
unquestionable standard. 58 Corbusier
43
“The designing body (the designed body in action) turns two ways.
It is both an object of continuous redesigning by the knowledge,
concepts and language of its designation, and it is a designing force
in itself that designs the world in which it appears and acts.”63
Fry acknowledges the body and its duality, which is

central to all of these theories touched upon.
In the introduction to this chapter it was mentioned that
phenomenology is largely an ‘inexact and slightly poetic
science’, whose main thrust is the comprehension of the
essence of an object in relation to self and how and why
we experience and understand this. Through architecture,
and in fact design in general, it can be seen as an approach
that desires to establish meaning and significance. It
attempts in theoretical terms to unpack and describe
vague phenomena such as intuition and experience. It
finds a way, through the creation of a specific vocabulary,
to explain things that occur and to clarify phenomena
which we have inklings of anyway. It is able to solidify
these impressions and half-formed comprehensions
through formal means. It is not imperative to an
understanding of the world that phenomenology is
grasped; but it is a tool to clarify the workings of the
mind and it offers an alternative vantage point from which
to view things.
Despite this it can be shown that it is a line of thinking

that has been followed independently by artists
and architects alike: those trying to gain a deeper
understanding of their craft, grasping at the indistinct
form of what constitutes the core of being. It is curious
that remarkably similar approaches to the formal theory
of phenomenology are arrived at independently.
3.13. View from outside rest
area at Therme Vals
44
position these architects together. Analogous architecture
Bruno Reichlin, who was influential in Analogous architecture is
referred to in ‘A Matter of Art:
the education of many of the Swiss Contemporary Architecture in
Essentialists through his teaching at Switzerland’ by Jacques Lucan,
Zurich ETH, has commented on the Martin Steinmann and Miroslav
Sik.
necessity for a nomenclature for these
architects. He states: Factual architectures
Factual architectures is a term
“An architectural design or work earns greater used by Kevin Alter and Mark
‘visibility’ when it bears the recognisable signs Gilbert and Martin Steinmann in
of a given genre or movement, suggesting ‘Construction, Intention, Detail:
that it belongs to a trend, a family. The five projects from five Swiss
well-ordered background of the group architects. ’
provides the context for interpretation of
the particular qualities of the work, in all
Mountain architecture
their individuality. The coherence of the
Mountain architecture has
whole ensures the presence of each single
been used by Bruno Reichlin in
member.” Reichlin argues that the naming of
‘Architecttura contemporanea
this group is a cultural design incentive, the
alpina’ by Birkhauser, Basel in
.swiss essentialists working hypothesis of architectural criticism,
1996. An excerpt of this was
a, “cultural construct in the sense that it has
published in Nexus 2G. The term
Throughout this thesis I have referred to this group of been formulated a posteriori.”67
‘Mountain architecture’, its use
architects as the Swiss Essentialists64. Indeed a plethora and appropriateness in loosely
of names have been used in critical theory to label this The Swiss Essentialists emerge from a defining a group of architects is
specific context. In order to better debated by Reichlin.
disparate collection of individual architects, including
Swiss Neo-Modernists, Northern Swiss architecture, understand the openness of these Bruno Reichlin
Analogous architecture, Factual architectures and architects to a phenomenological ethos, Bruno Reichlin was an assistant
the cultural conditions that nurtured to Aldo Rossi at Zurich ETH. He
Mountain architecture. Because of the relationships that currently teaches in Geneva. His
have been identified between the phenomenology of them must be touched upon. initial architectural practice was in
partnership with Fabio Reinhart
architecture and the works of this group, the term Swiss based in Lugano in 1970 their
Essentialists most accurately describes these architects The key characteristics of the
work was representative of the
for the purposes of this text65 - it is out of pragmatic architecture of the Swiss Essentialists Ticino School, considered as latter
will be highlighted in relation to day Modernists. 66
necessity that classification of Swiss Essentialists arises. In
group terms there is an absence of a collective rationale, phenomenology. Explanation of the
there have been enough commonalities in ethos and cultural milieu includes geographical
typology for architectural critics to comment on and location, environmental sensitivities
3.14. North facing view from
and the role of the democratic the village of Therme Vals
45
attitude that created a favourable situation for the
development of such an architecture. Shaping influences
have been teachers, art movements and the reassessment
of Modernist architecture.
Alter and Gilbert introduce the Swiss Essentialists as

possessing ‘self-sufficiency’, their architecture relying
not upon “rhetorical methodologies in order to validate
itself”, but :
“propos[ing] an architecture which emerges out of a direct

examination of the architectural problem itself. Meaning and value
are here vested solely in the artefact – the building – and form
is developed from the intense working of materials and their
means of construction… these architects reach into the ordering
principles endemic to their discipline, and it is from these principles
that the buildings evolve.”68
Alter and Gilbert cite Herzog and de Meuron: “Material is

there in order to define a building, but equally, a building
is there in order to show the material from which it
is made.” Alter and Gilbert go on to note that beyond
the material existing, giving it a form creates a specific
existence with which it is distinguished from simply
being. 69 This shows clearly the extension of concepts
from a phenomenological approach applied to the act of
architecture, through creation of genius loci.
Despite the deliberate and somewhat anti-rhetorical

attitude adopted, some irony lies in the very distinct
philosophical position this group of Swiss architects find
them selves in by default. 3.15. Peter Märkli. La
Conggiunta, Giornico,
Tincino. 1992
46
roleofarchitecturaltheory.swiss essentialists
Key characteristics of this group of architects, to which
Zumthor is both central and the specific focus of this
research, are: a fundamental concern for materials and
construction, an investigation into architecture as a
discipline and a strong concern for the cultural conditions
particular to Switzerland, which may be translated as a
sensitivity towards typology and site.
Alter and Gilbert further define this architecture70 as

works that attempt to engage consciously with the
prevalent perceptual modes of society, works that expose
the basic elements of a building in order that they may
be perceived and questioned, works that allow reflection
whilst still revealing their conceptual raison d’etre and
remaining very real. 71 Adamant that no text or doctrine
should represent the inhabiting of the architecture itself,
this critical overview returns the focus solely to the
experience of the building.
3.16. interior view of Peter

Märkli's La Conggiunta
47
Siegfried Giedion
Siegfried Giedion, architectural
critic and historian, author of ‘Space,
Time and Architecture: the growth
of a New Tradition’ (in which
the key figures and movements
in Modern Architecture are
examined) studied with Christian
Norberg-Schulz at Zurich ETH
(Eidgenossische Technische
Hoschule). In ‘Switzerland
Builds’ he documents the role
of the Swiss vernacular and the
contributing cultural conditions in
Swiss Modernism.
Miroslav Sik
Miroslav Sik is Czech born, and
studied under Rossi at Zurich
ETH in the 70s before returning to
research and teach there as head
assistant of the chair of Professor
.contextual overview of swiss essentialists
F. Reinhart in the 80s.76 He is
“These buildings are devoid of rhetoric and heroism, and so might considered the as the initiator of
not at first glance look like masterpieces, But they leave room for ‘Analogous architecture’.
the imagination: we can adapt them to our own images and we can
appropriate them, which is something we can’t possibly do with Arte povera
certain other buildings.”72 The term Arte povera defines a
group of Italian artists named
of medieval democracy where the state was an all- colour the architecture accordingly… This architecture presents by Germano Celant in 1967.
What follows is a brief overview of the historical factors and extraordinary diversity of expression, it is a simple and truthful Their work (painting, sculpture,
embracing idea, not defined by race or language. It installation and performance)
manifestation of the needs and materials of each locale.”73
that have contributed to the state of the contemporary seized control of its borders in order to remain neutral explores the relationship between
Swiss architectural scene. and peaceful amidst its warring neighbours. Despite Giedion speaks of the historical pattern established by art and life through nature,
materials and cultural artefacts as
being small in size, Switzerland is host to a diversity of the limited natural resources available, resulting in the experienced by the body. 80 Arte
A country of paradoxes, geographically located at the cultures and languages across its regional cantons. In cultural insularity of each region. The development of
crossroads of Europe (bordering four different countries), the introduction to Switzerland Builds, Siegfried Giedion styles comes as a result of the response to specific local
Switzerland is both central and yet isolated. It has comments on the specificity of each canton: needs and means.
isolated itself historically in a cultural sense, and its fierce 3.17. Richard Serra. Twins: To
independence is palpable. The Swiss Confederation Tony and Mary Edna. 1972. 2
“The independence of the cantons is emphasised by [these] Arguably the birthplace of democracy, each canton
plates each/2.44 x 12.80 m x
was established in 1848 essentially as a continuation language zones which are culture zones even now and naturally organises its own internal affairs: 2 cm. Los Angeles
48
roleofarchitecturaltheory.contextual overview of swiss essentialists
“Democracy in Switzerland is kept active and dominant, frequently. povera can be translated as Poor
Through constant use and engagement, the Swiss vote on many Art, although it was intended
matters often, electing all posts in the community.” Kidder-Smith to describe an art which was
goes on to state the extent of democracy and its effect open-ended, experimental and
on architecture, “The commission[ing] of all public buildings without restraints. Challenging
of importance are arrived at by competition, every taxpaying the Bourgeois art of the past and
architect of the community has a right to participate. Every consumerism it is distinctive due
architect has the opportunity to get a large job. Public opinion to the rejection of a theoretical
determines success.”74 basis in favour of openness to
materials and processes. 82
It should be noted that there are no professional
Minimal Art
accreditations to qualify for the title of ‘architect’. Anybody Minimal Art is an American
may call himself or herself an architect and practise as movement of the 60s
predominantly consisting of
such. Indeed the comment has been made repeatedly that painting and sculptural works and
“many of the best Swiss architects (like the greatest of characterised by the reduction
them all, Le Corbusier) are autodidacts who never formally of forms and elements. These
internally referential works aim to
studied architecture.”75 However, Zurich ETH has had an focus attention on the experience
influential and an illustrious procession of professors and and perception of the works. Key
students through its doors. Relevant to this research, this artists include Donald Judd, Carl
Andre, Sol Le Witt, Dan Flavin and
list includes Sigfried Giedion, Christian Norberg-Schultz, Frank Stella. 83
Aldo Rossi and Bruno Riechlin. Of the contemporary
Swiss architects referred to Zumthor remains the only
exception, not having studied at Zurich ETH.
“For most architects key mentors are not (or were not Serra and Donald Judd, exerted a strong influence and presence, but also to a presence that hints at a rich array
encountered as) practitioners but professors. The most important in a sense reinforced Rossi’s teaching. Jacques Lucan of allusive images and associations.”84 Here the idea
formative influences are Also Rossi, Bruno Reichlin and Miroslav
Sik. Rossi taught at Zurich ETH in 1972-74 and visited frequently parallels the qualities of Minimalist art and contemporary of reduction to essentialist objecthood; refers to the
afterwards, is credited with enthusing his students with a Swiss architecture as both “rejecting the current trend to essence of meaning in material, the expression of the
conceptual approach, “offer[ing] a way of looking at, thinking about material carrying cultural references and associations. The
‘binge’ on form.”79 Most importantly, the engagement of
and cherishing architecture.”76 Moulding architecture into, “an
autonomous discipline, introducing notions of continuity, analogy Minimal art can be appreciated as it similarly deals with common thread in all these influences can be seen as the
and reference.”78 the phenomenon of perception. 80 phenomenon of perception. 85
Besides the formative influence of Rossi, 60s art In discussing what these influences offered as aspirations In A matter of Art: Contemporary Swiss Architecture Lucan 3.18. Donald Judd. Untitled.
movements, such as the Italian arte povera, Joseph Beuys, for these architects, Buchanan surmises, “the reduction and Steinmann offer further insight into the ‘essentialist 1989. Anodised Aluminum,
Edward Hopper and minimalist sculptors such as Richard plexiglass, 39 3/4" x 79 1/2" x
to essentialist objecthood leads not to potent physical objecthood’ that Buchanan speaks of. For Lucan and
39 3/4" (cat. no.18)
49
Steinmann the types of materials and the way in which A matter of Art
they are used have much in common with Minimal A matter of Art: Contemporary
Architecture in Switzerland
art, both in terms of their phenomenological aspect by Jacques Lucan proposes,
(engendering primal sensations) and in the use of through a series of essays and
discussions, that contemporary
‘banal materials’. This use of everyday materials makes
Swiss architecture be seen as
the building comprehensible and “necessarily leads to a matter of art. Lucan argues
questions such as how to actually use them… questions that the international attention
and acclaim received by these
are raised about the construction of the form itself.”87 architects transcends geographical
boundaries and are now located
Lucan and Steinmann go on to analyse this approach to in an artistic dimension. He
materials, defining it in fine art terms: states that contemporary Swiss
architecture projects the notion
of architecture as an art form. 86
“What is happening is that two approaches – realism and
abstraction – are converging in an amazing way. Realism in the Banal materials
sense of remaining truer to building materials, and abstraction The term ‘banal materials’ refers to
in the sense of using ordinary materials for purposes other than everyday materials which are not
those for which they were initially intended… Yet, both approaches often employed in architecture,
are characterised by a striving to seek out the essence of things materials which are not bound to
albeit by different paths. Wassily Kandinsky pointed this out, saying any particular meaning. Examples
that realism transmits the meaning of an artwork by the fact that cited of these are ordinary
it represents simple objects, while abstraction does exactly the components, materials that
same thing by incorporating simple forms… The two approaches don’t require any major shaping
resemble one another for it isn’t the objects or forms of an artwork or moulding, factory-made
that are important but rather what he called their ‘resonance’ or components that can be used
their essence.”89 straight from the packet. Used
in architecture they are ‘free’ (for
In an introduction to Minimal Moralia: Reflections on Recent a while) to reflect meaning and
Swiss German Production, Hans Frei comments on the interpretation. 88
The concept of ‘banal materials’
intention and results of considering architecture in an ‘art’ has been utilised in the design
context: process, with the uuse of felt and
buttons. See Idea Development:
chapter 4 p89
“Artistic processes in an architectural context do not aim to make
aesthetic objects out of buildings, but to place them, by working on
the formation of meaning, in a cultural framework.”90
3.19. Jacques Herzog

Zumthor describes his interest in this group of artists and Pierre de Meuron.
and why they influence him, “What impresses me is the Central Signal Tower. Basel
Switzerland. 1998-9
50
precise and sensuous way they use materials. It seems essence and internal reference hold particular weight small country so we don’t have so much space and there are lots
anchored in an ancient, elemental knowledge about due to his background as a cabinetmaker. Never formally of things to care about, like doing a job 200 percent. We can’t rip
off other people – it is part of our constitution and our condition.
man’s use of materials, and at the same time to expose trained as an architect, the skills and sensitivities acquired And we also have an interesting base, a conglomeratic country; we
the very essence of these materials which is beyond all through his design education furnish him with an have so many languages and also [many] different ways to build. It
is about different identities that somehow should be kept. There is
culturally conveyed meaning.”91 It is likewise the sensitive approach based in materiality. In a statement that sums up
also a richness in just working on one thing but doing it right until
and skilful use of materials in Zumthor’s work which has the attitudes and environment that these Swiss architects 3.20. Gigon & Guyer.
something new comes out of it.”92
Kalkriese Archaeological
drawn attention to him as a central influence. It follows emerge from, Annette Gigon of Gigon and Guyer Museum Park, Onsabruck.
that these qualities and understanding of materials are architects explains: Germany 1999-2002. Two
fundamental aims of the works produced as a result of of three pavilions scattered
throughout the park. On
this research. (See Design Process in chapter 4 p83.) “We feel we come out of the Swiss environment, where we have the left is the 'listening'
good craftsmanship and where we have a not so bad, you could pavilion and on the right the
even say a mild, climate in the press… some people even care 'questioning' pavilion.
For Zumthor the fine art influences examining material for architecture in the newspaper. We have a closeness. We are a
51
on to make the bold claim that “Switzerland became on events which are an integral part of the movement
the birthplace for Modern architecture”. 94 Although to which an architect belongs may be seen as biased, it
Switzerland produced many great architects and may also be viewed as inherently part of the process
critics integral to the Modern movement, it remained of development, and so essential to the vitality of a
a peripheral country in terms of actual execution of movement in its self-reflexivity – always a central aspect
polemic architectural examples. For this reason, there was of the design process. Additionally the documentation
no architectural crisis over Modernism and hence no real of intimate knowledge of cultural history and sensitive
change or reaction to it. As a result, the development in understanding of the reception of architecture in its
contemporary Swiss architecture, which reassessed the context is invaluable.
fundamental principles of modernism, comes as no break
in tradition. John R. Gold, in the Experience of Modernism, provides an
alternative reading of Modernism (to the grand narrative)
Gold’s concept of the ‘Grand Narrative’ proposes that that is relevant to the developments in Switzerland. This
stories of history are condensed and fit into established interpretation and reading of Modernism correlates with
frameworks; resisting plurality, they merge, falling into one Jacques Lucan’s description in the foreword to A Matter of
strand. The follies of this approach are the “tendencies Art: Contemporary Architecture in Switzerland:
.swiss essentialists and modernism towards conceptual tidiness, stripping away complexity
“It is crucial to the understanding of current Swiss architecture to and ambiguity in favour of simple deterministic sequences “The development of Swiss architecture cannot be explained
realise that Switzerland enjoys a quite special and unproblematic in mere linear fashion, nor can it be postulated that it bears
and readily identifiable outcomes”. 95
relationship to Modernism.”93 homogenous national features. Rather, it should be understood as a
sequence of sharing of ‘moments’ that often correspond to cultural
Gold’s criticism of this conceptual propensity settles on traditions tied to geographic or linguistic areas.”98
In addition it is crucial to understand the development those who were actively engaged in the writing of the
and involvement of Modernism in Swiss architecture ‘official’ version of Modernism. Including Giedion in this Lucan’s observations reinforce the points made earlier
to truly comprehend Swiss Essentialists. The following critique, Gold highlights the fact that those involved in that discuss a decentralised Switzerland. It is in the centre
passages describe the Swiss Essentialists as working in a writing the history were themselves central to the story. of Europe, yet within its border each canton remains
tradition which follows directly on from Modernism. This predicament, where architect acts as historian, determinedly self-sufficient and isolated – partly by the
presents obvious biases, especially when the theory is specific needs and requirements of each locale, but also
In many ways Switzerland was central to the development used to further the standing of the group or movement. 96 because of the sense of democracy. The highly valued
of Modernism. Home to a host of key figures in the democratic system, coupled with the decentralised nature
Modern movement, it was culturally stable and became This situation is particularly pertinent to the architecture of Switzerland, played a significant role in lessening the
a refuge for artists, intellectuals and architects fleeing of Switzerland, where many critics were both severity and extremity with which a movement such as
the turmoils of war. This is discussed by Bachmann and commentators and architects themselves – Le Corbusier Modernism was able to take root.
von Moos in New Directions in Swiss Architecture, who go is the clearest example of this. 97 Whilst commenting Whilst not subject to the extremes of Modernism,
52
roleofarchitecturaltheory. swiss essentialists and modernism
Buchanan asserts Switzerland did thoroughly embrace
this movement and cites a number of key reasons for this:
Modernism offered the benefits of suburban living
whilst still being in contact with nature. Its development
coincided with the growth of wealth in cities, whilst
chalets and historical architecture were considered as
representing the past, and hence rural hardship. 99
This apparent contradiction is explained by Dr Hans

Hofmann in an essay from a book published to coincide
with an exhibition hosted by the RIBA in 1946 Switzerland
Planning and Building Exhibition:
“The interwar years and the period of the war can be described as
one of revaluation, of self criticism, and reflection. Years of building
practice had gradually eliminated the weaknesses which inevitably
adhere to a revolutionary movement in its infancy. What was too
theoretical and dogmatic was reinterpreted to suit the conditions
of our country.”100
On one hand the values and merits of Modernism were

recognised as progress and development. Culturally,
however, the attitudes and approach of the Swiss had
a mitigating affect, preventing the heroic aspects of
Modernism from being part of the phenomena.
In Hofmann’s introduction, he reinforces the liberating

role that Modernism in Switzerland had, breaking the
trend in the architectural practice at the turn of the
century from the revivalist styles and the superficial
formalism of l’Art Nouveau. 101
In addition to the stylistic change that Modernism

3.21. Gion A. Caminada.
brought to Switzerland, the principles of utility and Single family house, Vignon,
Graubünden. 2000
53
function were endorsed; the science of building, an “We no longer believe in the omnipotence of science and technics, This shows the type of constant assessment of
analytical approach to architecture and the exploitation nor in the validity of functionalism as such, nor in the unquestioned architecture that has led to the current climate. In
authority of the intellect. We see ourselves placed between the
of the then new materials, steel and concrete were added poles of mind and feeling, and the unresolved contradiction of fact support of this, a conversation between Lucan and critic
to the architectural vocabulary. In the self-critical style of and enigma. We are seeking in our work the synthesis of a rational and professor Martin Steinmann explains the survival of
the Swiss, Hofmann proceeds to criticise the failings of working method and artistic imagination.”104 Modernist attitudes in contemporary Swiss Architecture:
Modernism in Switzerland:
“Swiss architecture never really turned its back on Modernism.
“The architectural language became consequently prosaic… words Which has given rise to an enriching and highly specific cultural
like ‘beauty’ disappeared from the vocabulary… a sensational status quo – no rejection, no total separation.”105
formalism was sometimes indulged in… the architectural language
of functionalism in a stereotyped form [was applied] to all sorts Lucan: “Modernism wasn’t perceived as an epoch that needed to
of buildings.” Hofmann concludes this, by describing the be overcome. Instead, it was received as an inheritance […]. The
change in the intervening years between the two wars, “as a fact that this architecture could derive its vitality in large measure
transition from the science of building to the art of building.”102 from an unbroken intimacy with the Modern Movement might
appear contradictory. It is one of the peculiarities of the history
of this country in the 20th century that suffered to a much smaller
The religious attitudes of Switzerland of this time are degree than the neighbouring lands”106
mentioned below, as they colour the cultural perspective
Steinmann: “One reason is undoubtedly that Switzerland was
to change and the rejection of the heroic, dimensions of spared both wars. So there was no break in continuity. Of course
Modernism. Peter Meyer outlines these attitudes in his there were recessions, and of course modern architecture was not
essay The Historical Background: welcomed by everyone with open arms by any means. But it was
never completely rejected.”107
“Republics are thrifty and suspicious, especially Protestant republics.

No citizen may venture too far above the average, whether as a Architectural development during the Post-Modernist
man or in his buildings.The envy and suspicion of his fellow-citizens period, which was typified elsewhere as a reaction
brands all luxury as arrogance. That is the origin of the stolid
‘goodness’ which is the basic principle of our architecture and, with against Modernism, did not evolve in the same way in
few exceptions, its limitation.”103 In this reassessment, the considered balance Switzerland. Buchanan comments on this, stating that
between the rational and emotional can be seen. this discontent with Modernism in the 70s and 80s was
It is partly these cultural attitudes and the reflective Traces of philosophical elements that constitute a overshadowed by the attitudes to Post-Modernism,
criticism from the resident architectural intelligentsia phenomenological attitude may be read into Hofmann’s marked as a movement which lacked resonance, integrity
of the time that had this moderating affect. Additionally analysis: “between the poles of mind and feeling… and and intensity. In Switzerland, however, “the solution was
the cultural requirements of each canton in Switzerland fact and enigma”, i. e. a balance of and between what not the rejection of Modernism but its reinvigoration
necessitated reinterpretation and therefore constant may be known and felt. Beyond the attempts to reach a through a re-examination of its roots and early works”.
revaluation; resulting in the development of regional philosophical median, separation between the then topical Buchanan states that the re-assessment of Modernism
3.22. Peter Zumthor. 1990-
variations of Modernism. The Swiss Essentialists can be elements (excessive functionalist rhetoric) of Modernism held works that were more “fascinating and conceptually 1997Kunsthaus Bregenz,
seen as a group that has emerged from this tradition. and the fundamental tenets are also evidenced. substantial than had been realised, more complex in Austria.
54
intentions and sources deeper in their intellectual
disciplines.”108
Two statements made by Sik, Rossi’s replacement at

Zurich ETH, further explain how a Modernist sentiment
was prevalent in the education of contemporary Swiss
architects. Sik cites the well-known Modernist diatribe:
“Less is More – if as a Traditionalist one falls back on an axiom

of one of the eminences of Modernism, there must be some
truth in it! Less is actually more and not because we are ascetic-
protestant educators. We need an architectural diet, a return to an
ordinary and regional world to find new enjoyment and purpose
in life.”108 And Sik cites the functionalist priorities underlying
the a phenomenological approach, “First usefulness. Second
atmosphere. And lastly effect.”110
In this Sik touches a point made by Roman Hollenstein

in Swiss Architecture Today when he disputes the title of
‘ascetic-protestant educators’. Hollenstein claims it
is from this basis that reinterpretation of Modernism
has been examined. In speaking of the contemporary
architectural scene he summarises:
“Based on historical and critical analysis of austere Swiss Modernism.

This new architecture, [was] committed to a Protestant and
puritanical objectivity, [looking] at the heritage of Modernism in taken. The overtly Modernist rhetoric was stripped away, In conclusion, a number of theories have been collated
a new way, from a reduced and minimalist point of view… an
architecture inspired by art.”111 leaving the fundamental core of type and programme. and described in this chapter so that they may be used
This process, when combined with the phenomenological as tools through which contemporary Swiss architecture
The evolution of Modernism in Switzerland and its role interest in atmosphere or essence, found sympathies with can be viewed and taken apart.
in contemporary Swiss architecture is an inseparable part art movements which strived to achieve the same ends
of how Zumthor’s work is approached and understood. through perception and material investigation. The result Phenomenology provides the philosophical stance which,
We have seen that a combination of cultural attitudes is an architecture whose approach and process has much in defining objects and the world, defines the self. It places
and inspired educators over the last eighty years has in common with aspects of contemporary art practice the experience in a formal context, allowing it to be
3.23. Interior gallery space.
methodically shaped the direction architecture has and can be read in a similar way. analysed and in so doing reflects the nature of the subject
Kunsthaus Bregenz, Austria
55
or dative. A phenomenology of architecture raises the
question as to how meaning and essence are imbued in
place, and how place may be understood by the body in a
multi-sensorial way.
This approach is evident in contemporary Swiss

architecture; it has evolved in tandem with the ever-
morphing strand of Modernism resulting in a considered
architecture that values legibility and atmosphere, an
architecture that has developed closely with the needs
and values of its context.
3.23. Peter Zumthor. Sound

Box. Swiss pavilion. Hanover
Expo 2000, Germany
56
roleofarchitecturaltheory.footnotes
.introduction .phenomenology as methodological tool .phenomenology and architecture

1. Deleuze, Gilles. in Foucault, 1977: 208 in Ballantyne, Andrew. 7. Sokolowski, Robert. Introduction to Phenomenology. 18. Norberg-Schultz’s focus developed from his critique of
What is Architecture? Routledge. 2002. London. p25 Cambridge University Press. Cambridge. 2000. p2 Modern architecture, “which, he claims, has created a crisis of
2. Ballantyne, Andrew. What is Architecture? Routledge. 2002. 8. ibid. p61 meaning by creating a diagrammatic, functionalist environment
London. p25 9. the subject from within a phenomenological attitude. that does not allow for dwelling” he was also dissatisfied too
3. Wikipedia. http://en.wikipedia.org/wiki/Phenomenology Last 10. op. cit. Eagleton. 1983. p50 with the potential for the then current theories of semiology to
accessed: 28.10.04. Click for PDF. 11. ibid. p4 explain architecture. The fundamental question Norberg-Schultz
4. Although not defined as a movement as discussed in “Swiss 12. ibid. p48-9 asks is where does meaning in architecture come from and how
Essentialists” p45 it is clear that similarities between this group 13. op. cit. Sokolowski. 2000. p50 may it be created. Norberg-Schultz, Christian. Heidegger’s Thinking
of architects exist. For the purposes of this research Swiss 14. ibid. p48 on Architecture. In: Nesbit, Kate. Theorizing a New Agenda for
Essentialists will refer to Peter Buchanan’s classification of the 15. Merleau-Ponty, Maurice. Sense and Non-Sense. Dreyfus, H Architecture: An Anthology of Architectural Theory 1965-1999.
group. (Architectural Review. January. 1991. p19) and P. A. (translators) Northwestern University Press. Illinois. 1964. Princeton Architectural Press. Princeton. 1995. p429
5. Eagleton, Terry. Literary Theory. Blackwell publishers. Oxford. pxxi 19. Pallasmaa, Juhani. Eyes of the Skin. Academy Editions. London.
1983. p48 16. Zumthor, Peter. Thinking Architecture. Lars Muller Publishers. 1996. p8
6. It has been necessary to approach this research diachronisticly; Switzerland. p19 20. Pallasmaa, Juhani. http://www2. uiah. fi/esittely/historia/pallas.
as an academic paper it must operate within the same 17. ibid. p8 htm Last accessed: 6.6.04 Click for PDF
parameters as tradition dictates, despite the inherently synchronic 21. op. cit. Nesbit. 1995. p412
nature of design work. In this way a diachronic approach allows 22. Pallasmaa, Juhani. Architecture in Miniature, 1990 http://www2.
for a formal context, which is widely accepted and used as a uiah. fi/esittely/historia/world. htm Last accessed: 6.6.04 Click for
means to understand and host this design research. PDF
23. Pallasmaa, Juhani The Geometry of Feeling. A look at the
phenomenology of architecture. In: op. cit. Nesbit. 1995. p449
57
.phenomenology and architecture

24. op. cit. Nesbit. 1995. p429 25.3.05 Click for PDF word I do not intend to make a clear distinction between mind
25. Norberg-Schultz, Christian. A Phenomenon of Place. In: op. cit. 39. Bachelard, Gaston. The Poetics of Space. Beacon Press. Boston. and body; by shintai, I mean a union of spirit and the flesh. It takes
Nesbit. 1995. p419 1964. pxxiii cognisance of the world and at the same time takes cognisance of
26. op. cit. Nesbit. 1995. p412 40. op. cit. Zumthor. 1999. p34 the self.
27. op. cit. Norberg-Schulz. In: op. cit. Nesbit. 1995. p419 41. ibid. p24 54. Ando, Tadao. The Complete Works. Phaidon Press. London.
28. op. cit. Nesbit. 1995. p412 42. Alter, Kevin and Gilbert, Mark. Construction, Intention and 1995. p453
29. genius loci is a Roman concept. According to ancient Roman Detail. Artemis. Zurich. 1994. p18 55. ibid.
belief every ‘independent’ being has its genius, its guardian spirit. 43. op. cit. Pallasmaa. 1996. p15-16 56. op. cit. Merleau-Ponty. 1964. pxii
This spirit gives life to people and places, accompanies them from 44. Merleau-Ponty, Maurice. The Phenomenology of 57. Fry, Tony. A New Design Philosophy: an introduction to
birth to death, and determines their character or essence… Perception. Routledge. London. 1978. p146 defuturing. UNSW Press. Sydney. 1999. p174
Ancient man experienced his environment as consisting of 45. Pallasmaa. In: op. cit. Nesbit. 1995. p449 58. ibid. p177
definite characters. 46. op. cit. Zumthor. 1996. p9 59. Hearn, Fil. The Ideas that Shaped Buildings. MIT Press.
30. op. cit. Norberg-Schultz. In: op. cit. Nesbit. 1995. p420 47. ibid. p19 Massachusetts. 2003. p47
31. ibid. 48. ibid. p29 60. Le Corbusier, Le Modulor. Birkhauser. Basel. 2000. p55-56
32. op.cit. Norberg-Schultz In: op. cit. Nesbit. 1995. p429 49. http://www.greatbuildings.com/architects/Tadao_Ando. html 61. “it represented a tool of composition that was rather arbitrary
33. op. cit. Zumthor. 1999. p10 Last accessed: 25.3.05 Click for PDF in nature. The Modulor was difficult for others to incorporate
34. Bloomer, C and Moore, C. Body, Memory, and Architecture. 50. http://www.pritzkerprize.com/andorel.htm Last accessed: into their own designs because itsratios did not correspond to
Yale University Press. London. 1977. p44 25.3.05 Click for PDF standard whole number measures in either feet or meters. op. cit.
35. ibid. p39 51. Chaslin, Francois. ‘Brutalizing’ History and the Earth. In: Tadao Hearn. 2003. p214
36. Bachelard, Gaston, The Poetics of Space, Beacon Press, Boston, Ando Complete Works. Phaidon. London. 1995. p498 62. ibid. p214
1964, p6. In: op. cit. Pallasmaa. 1996. p28 52. Zumthor, Peter. Works. Lars Muller Publisher. Switzerland. 1988 63. op. cit. Fry. 1999. p178
37. op. cit. Pallasmaa. 1996. p28 p8
38. http://www. dayglow. ndirect. co. uk/work/bach/ Last accessed: 53. “Shintai is ordinarily translated as ‘body’, but in my use of the
58
.swiss essentialists .contextual overview of swiss essentialists

64. This name has been taken from the title of Peter Buchanan’s 72. Martin Steinmann in, Lucan, Jacques. A Matter of Art: 83. Zabalbeascoa, Anatxu and Marcos, Javier Rodriguex.
article in Architectural Review. January 1991. p19 Contemporary Architecture in Switzerland. Birkhauser. Basel. Minimalisms. Gustavo Gili. Barcelona. 2000. p24
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Peter Zumthor (who is the focus), Jacques Herzog and Pierre de 73. Giedion, Siegfried in an introduction to Kidder-Smith, G. E. 86. op. cit. Lucan. 2001. p7
Meuron, Marianne Burkhalter and Christian Sumi, Valentin Bearth Switzerland Builds. Ahlen and Akerlunds. Sweden. 1950. p9 87. ibid. p19
and Andrea Deplazes, Markus Meili, Markus Peter and Peter 74. Kidder-Smith, G. E. Switzerland Builds. Ahlen and Akerlunds, 88. ibid. p20
Markli and Annette Gigon and Mile Guyer. 1950. p16 89. ibid.
66. http://www. artnet. com/library/07/0712/T071218. asp Last 75. Buchanan, Peter. Swiss Essentialists. Architectural Review. 90. Frei, Hans. From Neuerdings Einfachheit, in Frampton, Kenneth.
accessed: 25.3.05 Click for PDF January. 1991. p19 Labour, Work and Architecture. Phaidon. London. 2002. p325
67. Reichlin, Bruno. Nexus 2G. Building in the mountains: Recent 76. http://www.ethlife.ethz.ch/cd/bits/whoswho/prof/engl/ 91. op. cit. Zumthor. 1999. p9
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69. ibid. p11 78. Lucan, Jacques. A Matter of Art: Contemporary Architecture in
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‘Factual Architectures’. 79. ibid. p20
71. op. cit. Alter, and Gilbert. 1994. p6 80. Humbel, Carmen. Young Swiss Architects. Birkhauser. Basel.
1995. p7
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. swiss essentialists and modernism
93. op. cit. Buchanan. 1991. p20 occurring in the first three decades of the twentieth century, as 108. Buchanan, Peter. Latterday Modernists. Architectural Review.
94. Bachmann and von Moos cite the foundation of C. I. A. M a movement that addressed the realities of urban life in cities in January.1991. p65
(Congres Internationaux d’Architecture Moderne) and Zurich Western and Central Europe. op. cit. Gold. 1997. p14 109. Sik Miroslav In: op. cit. Lucan. 2001 p45
becoming the centre for the publication and documentation 97. As early as 1912 Le Corbusier was publishing his writings on 110. ibid.
of Modern architecture, with the likes of Le Corbusier, Walter architecture, the most famous of these manifestoes being, ‘Vers 111. Hollenstein, Roman. Swiss Architecture Today. In Daguerre,
Gropius, Alvar Aalto and Richard Neutra. Bachmann, Jul and von une Architecture’ of 1923. Mercedes. Birkhauser Architectural Guide to Switzerland.
Moos, Stanislaus. New Directions in Swiss Architecture? George 98. As an example of this Lucan cites thhe Tincino School. Birkhauser. Basel. 1995. p380
Braziller Inc. New York. 1969. p15 Architects key to this Modernist strand are, Aldo Rossi, Luigi
95. Gold. John. Experience of Modernism. Modern Architects and Snozzi, Bruno Reichlin and Luvio Vaccini. Lucan, Jacques. A Matter
the Future City 1928-1953. E & FN Spon. London. 1997. p7 of Art: Contemporary Architecture in Switzerland. Birkhauser.
96. Gold defines Modernism as operating on two levels, Basel. 2001. p6
representational and personal, against a background of upheaval 99. op. cit. Buchanan. 1991. p21
and dislocation. On a representational level Gold states that it 100. Switzerland Building and Planning Exhibition. RIBA. London.
was a search for forms and aesthetics that, “truly expressed the 1946. p19
needs and challenges of modern times.” On a personal level he 101. ibid.
sees, “Modernism comprised a radical set of personal attitudes 102. ibid p20
that underpinned the search for new representations: attitudes 103. Meyer, Peter in: ibid. p15
towards the past, towards society, towards the arts and industry 104. op. cit. RIBA. 1946. p19-20
and towards the conduct of everyday life… Modernism signified 105. op. cit. Lucan. 2001. p6
that the individual had adopted new moral positions guided by 106. ibid.
the right spirit.” Gold locates the timeframe of Modernism as 107. ibid.
60
ideadevelopment
.introduction
This chapter discusses the ideas within the research
and their development in different directions. Charting
this cyclical process of development entails drawing
on documentation from the work process journal.1 This
includes discussions with supervisors, moments of clarity
in reading, visiting architecture and writing itself. As with
any research, the process is both complex and dynamic,2
constantly changing and readjusting its focus. Included is
the documentation of ideas and theories that have been
discarded for various reasons along the way.
What has been constant from the outset is the enquiry

into architecture; how we perceive and respond to it,
and its relationship to jewellery. What follows describes
the reflexive process undertaken; the evolution of
61
ideadevelopment.introduction
questions and ideas, and ultimately the development of
understanding gained through the research.
Initial discussions on architecture were held with then

advisor Christian Hermansen from the GSA School of
Architecture. This inceptive period established invaluable
structure and logical ordering to the subsequent research.
First to be established was the idea of responding to

architecture through jewellery. The idea of ‘responding’ to
architecture through jewellery developed as an empirical
method of working following the initial contextual review,
investigating architectonic jewellery.
As discussed in the rationale and contectual review

(Chapter Two), in the contextual study the categories of additional notes
architectonic jewellery reviewed (abstract, interpretative on the subject of architecture. Through an informal Having decided on the way in which architecture would A personal understanding of
and figurative) show that the majority of the work deals architecture
literature review, I felt it necessary to educate myself be investigated, it was necessary to put in place structure
with general architectural principles, and as such lacks on the history of architecture. This included familiarising by making decisions as to definition and typology.
the specificity that the investigation of a particular site To clarify this, I realised the architectural
myself with the development of styles, building types Specifically a definition of architecture was sought which sites that were of particular interest were
generates. a reflection of a personal definition of
and theories throughout history. Additionally the outer also shared an approach sympathetic to the perspective
architecture. Across the examples I had
realms of what may be considered architecture were of jewellery and one that I felt defined architecture picked out, (unknown to me until they
Additionally, responding to architecture through jewellery also investigated. This touched upon transient structures, for me in a relevant and individual way. Deciding on had been investigated further), similarities
was considered a method of allowing a personal in approach and theory were evident. In
such as tents, cars and clothing. The enormity of the task a typology established boundaries that were of key
interpretation and experience of architecture to be this way consistent types of architecture
became apparent after several weeks, and the necessity importance to the subsequent body of research. became known and meaningful, their
involved and reflected in the design and development for a specific focus became very clear. raison d’etre developed into a personal
of jewellery. The academic study of architecture was an definition.
Emerging from the initial research into architecture
entirely new discipline for me. The plan was to allow a Due to this unstructured approach to understanding was an interest in the primary use of light within
gradual understanding of architecture to be incorporated architecture, the realisation that selection criteria, which structures; this, coupled with the focus on contemporary
into the cyclical research process, and then married with defined the type of architecture to be focused on, gained architecture, was identified as an important factor when 4.1. (previous page) approaching Vals
my expertise in jewellery design. 4.2. RCR Arquitectes. Aranda, Pigem
importance. searching for a definition and a locus. Exploring 20th
and Vilalta. Bathing Pavillion. Olot,
century architecture for a definition was seen as logical
This initial period is marked by an education undertaken Girona, Spain. 1998.
62
Research area
Conclusions & Planning & approach

Writing up
Response to
Reflection on architecture
work and process
Phase one Phase two Phase three

Jewellery design Vals visit one Vals visit two
for a variety of reasons: 20th century design language As a definition that was to represent architecture within In considering this passage in relation to the creation of
is a language of our time, and one we are familiar with; the research, it quickly showed itself as too general and wearable objects, the architect’s point of view is similar
one of its basic aims is to communicate its aspirations distinctly a product of its time, overtly referencing the in conceptual terms to that of the goldsmith. Beyond the
and use clearly. Although the architectural focus was Cubist and Constructivist ethos of the early 20th century. utilitarian it is the metaphorical content that distinguishes
contemporary architecture, the basis of this design ethos Corbusier goes on to describe what it is that architecture architecture from building. It is this that it shares with the
owes much to the Modernist movement. So it is from this should do, what its purpose is and really what he aims art of the goldsmith.
time-frame that theories were initially examined. to achieve with his architecture. The following passage is
Le Corbusier’s definition of architecture was initially poetic and communicates not only the aspirations and It should be pointed out that a formal definition of
selected for its emphasis on the interaction of light. intent of meaningful architecture but on an abstract level, architecture was important for the beginning stages of the
Additionally his ideas are easily applied to jewellery. design in general. research. After this initial exploratory phase the perceived
importance of aligning myself to a formal definition
“Architecture is the masterly, correct and magnificent play of “The Business of Architecture is to establish emotional relationships dissipated. This was later replaced by the realisation that
masses brought together in light. Our eyes are made to see forms by means of raw materials. Architecture goes beyond utilitarian the architecture that I was seeking out and studying was
in light; light and shade reveal these forms; cubes, cones, spheres, needs. Architecture is a plastic thing.
in itself forming a personal understanding.
cylinders or pyramids are the great primary forms which light The spirit of order, a unity of intention. The sense of relationships;
reveals to advantage; the image of these is distinct and tangible architecture deals with quantities. Passion can create drama out of
4.3. (left) Research Spiral adapted
within us and without ambiguity.’ ” 3 inert stone.”4 As mentioned earlier the development of selection
from Blaxter, Hughes and Tight.
criteria became important to focus the architectural 4.4. Research spiral showing iterative
Le Corbusier, 1923 Le Corbusier 1923 investigation. This was a crucial process that constantly development of processes.
63
evolved as research progressed and understanding has been built in the last sixty years; a time frame which needs and requirements must be sensitively considered;
of architecture grew. Every cycle that was completed also coincides with the emergence of architectonic all of these factors impact on the architecture that was
(choosing a number of architectural exemplars, jewellery. The reason for this is that the changes in design built there and must be understood in light of the chosen
investigating them and then designing) returned again to and architecture in the last sixty years have resulted in an exemplar.
the selection criteria to refine its characteristics. (See 4.3. environment, which we are familiar with today, and thus is
and 4.4 showing research spiral and iterant idevelopment) not outside the sphere of common experience. The use of light (a primary factor in the exemplar’s
design) as one of the selection criteria stems from the
The architectural exemplars were selected using the The restrictions that a defined geographical boundary initial definition of architecture that was sought. This
following criteria: set have pragmatic reasons, in terms of visiting the sites, factor played a role in the initial stages of selecting
• Built and designed within a contemporary time-frame and researching the context from within which they architecture than it did in the design process or Structures of contemplation.
4.5. (left) Hans Peter Worndl. Guckl
• Located within a defined geographical boundary are located. In the case of Vals for example, there is an outcomes. The consideration of light is essential in
Hupf (Mobile lookout). Mondsee,
• Use of light as a primary factor in the design extensive history to consider, which has resulted in the design of structure, and it is also a factor that is Austria. 2000
• Structures whose typology may be described as that of particular cultural conditions.Vals is a relatively remote very much contextual and particular to the specific 4.6. (middle)Tadao Ando. Ayabe
Community Centre. Kyoto, Japan.
contemplation site, and its geographical location (topography and environment in which the structure is located. Unlike
1993-1995
climate) has also affected the architecture of this town. jewellery, which is nomadic in the sense that it moves 4.7. (right) Shigeru Uchida. Interior of
A contemporary time frame was defined as that which Additionally Vals is a small community and one whose around with the body when worn, architecture for the teahouse. (made to order).
64
most part is very specifically located in one place and the ‘The concise purpose of these structures, that they address a single potential of the visual language and ideas in architecture
qualities of light are particular to that place. function, simple to use or even a purely aesthetic aim, makes them to be translated into wearable objects. This communicates
psychologically as well as physically accessible…
itself in the material expression, the building’s structure
Structures of contemplation can be churches, chapels, Whether intended to block out urban clatter or to commune and the sensitivity with which the architect manages to
with the natural environment, structures that mediate nature and
baths, built artefacts of remembrance and those created convey the conceptual intent.
the appreciation of that natural world through their walls and
in part for the appreciation of a space or nature. roofs take a variety of forms… (they) return us to our essential
Their primary function is to promote reflection; they have beings. The aim of this splendid isolation is manifold: to observe, to Equally important is the ability for the chosen exemplar
contemplate, to become inspired or calmed.’5
been designed with the idea of contemplation in mind. to allude to concepts beyond itself without being explicit,
This typology has a benign and neutral quality, existing as eliciting a response from the viewer that becomes crucial
Richardson discusses this expressive building type as
a platform for abstract ideas in order to encourage both to their experience of the work. Charles Jencks refers
sensitive to the human scale, possessing detail and
inner reflection and wider contemplation. A fundamental to this factor in The New Paradigm in Architecture when
intricacy that engages in a way larger, more complex
consideration of this design is to provide/provoke a describing the emergence of the ‘multivalent signifier’ in
building types fail to achieve. Parallels can be drawn here
spatial experience between the visitor, abstract idea contemporary architecture, defining it as:
to the intimate scale and detail with which jewellery
and the hosting architectural structure. In XS, Phyllis
operates. “in search of an open interpretation, one related to the building Structures of contemplation.
Richardson comments on this typology: 4.8.Jens Peter Askim and Sven
task, the site and the language of the particular architecture.”6
Hartvig. National Cultural Centre,
Crucial and yet tacit in the selection criteria was the Verdal, Norway. 1990-95
65
ideadevelopment .introduction
Equally critical to the decision making process was the one that I could personally identify with. points of connection, aesthetic and thinking are so like
elimination of exemplars whose visual language was the solutions a studio jeweller would arrive at. On the
so direct in its application and aesthetic that a literal By understanding the similarities in approaches, it is easy other hand, so great are the similarities that they leave
translation of its design characteristics would be hard to to view Scarpa’s architecture in the light of jewellery on little room for translation.
avoid. One of the architects considered at this stage was a different scale. As shown in (4.9. 4.10. 4.11. Chapel and
Carlo Scarpa. Scarpa’s architecture stems from a distinctly pond) the level of detailing and ornamentation (given
craft tradition, as shown in this descriptive passage: that these are Modernist works) reflects an approach
that designing on a small, intimate scale creates. When a
work such as this is so completely conceived, through the
“The sensory delight that comes from what can be touched and
felt in each material, to the intellectual excitement that derives attention to detailing and ornamentation, in a way that
from exploring and unveiling its structural characteristics, and is so familiar to jewellery, it is hard to imagine a process
to the logical pleasures of seeing how distinctive materials with
of investigation for a jeweller that would avoid a literal
different properties can be wed.”7
translation of the design elements. Carlo Scarpa. Brion Monumental
Tomb. 1969. San Vito d'Altivole
Though this approach originates in the contemplation Clearly, Scarpa’s architecture is perfect for comparison Treviso.
4.9. (left) Detail
of materials, their qualities and their construction are to jewellery in the sense that the resolutions of forms, 4.10. (middle) Platform
central. This perspective is one that echoes jewellery, and 4.11. (right) Walkway
66
ideadevelopment
.phase one
The first phase was experimental, and using the model considered to be one of Finland’s most valuable assets. environment that is most appropriate for the cultivation
of response that had so far evolved can be summarised Positioned at the edge of the Arctic Circle, the result is of his own architecture.”9 His buildings have been
as: subscribing to an existing definition of architecture, an extreme fluctuation in the quality and quantity of light described as ‘instruments of light’.10
development of selection criteria for choice of an between summer and winter. This intensity of available
architectural exemplar, selection of exemplar, qualitative light has greatly influenced the architecture, which Leiviska is not conventionally religious, despite
research on the exemplar, response to data collected must take advantage of these atmospheric polarities to the number of churches that he has designed, but
through design and writing and translation of designs to sensitively attune to the environment.8 nevertheless his architecture possesses an atmosphere
realise ‘response’ in jewellery. that is reverential by experience – he creates spaces
Alvar Aalto began this kind of exploration; for example that envelop and cocoon, buffering the visitor from the
The first exemplar to be examined was Juha Leiviska’s in Imatra Church (4.13. and 4.14.) light is used to diffuse realities of the outside world – yet these spaces do not
‘Myyrmaki’, a Parish Church in Vantaa, Finland. 1980 - 84 perception of form. It is Leiviska exclusively, however, who alienate one. (4.17.) Working with the natural lay of the
4.12. (left) Juha Leiviska, Myyrmaki
(4.12.). Leiviska’s Myyrmaki Church is a space that uses has turned this into an art form, using it to allude to the land, his architecture does not impose itself – rather it Parish Church. Vantaa Finland.
light as a structural material to transmit veils of light that spiritual and the metaphysical. Leiviska works from his draws the visitor inside by the use of planes, in much the 1980-84
4.13. and 4.14. Alvar Alto, Imatra
fill the interior. Leiviska’s signature as an architect is his cultural roots, believing the individual to be an extension same way as light is guided.
Church, Church of the three crosses.
evocative use of light; correspondingly light is perhaps of the place, and that he must “stay connected with the Leiviska speaks of the building thus: 1956-58
67
ideadevelopment.phase one
“The most important building material of the church itself is likewise with glass, the difficulties of working with this the form of variation in thickness of material, on patterns
daylight… a living interaction of large and small, open and shut, material ruled it out. made by the short hairs of the animal left in the material.
high and low, light and shade, spaces ‘as instruments for light to play
on’, a continuously changing, shimmering veil of light…” 11
Despite being difficult to track down (there is only Depending on the grade of vellum and the type of
one supplier and manufacturer of this material in the animal it comes from, the level of translucency and
In searching for a materials palette from which to draw world) vellum was an obvious choice. As a material it correspondingly the amount of light it lets through
on in designing the collection made in response to these possesses strength and structural stability over paper, changes. The difficulties that I had with working with
concepts and to Leiviska, the properties of acrylic, bone, and being a natural material it was flawed with structural this material were that as an absorbent material, its
glass and vellum were explored. Given the emphasis irregularities: both a good and bad characteristic. The potential to lie flat (or curl up) changed with the humidity.
on nature in Finland, acrylic seemed a crass choice. For variation in surface quality added to the texture and the A technique was developed that allowed the pieces of
reasons of health and safety, bone was also discarded, light quality it absorbed and transmitted. These flaws took vellum to be pinned (in most cases under tension) in 4.15. 4.16. 4.17. Juha Leiviska,
Myyrmaki Parish Church.
68
place in the works. The natural tendency of the material the work is far larger than is structurally needed, creating being worn.Various leather sprays were used as a sealer
to curl up in one direction (when cut in small pieces) had unnecessary visual and physical weight. to keep the surface resistant to dirt.
to be worked with and the pieces tensioned accordingly. By working with the format of a brooch, this problem was
The subsequent arm-pieces experimented with different rectified. It also enabled a greater experimentation with
The first piece that was made was a silver and vellum grades of vellum and weights of silver used to hold them the material as it was on a smaller scale and therefore
armpiece (4.18.). This arm-piece aimed at varying the in place. Layers of vellum were also used to build up faster to make and alter. The series (4.21.) shown here
translucency of the material by building it up in several different levels of translucency and create textures of again plays with the structuring of layers of vellum to vary
areas and leaving it open to ‘channel’ light through in light. These variations aimed to change the qualities of the light quality in and around the pieces. The thinnest,
others. The angled openings in this arm-piece are almost light, in response to Leiviska’s architecture. most translucent vellum (4.22. and 4.23.) achieved the
a direct translation of the structure at Myyramaki (4.15.). best results in terms of variation of light about the works.
As a first piece it aimed to draw the light into the interior One of the problems associated with using vellum in Unfortunately these were also the least stable over time.
of the piece. The vellum is held in place by four bands the arm-pieces was keeping the material clean. As an As can be seen in (4.22.) the vellum has curled up and
of silver, which also serve to structure the openings of arm-piece is located next to the skin and in a ‘high use’ distorted at the edges. 4.18. (left) Arm-piece. 2002. Silver
the piece, splaying the three layers of vellum at staged area, exposed to much wear and tear, and vellum is a and vellum.
4.19. (middle and right) Subsequent
points. Self-criticisms of this work lie in its weight as an very absorbent material, keeping the surface white was These works, successful on a design level, achieved arm-pieces were smaller and lighter.
arm-piece: the diameter of the silver used to structure considered difficult in the natural course of the piece the qualities that were desired in terms of playing on 4.20. Brooch. 2002. Vellum, silver
and stainless-steel
69
textures of light. However there were limitations to the gains a different understanding from an experience of pieces. This method of working failed to provide the
understanding that could be achieved about Leiviska’s architecture, because these qualities are felt in relation to depth of understanding that first-hand experiencing of
work from the secondary sources that were sought. the individual and their specific perspective. architecture facilitates. The conclusion was that it was
What was conveyed clearly through literature was the important to visit and experience any chosen exemplars
special quality of light that these buildings possessed. For this reason I felt the distanced way of examining an first hand. This was in vast contrast to the understanding
Beyond this it was difficult to judge the impact of the exemplar lacked depth and investigation, resulting in an gained on Phenomenology, which places emphasis on the
structures and the other features of this architecture. unsatisfactory and limiting enquiry. This can be seen in truth of experience. Stating that we can only truely know
I was conscious that the critics’ interpretation was the one dimensional, sometimes literal translation of anything through the interaction of a bodily experience.
exactly that – their own interpretation. Everybody the appearance of the architecture into these jewellery
4.21. (left top) Brooch. 2002. Vellum
and silver.
4.22. (middle top) Brooch. 2002. Thin
vellum and silver
4.23. (right top) Brooch. 2002. Thin
vellum and oxidised silver
4.24. (bottom) subsequent works
produced by digitally printing on the
vellum, in collaboration with Helena
Britt, fellow PhD student.
70
ideadevelopment
.phase two
The concept of ‘responding’ to a particular site through
4.25. Montage of photos taken the design and creation of jewellery developed more fully
at the Burrell Collection gallery.
as a model of working as a result of the second phase;
visiting the Burrell Collection gallery in Glasgow.12
This was not entirely successful, partly because the
site was not chosen in relation to the selection criteria
previously determined. But a positive outcome was the
crystallisation of the absolute necessity of visiting and
experiencing a selected site first hand. Whilst designs
were drawn from this project no works were ever
realised, due to the lack of conviction I felt about this
architecture.
71
ideadevelopment
architecture’. Its geographical boundaries, whilst culturally
diverse, all originate within Switzerland, particularly the
Graubunden and Tincino cantons.
A number of sites were chosen by purely visual means

from architectural journals, and then visited in order to
determine the most appropriate exemplar in relation to
the selection criteria.
The following six sites in the cantons of Graubunden and
Tincino were visited and documented:
Therme Vals, Graubunden, Switzerland: Peter Zumthor. 1996

Sogn Benedetg Chapel, Sumvitg, Switzerland: Peter Zumthor.
1988
‘Gigolo’ House,Versa, Graubünden, Switzerland: Peter Zumthor.
1994
.phase three Vrin, Graubunden, Switzerland, Gion A. Caminada. 2000
Footbridge in Via Mala, Switzerland: Jurg Conzett. 2000
Previous literature reviews of architecture had revealed
Santa Maria Chapel, Monte Tamaro, Switzerland: Mario Botta
four geographical areas of particular interest, with
1995
architecture that met with the established criteria:
Finland, Spain, Japan and Switzerland. Groups of exemplars
Part of the model of response discussed initially
were selected and examined for their suitability and
with Christian Hermansen was experimenting with
location in each country. The close proximity of the
an uninformed response. In terms of an uninformed
chosen exemplars in relation to each other and to
response, it should be emphasised that no research
Glasgow resulted in the logical choice of Switzerland.
was conducted on the site or architect prior to the
visit, although naturally it was necessary to ascertain
This Swiss architectural focus was chosen in strict
information relating to each site’s geographical location
accordance to the selection criteria as discussed in
and its suitability in relation to the established selection
the beginning of this chapter (p63). Swiss Essentialist
criteria. The reason for this was so that the first-hand
architecture has developed from the Modernist mindset
experience of the building would not be influenced by
of Switzerland in the 1960s; it is active and evolving
critical interpretations of others.
today, thereby situated firmly within ‘contemporary
72
ideadevelopment
.therme vals. visit one additional notes

From the six architectural exemplars that were visited visit, initial impressions were written; this was largely an Immediate response at Vals discreetly by the temperature of the
in Switzerland, Therme Vals became the clear choice for intuitive response. bath on the external wall.
No introduction, instruction or guide. This absence of information provokes
the research to focus on. The primary reason for this was Ushered into a dark space by the the curiosity, leading to a multi-sensorial
that Therme Vals was an emotive site and one that could The working process following this visit involved beckoning of small illuminations. journey of discovery.
Industrial sumptuousness. A reflection of the earth and its
be responded to. Additionally, it was also clear from this continual writing, drawing and designing. This was
With seemingly basic elements tectonic make-up, volumes, baths and
visit that there were several dominant concepts running imperative to extract as much as possible from the (granite, water and brass) a richness is spaces are held together and at the
through the work operating on an abstract level and memory of the recent experience. This resulted in a extracted out of their interaction. The same time made distinct, by channels
environment is that of a raw and yet of light and water respectively in the
relating strongly to the local environment. series of progressive ‘responses’, documenting the various ceiling and the floor.
somehow luxurious inner-sanctum of
written responses to Therme Vals at various stages after the mountain. Each bath consumes the senses in
The detailing, material usage and finish of Therme Vals each visit. These can be read in the additional notes. Were you to realise the extent of a wholly different ways.
space it may be claustrophobic. Combinations and variations of
conveyed a craft-based approach that I could identify with, temperature, scent, sound, light and
Discreetly emerging from a wall, behind
whilst form and structure conveyed conceptual content From these texts, concepts were distilled and developed a curtain, led by the rails and volumes volume envelop.
that still allowed interpretation by the visitor. into works of jewellery. The process by which this to the promise of space.
A large central bath with four access
happened was cyclical, oscillating between writing, ways allows you to come to terms with
4.26. (previous page) Peter Zumthor.
Whilst at Therme Vals, photographs were taken and notes drawing, designing, creating, experimenting with materials your surroundings.
Sogn Benedetg Chapel, Sumvitg,
and some drawings were made. Immediately following the and referring to the original documentation of the site. The access ways for the other baths
Switzerland. 1988
are through dark corridors labelled
4.27. Front view of Therme Vals
73
ideadevelopment.therme vals. visit one
additional notes
Second response The qualities of each part of a whole play an unspoken role in light (natural, artificial, direct and reflected), sound, temperature
adding to the dimensions of a finished work. and seating ledges to alter the perception of each bath. For these
The following text is a summary of the second response, written reasons each enclosed bath has a very different environment.
two days after the first visit to Therme Vals. This text aimed to Channels of light seep through slits in the roof whilst over-flow
document the dominant concepts and ideas at Vals that had water runs in between baths. This is used as a subtle yet powerful
The third response
potential for translation into jewellery design: means of linking and making distinct different areas of use.
There is a sense of ‘feeling’ a volume, being immersed in a volume
The response, written a week later, analyses and elaborates on
Meaning residing in material relative to a specific context, of water, which is contained in a vault type enclosure. This brings
the immediate response, developing the ideas therein more
stimulating experience which allows an acceptance of that which awareness to the volume that the body takes up and the space,
comprehensively:
is not familiar. which it does not. The water extends the perception of space
Each part creates another building block, which in turn creates – perhaps due to the increased movement within it.
The arrangement of space leads the body to actively engage and
another. This can be read as a homogenous construction, whereby The restrained pared down use of materials gives the baths
discover the space. Through the use of low ceilings, dark colours
conceptual parameters have been set and conformed to. a basic, raw, almost industrial feel, the construction of which
and narrow passageways, the sense of enclosure ushers you
From the qualities and working of a material, the form and process has been executed with excruciating attention to detail that
through one space and into another.
resulting in the structure will be a natural progression dictated by exudes perfection. The result of this combination is an exquisite
Contrasts of light and space create an element of surprise, leading
the initial material and qualities. environment set in the side of a remote mountain with the Swiss
from the locker area to the main bathing space. Descending
The processes involved in the creation of a work form a visual Alps as a backdrop.
gradually into a large neutral space, you are presented with a
language that remains evident in the finished work. choice of spaces to enter, and the main central bath is accessible
There is a sense of a tightly controlled perspective in this work, all from four sides. There is an ambiguity to the layout, which invokes
angles and views are considered. a sense of curiosity and treats the visitor with integrity.
Spaces and forms are arranged so that they invite use and Whilst the ceiling height in the baths is constant, perception of
enquiry. that height is not. This sense of space is played with; Zumthor uses 4.28. View of outside bath.
74
additional notes
Literal translation thus further developing ideas. threat. In retrospect this was clearly the result of the medium of
the source material on architectural sites. When the complete
From the outset the idea of a literal translation of architecture in Necessarily when ideas change medium (in this case from understanding of an architectural site is drawn exclusively from
jewellery was considered a danger. The very word ‘literal’ is laden architecture to jewellery) a very ‘literal’ copying is difficult. Yet a two-dimensional medium (i.e. photographs, books and digital
with negative implications. when Maas criticises Vicky Ambery-Smith and the Cleto Munari formats), the visual is all that there is to go on.
Collection14 it is because the ideas or resulting ‘mini-architecture’ in
In the literature review an article written by Maas comments on the jewellery are not seen in a new light at all, despite the change in From the first visit to Vals the threat of a ‘literal translation’ ceased
many architectonic jewellers and interpretations and celebrates scale and medium; nothing new has been added and the relocation to be an issue, as the response to the architecture emerged from
the relationship established between the two disciplines in these of these ideas on to the body is largely irrelevant. a multi-sensorial experience, one that did not rest on simply the
works. However, her criticism falls on those whose work displays a visual.
‘literal’ translation. (p10) Despite this there is a very necessary place for ‘literal elements’
of an original to appear in an interpretation; some essence or In the last phase of the research and design of jewellery, it has been
Maas refers to a “jejune copying” of architecture which hints
13 representation of the original needs to be retained in order that necessary to reconsider how it is possible to sensitively reference
at the implications of a literal translation as that which lacks in the source material be recognised. Successful examples of this can this response to Vals in some of the works. Although all concepts
maturity, is simplistic and is dull or uninteresting. be seen in the work of Ruudt Peters. As discussed in the contextual from which the designs have evolved are a direct result of the
review, there is no doubt which particular architectural site is being visit to Vals, the positioning of the ideas and concepts within the
Literal translations are considered unsuccessful in the contextual referenced, yet it is a very personal response to and celebration of context of jewellery and the body have in some cases resulted in
review because they are seen to borrow or copy ideas directly, that site that we understand from the work. an absence of literal referencing of Vals in the designs.
thus resulting in a pastiche of the original. The literal copying of
ideas implies a lack of integrity, original interpretation and process In the early stages of this research project, before the criteria of
of translation. The successful works are able to balance and visiting and experiencing an architectural site was an integral part 4.29. Therme Vals (from left to right)
integrate elements of the original, responding with new concepts, of the process, I felt that the notion of a literal translation was a Cantral Bath, Walkway looking down,
Walkway looking up, Central Bath.
75
additional notes
Volume form within a structured mass, due to corrugations, was 0.1mm
However the emphasis remained on a ‘response’ to an thin silver shim.
exemplar. This required an understanding of the concepts This work in part is about volumes: volumes that you occupy as 0.1mm thin silver shim can be cut with scissors; it is extremely light
that were embodied in the architecture. By responding to part of the water, volumes that the water occupies in proportion and malleable.
to air, volumes of an enclosed space, volumes of solid mass (stone By pressing the shim into a die, the material was pushed to its limits
and focusing on a conceptual understanding of site, literal walls) and the way they guide you around the voids of solid mass. by a three dimensional pattern.
translations would be less likely. With certainty an understanding of volumes is imparted. Pattern creates structure and the structure creates strength and
Creating volume also creates weight. depth, thereby creating volume.
Economy of weight is a restriction both architecture and jewellery This structure in the individual pieces of shim expanded the
The key abstracted concepts from Therme Vals, developed must address. dimensions from 0.1mm to 3mm in depth.
further were volume, material and displacement. From these pressed pieces of shim, layers were consolidated,
One of the design problems that faced me at this point was finding creating volume. The creation of monolithic form was a logical
These categories are the result of a sensory response to
a way to create volume or mass with the minimum weight.To solve development from the material’s structure.
the site; concepts that were ‘felt’ and could not have been this I looked towards architectural construction materials, such as The natural state of silver is black; this process of sulphurisation has
arrived at by any other means other than visiting. Because honeycomb structures and corrugated iron, whose strength is a been accelerated by chemical oxidisation to create this finish.
result of structure, which makes the most of thin material. The The edges and ends have been polished back to expose silver, the
of the type and use of Therme Vals, ‘experiencing’ it 4.30. From Volume series. Brooch.
following material tests were experimented with. (4.32.) expected quality of this material.
2003. Silver.
involves the body in ways other sites cannot. As such, The resulting forms have visual weight and allude to a more
4.31. From Volume series. Neck-
the stimuli available to the senses responding to Therme The forms shown in 4.30. are a result of the following working industrial tone, in contradiction to the material and its location on
piece. 2003. Oxidised silver and
process. the body as a wearable object.
Vals are richer, allowing greater potential for conceptual cotton.
4.32. From Volume Series. Detail of
interpretation. Through experimentation, the lightest weight in silver that held its
neckpiece. 2003. Oxidised silver.
76
additional notes
The additional notes discuss the three series of works Material 10 brooches making. The only difference in the
that resulted from the site visit to Therme Vals, titled making process between the brooches
Therme Vals is made entirely from local mountain granite within 10 brooches. 10 materials: gold, silver, copper, brass, nickel silver, is a result of the particular qualities that
Volume, Material and Displacement. Beginning its environmental context.This makes perfect sense. What you gain pewter, lead, stainless steel, steel and aluminium. the material exhibits.
with the investigation entitled Volume these texts from visiting Therme Vals is an understanding of this material, you
are able to absorb an understanding of this granite through the The familiar provides a way to understand the foreign. The reduction of visual differences
describe the thinking on the series of concepts in relation
ways in which it has been worked and its homogeneous use. consolidates the meaning into the
to Therme Vals. Material understanding comes from experience and memory. material differences.
Looking towards jewellery as a discipline and the traditional Traditional materials carry the potential for immediate The identity of each brooch is that
materials that are associated with it, I wished to create a series understanding. which the material conveys.
Only after the majority of the pieces had been made was of brooches that only conveyed material qualities. The similarities
reflection on the working process possible. in appearances between the metals used create superficial Traditional materials in contemporary forms update our experience
ambiguities, given that two of the brooches are made from and conception of use. Identical forms in other materials may be
traditional materials, I rely upon the knowledge that memory and understood through association of form.
After the site had been ‘responded to’, texts written, experience provide tacit understanding of the qualities of these
pieces designed and work on producing them begun, materials, these brooches would be immediately ‘known’, removing Dispensing with all but the essential elements, the brooch has been
literature on the sites was sought as a way of confirming the need for individual identification. (4.33.) reduced to a material focus and a plate to hold the pin.
and correlating observations and questions. 4.33. Material works. 10 brooches.

10 brooches, identical in form, are made from different metals. 2003. (from left to right) Silver,
On reflection the body of work that had been thus Each brooch consists of a four-layered wafer that sits on a plate. steel, copper, nickle silver, brass,
This plate allows the object to function as a brooch. gold, stainless-steel, pewter, lead,
far produced in response to Therme Vals, lacked the
Each brooch has been through an almost identical process of aluminium.
77
specificity and depth of concepts that I felt were
indicative of the site. Whilst the concepts developed were
specifically from Therme Vals, they had been explored in
a general way, one that did not do justice to complexity
and the approach that was beginning to evolve from the
theory.
By reflecting on theory, it was possible see how the

atmosphere had been created at Therme Vals, emerging
from Zumthor’s desire to articulate his own architectural
experience, to establish a site which possessed a sense of
permanence both within itself and within the community.
The involvement of theory enabled a clear, articulate,
language-based understanding to be formed and
understood by all, whereas the experience alone lacked
conviction because it remained indistinct and vague in additional notes
definition.
Displacement Emergent process following visiting Therme Vals: Echoes, confirmations and greater
Zumthor has documented and written extensively understanding of the essence of the
about his works. The result of this was gaining a better This work explores the idea of displacement of volumes from Initial drawings are made based on the responses to the site. ideas are sought in theory. This led to
within one mass. Materials and designs were then selected for further working. The changes in the approach to the model
insight into some of his more personal reflections on One mass, which, through design, allows displacement of parts of making process began by creating samples; this is a physical playing of response.
the discipline of architecture and his approach than is its volume. with ideas.
usually possible through interviews. Most informative The forces that cause this displacement are the wearer and the Whilst a significant amount of
weight of the volumes in relation to the whole mass. An understanding of the physical properties from the previous documentation occurs at the end
was Thinking Architecture15 in which he goes into detailed This displacement of a volume from the mass allows linking to making phase led to the rethinking and development of ideas of each cycle or working process
descriptions on what architecture means to him and how subsequent masses. 4.34. through writing and designing. This was done with constant (recording of the finished works,
reference to the original evidence gathered at the site. conclusions and summaries), it is an
he perceives the wider role of architecture.
As the designs are altered, re-assessment of material choices and ongoing process in varied formats.
previously selected ideas become necessary.
The process of turning to theory to confirm thoughts
Further studio work develops the designs and in some cases this
and better understand the context of Therme Vals
led to finished pieces, however more commonly this was part of
led the research in a different direction. The emphasis the ongoing refinement of the making process. This progresses
shifted from the visual language of the selected to the final phase in the design selection and production and/or
outsourcing of the final works.
architectural exemplar to investigating the architect and
4.34. From Displacement series.
his approach. It became clear that an understanding of Proceeding the making phase, reflection on the conceptual Arm-pieces and cufflinks (left to
the architecture’s raison d’être was also required. With nature and philosophical underpinnings of the work occurs. right).
78
an understanding of the process and thinking that were developed in the research firstly in order to gain a and revisiting Therme Vals.
involved at Therme Vals, the danger of a ‘literal’ translation deeper understanding of architecture, particularly
or borrowing of visual forms also diminished as discussed the approach of Zumthor and the Swiss Essentialists. This decision was made based partly on the lingering
in the additional notes on p75. Secondly Phenomenology provided a way to appreciate dissatisfaction with the previous body of work that had
and observe the act of experiencing the architectural been produced. Additionally, the proposition of visiting
This phase of the research investigated Zumthor, the exemplar.Within the design process, this added another the site a second time, with a new understanding of the
Swiss Essentialist architects who made up an architectural dimension to the consideration and use of materials, their contextual factors and Zumthor’s approach, aroused
context within which Zumthor was situated, and the qualities, values and meanings. This philosophical stand curiosity as to how that experience would differ from the
historical and cultural background of Switzerland. As point offered a wider context in which to locate and first visit.
research developed, it led into areas of Phenomenology contemplate architecture and objects.
and Modernism in Switzerland. This period of research As the overall shape and direction of the research began
culminated in the start of thesis writing. The time spent There was some hesitation as to whether to choose a to emerge and evolve, the reflexive nature of the project
writing and focusing on the subjects surrounding Therme different architectural exemplar as the next focus, but it became apparent. On one level it remains an exploration
Vals allowed sufficient distance to reflect on the process was decided that a second, informed visit to Therme Vals into the translation of ideas between disciplines,
so far. planed for June 2004 would complete this research. The specifically architecture and jewellery. On another level,
hesitation stemmed from indecision between closing the the process developed to investigate these subject areas
The research into Phenomenology provided a chapter on this architectural exemplar, taking what had experiments with the creative process itself.
4.35. From Displacement series.
philosophical standpoint on three different levels. It been learnt and finding another or further researching Arm-pieces. 2003. Silver.
79
ideadevelopment
the sense that Zumthor takes the notion of ‘experiencing’
architecture to another level. The site offers a powerful
experience because it appeals to all the senses; the
palette from which the experience is drawn is varied and
complex.
The additional notes document the second visit to

Therme Vals: The second visit to Therme Vals confirmed
that my response in essence to the site had not changed
despite the intervening period of research. The supporting
information and research enabled a more critical
dissection and perspective to be developed. There was
no significant change in my thoughts and responses to
the site, but the reasons attributed to the visual language
and experience had changed, in the sense that they were
articulate and further developed. In retrospect this is an
.therme vals. visit two entirely logical progression, as an uninformed response
is largely an intuitive reflex, therefore theoretical
The second visit to Therme Vals was preceded by the
understanding of a subject allows for a more critical
documentation of memories of the first visit to Therme
analysis, adding to the depth of comprehension and
Vals a year and a half before. The additional notes records
not altering the intuitive response, merely rationalising
these thoughts.
intuitive response in different ways.
There was the ever-present threat that a second visit to

From this second response to Therme Vals, the key
Therme Vals would make no difference to my perception
concepts to emerge were those of permanence and
of the site, that no new information would be found and
context. Zumthor’s expression of permanence at Therme
no new work would be produced. This was countered
Vals is the manifestation of an architecture that feels as
by the logic that so much research had been completed
though it had always been there. It is the use of materials
on Therme Vals, Zumthor, the Swiss Essentialists and
that are established in their environment and also eternal.
Switzerland that this knowledge would change and add to
the perception of the architectural exemplar.
“I have a passionate desire to design such buildings, buildings that,
in time, grow naturally into being a part of the form and history of
I came to appreciate the uniqueness of Therme Vals, in their place.16
This feeds into the second concept of context, which is
80
ideadevelopment.therme vals. visit two
additional notes
Reflections on Vals 21st July 2004 the nature of the beast. The distance between the lobby/entrance change-rooms, when the natural light floods to meet your eyes newcomers entering Vals…
desk and the change-rooms seemed extreme in length, as if one and space and distance are given to you again, which in a way that Surprised amusement, and aroused
From memory, from texts and others, at this stage my own was entering into a tunnel from which there is no return. A hint of up until that point they were denied, it is almost a sense of relief. curiosity as the experience is revealed
thoughts are indistinguishable from that which I have read. trepidation, the same sense I recall that comes from entering into to them. This is then replaced by a sense
caves… had the towelling housecoat that I had been presented From this point on, exploring the different chambers of water, with of confidence as they revisit favourite
My impression and memory of Vals begins from the roadside. Set with been a miners hat I would have not been surprised. their varying temperatures, examining the textures you find against chambers. As the ‘how’ question is asked,
back a little it is not entirely obvious where this building is… had your skin and the noises resonating in the vaulted volumes stirs the detailing and structure are examined,
I not some prior knowledge of what I was looking for I may have The darkness and sense of wet closes in on you as you feel your curiosity. It seems at once an investigation of environment and also the parts are separated from the whole
missed it… way down the corridor, to the constant sound of dripping water of self… can you immerse your self in 14 degree water? Is that in a way that is not possible upon first
and visual evidence of mineral deposits on the concrete walls. blue light making it seem colder? What is around that corner? Into presentation, when the body is contending
So to begin with, the exterior of the building; this is not entirely As if this deliberate shutting down of what is made available to that darkness, do you dare to go, are you supposed to go there? All partly with its self in the baths.
definable, emerging from the ground and set in to the side of your senses is part of this game, an assault course for the senses. the senses are saturated, sound, touch, temperature, sight is tested,
the mountain. (A minimalist reordering of a mountain? One The sudden switch of environment that occurs with entry into and even taste is involved. Tentative explorations using all senses In this it seems that I recall the changing
wonders…) so inherently part of the mountain [it presents itself] the change-rooms saturates perception. Polished mahogany, black ensue… an enquiry and exploration that demands all faculties in perception of self, reacting to the building
that the two merge. leather, piercing halogens and glowing brass fittings; basked instantly an effort to comprehend the environment. as changing most clearly, as opposed to just
in the warmth of highly refined and finished materials. After the the perception of the building, but I also
The entrance is located under an inconspicuous roof round the apprehension created by the industrial, untamed impression of I recall the initial sense of mass and volume, where further wonder, are the two separable?
side of the structure… it seems completely at odds with the rest the entry corridor, this capsule seems faintly cloying. Again the investigation reveals the granite layers, constructed with precision
of the building… as if its creation was an afterthought… (The sense that this is a test or experiment of senses of perception of and exacting detail. The individual parts of the structure cease to
building it seemed was complete unto itself, without such an expectation and experience is evident. reveal themselves to you, rather the whole that they constitute
addition…) dominates attention. 4.36. (previous page) looking out over
The extreme light and dark that you have just experienced have the centre of Vals.
I recall the process of entering to be somewhat confusing, be it as not allowed for a distinct and definable comprehension of your The levels of understanding and appreciation evolve with the time 4.37. View from outside area at
a result of a combination of factors, foreign language, country and surrounds… Thus when exiting from the opposite side of the that is spent there… you can see the same process in action with Therme Vals.
81
ideadevelopment.therme vals. visit two
additional notes
so closely linked with the way permanence is expressed.
In the choice and use of material the relevance of the Vals revisited 26.7.04 The spaces, which are the most evocative and powerful, are those
which appeal to the greatest variety of senses, combining and
context is intertwined. The granite used in the building It seemed altogether brighter and less shrouded in darkness, varying sound, temperature, light and olfactory stimuli.
is quarried from the mountainside in which it is sited, the granite appeared lighter and dustier in colour. Perhaps it is
these mountains locate the village and remain a material the sediment and mineral residue from the water, perhaps my The well of drinking water seems to consummate the complete
memory making drama from inert stone. I perceive the building emersion into this world.The consumption of the mineral saturated
that is relevant to their lives and architecture. In this way to possess a content air; its constituent parts are at one with each water completes the sensory experience of the environment
permanence and context are interrelated in the expression other. Having been designed completely in relation to each other, through taste and ingestion taking in this environment internally.
resulting in completeness, wholeness, comfortable in its resolution
of this architecture. In a similar way the design process
and confident in intent. The key concepts are permanence and context.
merged these two concepts. Weight and mass, which equate to a perceptual heaviness
The intention was to create design families that In isolation no individual elements speak of comfort, yet this is previously featured as a key concept, this I now consider to be
a comfortable place. Basic, raw, elemental materials are made to replaced with a sense of permanence.
developed from each concept, however in the process
work to resonate with a sense of richness.
of thinking about materials and designing the works Likewise the role and importance of primary elements (materials)
the two became inseparable. An example of this is in What I had previously perceived as a weighted heaviness to point to the intention of an eternalness, context and essence or
the building I now read as a sense of permanence this I believe genius loci.
the rewound collection where the use of recycled is in keeping with the town. Vals is a very old and remote town
4.38. (left) looking out over the centre
textiles in jewellery. (See p84 for the discussion of this of Vals. located within an extreme environment; confidence, security and
collection.) 4.39. (above) View from outside area permanence are important qualities to emanate from buildings in
at Therme Vals. such surrounds.
There were three collections to emerge from the
82
ideadevelopment
.design process
the material focus. Indeed, there is the well-established for the skin.’ ”18
design process, each made up of two to three series of reference that clothing is, ‘architecture for the body’.
jewellery works, loosely grouped by their chronological Correspondingly the analogy extends to architecture Wilcox discusses the relationship of clothing to the body
development and conceptual similarities. These three as clothing; this metaphor dates back to Vitruvius.17 So as one that is intimate and immediate, ‘whenever people
collections are an exploration of the conceptual starting culturally embedded is the metaphor that ‘clothing is the are represented… their clothes come too.’19 So too
point of permanence and context, in relation to Therme architecture for the body’, that the nuances between is the interaction between jewellery and clothing. It is
Vals and contemporary jew ellery. The first collection dwelling and architecture are articulated here, in the the clothing that comes into contact with the jewellery
rewound, examines the permanence and context in introduction to Radical Fashion by fashion critic Clair before the body, it is rare (except in photography and
clothing and textiles, the second reformed, plays with Wilcox: film) that jewellery resides on and interacts exclusively
the altering of garments, and the third renovations with the body.
uses pieces of jewellery to structure garments so that in
them selves they become the larger work. “Clothes are shorthand for being human; they are an intimate, Textiles as a material is a very ‘human’ construct,
skin-close craft form; whenever people are represented, whether
painted, photographed or filmed, their clothes come too. There is, designed for the creation of clothing it remains a very
The concepts of permanence and context in relation however, a differentiation to be made for, as Nancy Spector writes, personal material, becoming the second skin of the body.
to contemporary jewellery led to an exploration of ‘Clothing may be considered merely a “dwelling” for the body,
Paradoxically it serves as the means of both hiding and
the architecture of the body. In this way clothing – or necessitated by climate and moral imperative. But fashion – as
constituted by perpetual transformations in style is architecture presenting the body to the world. The many factors
textiles, the immediate context of the body became 4.39. From Rewound series. Arm-
piece. 2004. Recycled fabric.
83
ideadevelopment.design process
that affect the lifespan of an article of clothing, climate, already have had one or more histories, uses, or lifetimes,
durability, fashion results in a relatively impermanent would be the material source. Through restructuring
artefact. The choice of fabric for use in contemporary and reuse of fabrics from second-hand garments in
jewellery both alters and questions notions of fabric the creation of jewellery, permanence is gained. In this
permanence. evolution of the design the concept of context could
be articulated in several ways. Beyond clothing as the
The first collection rewound, is comprised of three context of the body, the recycled garments were sought
series of jewellery, the first uses exclusively recycled from local second-hand stores, establishing context in the
fabrics, the second silk and stainless steel and the third felt wider sense of the community. From a phenomenological
and silver. All three series emerge from the examination of perspective the use of these materials, belongs to the
permanence and context in relation to textiles and the body. place from which they developed thier first history.
The development between these series is the result of the
exploration of differing material qualities. The first series The form design of this series of works, developed
relies upon a bonding-web to laminate the fabric, the directly from the intention of creating structure from
second stainless steel wire and the third, sources industrial textiles. Through the layering and bonding of these fabrics,
felt that in itself requires no structuring. mass and structure in the works were created (4.42).
In the first series, designs developed from the idea that Whilst these works were entirely conceptually sound,
recycled textiles would be used, reinforcing the concept I was critical of my use of a bonding-web in creating 4.40. From Rewound series.
of permanence in the works (4.39. 4.40.). Textiles that may structure. The use of bonding-web changed the native Neck-piece.2005. Recycled fabric
converted from a second-hand scarf.
84
additional notes
qualities of the material, effectively it was like glueing the Silk changes to this stainless steel structure would be increasing the
fabric together. It was important to me to respect and (4.42.) diameter of the wire to a minimum of 0.8mm.
Description: Wrapped white silk, inner most loops dark brown,
utilise the materials own qualities and make the most of four-section stainless steel 0.7mm wire, with silver interconnects. Reasons for the modifications:
them through design solutions. By increasing the diameter of the wire a visual and structural
This piece was made with the minimum of bonding film to hold strength is added. I felt the framework was in danger of being
it together. The inner loops, of dark brown silk were completely visually flimsy; structurally there is no weakness that requires the
In the second series the variation of the use of silk on bonded to create a solid base. This inner loop of dark brown silk change.This is similarly the case with the multiplying of the number
similar wrapped forms was explored. (4.43.) Possessing serves both visual and pragmatic purposes. Visually the dark silk, of divisions in the framework to five, additionally five divisions
creates a distinct base from which the white extends. Pragmatically create a rounder circle than four.
permanence in both its history and it structural qualities, the inside band of the arm-piece is in contact with the skin, making
the use of silk also provided a material consistency the use of white silk throughout impractical. Technically this silk series was difficult, because of the differing
that the previous works lacked. In order to address my By using the minimum requirement of bonding film in the tensions of the wrapped fabric and the stainless steel and the
construction of the silk, this creates a very flexible but structurally order of construction. Future developments of these works would
dissatisfaction with the reliance on a bonding-web to weak mass of silk. The lack of structure in the silk is made up for by investigate the construction of the wire frames over a form, to
structure the fabric, stainless-steel wire was incorporated 4.41. (left) Process picture of the support that the stainless steel provides. Thereby allowing the which the fabric was still attached, thereby aiming to eliminate the
rewound series in the making. inherent qualities of each material to be utilised. problems caused by the differing tensions.
in these works.
4.42. (middle) From Rewound series.
armpiece. 2004. Stainelss-steel, Modifications:
Specifically with this series of silk and stainless steel silver and silk. The 0.7mm stainless steel frame has four divisions and an outer
4.43. (right) From Rewound series. band holding the frames together. I would alter this to have a
works, the silk has been used in layers, creating 2004. Silver, Stainless-steel and silk. minimum of five divisions and an inner band as well. Further
85
lightweight mass. One of the essential characteristics of

fabric, its flexibility, allows the easy creation of forms that
in another material would require much construction.
The strength in material terms that silk possesses and the
tight weave of the fabric chosen, allow the material to be
pierced with metal, its edges left raw and frayed without
compromising structural integrity. (4.42.)
The structure in these works was created by stainless

steel frames, the silk joins these frames together and
creates the internal bulk that the frames wrap around.
Where the silk mass lacks structure, the stainless steel materials in the creation of structure. This material
frame creates it. On the other hand, when the stainless The third group in this series utilises industrial-felt. As falls into the category of ‘banal materials’, materials
steel frame lacks internal stability, the silk creates the a non-woven material the availability of greatly varying not bound to any particular meaning, as defined in the
bulk necessary. In this way, because of form and use, both thicknesses and therefore structure is a possibility. In role of architectural theory. 20 (p50) In A matter of Art:
materials require each other for the whole to be realised. the case of this series 4,6 and 9mm were chosen, this Contemporary Architecture in Switzerland, Lucan discusses 4.44. From the Reformed series.
allowed the material to hold its own form and compete these materials in relation to architecture, as ‘free’ to Neck-piece 2005. Industrial felt,
Through this the materials’ qualities are exploited in
oxidised silver and buttons as
relation to one another, and made to work. as an independent structuring element next to metal. The reflect meaning and interpretation.21 In the same way,
connectors.
An analysis of a silk arm-piece is provided in the sourcing of industrial-felt as a material in these works was industrial felt is used in these works; banal materials 4.45. (inside) From the Reformed
a progression from the laminating or layering of thinner express their qualities in the forms given to them series. 2005. Oxidised silver and a
additional notes. button.
86
ideadevelopment .design process
without carrying a ‘cultural memory’. They are free from
the expectations and comparisons that can encumber
a material and its use. The literal reference (p75) to
Therme Vals through colour and mass in these works
is a deliberate one, retaining a visual connection to the
intuitive response and the source material. See, 4.46.
Examining context from another angle the reformed

collection aimed to alter the form of a worn garment. By
restructuring the material that already exists on the body,
the context is both utilised and altered. The first series
of works in this collection utilise the existing fastening
systems of garments. The second series creates structure
through the interaction of two forms locking over the
fabric.
In the examination of clothing as architecture, means

of fastening and joining that were native to garments
were adopted to replace those traditionally used in
jewellery. These mechanisms (buttons, snap fasteners,
zips and hooks) were provided the opportunity for
alternative means of making use of context and attaching
jewellery. The means, by which this was achieved initially,
was through the use of buttons and the utilisation of
existing buttonholes on the wearer’s garment. (4.45.) By
incorporating buttons into the works, pins for brooches
became irrelevant; instead the brooch could be simply
buttoned into the buttonholes of a garment. Altered
structure is created by the differing position of the
buttons on the work in relation to the buttonholes in the
garment.
This mechanism of the button developed into a means of
4.46. Necklace. 2005. Industrial felt,
attaching fabric to metal in later works and series. (4.44.) oxidised silver chain and gold wire.
87
additional notes
The choice of button type in these works is less about Tailoring garments with jewellery. for the garment to begin with. These changes pick up on
aesthetics and more about the functional element of the elements that I was dissatisfied with in this process.
Having designed and had the garments sewn up, I was faced The weight of the fabric in these works is substantial,
mechanism itself. The buttons used were either recycled,
with four massive swaths of fabric, loosely in the form of requiring a certain strength of the structuring jewellery
second-hand or the simplest, plainest buttons that could clothes. Having had no experience with working with fabric elements. The use of stainless steel wire in the jewellery
be sourced. In the case of the bought buttons these were before, the challenging element lay somewhere between negates any concerns that I had originally about the
sourced for consistency in the works. not really being able to predict how these structuring weighing down of the garment with the structuring
elements would work or being able to design for them. elements. Because of this a lighter fabric that flows
Through a process of trial and error and many pins (see more would be more suitable. The additional tailoring
This second series in the reformed collection fig XX) a form began to emerge. The dress was the largest in the design of the garment before it is sewn together
utilises the tensions created in the garment itself by challenge, because of the amount of fabric that was involved would serve to highlight the areas in which the jewellery
the positioning of two interlocking forms. (4.46 - 4.48) and had to be pulled in to create any form whatsoever. To structuring took place. For example in the dress, the
some extent I was working blind with my initial designs for majority of the structuring is on one side of the garment, in
The development of these pieces began with these
Second series in the reformed all the garments (see fig XX) what happens on paper is a redesign, the other side of the garment would require no
flatter pieces, (4.46.) and gradually became more three- collection 2005: vastly different to the dynamics of moving fabric. structuring by the jewellery, thereby drawing more attention
dimensional (4.48.) in an attempt to stretch the limits 4.47. (left) Set of two structuring I feel that the concept of taking a large, shapeless garment to the side which was altered.
forms. oxidised silver. and using jewellery to completely structure it is a strong
of restructuring the context. These structures cling to
4.48. (middle) 3-dimensional one. Further experimentation and change to the process
each other using the qualities of the fabric, without which structuring form. Oxidised silver. would come from, use of different fabrics (a lighter silk or
they remain two unconnected wire forms. In this case 4.49. (right) 3-dimensional structuring
wool jersey) and a clearer, slightly more tailored design
form. Oxidised Silver.
88
the context of clothing becomes integral, the structuring
of context necessary for the complete realisation of the
works.
The third collection renovations, added structuring

devices to tailor made garments. (4.50. - 4.52.) The
intention was to blur the boundary between the garment
and the structuring element - the jewellery. In these
pieces the garment or context relies upon the jewellery
to function. The tailor made garments22, were designed
to be as large and as loose as the fabric width would
allow, the fabric hanging only from the shoulders. In
creating these large unstructured flowing garments, the
structuring elements or jewellery become essential and in
fact replaces any tailoring that the garment may have had.
As stated previously in the discussion of the reformed
collection the emphasis on the mechanisms of connection
are those which already exist in the context of the
garment.
Experiments with these connection devices used to

obtain structure were; hooks and eyes utilised in the
dress,(4.51.) the jacket further developed the interlocking
wire frame concept that was used in the reformed
collection, (4.50.) the wool crepe skirt, extended and
played with the concept of cufflinks.(4.51.)
With this collection in particular, although it is evident in

the reformed works, the designs and ideas which began
from the same conceptual starting point, take on a life of
their own. Straying from the tightly bound up concepts
that were evident in the works resulting from the first 4.50. Renovations series. Jacket. 2005. Wool crepe,
visit to Therme Vals. The design ideas gather momentum stainless steel and oxidised silver.
89
and take on an independance of their own, developing
new directions. This leads on to the further trajectories
these collections may take following the completion of
the PhD. Investigations stemming from the restructuring
and reusing of mechanisims in these collections will be
further developed for more commercial purposes.
This chapter has delineated the development of ideas

and how they have evolved over the course of this
research. The development of ideas and the emergent
direction, reflect my response to the subject matter, the
decisions that were made and the areas that intrigued
me. This chapter pulls together all the little realisations
that occur in the process of research, those penny-
dropping moments of clarity: from the first works that
were produced a little stiffly in response to Leiviska’s
churches in Finland to the last works, considering the
concepts discovered at Therme Vals that developed a life
of their own. It is through an iterative combination of my
own design imperatives and responses to architectural
concepts that these works have emerged.
4.51. Renovations series. Skirt. 2005. Wool crepe, and

oxidised silver.
4.52. (far right) Renovations series. Dress. 2005. Wool
Crepe and oxidised silver.
90
ideadevelopment .footnotes
introduction .phase one .phase two

1. The Work Process Journal that is refered to documents notes, 8. Norri, Marja-Ritta http://virtual.finland.fi/netcomm/news/show 12. The Burrell was suggested by supervisor Roger Millar (Head
questions and thinking in the process of the research. This has article.asp?intNWSAID=27046 Last accessed: 7.10.04 Click for of Jewellery and Silversmithing, GSA), as an exercise in testing the
been compiled in Notetaker, this is accessable on the CD-Rom as PDF ‘experiencing of a building’, and the process of translating this into
a seperate file. 9. Quantrill, Malcolm, Juha Leiviska and the Continuity of Finnish jewellery.
2. Blaxter, Lorraine, Hughes, Christina and Tight, Malcolm. How Modern Architecture. Wiley-Academy. London. 2001. p7
to Research. Second Edition. Open University Press. Buckingham. 10. Norri, Marja-Ritta. Juha Leiviska. http://virtual.finland.fi/
2001. p67 netcomm/news/showarticle.asp?intNWSAID=26194 Accessed
3. Le Corbusier. Towards a New Architecture. Architectural Press. 15.10.04 To view the full PDF click here
Oxford. 1923. p29 11. Leiviska, Juha. A+U, No 295. April. 1995. p74
4. ibid. p151
5. Richardson, Phyllis. XS Big Ideas, Small Buildings. Thames and
Hudson. 2001. p17
6. Jencks, Charles. The New Paradigm in Architecture, http:
//www.archpedia.com/Articles/20040303-2.html Last accessed:
15.6.03 Click for PDF
7. Carlo Scarpa: Architect. Monacelli Press and Canadian Centre
for Architecture. 1999. p12
91
ideadevelopment.footnotes
.therme vals. visit one .therme vals. visit two .design process
13. Maas, Barbra. Architecture in Jewelry. Schmuck. January. 2000. 16. ibid. p11 19. ibid.
p18-20 17. Castle, Helen. Yes, We Wear Buildings. Architectural Design. Vol 20. ‘banal materials’ refers to materials not bound to any
14. ibid. 70. No 6. December. 2000. p94 particular meaning.
15. Zumthor, Peter. Thinking Architecture. Lars Muller Publishers. 18. Wilcox, Claire. (ed.) Radical Fashion. V&A publications. London 21. Lucan, Jacques. A Matter of Art: Contemporary Architecture in
Switzerland. 1998 2001. p1 Switzerland. Birkhauser. Basel. 2001. p20
22. These garments were designed by myself and sewn by
Juliet Dearden, a patternmaking technician from the textiles
department. The choice of material, wool crepe and linen, was the
result of a search for a material that would both hang and that
could support the metal structuring devices without distorting
the rest of the garment. This process was done in consultation
with Jimmy Stephen-Cran, head of textiles department at the
Glasgow School of Art.
92
conclusion
“The process of making insightful decisions when carrying out develop, what the contributing factors were and where
research in art is not predicated on the assumption that there is its parallels lay. After establishing the macro perspective;
a prescribed body of knowledge one learns and then applies. Not
withstanding the benefit of prior knowledge, at the outset there a study of the constituent parts ensued. This necessitated
is little in the way of prevailing explanatory systems of knowledge asking who were the jewellers that had made significant
within which new advances might be framed.” 1
contributions to the field, from this, analysing why and
how their work were defined as architectonic followed.
It can be seen that this three-year research project These questions were answered through literature
evolved from the posing of two primary questions: what reviews, the examination of works and correspondence
is architectonic jewellery? And how may I contribute with jewellers in the contextual review. The analysis of the
to this field? The process of answering them involved work demanded that further categorisation of the types
crossing completely unforseen terrain, both theoretical of architectonic jewellery be made. This process raised
and philosophical. The secondary questions that arose in questions as to how the translation of ideas occurred.
this process are discussed in the subject/chapter order in This resulted in a gradual clarification of the definition of
which the thesis is structured. architectonic jewellery and the positioning of the second
primary question became apparent. (The flow chart on
In defining architectonic jewellery, it was first important 5.2. illustrates the development into these subject areas) 5.1. From the Reformed series. 2005.
to discover its origins; how, as a sub-genre, it came to Silver and jasper
93
conclusion
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5.2. Aims, objectives and
development of ideas flow chart.
94
conclusion
The findings positioned the practice-based enquiry response and documentation to the site and the of the architectural site specifically, it was necessary to
(contribution to the field through the design and production of jewellery works. After this the critical ask what the local cultural, historical and environmental
production of jewellery in response to a specific assessment of how the selection criteria and model of conditions were. This contextual line of enquiry
architectural exemplar) within the interpretive strand of response might be refined was crucial to the ongoing discovered Phenomenology as a philosophical perspective
architectonic jewellery. development of the research. that was prevalent in the approach of the architect and
The design works produced that resulted from an used as an interpretive tool to understand the site.
The process of setting up parameters for the choice of uninformed response to the site,2 felt not completely
an architectural exemplar was guided by the search for realised and led to a theoretical investigation of the This research was conducted in the intervening period
a definition of architecture. Questions that contributed architectural exemplar. A need to understand what between the first and second visit to the selected site.
to the creation of selection criteria for architectural contributed to the design of the architecture, led the Leading up to the second site visit, questions about the
exemplars included; what type of building would be research to examine what the background, perspective nature of response and creativity arose: how is response
examined, what time-frame would the architecture and interests of the architect were. Through an and perception altered through prior knowledge? How
be built in and where would it be located. By focusing examination of the larger picture it was important to does a design sensitively reference source material?
on a typology, sites could be selected and the idea of find out who his contemporaries were, if he was working
responding to a particular site could be developed from an established tradition and what the cultural The secondary questions generated in the design process 5.3. From the Reformed series. Neck-
further. Each cycle involved the selection of a site, conditions that affect this perspective were. In terms stem from the interpretation of the source material piece 2005. Industrial felt, oxidised
silver and buttons as connectors.
95
conclusion
gathered from the architectural site. The distillation of design process is one that must be flexible to adapt and
the principal ideas establishes a conceptual basis from respond to the understanding gained and the changing
which the designs develop. The question of material nature of the inquiry. Sullivan succinctly describes the
choice is crucial in the design process. What material will complexity of this self-reflexive, emergent process:
best express the concept and how may the materials’
“Making informed choices about creative purposes involves
qualities be utilised to reference the site or idea? What selecting, adapting, and constructing ways of working and ways
method of production or work suits the chosen material of seeing, and to do this one has to construct the tools of
and assists in conveying the idea? How is the material inquiry from an array of practices. When working from a base in
contemporary art, the conceptions of the discipline are uncertain
to be finished or detailed? The questions that surround and the informing parameters are open-ended, yet the opportunity
the design process oscillated between conceptual for inventive inquiry is at hand. In these circumstances, the artist-
theorist is seen to be participating in a postdiscipline5 practice.
appropriateness and the pragmatic technical issues. As
There is little reliance on a prescribed content base; rather it is
the work is concept driven and the outcome emergent the deployment of a suitable methodological base that supports
from process, many of the questions to do with the final the questions being asked, which may take the researcher beyond
content boundaries.”6
appearance of the jewellery are not important.3
The difficulty inherent in a process that positions the

The questions posed in this research fall into two
researcher as a subject and the creator of subject has a
categories, the first, deals with concrete matters
dual nature; in that is also characterised by the freedom
(definitions, histories and context), to which the
of response and flexibility. Sullivan’s tone in this quote
answers are easily ascertained. The second category
touches upon this, when he describes the “opportunity
was far less clear in the way that the questions required
for inventive inquiry”. Despite the complex nature of this
answering. As a self-reflexive practice4 these questions
enquiry, the involvement of the self as a reflexive entity
involve the self as both the subject and as a creator of
makes this an intensely rewarding process.
subject (jewellery works). However it is the posing and
answering of these questions that gave direction to the
The aims of this research evolved in tandem with the
research.
research questions. The enquiry into architectonic
jewellery sought to document and position the genre
The above illustrates the evolution of the research
within a wider context. It was through the evolution of
questions and methods developed in response to this,
the design process that a new paradigm for architectonic
exemplifying the point made by Sullivan on the subject of
jewellery was created. This established paradigm uses the
art research.
model of response to a particular architectural exemplar
This underlines the difficulty that lies with this type of
and phenomenology as interpretive tools. Thus the new
research; that there are very few established frameworks
paradigm responds directly to these outcomes respond
into which a system of knowledge can be applied. The
96
conclusion
directly to the two primary research questions posed.
Reflecting on the whole process and the journey taken

there are of course peaks and troughs. Aspects of the
research were troublesome and given the luxury of
hindsight, these things would have been done differently.
The first point to be made focuses on the development
of a model of response. Phase One selects Myyramaki
Church by Leviska as the first architectural exemplar.
This site was responded to through secondary sources,
and unsatisfactory because of this. Without any question
the architectural exemplar should have been visited and
experienced first hand, right from the start. The second
criticism of the process was Phase Two: the visiting of
the Burrell collection. This site was chosen externally
as an exemplar to visit. Having very little interest in
this building, resulted in a design process that had little
to comment on. The progression made in the first
six months would have been greater had a number
of buildings been selected early on and used as quick
pilots to ‘test’ the experiencing and the response to an
architectural site.
The initial intention of the PhD was to produce a largely
studio based submission. However the textual element
gathered momentum and demanded far more attention
than had been anticipated. The misgivings held throughout
the process, about the balance of theoretical work to the
design and studio time, had by the time of writing all but
dissipated.
As a practitioner I approached this project with the 5.4. (previous page) From the Reformed series. 2005.
Industrial felt, oxidised silver and buttons as connectors.
emphasis on the production of studio work, the result of 5.5. From the Reformed series. 2005. Silk, silver and
an entirely natural tendency to stick to familiar territory. buttons as connectors.
97
conclusion
However from this process emerged clarity of thought driven. This method of working has produced successful
and a level of articulation that as a practitioner had not and unexpected results which will be explored further
been demanded from me before. The understanding in the future. Other aspects of this research that will be
gained from the comprehension of the complexity taken forward require the further development of works
of interrelated fields and theories instils a type of from the displacement, rewound and reformed
confidence that feeds back into the studio practice collections. This involves their redesign, assessing their
enriching meaning. suitability for commercial purposes.
This is specifically true with the unforseen development On the whole this research has produced and
of the investigation into Phenomenology.Yet this documented an understanding of an interdisciplinary field.
investigation has been essential in providing a perspective Necessarily this was a difficult process that involved the
on the understanding of architecture. This has also been study of two separate disciplines with their own contexts
central to the observation and articulation of the act and cultural parameters. The point at which the synergy
of experience and in the consideration of the design is created is the way in which they are interpreted and
of work. The value of this philosophy in the process of their qualities interact with one another in the creation
design is a dimension that has permanently altered my of cultural artefacts. The creation of a new paradigm that
perspective on the process of future design works. explores this translation of ideas between two fields,
documents the understanding reached.
On a personal level one of the objectives of this research
5.6. From the Reformed series. 2005.
was to develop a process of working that was concept Silver and buttons.
98
conclusion .footnotes
.footnotes
1. Sullivan, Graeme. Art Practice as Research: an enquiry in the
visual arts. Sage Publications. California. 2005. p102
2. This response refers to the first visit to Therme Vals, as
discussed in Chapter 4 p73
3. For example: questions about the location of the work on
the body, are answered by the process itself. The material will
determine the structure and to some extent the production
method, the structure will determine the location on the body.
4. “Self-reflexive practice describes an inquiry process that is
directed by personal interest and creative insight, yet is informed
by discipline knowledge and research expertise.” op. cit. Sullivan.
2005. p100
5. Sullivan describes this as, “the way visual arts research takes
place within and beyond existing discipline boundaries as
dimensions of theory are explored and domains of inquiry
adapted.” op. cit. Sullivan. 2005. p101
6. ibid. p102
99
images .all photos authors own unless listed here.
.rationale and contextual review
2.1. Onno Boekhoudt. Joris, GJM Yvonne. Jewels of the Mind and invitation. 7th October - 1st November 2000. 2.43. op. cit. Falk et al. 1999. p249
Mentality: Dutch Jewelery Design 1950-2000. 010 Publishers. 2.20. http://www.lesleycrazegallery.co.uk/images/Vicki%20Ambery 2.44. op. cit. Turner. 1996. p118
Rotterdam. 2000. p277 %20Smith%20brooch.jpg 24.3.04 2.45. ibid.
2.2 Falk, Fritz and Holzach. Schmuck der Moderne: 1960-1998. 2.21.http://www.dazzle-exhibitions.comimgamberysmith.html 2.46. op. cit. Drutt and Dormer. 1995. p207
Arnoldsche Publishers. Stuttgart. 1999. p101 24.3.04 2.47. Courtesy of the jeweller.
2.3 Eismann, Beate. Beate Eisemann - exhibition catalogue. 2.22. op. cit. Falk et al. 1999. p101 2.48. Grant lewin, Susan. One of a kind: American Art Jewelry
Gallerie Himmelreich. Magdeburg. 2002. 2.23. op. cit. Turner. 1996. p56 Today. Harry N. Abrams. New York. 1994. p173
2.4. Greenbaum, Toni. Messengers of Modernism: American Studio 2.24. Courtesy of the jeweller. 2.49. op. cit. Eisemann. 2002.
Jewelry 1940-1960. Flammarion. New York. 1996. p133 2.25. Drutt English, Helen and Dormer, Peter. Jewelry of our time: 2.50. ibid.
2.5 Rudolph, Monika. Naum Slutzky: Meister am Bauhaus: art, ornament and obsession. Thames and Hudson. London. 1995. 2.51. ibid.
Goldschnied und Designer. Arnoldsche Publishers. Stuttgart.1990 p.102 2.52. ibid.
p133 2.26. Kunzli, Otto. The Third Eye. Stedelijk Museum Amsterdam. 2.53. op. cit. Kunzli. 1991. p69
2.6. Gere, Charlotte and Munn, Geoffrey C. Artists’ Jewellery: pre- 1991. p.79 2.54. ibid. p77
raphaelite to Arts and Crafts. Antique Collectors Club. Suffolk. 2.27. Babetto, Giampaolo. Aurum Publishing AG. Zurich. 1991. p54 2.55. ibid. p67
1989. p18 2.28. op. cit. Drutt and Dormer. 1995. p126 2.56. Onno Boekhoudt: things with a function. http://www.galerie-
2.7. op. cit. Greenbaum. 1996. p65 2.29. op. cit. Falk et al. 1999. p189 ra.nl/kunstenaarsen/onnoboekhoudt.html 25.3.05
2.8. ibid. 2.30. op. cit. Babetto. 1991. p85 2.57. ibid.
2.9. op. cit. Rudolph. 1990. p.51 2.31. ibid. p80 2.58. ibid.
2.10. Turner, Ralph. Jewelry: in Europe and America, new times, 2.32. ibid. p92 2.59. op. cit. Joris. 2000. p277
new thinking. Thames and Hudson. London. 1996. p35 2.33. Lin,Vance. Creative Showcase: Eva Eisler. Graphis. v56 no327.
2.11. op. cit. Greenbaum. 1996. p148 (spread) p149
2.12. ibid. p150 2.34. ibid.
2.13. Radice, Barbara. Jewelry by architects from the collection of 2.35. Eisler, Eva. Portfolio. American Craft. v48. Feb/March. p56
Cleto Munari. Rizzoli. New York. 1987. p67 2.36. op. cit. Turner. 1996. p58
2.14. op. cit. Radice. 1987. p43 2.37. Licka, C. E. Claus Bury: Architectonic propositions.
2.15. ibid. p25 Metalsmith. Vol.3 No.4 Fall. 1983. p21
2.16. Alessi, Alberto. The dream factory: Alessi since 1921. 2.38. op. cit. Falk et al. 1999. p93
Konemann. Cologne. 1998. p.49 2.39. op. cit. Drutt and Dormer. 1995. p294
2.17. http://www.alessi.it/tct03/index.jsp?mWidth=1024&mHeight 2.40. op. cit. Falk et al. 1999. p100
=768 24.3.04 2.41. Maas, Barbara. Architecture in jewellery. Schmuck. Janurary.
2.18. ibid. 2000. p18
2.19. October exhibitions. The Scottish Gallery exhibition 2.42. http://www.beckermichael.de/010101_br.html 25.3.05
100
images
.role of architectural theory .design process
3.1. Binet, Helene. Peter Zumthor Works: Buildings and Projects 4.2. Montaner, Josep Maria. el croquis. Arquitectura Espanola no
1979-1997. Lars Muller Publishers. 1998. p145 90.1997/1998 p94
3.9. Dal Co, Francesco. Tadao Ando Complete Works. Phaidon 4.5. Richardson, Phyllis. XS: Big Ideas, Small Buildings. Thames and
Press. London. 1995. p287 Hudson. London. 2001. p43
3.10. ibid. p445 4.6. Quetglas, Jose. el croquis. Worlds (three) about the world, the
3.12. Architecture Landscape Urbanism 9: Le Corbusier & The devil and architecture. no.92. 1998 p22
Architecture of Reinvention. Architectural Association. London. 4.7. op. cit. Richardson. 2001. p29
2003. p71 4.8. Byggekunst: Contemporary Norwegian Architecture: Norse
3.15. Speir, Steven. Swiss Made: New architecture from Samtidsarkitektur 1990-95. Vol. 78. no1/2. 1996. p56
Switzerland. Thames and Hudson. London. 2003. p154 (spread) 4.9. Olsberg, Nicholas and Friedman, Mildred. Carlo Scarpa:
3.16. ibid. p156 Intervening with History. Canadian Cantre for Architecture and
3.17. Sylvester, David. Richard Serra: Weight and Measurement Monicelli Press. Montreal. 1999. p188
1992. Tate Gallery London. 1992. p38 4.10. ibid. p155
3.18. Elger, Dietmar. Donald Judd: Colorsit. Hatje Cantz Publishers. 4.11. ibid. p193
Bonn. 2000. p94 4.12. Quantrill, Malcolm. Juha Leiviska: The Continuity of Finnish
3.19. op. cit. Spier. 2003. p6 Modern Architecture. Wiley Academy. London, 2001. p46
3.20. ibid. p128 4.13. Alvar Alto, Imatra Church. The Alvar Alto Foundation. Alvar
3.21. ibid. p64 (spread) Alto. The Finnish Building Centre. p133
3.22. ibid. p231 4.14. ibid. p134
3.23. ibid. p234 4.15. op. cit. Quantrill. 2001. p53
3.24. ibid. p218 (spread)
4.16. Poole, Scott. The New Finnish Architecture. Rizzoli. New York.
1992. p103
4.17. op. cit. Quantrill. 2001. p48 (spread)
4.20. op. cit. Binet. 1998. p60
4.20. http://www.therme-vals.ch 25.3.05
101
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.declaration & acknowledgements i

exemplar required the establishment of a context within

to as studio or art jewellery, is usually designed and

These mass-produced pieces were in demand by people

“The jeweler’s reliance on the machine and mass production, and

Evans discusses this reaction against the industrialised

The Bauhaus Manifesto of 1919 called for the unity of

Whilst it is simplistic to suggest these were the

Janet West, in Made to Wear, argues that this change in

In the same year (1961), London hosted the First

Reservations such as those expressed by Maas are not

ways of expressing the

Dormer and Drutt comment that “the connection

In an attempt to break down and further define

concern itself with historical elements of architecture)

“Assimilating classical proportions with modernity”49

Following this period of work, a series was produced,

“Relying on the truth that people find comfort in order, Eisler

The oeuvre of German born and based jeweller, Michael

“Ruudt Peters produced a drawn decorative jewel in the true sense

This foray into the subject of architecture, demonstrates

“Peabody uses the strict formal language and materials of

Grant Lewin contrasts these hard tectonic works with

and the role her documentation played in the process

The playful use of archetypes is a particularly Dutch

Boekhoudt is regarded as one of the most important

The ‘house’ was a symbol for things to be contained

.contemporary jewellery .beginnings of modernist jewellery .modernist jewellery

.architectonic jewellery .contextual review

technical equipment and the pollution which it was causing in

This chapter explores the constituent parts of

Phenomenology as a philosophical ethos emerged as

From a design perspective, phenomenology holds

The third section begins by defining the Swiss

This was due to the spectrum

It is with this understanding of essences that Zumthor

“Poetic images of matter do

The design process is based on a constant interplay of feeling and

Fry acknowledges the body and its duality, which is

Despite this it can be shown that it is a line of thinking

Alter and Gilbert introduce the Swiss Essentialists as

“propos[ing] an architecture which emerges out of a direct

Alter and Gilbert cite Herzog and de Meuron: “Material is

Despite the deliberate and somewhat anti-rhetorical

Alter and Gilbert further define this architecture70 as

3.16. interior view of Peter

3.19. Jacques Herzog

This apparent contradiction is explained by Dr Hans

On one hand the values and merits of Modernism were

In Hofmann’s introduction, he reinforces the liberating

In addition to the stylistic change that Modernism

“Republics are thrifty and suspicious, especially Protestant republics.

Two statements made by Sik, Rossi’s replacement at

“Less is More – if as a Traditionalist one falls back on an axiom

In this Sik touches a point made by Roman Hollenstein

“Based on historical and critical analysis of austere Swiss Modernism.

This approach is evident in contemporary Swiss

3.23. Peter Zumthor. Sound

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