ETHZ

24/7 METROPOLITAN HYBRID MACHINE

D-ARCH IEA
MASTER THESIS
THEMA C
FS 2021

CHAIR THERIOT 1
 ETHZ
D-ARCH IEA
MASTER THESIS
THEMA C
FS 2021

24/7
METROPOLITAN
HYBRID
MACHINE

TEAM
PROF. ALEXANDRE THERIOT
With
CHARLOTTE TRUWANT
ALICE WEIL
ARNAUD BOSTELMANN
PHILIPPE BUCHS
ADRIEN COMTE

Cover : Martin Parr, One day trip, Auchan, Calais, France, 1988

3
 TABLE

0
INTRODUCTION : BEFORE TO START p.07

General brief and introduction p.09

Economy and excess : the chair’s framework p.13

1
TOPIC : MASS CONSUMPTION p.15

What will be the retail of tomorrow ? p.17

A long history of exchanges for social relations p.27

Architecture as an attractor p.33

Comfort control p.53

Turning point : towards omnipresence p.59

Consumption critics p.97

Typologies of over-consumption or architectural barbarisms p.103

Emergence of new models (museums ? disappearance ?) p.111

Territorial implications p.131

2
PROJECT: METROPOLITAN HYBRID MACHINE p.147

Project’s site : Herdern Areal p.149

Program based on hybridity p.193

Constructive truth and cleverness (Gerberette love) p.201

3
INFORMATION : SEMESTER ORGANISATION p.205

Up : Southdalte Center, 1956

Down : Cédric Price, Rehabilitation Brunswick Shopping complex, 1982
Begleitfach p.207

Key dates p.217

Bibliographical references p.218

Documents at your disposal p.223

4 5
0
INTRO
BEFORE TO START

7
 GENERAL BRIEF AND INTRODUCTION
A diploma project does not
simply consist in demonstrating
one’s know-how on architectural
and urban projects, but in
making these skills resonate
with the questions that agitate
our society. To do this, the
intervention that we propose on
the Herdern site is animated by
a global dialectic between the
notions of economy and excess.
The aim is to put forward
a proposal that responds to
questions about the future of
peri-urban areas dedicated to
transport and trade flows. In
this context, the aim is to
design a new hybrid “retail
architecture”.
The vast Herdern site is
a pure logistics landscape,
the legacy of an area shaped
by industry. Although the site
has become denser and more
complex, it is still marked by
functional specialization, which
has created its own logic of
fragmentation. The site appears
as a specialized archipelago
of infrastructures and large
buildings (halls, warehouses,
parking lots) separated from
each other by barriers. The
territory is nevertheless
Raison presente n°64, Mass culture or people culture, CNL, 1982
governed by a logic of flow, the
buildings being located as close
as possible to the railroad
tracks for a greater efficiency
of service and supply of goods
throughout the country. The
8 9
paradox is that this flow does
not create local continuity, let
alone urbanity. Is it inevitable
that trade should be guided
solely by commercial logic?
Yet the site is not
lacking in qualities. It has
its own dynamic. Its buildings
are efficient in terms of
construction, inventing forms
that come from the industrial
imagination and that know how to
adapt to transportation infra-
structures. Today, however,
operating in such areas is
also a civic mission. It is a
matter of restoring meaning to
this urban sprawl, of not being
satisfied with specialization
that is merely functional. It
is also a matter of creating
attractive locations that
are denser and more complex
than the existing ones. This
is how it will be possible
to reinject public space and
new appropriations into this
territory.
However, the shopping
center model does have the
virtues of welcoming. Although
it cannot be compared to
a public space - since it
remains a highly controlled and
supervised place - it welcomes a
form of agora within it. It is a
landmark, a meeting place, even
a place for strolling or meeting
people.

But today, this model is
being called into question.
The health crisis has shown a
certain fragility of a system
that was thought to be extremely
effective. Who hasn’t found
themselves helpless, even for
a short time, in front of an
empty supermarket shelf? And
in fact, everyone became aware
of the delays - and possible
delays - in supply chains.
The crisis of the model is
played out on several other
levels. There are countless
shopping malls that have
fallen into disrepair, or even
abandonment, because they are
poorly located, poorly served,
and overwhelmed by e-commerce
competition. E-commerce offers
a very ambivalent model. If
everyone (or almost everyone)
clicks from home, we know that
at the other end of the chain,
the order ends up in a gigantic
hidden warehouse with working
conditions close to those of
Charlie Chaplin’s Modern Times
(1936). In terms of images,
we can think of the equally
striking images of the Black
Friday rushes. A rather derisory
burlesque of a crowd throwing
themselves on the products like
starving people, sometimes even
coming to blows. was a social event that could
This behavior of excess is not
so far removed from that of the
zombies in Dawn of the Dead
(George Romero 1978), who take
refuge in a shopping mall and
10
for whom consumption remains a
post-mortem reflex mechanism.
These images are in themselves
critical of an economic as well
as an urban system, which is
expected to offer alternative
solutions.
These other solutions
can be found in certain
concept stores offering a more
targeted clientele scenography,
events - even cultural - in
short, an “experience” coupled
with the act of buying. This
“retailtainment”, a contraction
of “retail” and “entertainment”,
fulfills Andy Warhol’s prophecy
that “department stores will
become museums and museums will
become department stores”. It is
now a matter of overcoming this
mutation.
Already, by trying to
return to the wonder that the
first department stores were
supposed to provide, from the
end of the 19th century to
the 1930s. “These emblematic
buildings, with their proud
liner-like appearance, not
only showcased brands, but also
technological innovations (metal
structures, parade stairs, glass
or air-conditioned facades).
The novelty of these stores
even break free from strict
commercial logic. There is a
relevant articulation between
architecture, technological
innovation and the appropriation
of users and simple visitors, We can experiment with
which could be reactivated a new form of “chrono-ur-
today. banism”, by examining the
needs of the different
Beyond their programs, programs almost hour by hour,
these department stores are and thus give this rhythm to
asserting themselves as hybrid this urban environment. This
urban machines. Why not close adjustment continues in
reactivate this model today, the design of an efficient
in the emblematic context of architectural form, where the
Herdern? The questions obviously constructive procedure generates
need to be adapted, but we can the largest useful surfaces.
continue to explore this logic The combination of these two
of hybridity, which will provide approaches gives the term
solutions on an urban and even “economy” its full meaning.
metropolitan scale. It is no longer understood as
a consumerist frenzy but as a
The logic of exchange of reasoned and virtuous circuit of
place encourages us to foster exchanges. While keeping in mind
new connections between three that from the architect’s point
types of program (Commerce of view, the most beautiful
and Logistics / Leisure / economy remains the economy of
Culture and Education) and to matter, the one that guarantees
imagine composite architectural durable and elegant projects.
projects. The different dynamics
specific to these programs are
able to bring new urban rhythms
and changes in use according to
the day and night schedules.
We can apprehend the site,
and especially its future, as
a hybrid machine that works
24 hours a day. We can trust
its power, the adaptability of
its industrial heritage and
its network of exchanges to
implement new impulses. This new
movement, more complex, will
leave room for a more public
appropriation of places, without
contravening their specialized
operation.
NOTA BENE
This document is at the same time : the description of the topic, the
description of the site, the description of the minimum production
expected, but also : instructions for use, references, advices, tracks
to be followed or discarded, iconographic researches, seeds to germinate
ideas. And finally, if the scope of a document seems unclear, the
caption should help you.
Good luck and above all : enjoy !
11
 light LIGHTNESS ECONOMY AND EXCESS
Studio

Picture : © Bertrand Stofleth - Rhodanie, 2007-2014

STUDIO BRUTHER Bruther
ECONOMY AND EXCESS Economy
BORDERLINE(S)
and Excess

LIGHTNESS LIGHTNESS LIGHTNESS

INVESTIGATION #1
Borderline(s) INVESTIGATION #1

THE CHAIR’S FRAMEWORK

ness
Investigation #2 LIGHTNESS
STUDIO Critics 08:30 - 19:30

Economy
and excess
Lightness
Drinks 19:30
Prof.

THERIOT
Alexandre Theriot

FIBERGLASS
Fall Semester 2019

Team
Charlotte Truwant
Alice Weil
Arnaud Bostelmann
Adrien Comte

ETH Zürich

studio.bruther@arch.
ethz.ch

Studio
Bruther
Economy
and Excess

Borderline(s)
Investigation #2
Lightness
MIDTERM CRITICS Prof.
10.04.2019 Alexandre Theriot

Picture : © Marcel Duchamp - Air de Paris, 1919

Studio BRUTHER MIKE GUYER - NEMANJA ZIMONJIC
Fall Semester 2019
Economy & Excess HIL C 40.1

My
Spring 2019 9H00 - 18H00 Team Studio BRUTHER
Borderline(s)

18.12.2019
Charlotte Truwant
Alice Weil
Guests 21-26 October 2019
Prof. Alexandre Theriot
Arnaud Bostelmann Investigation #2 Category C

Team Adrien Comte

IDO AVISSAR Final reviews
Incl. transport, accomodation, experts & materials
Max. 12 Participants

MIKE GUYER
Adrien Comte
Charlotte Truwant ETH Zürich During one week, we will stay together close to the water, at the lakeside near Constance.

lightnessLAST BUT NOT LEAST

Alice Weil
ANNE LACATON
In a workshop, we will investigate lightness with fiberglass alongside material experts from

more info : theriot@arch.ethz.ch

studio.bruther@
arch.ethz.ch HIL D15 Compositeworx. Over the seminar week, we will meet and discuss with designers, artists
and photographers about the results that will lead to a publication and an exhibition.

Info: studio.bruther@arch.ethz.ch
Many thanks to Compositeworkx
Image source: Henrik Frederiksen & Martin Kechayas

FINDING In the current context, In other words, the aim

LIGHTNESS
STUDIO

Chapter II
tho
LAST BUT NOT LEAST
THERIOT
Economy
and excess FREEDOMS in architecture and all other will be to step back from an
economy and excess STUDIO Critics 08:30 - 19:30
economy and excess

Economy
and excess
Drinks 19:30
https://www.theriot.arch.ethz.ch

THERIOT fields, for multiple and obvious imposed normative framework,

lo
Borderline(s)
Investigation #2
Lightness
reasons, it has become essential to free oneself from what is
to take a serious look at the required without rejecting it
Mid-term reviews
Chapter I

economy and to include it in any but bypassing it.

gies
guest
KARSTEN
FÖDIGER
Lecture 09:00 - 10:00
Critics 10:00 - 18:00
projectual approach. Very often, To achieve these goals, the
Drinks 18:00
Guests the importance given to the practice of both advanced
STUDIO IDO AVISSAR STUDIO
BRUTHER
MIKE GUYER
ANNE LACATON BRUTHER economy is then translated by a technical skills and great

light
Dieter Dietz Dieter Dietz
Borderline(s)

search for rationality. subjectivity will be the best

18.12.2019
Kersten Geers Kersten Geers
Investigation #2

Room HIL D15

STUDIO Borderline(s) TOM EMERSON Eric Lapierre

13.11.2019

Guests
Eric Lapierre

09.10.2019
Final reviews Investigation #2
THERIOT ELLI MOSAYEBI

LIGHTNESS
Lightness AAD 031
AAD 031 Economy Critics 09:00 - 18:00
Studio HIL D15
Picture : © Bertrand Stofleth - Rhodanie, 2007-2014

09:30 - 18:30

However, as Bruno Latour points strategy.

09:30 - 18:30 and excess Mid-term reviews Drinks 18:00
Bruther

QUICK
Economy
and Excess

FINDING FREEDOMS
LIGHTNESS
SEMINAR WEEK
Economy & excess
STUDIO THERIOT

Economy & excess

THERIOT
STUDIO

Borderline(s) INVESTIGATION #1
out, since modernity, « under

ness
FS 2020

ness GLASS
Investigation #2
workshop LIGHTNESS
STUDIO

LIGHTNESS
Critics 08:30 - 19:30 STUDIO BRUTHER
Economy
and excess

Lightness
15-21.Drinks
March19:30 STUDIO BRUTHER ÉCONOMIE ET EXCÈS

S
Prof. ECONOMY AND EXCESS

THERIOT at Glas e.V.

the name of rationality, we have The places produced by such

Alexandre Theriot 01.04.2019 BRAGHIERI - KUO - ORTELLI

(never enough) F I B E R G L A S S
Fall Semester 2019
Berlin, DE HALL SG 9H00 - 19H00

LIGHTNESS
Team
Charlotte Truwant
Alice Weil

stuck a whole bunch of values an approach, we have named them

Arnaud Bostelmann
Adrien Comte
Picture : © Marcel Duchamp - Notes on inframince, 1912

ETH Zürich

studio.bruther@arch.

that have not been seriously machine-buildings : economical,

ethz.ch

examined », to the point of non-rational, flexible,

Studio
MIDTERM CRITICS
10.04.2019
forgetting what we really care adaptable, playful, efficient
Bruther MIKE GUYER - NEMANJA ZIMONJIC

about. spaces whose existence is based

Studio
HIL C 40.1
Economy Bruther
and Excess Economy Borderline(s) 9H00 - 18H00

and Excess Investigation #3

Borderline(s)
Quickness

on technique. Even though

Investigation #2 Borderline(s)
Lightness Investigation #2
more info : assistenz.theriot@arch.ethz.ch

Lightness Prof.
Prof.
Alexandre Theriot
Alexandre Theriot Prof.
Picture : © Marcel Duchamp - Air de Paris, 1919

Alexandre Theriot
Spring Semester 2020

In our Chair, we will machine-buildings are the result

Fall Semester 2019
Fall Semester 2019

htMy
Team
Roman Signer, Office Chair, 2006

Team Studio BRUTHER

Borderline(s)
18.12.2019

Charlotte Truwant
Alice Weil
Team
Charlotte Truwant
Arnaud Bostelmann Guests 21-26 October 2019
Investigation #2
Image source: Lloyd Fox, Baltimore Sun

Arnaud Bostelmann Alice Weil Philippe Buchs Category C

Adrien Comte Arnaud Bostelmann
Adrien Comte
Adrien Comte
Charlotte Truwant IDO AVISSAR Final reviews
Incl. transport, accomodation, experts & materials

explore how the economy, of hard work on the economy,

Category C Max. 12 Participants
ETH Zürich
ETH Zürich
Alice Weil
MIKE GUYER Max. 10 students During one week, we will stay together close to the water, at the lakeside near Constance.

ANNE LACATON
Transport, accomodation, In a workshop, we will investigate lightness with fiberglass alongside material experts from
ETH Zürich
studio.bruther@
arch.ethz.ch studio.bruther@ HIL D15
experts & materials incl. Compositeworx. Over the seminar week, we will meet and discuss with designers, artists
arch.ethz.ch Introduction: 20.02, 8-10 AM and photographers about the results that will lead to a publication and an exhibition.
comte@arch.ethz.ch Atelier Matteo Gonet, Basel Info: studio.bruther@arch.ethz.ch

omnipresent in any architectural their relevance is credited by

Many thanks to Compositeworkx
Image source: Henrik Frederiksen & Martin Kechayas

VISI- LIGHTNESS
FINDING
QUICK QUICK
STUDIO
Chapter II

LIGHTNESS

sstho Economy & excess

STUDIO THERIOT
Economy & excess
STUDIO THERIOT

T LAST BUT NOT LEAST

THERIOT
FREEDOMS
ness
project, is not necessarily the « excesses » they present.
ness
Economy
and excess

economy and excess

INVESTIGATION Critics
#1 08:30 - 19:30
STUDIO synonymous for rationality. On

BILI-
Economy
and excess

LIGHTNESS
STUDIO Critics 08:30 - 19:30 Drinks 19:30
Economy
and excess

THERIOT
https://www.theriot.arch.ethz.ch Drinks 19:30

THERIOT
FIBERGLASS the contrary, we will see how we To paraphrase Latour,

lo
Borderline(s)
Investigation #2

TY
Lightness

Mid-term reviews
Chapter I
can seize economic requirements in this enterprise the
to transform these constraints economy will no longer be a

gies
KARSTEN
FÖDIGER
guest
into levers, producers of means of dominating money or
Borderline(s)
Investigation #5
Visibility
Lecture 09:00 - 10:00
Critics 10:00 - 18:00
Borderline(s)
Investigation #4
Borderline(s)
Investigation #4
Quickness
architectural qualities. matter but a tool for the
Final Review 18.12.2020

These may well be tangible or incessant exploration of our

Prof. Drinks 18:00 Prof.
Alexandre Theriot
Tom Avermaete Alexandre Theriot
Guests Laurent Stalder

STUDIO
Julie Peeters Fall Semester 2020
Spring Semester 2021
IDO AVISSAR

intangible, prosaic or poetic, uncertainties.

Zoom link Team
Team
MIKE GUYER Arnaud Bostelmann

BRUTHER
Arnaud Bostelmann
Picture : Kelsey McClellan

ANNE LACATON Team Philippe Buchs

Philippe Buchs
Arnaud Bostelmann Adrien Comte
Adrien Comte
Philippe Buchs Charlotte Truwant
Charlotte Truwant
Adrien Comte Alice Weil
Alice Weil
Charlotte Truwant Dieter Dietz
Borderline(s)

constant or unstable, general or

18.12.2019

ETH Zürich
ETH Zürich Studio BRUTHER
Alice Weil
Kersten Geers
Borderline(s) Investigation #2
Room HIL D15

18.12.2019

Guests
STUDIO TOM EMERSON Eric Lapierre comte@arch.ethz.ch
21-26 October 2019
Borderline(s) ETH Zürich
13.11.2019

Guests

assistenz.theriot@arch.ethz.ch Investigation #2
09.10.2019

Category C
Final reviews Investigation #2
IDO AVISSAR Final reviews
Incl. transport, accomodation, experts & materials
Max. 12 Participants THERIOT Lightness ELLI MOSAYEBI AAD 031
MIKE GUYER Economy Critics 09:00 - 18:00

occasional... as long as they

HIL D15InDuring one week, we will stay together close to the water, at the lakeside near Constance.
09:30 - 18:30
ANNE LACATON Mid-term reviews
a workshop, we will investigate lightness with fiberglass alongside material experts from
HIL D15 Compositeworx. Over the seminar week, we will meet and discuss with designers, artists and excess Drinks 18:00
and photographers about the results that will lead to a publication and an exhibition.

Info: studio.bruther@arch.ethz.ch
Many thanks to Compositeworkx

FINDING FREEDOMS
Image source: Henrik Frederiksen & Martin Kechayas

Posters, SEMINAR
FINDINGChair WEEK
Theriot, ETHZ, D-ARCH are initiated by the economy and
SS
Economy & excess
THERIOT
STUDIO
Chapter II

FS 2020
LAST BUT NOT LEAST
workshop

FREEDOMS
STUDIO BRUTHER
15-21. March STUDIO BRUTHER ÉCONOMIE ET EXCÈS
at Glas e.V.
Berlin, DE
01.04.2019
HALL SG
BRAGHIERI - KUO - ORTELLI
9H00 - 19H00
ECONOMY AND EXCESS
located far from any rationality
economy and excess
LIGHTNESS
tics 08:30 - 19:30
Drinks 19:30

(never enough) - creating generosity,

GLASS
« excesses » that make strength
and uniqueness of a place.

MIDTERM CRITICS
10.04.2019
MIKE GUYER - NEMANJA ZIMONJIC
HIL C 40.1
s) 9H00 - 18H00

#3
ss
more info : assistenz.theriot@arch.ethz.ch

of.

STUDIO
iot

20
am
ann
BRUTHER
Image source: Lloyd Fox, Baltimore Sun

chs
mte Dieter Dietz
ant
Category C Kersten Geers
Weil
STUDIO Eric Lapierre
Max. 10 students
Borderline(s) TOM EMERSON
13.11.2019

Guests

Transport, accomodation,
ich Investigation #2
THERIOT ELLI MOSAYEBI
experts & materials incl.

ch Lightness Introduction: 20.02, 8-10 AM

AAD 031
Economy Atelier MatteoCritics 09:00
Gonet, Basel - 18:00
and excess Mid-term reviews Drinks 18:00 09:30 - 18:30

FINDING FREEDOMS STUDIO BRUTHER

12 13
STUDIO BRUTHER ÉCONOMIE ET EXCÈS ECONOMY AND EXCESS
01.04.2019 BRAGHIERI - KUO - ORTELLI
HALL SG 9H00 - 19H00

LIGHTNESS
1
MASS
CONSUMPTION

15
 WHAT WILL BE THE RETAIL OF TOMORROW ?

Consumption
subst. fem.

A good, object or product

whose use leads to progressive
destruction, which brings
immediate satisfaction to the
final consumer, as opposed to
capital or production goods.

An advanced industrial
society characterized by the
multiplication of individual
and collective needs and the
increased use of goods and
services.

Destruction of goods or
food products for human or
animal nutrition.

Ds Ac. 1694-1932. Étymol.

et Hist. A. Ca 1120 consummaciun
“state of that which is brought
to its fulfillment, to its
perfection”.

“All department stores will

become museums and all museums
will become department stores”
Andy Warhol

Grace Kelly, shopping, 1960s

16
Chanel fashion show, Supermarket in
Le Grand Palais, Paris, 2014 17
 Ai Weiwei, Le Bon Marché installation, 2016

18 19
Vitrines Printemps Haussmann, Paris
Le Bon Marché, Skate park installation
It is undeniable that new
purchasing methods had to emerge
has a response current shifts.
One of such is for example
the emergence of «retail-
tainement», branding leisure and
entertainment over shopping.
The term retailtainment
was first coined by professor
and sociologist George Ritzer
20
Retailtainment, Vans shop with an indoor pool
Nike shop in Manhattan
in his 1999 book Enchanting a
Disenchanted World: Revolution-
izing the Means of Consumption,
in which he described it as: The
use of ambience, emotion, sound
and activity to get customers
interested in the merchandise
and in a mood to buy.
21
 Grand magasin, La Samaritaine, Christmas installations
Pretty Woman, Garry Marshall, 1990
Emporium Bangkok shoppinng center, pop-up campaign, 2017

22 23
 Supermarket of the future, Coop, Italia
24
Entrance control, Elements of architecture, OMA/AMO, 2018 25
 A LONG HISTORY OF EXCHANGES
FOR SOCIAL RELATIONS

The exchange of disposable goods The architecture of retail

in order to meet each other. has strongly evolved and has
been a motor for technical
Historically places innovation, structural ambition,
specifically used for trading advance of new vertical
were a pretext for the merchant circulation and climate-control
on their onward journey to meet technologies.
others, exchange cultures,
languages and ideas. As such
caravanserails were far more
than simple hotels and the 19th
century prestigious department
far more than consumption
palaces.

Caravansérail Wasit Yahyâ Mahmûd al-Wâsitî, 1237

Merchants on the Yellow River, c. 1410-12
Caravansérail photography, Middle East, beginning of the XXth century

26 27

This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions
28
This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions
This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions All use subject to JSTOR Terms and Conditions
This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions
Marcel Mauss, The gift, 1925 29
This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions All use subject to JSTOR Terms and Conditions
This content downloaded from 129.81.226.149 on Fri, 2 Aug 2013 14:44:26 PM
All use subject to JSTOR Terms and Conditions
Charles Robertson, Carpet Bazaar, Cairo Egypt, 1887

Caravansérail, Isphahan, Iran, 1840

30 31
 ARCHITECTURE AT THE HEIGHT OF THE CAUSE
ARCHITECTURE AS AN ATTRACTOR

Grand Bazaar, photography, Istanbul, 1890

Grand Bazaar, engraving, Istanbul

32 33
 The first department stores’ was
opened in Paris in 1852.

From then on and ever since, they

have embodied the elite, luxury
and triumphant commerce.

“New places,
cathedrals of trade”
Parisian Department Stores “Grands Magasins”, Engravings
Right : Quote from Le Bonheur des dames, Emile Zola, 1883

34 35
Cleveland, Arcades, 1966
Breakfast at Tyffany’s, shopping and luxury, 1961

36
37
38
Grand magasin Dufayel, Barbès Paris, 1856

First panoramic elevators, Printemps, Paris, 1924

39
40 41
MVRDV, Markthal in Rotterdam, elevators, 2014
 Use of the latest high-tech materials, vertical circulation in
La Samaritaine, Paris, 1869
Left : Department Store “A l’innovation” , Brussels, Belgium (destroyed)

42 43
Paris Les Halles, Baltard, before moving in 1969

44 45
 Le Ventre de Paris, Emile Zola, 1873

47
Robert Doisneau, Paris Les Halles, Baltard, before moving in 1969

46
48
Paris Les Halles, Baltard, before moving in 1969
49
Coupole, Printemps, Paris
Nike store, Champs-Elysées, Paris
Adidas lab pop-up store in Seoul, South Korea

50 51
 COMFORT CONTROL

52 53
54 Lise Sarfati, Kelly, West Sunset Blvd 2010
55
 Olfactive marketing, diffusor for supermarkets

56 57
 TURNING POINT: TOWARDS OMNIPRESENCE

Martin Parr, The Cost of living, 1988

However there is an obvious
tipping point in the typological
development, as the rise of the
neo-liberal economic system
allowed accessibility to high
volume of goods at low-margin
sales. The big-box store
typology had to be extensive
and it colonized our environment
outside the city to become
part of everyone’s daily life.
The business model was to sell
high volume at low cost but it
slowly became a new place for
gathering, exchanging, meeting
others.
First of all, how do you
define an ‘essential’ need?
What distinguishes it from an
‘accessory’ or ‘unacceptable’
need?
And secondly, who decides? What
mechanisms or institutions will
give legitimacy to the choice
of satisfying one need over
another?

The supermarket is a place of

triviality. It is omnipresent,
therefore fascinating.

58 59
Marx and
“the fetishism of the
commodities.”
Relationships between
people are now only
mediated by commodities,
which are eventually
given more reality than
the social and moral
world.

Zummo’s Supermarket, Maitairie Louisianna, 1979

Erion Cuko, Consumerism, 2013

60 61
62
Martin Parr, The cost of living, 1986
63
64
THE

THIRTY
GLORIOUS

Martin Parr, Dublin Crazy Prices, 1986

65
 Never-ending choices... never-ending availabilities

Fred Meyer, Portland, Oregon, USA

66 67
 He sometimes

Michel Houellebecq, La carte et le territoire, 2016

had the
hypermarket
all to
himself
-which seemed
Martin Parr, Dublin Tesco Supermarket, 1986 Martin Parr, Dublin Tesco Supermarket, 1986
to him to be
a pretty good
approximation
of happiness.

68 69
70 71
Andy Warhol, Campbell Soup, , 1962
Léon, Luc Besson, 1994

La femme d’à côté, François Truffaut, 1981

72 73
 Barbara Kruger, I shop therefore I am, 1987

74
Banksy, Jesus, 2005
75
 Damien Hirst, Butcher’s shop, 1997
Left : Schirn Kunsthale Frankfurt, Shopping. 100 Jahre Kunst und Konsum, 2002

76 77
Gabriel Kuri, Receipts, Grand Palais Paris

Campbell Souper Dress, 1966

Chanel fashion show, Supermarket in Le Grand Palais, Paris, 2014

78 79
 Gabriel Kuri, Receipts,Grand P

Ben Frost, Store in dark place, Mickey on Prozac, 2015

Nike ads in Berlin as a part of the city

80 81
Stephen Shore shopping, Transparencies, 1971
Right ; Andy Warhol shopping, picture Stephen Shore

82 83
The Consumer Article
in the Art World:
On the Para-Economy of
American Pop Art
Michael
In the art appeared to rid itself i n an offensive manner of every-
thing that up until then could have been regarded as part of its concept.
Beauty, exclusiveness, individuality, significance, artistry, complexity,
depth, originality were at a stroke no longer mandatory categories. I t
was not the defence of artistic autonomy, which immediately before was
s t i l l held in esteem by American and European Abstraction, but its
abandonment that was promoted to the artistic programme. American
Pop Art manifested the radical shift in position in a particularly striking
manner. As art i n this sphere began to approach its 'other being'- con-
sumption and its banal products - an important taboo seemed to be
broken. Both appeared to merge into one another, not only by reason
of their choice of subject but also because of the production of pieces
in large numbers, as happened i n the case of the so-called 'multiples'.
Nevertheless, Pop Art was only truly 'popular', as its name suggests,
to a limited extent. 'Popular'was an iconographic reference to the
everyday phenomena of the modern world of goods; what remained
'unpopular' about it, however, was the fact that the phenomena acted
thematically against its own matter-of-factness. Pop Art was in no way
a mere reflection of reality, but a transfer operation that took place
between thing and likeness - or, as Roy Lichtenstein formulated it, a
'significant interaction'.' Something was becoming visible for Pop Art to
combine with the contemporaneously emerging conceptual art: artists
not only regarded themselves as producers of artefacts, but simulta-
neously questioned the cultural, institutional and discursive 'frame-
works', in which the production and reception of art took place. Thus,
the apparent convergence of art and consumer goods i n no way caused
the old differences between art and non-art - between appearance and
84
being, the aesthetic and the functional, the 'superficial' and the 'pro-
found' - to disappear, but allowed them to break out anew and in a par-
ticularly explosive manner. It was precisely Pop Art, which appeared
to strip art of its attributes, that, because of its reflexivity and concep-
tuality, contributed significantly to the fact that art could assert itself
in a period of change and even radically renew itself. But this took place
only through a radical shift of paradigms. If Cezanne, according to his
famous dictum, worked in parallel with nature, the Pop artists did so
i n parallel with contemporary consumer culture. At the same time
they recognised that the argument with it required not only a new spec-
t r u m of themes, but above a decisive new definition of artistic pro-
duction, one that transcended the traditional craftsman's trade. To that
end, however, they needed to retain a pre-requisite significant for art,
the equivalence of what was portrayed and the method of portrayal,
content and form.
'I find i t quite natural', said Claes Oldenburg, 'to work under the con-
ditions of American technical civilisation. I know every effect, every
result of the technical working processes and I believe I can control
However prosaic i t may sound, at the same time
believed obstinately i n the old dream of a reconciliation between art
and life. He wished to attain i t through the reconciliation of human
being and thing. 'This elevation of sensibility above bourgeois values
w i l l [hopefully] destroy the notion of art and give the object back its
power. Then the magic inherent i n the universe w i l l be restored and
people w i l l live in sympathetic religious exchange with the objects sur-
rounding them. They w i l l not feel so different from these objects, and
the schism w i l l be Oldenburg criticised
the alienation of everyday life in general just as much as the specific
alienation of art from everyday life. In exchange he offered a 'shapeless'
Michael
Claes Oldenburg, Business Cords for The Store 1961
universalism, which placed everything i n a relationship with every-
thing else, his ideal picture of an 'erotical-political-mystical' art, as he
described
In 1961 he opened a shop, The Store, in his workshop i n New York's
Lower East Side, i n the wider context of which the 'Lingerie Counter'
also came into The shop was not only the point of sale, but
also the place of production. Its stock covered the whole spectrum of
everyday needs, just like the items i n the over-filled shops i n the
neighbourhood, f r o m foodstuffs through clothes and shoes to writing
materials. Everything was made from the same material - plaster-
covered muslin - and painted in strong colours, as if in an Expressionist
Oldenburg's portrayal of reality worked on several levels. First
of a l l i t related to the everyday object itself, but of greater importance
to him, however, was the 'imitation' of the different fields of activity,
which allowed h i m to become one with the pastry-cook, tailor, bridal
wear designer, butcher, sign-writer and shoe-maker. As salesman i t
also fell to h i m to distribute what had been produced. The 'political'
dimension, on which he set his sights, consequently lay in a return to
the non-alienated craftsman's existence of a pre-capitalist economy
i n the midst of an American society based on the division of labour. In
the art world of The Store there was not a single thing that he could
not potentially have been able to produce and s e l l - though at the
price of the transference of the things into art, of the individual arti-
cles into non-consumable and dysfunctional statues, of the shop as
a whole into an 'environment'.
As has already been mentioned, a l l objects were made from the same
material, whether it was a question of an envelope, a sausage or a gym
shoe. The surfaces were also exactly the same; everything exhibited
149 The Consumer Article in the Art World
the same fissured surface, smoothed by the glossy paint; everything
appeared slightly deformed, melted on and lumpy. Some of the objects
depicted Oldenburg in relief. They shared part of an unspecified back-
ground, i n front of which they presented themselves and appeared as
if broken off from a larger, imaginary context. The continuum, which
began to evolve between the things, did not originate from the objects
themselves - w h a t have gym shoes and sausages in common after a l l
- f r o m the unchanging three-dimensional treatment. It trans-
formed the variance of the objects and materials into a cosmos 'of the
same flesh'. The Store was, as Oldenburg said, a 'super texture super-
collage', a far-reaching and encroaching, pulsating
Oldenburg's osmotic world of goods loosened the relationship between
signs and the designated, i n their uniform shapelessness, the individ-
u a l things were suddenly several things at once. The notices and
drawings about The Store contain lists of form-analogies, which imme-
diately allow the order that they purport to create, to collapse. According
to Oldenburg the following 'equate with each other': 'Hair and Bacon;
Earrings, Wheels, Brassiere and Breasts; Obelisk and Ironing
Board; Frankfurter i n Bun, and rolled Newspaper; Hat, Lips,
Banana Split and Gun; The 'de-formation' of individual objects
and the dissolving of their utilisation connections open up novel connec-
tion possibilities for totally disparate things. 'The erotic o r the sexual
is the root of "art", its first impulse', said Oldenburg. 'Today sexuality
i s more directed, o r here where I a m i n America at this time, toward
substitutes, for example, clothing rather than the person, fetishistic
stuff, and this gives the object an intensity and this is what I t r y to
The desire of the mythical sculptor Pygmalion was directed
towards his marble sculpture of a young woman; Aphrodite took pity
on him, animated her and gave her to Pygmalion as his wife.
85

Cloes Oldenburg, Interior of The Store
for o Poster, Not Executedl, 1961
Oldenburg's desire i s directed towards ice-cream cones and micro-
phones, towards and pieces of roast meat. The 'bride', also
on sale i n The Store, was neither more physical nor more desirable
than the gym shoe, the same sexual energy being present in everything.
Thus, not only did Oldenburg bring about the collapse of the capitalist
system in t e r m s of the division of labour but also the pointed
of the world of goods, which for marketing purposes enhances
saleability. His occupation of the object world was as complete as i t
was consistent in i t s intensity. 'Store: Eros. 2. Stomach. Memory.
Enter m y Store', i s how he invites us i n Store
Oldenburg approached his goal of the convergence of art and Life by
allowing their energies to merge into one another. His 'animism', which
gives life to things, follows i n the tradition of sculpture, which since
time i m m e m o r i a l has worked with the dialectic of inanimate material
and Living, 'animated' effect. He coupled this energy, along with the
desire structure of the fetishism of goods, to his
mystical' art. Oldenburg's Store neutralised the tradition of plastic art
i n that he retained it and at the same time liquidated it. The 'anthro-
pomorphising' of the world of things continued the tradition of plastic
art, which for centuries had dedicated itself almost exclusively to the
human figure. At the same t i m e i t was released from this thematic
fixation, which, from the point of view of a living world shaped by things,
had begun to become outmoded.
Together with other artists i n Oldenburg participated in a New
York gallery project, The American Supermarket. Like his Store it was
based on the idea of transferring the irritating closeness between art
and goods to a presentation and sales context, but aimed at the cool,
hygienic 'Look' of a modern outlet. Here, too, the transfer affected the
86
room itself, as i t oscillated between art and non-art. It was entered
through a turnstile built by Richard Artschwager, and the 'wares' of dif-
ferent 'producers' were available from freezers and shelves. On offer,
among other things, were Tom Wesselmann's oversized turkey-cock
relief made from plastic, a picture by Roy Lichtenstein of the same
subject matter, and Robert Watts' chrome steel eggs, wax tomatoes
and plaster pumpernickels. Warhol used the situation for if not his best,
in the light of the borderline between art and non-art, produced and
made problematical by Pop Art, certainly his most pertinent work. Under
a silk-screen diptych of two Campbell's cans was a stack built with
original cans of soup, signed and declared to be art or 'Warhols', costing
many times the n o r m a l price. Anyone who decided to buy such a can
had - exaggerating slightly - to be schooled in concept art and already
to have passed the acid test of endorsing Duchamp's ready-mades.
Warhol split the artificial production up into the separate production
of a non-artistic object and its subsequent transformation, without
alteration, into a work of art. While the signing de-functionalised the
can of soup and while, conversely, enjoyment of the soup would have
meant 'destruction of art', it was clear that the production of goods
and the production of art were counterbalanced. Thus Warhol's trans-
formation affected the thing itself to a lesser extent and the thinking
about it to a much greater one - through notions of art, institutions,
authorship etc. It was precisely the indistinguishableness of art and
non-art that allowed the differences between and goods to
be set against each other i n such an intransigent manner.
If The American Supermarket blurred the boundary between the dis-
tribution of art and goods in an amusing arid playful manner, Christo's
Store Fronts, shown in the same year and for the first time i n New York,
gave rise to another, 'darker' form of functional subversion: an abrupt
Michael 150
Claes Oldenburg Sketch for a Scene Claes Oldenburg, Notebook page
in a Performance 1961 Suspended Bi-plane 1962
stop to the movement of goods. The first wooden Store Fronts were
created f r o m pieces that Christo had found on demolition sites in the
Lower East Side, where the old hardware shops had given way to more
rational and more profitable sales structures. The new compilations
of debris for Store Fronts in gallery rooms led to a complex spatial-
functional de- and re-contextualisation. The paradox of the presenta-
tion of an architectonic exterior in an inside room was made even more
pointed by the fact that the interior of the exterior i n question was hung
across i t - whereby the situation became s t i l l m o r e complicated since
i t was merely a question of and the interior did not actually
exist. Thus, what was hanging was not something but nothing, and it
became less a question of screening than of visualising, i n order to
produce the seam between what was present and what was absent.
The hanging revealed first of a l l the necessity f o r the displays of long-
vanished shop windows to remain invisible. At least Christo's early
work - w h i c h decisively oversteps the context of Pop Art, possibly does
not even belong to i t - has to cross the 'tragic' trend reminiscent of
Surrealism, the hiding and burying of things and the desire to see death
and Eros.
Not hung of necessity, however, was the shop-window front of the New
York department store where Warhol staged his first 'art exhibition' in
- which, nevertheless, remained totally unnoticed, Here he pre-
sented five of the first works produced following his decision to give up
his successful career as a commercial artist. They were based upon
advertisements and comic strips, and provided, since no gallery would
show them, the background for ciothes dummies. It was a transitional
moment i n several respects. The art exhibition in the display window
marked precisely the interface between Warhol's two lives as a commer-
cial designer and free artist, the precarious intermediate stop between
151 The Consumer Article in the Art World
RAY
1 31
STORE
Claes Oldenburg, Poster for The Store 1961
department store and gallery. The pictures not only stood behind the
dummies, which were presenting the latest 'costumes', but themselves
revolved around the theme of metamorphosis. In two of them were
painted advertisements for nose operations, hair colouring and muscle
building, i n three the comic figures Superman, and Little King
- fantasy figures, a l l of which possessed the potential to rise from a
humdrum and petit bourgeois persona to an ideal, bursting with vigour.
While Warhol's success as a commercial artist rested upon a pointedly
intimate and characteristic trade style, he found his artistic style exactly
the reverse and thoroughly paradoxical in its apparently impersonal
approach. It led him to the pictorial language of the serialised, repro-
ductive silk-screen pictures. Here Warhol tested the tension between
the singular and the mass-produced, repetition and difference. The
themes that interested him were things, which no individual had made
and yet which possessed individuality, which were 'unique' although they
existed in large numbers: Campbell's soup cans, regarded as 'classical'
because their label design had remained unchanged for decades, or
the flashy boxes i n which pads were packaged. Warhol's first
method of dealing pictorially with such phenomena was the elimina-
tion of everything handwritten, which the first pictures definitely s t i l l
showed. It gave way to a method of production that adjusted to the
manufacture of the things to such an extent that the printing of a pack-
aging carton only differed from the printing of Warhol's reproduction i n
that the former was undertaken by a machine while for the latter Warhol
was himself the 'machine'. Not only did the object assume a reproduc-
tive and serial identity, Warhol's pictures and sculptures matched this.
How essential this parallelism of subject matter and production form
was becomes clear when one compares Warhol with, for example,
87
 Andy Warhol Del Monte 1964 Andy Warhol 1964

Wayne Thiebaud. Thiebaud, who considered 'painting is more important
than attempted i n pictures such as the Cake Counterof to
continue a great painting tradition in the light of contemporary aesthet-
ic phenomena - and thus acquired the nickname 'the of the
cake To c a l l h i m a Pop artist because of his choice of motif
would be to do justice neither to Pop Art nor to Thiebaud, as his pic-
tures would then have to appear as variants of earlier work, though
inevitably backward i n their handiwork. Down to the individual brush
stroke, Thiebaud's reverence for Morandi reveals itself, an artist with
whom no one from Pop Proto-Pop] wished to speak because of the
fact that he painted banal bottles. Like Morandi, Thiebaud created an
atmosphere of contemplative peace, which sought to capture the 'quiet
life' of things, while the pastose brushwork round the objects served to
the new world of things turned out to be subversive or affirmative, pes
o r optimistic. The question ought for that reason to be unan-
swerable, because Warhol in a 'scandalous' manner seemed to find no
difference between free choice and necessity, subjectivity and standar-
disation. just the opposite,' said Warhol, I don't want it to be essen-
tially the same - I want i t t o be The Campbell's
cans and the Brillo boxes announced that Warhol wanted it just as i t
already was and wanted to make it just like it had already been made.
That was Warhol's caustic test of subjectivity and, simultaneously, what
made h i m 'American' i n such a provocative way.
Glaser. 'Oldenburg. Lichtenstein. Warhol: A Discussion', Artforum, Feb.

evoke both their as w e l l as their 'fraternal' togetherness. The 1966.

contrast with Warhol's diptych on Soup Cans [Chicken with Friedrich Bach, 'Interview with Claes Oldenburg', no.3, 1975,
Rice, Bean with could not be more distinct, not only on p.13 my

account of the absence of the painted object but also from the point of Claes Oldenburg, Store Days, Documents Store 119611 Gun Theatre

view of composition. The two cans, one on each table, float without any 119621, selected by Claes Oldenburg and Emmett Williams. photographs by Robert R.
atmospheric embedding on the white primed surface. Even the most New York: Something Else Press 1967,
miniscule indication of location, which no still life omits, is Left out: the lbid. p.39.
horizontal line, which depending upon the picture means a desk o r the The 'Lingerie Counter' was created in 1962 as a display window item for the New Claes Oldenburg, Poster design for The Store 1961

edge of a room. Whilst every connection relating to situation i s miss- Realists' exhibition at the Sidney Janis Gallery in New York, the first general display
ing, there s t i l l remains the question as to why the right can is so much of the nascent Pop Art: see letter from Oldenburg to the Schirn Kunsthalle in

smaller than the left one. Without place o r time, without reference to the Frankfurt, dated 17 April 2002.
picture surface and the beholder and without making any determinable In so doing Oldenburg Abstract Expressionism with Pop Art: 'Lately I have
statement, the simultaneously banal and epiphanic cans remain encap- begun to understand action painting, that old thing, in a new, vital and peculiar sense p.137. Paul Richard. 'Luscious Realism: Thiebaud. Making the Mouth Water', Washington

sulated i n nothingness. - as corny as the scratches on a New York wall and by parodying its corn I have Ibid. Post, 16 1992, quoted in Steven A. Nash. Acts: Wayne Thiebaud

[miracle) come back to its authenticity. I feel as if Pollock is sitting on my shoulder. Ibid. Reconsidered', in Wayne Thiebaud,

The ambivalence between singularity and mass-production that Warhol or rather crouching in my pants!' Store Days, Warhol Andy and Pat Hackett, The Warhol Sixties, New York:

souaht has left the araument s t i l l unresolved as to whether his view of lbid. A Paintings Retrospective, exh. cat.. Fine Arts Museums of San Francisco 2000,

88 Michael Luthy 153 The Consumer Article i n the Art World

89
90 91
92 93
OUT OF CONTROL
Black Friday in the UK

94 95
 CONSUMPTION CRITICS

Sans soleil, Chris Marker, 1983

96 97
 The logic of
the supermarket
necessarily
induces a
scattering of
desires; the
man in the
supermarket
cannot
organically be
the man of a
single will, of
a single desire.
Houellebecq, Michel, Rester vivant et autres textes, Paris, Librio, 1988

98 99
100 101
 TYPOLOGIES OF OVER-CONSUMPTION
OR ARCHITECTURAL BARBARISMS

The cheapest structure for the biggest volume.

102
Alec Soth, Dynell, Bemidji, MN (Girl in store), 2007
103
The large volumes processed generate

economies of scale :
structural and operating cost ratios are lower than those of
other forms of business and allow for more attractive selling
prices without affecting net operating margin.

104 105
106

The cheapest structure for the biggest volume.

107
108 109
 EMERGENCE OF NEW MODELS:
FROM MUSEUM TO DISAPPEARANCE

(first option)

Museum
confusions
110
Big cupola, Galeries Lafayette Paris
111
https://www.nytimes.com/2005/01/09/magazine/museum-quality. Muji has also expanded into the European market. Most Amer-
html icans who have encountered Muji first discovered it abroad
and, like Kathy Thornton-Bias, the retail general manager at
MoMA, many of them fell in love with it. In her case, it was
six years ago, while working as a buyer for Saks Fifth Avenue,
that she visited a Muji store in Paris, was pleasantly shocked
Museum Quality
By Rob Walker
by the low prices and bought a huge pile of travel accessories
and organizers. She became a Muji addict. “The product isn’t
loud,” she says. “The function is what’s loud about it.”
Jan. 9, 2005

Muji Someday, Andy Warhol once mused in one of his many deadpan
ruminations on the future, “all department stores will become
museums, and all museums will become department stores.” If
this has not happened literally, it has practically. In the
former art-world stronghold SoHo, gallery-like retail outlets
abound; the Prada store is at least as effective at inspiring
reverence for its contents as the building’s former occupant,
the Guggenheim. Meanwhile, as James B. Twitchell showed in his
2004 book “Branded Nation” (the source of that Warhol quote),
the chiefs of what he calls Museumworld regularly exhibit
consumer products and have become increasingly sophisticated
about marketing themselves.

So set aside the hoopla around the newly reopened and expanded
MoMA, and look instead at the recent debut of a shop-within-
a-shop at the SoHo branch of the MoMA Design Store: the first
North American Muji outlet. A consumer-goods chain with 280
stores in Japan, Muji has managed to stake out space in some-
thing so presumably highfalutin as a museum design boutique
partly because the 270 or so Muji objects for sale in the SoHo
store are (according to store publicity) “appealing, useful
and essential” items for the “design-savvy consumer.” These
include office supplies and storage pieces, but also items
like a very clever set of $42 cardboard speakers. The Muji
style is sleek, clean, unfussy and, at least by SoHo standards,
affordable. As of December the top-selling Muji piece in the
MoMA store was a $7.50 aluminum business-card case.

The name Muji is a shortening of Mujirushi Ryohin, which trans-

lates to “no-brand goods.” After starting out as the in-house
brand of Seiyu department stores in the early 1980’s, with low
cost as a major selling point, Muji spun off in 1989, emphasiz-
ing quality design, sensible use of materials and utilitarian
practicality, under the slogan “Lower Priced for a Reason.”
While the stereotype of the logo-obsessed Japanese consumer
lingers, unadorned Muji has thrived. It has gradually been
challenged by a variety of even lower-priced chains in Japan
but has held its own (and in effect become an identifiable
brand). In fact, from the original line of 40 Muji products,
the company now offers more than 5,000 -- everything from
clothing to bicycles to furniture to packaged food.

112 113
Erich’s Lamp store, Berlin

114 115
116 117
 Claude Parent’s Supermarket as an heritage, Sens, FR
During the Covid Pandemic a French Museum shows its pieces in a supermarket

118
Claude Parent, GEM, Sens, France, 1970
119
 Frits Peutz Department Store, Glaspaleis Schunck, 1935 - Rehabilitation 1999

Originally a department store and fashion house... ... today a cultural center and museum

120 121
 EMERGENCE OF NEW MODELS:

Andreas Gursky, Supermarket against Amazon depot

FROM MUSEUM TO DISAPPEARANCE

Despite its success, the

super-hyper market and shopping
center business model may be
under threat from e-commerce
which developed so drastically
in the last decade. This
hypothesis doesn’t mean that
logistics or storage facilities
will disappear but it could put
an end to the public character
of those spaces of consumption.

(second option)

Special
kind of
disappearance
122 123
 Amazon entrepots : behind the scenes

“Shopping USA 2020” google search / logistics e-shopping

124 125
Amazon Prime, drone : a new project that needs infrastructures
Right : Drone towers for amazon drones (project amazon)

126 127
 Drive through shopping, projects accross the world, XXIth century
Left : Facing the crisis, COVID 19 app, Italiy, 2020

128 129
 TERRITORIAL IMPLICATIONS

Michel Houellebecq, Supermarket, France, 2016

130 131
132 133
572 573
134 135
574
575
136 137
576 577
138 139
578 579
Supermarket parkings, Gem France 1970, Northland Shopping center

140 141
Victor Gruen, Northland Shopping Mall parking

Victor Gruen, Northland Shopping Mall parking

142 143
 Paris Les Halles, Baltard, “Le trou des Halles”

Paris Les Halles, Baltard, “Le trou des Halles”

Old horse shop, in the center of Paris, FR

144 145
2
HYBRID
MACHINE
MASTER
THESIS
PROJECT

147
 PROJECT SITE : HERDERN AREAL

We propose an emblematic
site in Zürich which we believe
played an essential role in
this linear logistic landscape
stretching along the Limmattal.

The valley stretching

northwest from Zürich lake and
where the Limmat river flows
is a heavily populated region
thanks to its proximity with
Zürich City, its economical
attractiveness and an excellent
infrastructure. It is one of
the densest logistic region
in Switzerland and its network
includes for instance major
railway connections as well as
the A3 highway linking Basel and
eastern Switzerland.

Herdern Areal, Archives from the city of Zürich

148 149
ZÜRICH WEST

150 151
Logistics landscape

On the upper part of the

Valley, close to Zürich center,
finds itself the so-called
district of Zürich West

For a long time Zürich West

was one of the main industrial
areas of the city. It was the
place where boats would be
built or milk produced. With
the increase of population, the
densification of the built space
and rise of traffic over the
years, most of those industries
were relocated further away to
compensate the growth of the
city. Nowadays the area includes
housing, parks, coffees, hotels,
schools or sport equipment.
But parts such as the Herdern
Areal are fragments from this
industrial past that are
nowadays still active and
have an important role in the
logistic network of the Zürich
region.

152 153
 Left : Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020

154 155
 Wholesale market

The area hosts major Also, most of the traffic

companies such as Migros or EWZ
as well as the largest wholesale
market of fresh products, Engros
Zürich. It has the particularity
and advantage of having a direct
physical access to the railway
system, which makes it a key
element in the distribution
strategy both of Migros and
Engros.
happening in the area finds
place during the night or the
early hours of the morning, when
distribution is made.
In other terms, this is
an area full of potential. It
includes an enormous footprint
of enclosed spaces which are
inaccessible to the public and
under used areas during the day.

With large areas dedicated

to transport, storage or
logistics, a substantial amount
of parts are at the moment
restricted and find themselves
behind fences, turning the
Herdern Areal into some kind of
logistic island.

Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020

156 157
 Migros economic model

Based on the economic

model of Migros, the students
are asked to imagine how those
cooperative structures can act
on behalf of the public for
the public. Above all, they
will have to define the real
stakes of tomorrow’s places
of consumption, and which role
architecture can play in this.

Between the control

technologies, the restricted
budgets, the increase of
compulsive shopping, the
resources depletion, the
economic and sanitary crisis
to come and the vital need for
places to meet, to learn, to
enjoy free time.

Future projects Zürich West

158 159
 Swiss logistics

Zürich West used to be

an industrial district which
has been slowly absorbed in
the city’s expansion, hence
the relocation of most of its
activities.
Toni Areal is a good example of
such gentrification shifting the
neighbourhoods’ demographics.
Herdern Areal, Chair Theriot, picture Eva Ruof, 2020
The Swiss government expects an
increase in freight traffic of
around 30 percent by 2030.
A few projects such as the
Gateway or the new Cargo
underground project are under
studies at the moment.
Those new hubs will increase the
existing capacity and will add a
new pressure in this valley.

160 161
 Travelling from Hardbrücke Far view over intersection Migros building vertical flows Intersection levels and train
Duration scene: 16-17s Duration scene: 23s Duration scene: 18s Duration scene: 11s

Migros building travelling Engros building far view Covered market travelling Covered market circulation
Duration scene: 38s Duration scene: 7s Duration scene: 15s Duration scene: 14s

Herdern Areal,
Chair Theriot,
Infrastructure ramps Truck coming out of the area Ground floor Migros flows film stills,
Duration scene: 15s Duration scene: 16s Duration scene: 25s Arnaud Bostelmann, 2020

162 163
 Common ground ?

The implantation of
Migros HERDERN in this field
of allotment garden slowly
grew into a large distribution
center for the largest wholesale
market in Switzerland together
with Engros they are one of the
main distribution center in the
region.
Of course the foot print
inefficiency coupled with a
highly fenced area render the
site inaccessible to the public
which for this prime location
can be questioned.

Herdern Areal, Chair Theriot, pictures Arnaud Bostelmann, 2020

164 165
166 167
 HERDERN AREAL
EWZ
MIGROS
GENOSSENSCHAFT
ACTORS

Lagerhaus Süd ENGROSMARKT

entrance
check-point Engros

EWZ
energy central

entrance
check-point exit
Migros Migros & Engros

PRODUCERS’MARKET reception
Engros
168 169
 Facts and figures

The implantation of Of course the foot print

Migros HERDERN in this field inefficiency coupled with a
of allotment garden slowly highly fenced area render the
grew into a large distribution site inaccessible to the public
center for the largest wholesale which for this prime location
market in Switzerland together can be questioned.
COVERED MARKET with Engros they are one of the
3’600 m2 main distribution center in the
region.

JUNCTION
30’900 m2

ENGROSMARKT ZURICH
65’200 m2
+AGROSMARKT
MIGROS MARKET ENGROS + LAGERHAUS SÜD JONCTION
123’200m2
MIGROS 3’600 m2 65’200m2 30’900m2
123’200 m2

AGROS ENGROS

Train tracks
hangar COLD
STORAGE AMBIENT
3’650 m2 TECHNICAL STORAGE
1’780 m2
SPACES 6’870 m2 TECHNICAL
361 m2 SPACES
COLD
1’680 m2
STORAGE CIRCULATION
62 truck parking spots 5’210 m2
TRAIN TRACKS
Storage 8’100 m2
32’900 m2
Logistics or
43’000 m2
AMBIENT
3’600m2 16x225m roof OFFICES
19’600 m2 free covered area for market
4.3m height 924 m2 LOGISTICS
LOGISTICS
5’097 m2 INTERNAL 12’840 m2
PRIVATE PARKING
CIRCULATION MIGROS CARGO
4’000 m2
6’590 m2 TRUCK PARKING
9’400 m2

PRIVATE PARKING / CIRCULATION

INTERNAL EMPLOYEE RECYCLING
COLD CIRCULATION GAS STATION FACILITY
GAS STATION EWZ OFFICES
19’600 m2 331 m2 260 m2 540 m2
DEPOT/RECYCLING STATION EWZ 340 m2
INTERIOR
PARKING CARGO MIGROS

EXTERIOR
Technical EXTERNAL
7’600 m2 CIRCULATION
520 m2

Offices / School
10’000 m2
Rented Supermarket
Spaces UPPER FLOOR
3’700 m2
1’500 m2 EXTERNAL
PARKING
COVERED MARKET 6’560 m2
/PARKING PEDESTRIAN INTERNAL CIRCULATION
2’980 m2 CARS CIRCULATION / RAMPS
Internal LOGISTICS EXTERNAL CIRCULATION
Circulation 28’690 m2
STORAGE AMBIANT
15’250 m2
STORAGE COLD
Public area
TECHNICAL SPACES
5’600 m2
OFFICES / SCHOOL
SUPERMARKET
RENTED SPACES
PUBLIC SPACES

170 171
01 Engrosmarkt +
Lagerhaus Süd

Agroform AG
packaging and food processing.

Gmür Pomona
frozen products

Kellenberger Frisch service

Frigemo AG

Engrosmarkt
Fresh food wholelsale

fonction Wholesale market for Zürich

built 1980
architect Architect: Marti + Kast + Partners
Extension rooftop building: 1989, Widmer+Hausamman
groundfloor area 12’919 m2
total area 65’200 m2
owner EMIG (Engros Markt Immobilien Gesellschaft)

misc 60 firms on site, 700 customers

250’000 t of annual turn over
Range sold: Fruit, vegetables, other food
Concept of ‘pavilions’ within the building - Rungis

172 173
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
01 Engrosmarkt + Chair Theriot, picture
Arnaud Bostelmann, 2020

Lagerhaus
ENGROSMARKT ZURICH Süd
65’200 m2

Upper floor

Ground Floor

EXTERNAL CIRCULATION / PARKING

Underground COVERED MARKET / PARKING

LOGISTICS

INTERNAL CIRCULATION
STORAGE AMBIANT

STORAGE COLD
OFFICES

TECHNICAL SPACES

174 175
02 Producer’s
market

loading bay

photovoltaïc area 2’900m2

energy production for Engros
cooling storage

covered market
3 days per week

fonction producer market

built 1980
architect Marti + Kast + Partners
groundfloor area 3’600 m2
total area 3’600m2
dimensions 225x16m, h=4.3m
owner EMIG

misc Built as a separate area for local producers

Part of the Engros-Areal with 60 firms on site
Range sold: Fruit, vegetables, other fresh food
runs 3 days per week

176 177
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
02 Producer’s
market
COVERED MARKET
3’600 m2

178 179
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
03 Migros
Genossenschaft

Migros Schule, restaurant

Migros distribution center

& storage

Migros
Head office
52m, 17 floors

double spiral rampe

listed at the inventory

fonction Main logistic center of Migros in Zürich

built 1964-1970
architect S+M Architekten AG, Public entrance addition:
2009,Oppliger Architekten
groundfloor area 50’000 m2
total area 123’200m2
owner Migros Genossenschaft

misc Programs range from Retail center, storage, offices,

dancing school, theater, supermarket, outlet, restau-
rant, recycling plant, logistics, laboratories, prepara-
tion of orders, Migros school for Corporate.

180 181
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
03 Migros Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020

Genossenschaft
MIGROS
123’200 m2

4.OG

3.OG

+17

2.OG

TOWER

1.OG

Ground

Inbetween
floor

Ground
Floor

PEDESTRIAN INTERNAL CIRCULATION

CARS CIRCULATION / RAMPS

LOGISTICS
STORAGE AMBIANT

Underground STORAGE COLD

TECHNICAL SPACES
OFFICES / SCHOOL
SUPERMARKET
RENTED SPACES
PUBLIC SPACES

182 183
04 Junction Railwaybridge near Zurich Main Station, SwitzerlandMain Station, Switzerland,
Theiler Druck AG, Wollerau, Schweiz, Baenziger Partner AG

direction
Zürich HB

container parking
Migros

Hardturm Viadukt 1’126m

directino Oerlilkon

gaz station

fonction Parkings area for Migros cargos + EWZ

built Recycling station and gas station from EWZ
architect Hardturm Viadukt built in 1969

groundfloor area 30’900 m2

total area -
owner Migros, EWZ

misc 88 car parking spots

Planned EWZ extension/new building 2025

184 185
 04
JUNCTION
Junction
30’900 m2

Train tracks
-> Oerlikon

acks
kon

Road
-> Zürich West

Cargo train
tracks

Road
-> Zürich West Road PRIVATE PARKING / CIRCULATION

-> Zürich Hard GAS STATION EWZ

DEPOT/RECYCLING STATION EWZ
PARKING CARGO MIGROS

Train tracks
-> Hardbrücke
PRIVATE PARKING / CIRCULATION
GAS STATION EWZ
DEPOT/RECYCLING STATION EWZ
PARKING CARGO MIGROS

Train tracks
-> Hardbrücke

186 187
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
05 Outdoor

EWZ Property of
Migros Genossenschaft
51’901m2

Engros building lease

Property of Zürich city
64’332m2

fonction Migros + Engros transit area

built -
architect -
groundfloor area 200’000m2
built 68’500m2
outdoor area 131’500m2
owner Migros + Engros

misc 140 loading bays

350 parking spots
70 collection bays

188 189
Chair Theriot, picture Arnaud Bostelmann, 2020
05 Outdoor
AREA FOOTPRINT
130’000 m2

Producers Market

Engros Market

Migros Building Herdern

Herdern areal Jonction

190 191
Herdern Areal, Chair Theriot, picture Arnaud Bostelmann, 2020
 PROGRAM BASED ON HYBRIDITY
TO PRESERVE WHAT ALREADY EXISTS

24/7
We would like you to
embrace this territorial
complexity and develop a new
kind of metropolitan hybrid
machine, working 24/7.
A metropolitan machine
in the sense of building that
is performative, efficient,
effective, working in the city
and for the city.
A project that is always
alive.

InterAction center, Cedric Price, London 1972

192 193
 “...I like elements which are Hybridity (n)
hybrid rather than ‘pure,’
compromising rather than c. 1600, «offspring of plants or
that Modernism has passed down to us, and the precision ring the same structure, but belong to different categories
‘clean,’ distorted rather than animals of different variety or
of its ways is becoming stronger and stronger. Yet, and have no use relation. In other words, it is only
‘straightforward,’ ambiguous species,»
everyday life is made up of traversing various buildings. structural order which unites this example. Maybe it is
rather than ‘articulated,’ from Latin hybrida, variant of
Living space is constituted by connections between not that the example is impossible to evaluate within
perverse
various adjacent as well
environmental as impersonal,
conditions, rather than ibrida
the existing «mongrel,»
cultural value specifically
system, but rather that the
boring as well
by any single building. Can't we as
draw ‘interesting,’
out the potential sense of unity
«offspring
is full of of
dubiousness a tame sow
which is the and a
essential

of this situation
conventional
and project that into
rather the than
future? If we reasonwild
that boar,»
this example isof
da-meunknown origin
architecture. We
can, it may be possible to counter
‘designed,’ the typical Japanese
accommodating can say that
rather but when any of the 3 from
probably orders areGreek and
operating,
Modernist publicexcluding,
than cut off from their
facilities which areredundant they are «on»,
rather somehow when they do
whereas related take effect
tonothubris.
surroundings
than packaged into
andsimple, a single box. We
vestigial ascanwellthey are «off».
A rare This system
wordstarts the allgeneral
to incorporate
before the
place attention on the issue of how
as innovating, inconsistent andusage (software) can value poles which seem to form such
sense «anything a product of two an important role
the recognition and indeed the very existence of
equivocal rather than direct in
set up a network, where public facilities can be dispersed
and heterogeneous things» emerged c.
into the city whilst interlapping with the adjacent dame architecture. We can recognise that the examples of
clear. “ 1850.
environment. Spaces for living can penetrate into Made in Tokyo almost always comprise some aspect of
various urban situations and thereby set up new being «off». The only vacant endpoint to the Made in
relations
amongst them. The possibilities for urban dwelling Tokyo chart that includes an aspect of «off», is the position
expand. which might be filled by the continuous street
facades of Paris. By contrast, the magnificent buildings
On/Off of architects are «on», «on», «on». Often, the Parisian
We can find an overlapping of 3 orders which set up the streetscape and the Modern city are held to be in
«Environmental Unit». They are based on category, opposition, but the abundant examples of Made in Tokyo

structure and use. If we take again the example of the show that they are not necessarily bipolar. They simply
hybrid between expressway and department store, the exist within a score of on and off.
traffic above and the shopping below are simply sha¬
Cedric Price and John Frazer, Program Generator, 1976

Golf, taxi Building, “Made in Tokyo: hybrid structures in Tokyo”

aa——
a publication by Atelier Bow-wow, Tokyo, Tsukamoto, Yoshiharu / Kaijima, Momoya / Kuroda, Junzo

yz
AA.
'

XX:
---

rv
I
.T

IW
m
^ -,v
m

k
-?*xy -s
%

m
¦
fr*r~, jr?-r,i

I I "xsm -¦ p

k
LU
m
r*

194 195
«Golf taxi building»; function: golf driving range + taxi office + taxi parking garage/site: menino, meguro-ku: along the meguro river, facing the meguro city hall -
from on top of the taxi company office, the golfers practice driving towards the river - the ceiling of the taxi parking is a huge sloping, netted cage, through which
driven balls and roll back towards the office and in the it becomes of reflected in the water surface of the river
Under used infrastructure LOGISTIC
& RETAILS
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
We suggest you to design
a project that would be a 24/7
interaction center.
ENTERTAINMENT
This project will combine 3 main
& LEISURE
kind of activities: retail,
entertainment, and culture.
Combined, they will ensure a ENGROS MARKET AG

constant activity on the site

as well as possible meet between CULTURE ENGROS WHOLESALE MARKET

programms usually separated. & EDUCATION

LOGISTIC DELIVERY COLLECTION
FOODCOURT

ENGROS RESTAURANT

ENGROS IMBISS THEATER

EVENTHALL
MIGROS ORDER-PICKING SYSTEM

MIGROS RECYCLING

MIGROS OUTLET

MIGROS COOPERATIVE ADM

run MIGROS TOPOLINO RESTAURANT

nin ay
gt gb
rac din SPORT FACILITIES
k loa CLOSE THEATER / KLUBSCHULE
g ym rag
e les
sto tab
bas rag
e ege
ket sto ts &v AGROFORM
b all col
d f rui
all s
kar
a le h uct
t ra
ces ole
s
prod
sau wh air
y ing
na- ed kag
on sal pac
sen hole n&
spo w
atio ner
rt s r m tai
ho s fo c on
n &
p tra cks
ska
tep g tr u A B C
ark kin
clim par or LOGISTICS / ADM / RETAIL LEISURE / ENTERTAINMENT / FOOD
bin isit CULTURE / EDUCATION
dan g wa i n gv
ce, k
pil ll par
ate t
s, ran
cha yog
a e stau
ng r
ing rt
GSEducationalVersion

roo ou
m o dc
ska fo
tin
gr
ing e ent
caf ar tm
ep
bo
wli ia ld on
ng anc pti
fin ece
&r
ou ter esk
tdo r ace od
or inf ce
ou han p offi
tdo g-o k- u
or
pla
ut bac tio
n
ygr istra
ou in
nd
adm
Foyer

performance

theater

cinema

conference

concert hall

exhibitions

library

bookshop

art production

textile workshop

wood workshop

civi center

religion

language school

computer room

technics

storage

administration
Migros Schule

196 197
 Jon Jerdde, America’s Mall
Seisc Pompei, Lina Bo Bardi, Sao Paulo
Tomatoes logistics with the stock

198
Swissair Ausstellung , 1990

& RELATIONS
PERFORMANCE

Jon Jerdde, America’s Mall

199
 CONSTRUCTIVE TRUTH AND CLEVERNESS
Gerberette fabrication (in the foudnry)
Below : Structural system of the gerberette
(THE EXAMPLE OF THE
CENTRE POMPIDOU’S GERBERTTES)
Topic C usually deals on
a small scale. With this topic
proposal, we do not evade the
rule, but we propose our vision
of scales.
Indeed, the scale of the
building as such does not
matter, as long as the project
intelligently meets the needs
of the site and the program,
that it is in adequacy with its
environment and able to offer a
relevant space to the city and
its users.
Having said that, you will have
to look at the small scale, the
detail that can considerably
improve the project, by
proposing a constructive element
that will reveal and catalyze
all the other qualities of your
building.
To illustrate the point,
here is a brief description
of the Centre Pompidou’s
gerberette. Designed not by the
architects whose names remain
undeniably associated with
the museum, the stacker owes
its existence to the project
engineer, Peter Rice.
It is from his point of view
that we would like to briefly
describe this piece which,
in the words of its designer,
“solves all problems with
elegance and simplicity”.
The gerberette in fact has
fundamental qualities: first
of all because it embodies
and makes possible the very
philosophy of the project, which
is flexibility, allowing a span
200
of 44.8m while reducing the
structural height of the lattice
girders to a minimum.
This desire for flexibility was
particularly strong, especially
due to the programmatic
imperative of being able to
move the library - very heavy -
anywhere in the building.
The engineer also achieved this
structural solution by using the
static diagram of a historical
project: the Hassfurt Bridge in
Bavaria, designed by engineer
Heinrich Gerber. By placing the
element on the outside, the
engineer took the gamble of
making the gerberette visible
and integrating it into the
facade, giving it the role of
helping to forge the visual
identity of the Center, while
making it structurally viable.
Produced entirely in
France and made of cast steel,
its materiality is explicitly
a reference to the great
Parisian projects (the Grand
Palais, the Eiffel Tower, the
Hausmanian structures) using
the same material - to anchor
the progressive project in the
history of its place.
In short, the gerberette
is at once big scale and small
scale, an engineering genius,
a symbol, an aesthetic bias,
flexibility, stability, near
and distant history, and poetry
itself.
201
“As the silences between
the notes define the
quality of the music,
it was here the space
between the pieces that
defined the scale of the
project.”

Gerberette on the construction site

Below : Peter Rice quote, An engineer imagines, 1998
Right : The Gerber bridge statics schema
Fiberglass Reproduction of the gerberette

202 203
3
INFOS
SEMESTER
ORGANISATION

205
Architect Lawrence Kocher, center, and a group of students
hold a discussion session on the sun deck of the studies BEGLEITFACH
building at Black Mountain College, 1944

206 207
01 Ancillary Discipline Contact
Die Anmeldung erfolgt per mail an
buk@arch.ethz.ch

Construction

Bautechnologie und Konstruktion Floor construction

- Granolithic concrete
- Separating layer (e.g. 1 mm plastic sheet)
- Impact sound insulation
- Hollow core concrete unit, thermally activated
30 mm

20 mm
200 mm

Dozentur Mettler/Studer East facade

- Glass door / window, triple-glazed

Heat transfer coefficient from Uf > 1,8 W/m2K

West facade

- Glass sliding door, triple-glazed

Heat transfer coefficient from Uf > 0,69 W/m2K, fixed glazing
Uf > 0,8 W/m2K, windows
Wider bottom flange plate, welded

The objective of the Ancillary Discipline Construction is

Electricity

Domestic hot & cold water

Operable warm air inlet

to focus in a conscious and comprehensible way on the complex

reality of building in important areas of the project, as far Heating in- & outflow
Drywall construction,
2x 12,5 mm boards
UW-section,
threaded rod welded to the truss

as it is possible at university, e.g. by applying the specific

knowledge acquired during the studies or internship ( such as Z-section

detailing, use of material, structure, building physics, service

infrastructure, ecology, economics etc.)
the following topics are to be considered during the work process
e.g.:

• a precise analysis
• thinking in different variants
• dealing with increased complexity
• the constructive development as part of the design process Truss, square hollow section 200x200 mm,
with intumescent paint

• designing with real materials

• a conscious design approach of the constructive locus*: plinth, Stainless steel sheet cladding

wall, opening, roof

• compliance with current building regulations: insulation
requierments, sound insulation, room acoustic, fire regulations

the constructive development should be comprehensive though,

Isokorb Type KST

e.g.:
• project plans, perspectives, models etc
• construction plans, models, sketches etc. (which clarify the Tension element, square hollow section 200x200 mm,
with instumescent paint

design) Precast concrete floor slab

Insulation

• a report documenting the work process Rolling shutters,

wind breaking mesh Foul water

The final requirements will be defined during the projecting

phase at a construction crit with /BUK
and/or after the 2. design crit. Balcony tension cable
with integrated sun shading rail

* the constructive locus: Is a teaching concept as well as a Grate floor

reseach focus. With this new method in the KUHN PAUL

ETHZ Studio Theriot
Steel railing

Detail
Master thesis FS20

teaching of construction at D-ARCH, /BUK stands in a tradition of

0 0.1 0.2 0.3
Chimney - Structure

construction teacher at the ETHZ,

enhancing the architectural thinking by adding the dimension of
the technical constructive base principals. Studio Theriot, Paul Kuhn, diploma Thema C FS20, hand-in BUK

208 209
02 The episteme of urban and Contact
Chair for the History and Theory of Urban Design Prof. Dr. Tom
Avermaete

architectural analysis Dr. Irina Davidovici / irina.davidovici@gta.arch.ethz.ch

Chair of the History and Theory of Urban Design Teaching and assessment
An introductory lecture by Prof. Tom Avermaete and Dr. Irina
Prof. Dr. Tom Avermaete
Davidovici, followed by discussion with Prof. Theriot, will take
place on 03.03.2021 at 09:00 (online).

Whist architectural artefacts, our buildings and cities, are
intensively discussed, the design knowledge underpinning them is
much less scrutinized. In this module, we will pay special attention
to the analysis of the territorial or urban condition in which you
will be intervening. Though many architects maintain that this is
an exploratory and open phase in the design process, we hold that
this analysis, as other moments in the design process, is driven by
specific ‘frames of value and thought’. The French philosopher Michel
Foucault has called these thought frames ‘epistemes’, which he defined
‘as the strategic apparatus […] which makes possible the separation,
not of the true from the false, but of what may, from what may not be,
characterized as scientific’. In architecture, we can identify various
epistemes that act as comprehensive frameworks for the analysis,
understanding and conception of the built environment. Specific to
architectural culture is that these epistemes are not consecutive or
Consultation and urban strategy critique / intermediate
presentation (for students registered in the module): 30.03.2021,
13.00–15.00m (online). One additional consultation may be
individually agreed upon request.
Hand-in will take place at the time of the Diploma hand-in on
06.05.2021. Please submit the printed / bound A4 dossier at Chair
Avermaete (room 74.2) and in PDF format via email to: irina.
davidovici@gta.arch.ethz.ch
The module grade will constitute 15% of the Diploma final grade.

Tom Avermaete and Janina Gosseye

Shopping Towns Europe: Commercial Collectivity and the Architecture of the
Shopping Centre, 1945–1975, Bloomsbury Visual Arts (February 6, 2020)
mutually exclusive, but simultaneous and complementary. Too often,
however, they are considered as tacit: as recognized, self-evident,
or – in some cases – even as ‘given’ or ‘engrained’ in the built
environment.

This module is an invitation to consciously choose the epistemes of

architectural analysis that you choose in your site analysis, and
reflect upon the way they influence your design. Following our input
lecture, which will highlight various episteme at your disposal, you
will be asked to articulate the epistemological connection between
your site analysis procedures and consequent strategies of design and
intervention.

Submission
Your task is to articulate the relation between the analysis stage
of your project, the design strategy, and the common underlying
episteme(s). You will be marked on a set of drawings, as well as a
short text of 1000 words that demonstrate the congruence of site and
intervention strategies. The assignment will be handed in in the form
of a bound A4 dossier or portfolio, including the text, as well as the
site analysis drawings reduced to scale (the drawings in full scale
should feature full scale on your A0 panels).

210 211
03 Die Restlichen Füntel des
21. Jahrhunderts
Chair of Architecture and Art
Prof. Karin Sanders
Ein Fünftel des 21. Jahrhunderts sind schon vorbei, aber man
hat in vielerlei Hinsicht das Gefühl, dass Politik, Wirtschaft und
Kultur im 20. Jahrhundert stecken und ihre Strategien, Präferenzen
und Programme nicht an der Zukunft orientieren, sondern an der
Vergangenheit. Das gilt jedenfalls für den Westen oder, wenn man will,
für den globalen Norden, und das ist auch kein Wunder, denn die auf
Wachstum gebauten Gesellschaften der westlichen Nachkriegszeit stellen
sicher eines der erfolgreichsten Gesellschaftsmodelle überhaupt
dar. Aber wie das so ist mit Erfolg: er ist eine Falle, wenn es um
notwendige Veränderungen geht. Gerade die Erfolgreichen halten dann
zu lange an den Konzepten fest, von denen sie profitiert haben, und
übersehen die Notwendigkeiten und Möglichkeiten der Transformation.
Sie hinken hinterher. Die zentrale Herausforderung für moderne
Gesellschaften im 21. Jahrhundert ist es, ihr zivilisatorisches
Modell von Freiheit, Recht und Demokratie auf ein anderes Naturver-
hältnis zu bauen. Niemand weiß bislang, wie das geht. Wir alle sind
Teil eines großen Experiments, in dem erprobt wird, wie wir durch
das 21. Jahrhundert kommen können und dabei besser leben, bauen,
denken können. Vier Fünftel dieses Jahrhunderts sind noch übrig,
höchste Zeit also, die Herausforderung anzunehmen. Der Kunst als jener
kulturellen Technik, die das Gegebene transzendieren und Zukünftiges
hervorscheinen lassen kann, kommt in dieser Herausforderung eine
zentrale Rolle zu.
Im Master Begleitfach Kunst laden wir die Studierenden also ein,
sich den restlichen vier Fünftel des 21. Jahrhunderts zu stellen,
Vorstellungen in Bezug auf ihre Zukunft und ihr gewähltes Thema zu
entwickeln und damit den Blick für ihre Arbeit zu schärfen, aber auch
über die Themen und das Studium hinaus die Welt neu zu entwerfen.
Von den Themen A, B, C, ausgehend werden wir mit den Diplomierenden
im Seminar Architektur und Kunst sprechen, denken, experimentieren,
erproben, herausfordern, transformieren entwickeln und uns dabei immer
wieder an dem orientieren, was ist und was sein könnte.
212
Contact
Professur Karin Sander
Prof. Dr. Harald Welzer, welzer@futurzwei.org
Matthias Wermke, wermke@arch.ethz.ch
Lisa Gärtner (Hilfsassistenz), gaertner@arch.ethz.ch
HIL F 46-48, www.sander.arch.ethz.ch
Prof. Dr. Harald Welzer
Prof. Dr. Harald Welzer ist Soziologe und Sozialpsychologe,
Mitbegründer und Direktor von „Futur Zwei. Stiftung Zukunfts-
fähigkeit“. Er leitet das Norbert-Elias-Center for Transformation
Design an der Europa Universität Flensburg, lehrt dort Trans-
formationsdesign. Er hat zahlreiche Bücher zu gesellschaftspoli-
tischen Fragen und zur Nachhaltigkeit geschrieben, unter anderem
„Klimakriege. Wofür im 21. Jahrhundert getötet wird“, „Selbst
denken. Eine Anleitung zum Widerstand“; „Die smarte Diktatur. Der
Angriff auf unsere Freiheit“, zuletzt „Alles könnte anders sein.
Eine Gesellschaftsutopie für freie Menschen. alle erschienen im
S.-Fischer-Verlag. 2019 hat er den „Rat für Digitale Ökologie“
gegründet. Daneben ist er Herausgeber von „tazFUTURZWEI. Magazin
für Zukunft und Politik.“ Die Bücher von Harald Welzer sind in 22
Sprachen erschienen.
Mattthias Wermke
Mattthias Wermke ist freischaffender Künstler und arbeitet
vor allem im öffentlichen Stadtraum. In der künstlerischen
Praxis geht es meist um die Untersuchung der Funktionsweisen und
Symbolkraft öffentlicher Räume. Durch die (temporäre) Aneignung
von Orten entstehen eigene Bilder und Vorstellungswelten
immer in der Hoffnung, Unbemerktes sichtbar zu machen und die
festgeschriebene Bedeutung und Nutzungsmöglichkeit von Orten zu
hinterfragen.
TERMINE:
23.02.2021 um 14.00 Uhr:
Einführung und Begrüssung Prof. Karin Sander zusammen mit Prof.
Harald Welzer und Matthias Wermke.
Das Seminar findet jeweils Donnerstags 16.00Uhr bis 17.00Uhr
online statt. Es beginnt am 04.03.2021 und endet am 29.04.2021.
Zusätzlich werden mit den Diplomierenden nach Bedarf Termine für
individuelle Arbeitsgespräche vereinbart.
LEISTUNGEN:
Das Seminar steht in Verbindung zum Diplom und den Aufgaben A,
B, und C als Begleitung. Dazu wird eine eigenständige Abgabe
entwickelt und termingerecht am 6.5. 2021 abgegeben, die in
unterschiedlichen Medien wie Text, Video, Bilddokumentationen,
etc. möglich ist.
ANMELDUNG UND FRAGEN:
Matthias Wermke wermke@arch.ethz.ch
213
04 Konstruktionserbe und Contact
Reto Wasser
wasser@arch.ethz.ch

Denkmalpflege https://langenberg.arch.ethz.ch

Professur für Konstruktionserbe und Denkmalpflege

Silke Langenberg, «Reparatur als didaktisches Konzept», in: Daniel

Stockhammer (Hg.), Upcycling. Wieder-​und Weiterverwendung als
Gestaltungsprinzip in der Architektur, Zürich 2020, S. 198–211.
Prof. Dr.-Ing. Silke Langenberg
Institut für Denkmalpflege und Bauforschung (IDB)
Institut für Technologie in der Architektur (ITA)

Die Professur für Konstruktionserbe und Denkmalpflege legt

besonderen Wert auf den verantwortungsbewussten Umgang mit denkmal-
geschützten und denkmalwürdigen Gebäuden und Anlagen. Grundlage
für die Entwicklung langfristiger Erhaltungs- und Nutzungsstrat-
egien sowie auch den Um- und Weiterbau ist das umfassende Verständnis
eines Objektes, Ensembles oder auch grösseren Baubestandes aus
geschichtlicher, künstlerischer, konstruktiver, städtebaulicher
und wissenschaftlicher Sicht. Fragen zum beabsichtigten Umgang mit
dem Baubestand sollen deshalb bereits im Rahmen der Konzeptfindung
diskutiert werden, um frühzeitig in die Entwurfsentscheidungen
einfliessen zu können.

Es wird erwartet, dass sich die Studierenden mit mindestens einem der
folgenden drei Themenschwerpunkte auseinandersetzen:
- der Entwicklungs- und Architekturgeschichte des Warenhauses
- dem Umgang mit auf dem Grundstück bestehenden oder angrenzenden
Strukturen
- dem Zusammenspiel von Verkaufskonzept, Grundrissorganisation,
Konstruktion und architektonischem Ausdruck

Zu Beginn des Semesters wird eine einführende Input-Vorlesung

zum Thema «WARENHAUSARCHITEKTUR» angeboten. Je nach Anzahl der
Teilnehmenden des Begleitfaches findet die Betreuung anschliessend in
Form zweier Gruppen- oder Einzelbesprechungen statt.
Die Beurteilung erfolgt anhand eines 1-seitigen Beschriebs, in dem das
Konzept nachvollziehbar hergeleitet und begründet ist sowie anhand
des fertigen Projektes. Darüber hinaus soll das Konzept zum Umgang mit
dem Bestand auch grafisch mithilfe von Skizzen, Fotos (historisch oder
aktuell), Diagrammen oder Karten dargestellt werden.

Einführung: 09.03.2021, 16:00 Uhr https://ethz.zoom.us/j/95441157809

Anmeldung bis 10.03.2021

214 215
 KEY DATES

22.02 _ 22:00 Site visit registration per email until 22:00

vigliotti@arch.ethz.ch

23.02 _ 09:00 Site visit Engros, 2 groups

Treffpunkt bei der Info-Säule/Portierhaus

02.03 _ 10:00 Input lecture lukas Stadelmann

“The Architecture of Logistics“
https://ethz.zoom.us/j/94638387175

03.03 _ 09:00 Lecture Prof. T.Avermate & Dr. I. Davidovici

“A Black Box? Architecture and its Epistemes“
https://ethz.zoom.us/j/92796306933

03.03 _ 10:30 Presentation M. Raduner, head of Engros,

site and projects for Herdern
https://ethz.zoom.us/j/93790562052

03.03 _ 13:30 Lecture Prof. M. Kajima

“Made in Tokyo”
https://ethz.zoom.us/j/98443749655

10.03 _ 08:30 Lecture Prof. A.Theriot

“Project Galeries Lafayette in Pau, FR”
https://ethz.zoom.us/j/91624700440

Rungis availabilities, Paris, FR 06.05 Hand-in

Week 20 Final review with all students Thema C

216 217
BIBLIOGRAPHICAL REFERENCES
Appadurai, Arjun. 1986. “Introduction: Commodities and the
politics of value”. In A. Appadurai (ed.) The social life
of things: Commodities in cultural perspective, pp. 3–63.
Cambridge, Cambridge University Press.
Avermaete Tom (ed), Gosseye Janina (ed), Acculturating the
shopping Centre, Routledge, 2020
Baudrillard Jean, La société de consommation, ses mythes, ses
structures, Paris, Denoël, 2017
https://dissibooks.files.wordpress.com/2013/09/114316793-
baudrillard-jean-la-societe-de-consommation.pdf
Berdet Marc, Fantasmagories du capital, L’invention de la
ville-marchandise, Zones, 2013
Choplin, Armelle and Olivier Pliez, 2015. « The Inconspicuous
Spaces of Globalization », Articulo - Journal of Urban
Research [Online], 12. [https://journals.openedition.org/
articulo/2905]
Cook Ian et al. 2004. “Follow the thing: papaya”. Antipode
36(4): 642-664. [https://www.gla.ac.uk/media/Media_413947_
smxx.pdf]
Counihan, Carole and Valeria Siniscalchi (eds) 2014. Food
activism: Agency, democracy and economy. London: Bloomsbury
Daumas Jean-Claude, 2006, Consommation de masse et grande
distribution. Une révolution permanente (1957-2005), Vingtième
Siècle. Revue d’histoire, vol. 3, no 91
Debord Guy, The society of the spectacle, Paris, Buchet/
Chastel, 1967
Douglas, Mary and Baron Isherwood 1979. The world of goods.
Towards an Anthropology of consumption. New York: Basic
Books (traduction française Pour une anthropologie de la
consommation. Le monde des biens, Paris: IFM)
Dubuisson-Quellier, Sophie 2009. La consommation engagée.
Paris: Sciences Po, les Presses.
Edelman, Marc 2001. “Social movements: Changing paradigms and
forms of politics.” Annual Review of Anthropology 30: 285–317
218
Ernaux, Annie, 1994, « Vers un je transpersonnel », Recherches
interdisciplinaires sur les textes modernes, no 6, p. 218-221.
Fontijn, David. 2013. “Epilogue: Cultural biographies and
itineraries of things: Second thoughts”, in Hahn, Hans Peter,
and Hadas Weiss, editors. Mobility, Meaning and Transforma-
tions of Things: Shifting Contexts of Material Culture through
Time and Space. Oxbow Books
Foster, R.J. 2006. “Tracking globalization: Commodities and
value in motion”. Handbook of Material Culture, pp. 285-302
Gharbi Ibrahim, Knight Alan, The emergence and implantation of
the regional shopping center in the North American city, 2017,
https://journals.openedition.org/ateliers/10368
Harper, Krista and Valeria Siniscalchi (eds) 2019. Food values
in Europe. London: Bloomsbury
Hulme, A. 2017. “Following the (unfollowable) thing:
methodological considerations in the era of high
globalization”. Cultural Geographies 24(1): 157–160
Illich Ivan, Toward a history of needs, 1978
Kaijima Momoyo, Kuroda Junzo, Tsukamoto Yoshiharu, Made in
Tokyo: Guide Book, Tokyo, Kajima Institute Publishing Co.,
Ltd., 2018
Kalb, Don. 2007. « Localizing Flows. Power, Paths,
Institutions and Networks » in D. Kalb, M. Van der Land (eds),
The Ends of Globalization. Bringing society back In, Lanham,
Rowman et Littlefield, pp. 1-29
Kernen, Antoine et Khan Mohammad, Guive. 2014. « La révolution
des produits chinois en Afrique. Consommation de masse et
nouvelle culture matérielle », Politique africaine 134 :
111-132. [https://www.cairn.info/revue-politique-afric-
aine-2014-2-page-111.htm]
Koolhaas Rem, The harvard Guide to shopping, Cambridge,
Harvard University Graduate School of Design, 1998
Kopytoff, I. 1986. “The cultural biography of things: Commod-
219
itization as process”. In A. Appadurai (ed.) The social life
of things: Commodities in cultural perspective, pp. 64– 91.
https://doubleoperative.files.wordpress.com/2009/12/
kopytoff-1986-the- cultural-biography-of-things-commoditiza-
tion-as-process-1-1.pdf

Knowles, Caroline. Flip-Flop: A Journey Through Globalisa-

tion’s Backroads. Pluto Press, 2014. JSTOR, www.jstor.org/
stable/j.ctt183p50x.

Laboratoire urbanisme insurrection : Mall, Centre commercial

; https://laboratoireurbanismeinsurrectionnel.blogspot.
com/2013/05/mall-centre-commercial.html

Marseille, Jacques, 1997, La Révolution commerciale en France,

Du « Bon Marché » à l’hypermarché, Paris, Éditions Le Monde

Mauss Marcel, Essai sur le don, 1923

Nash, June 2005. “Introduction. Social movements and global

process,” in J. Nash (ed.) Social movements: An anthropo-
logical reader, pp. 1-26, Oxford: Blackwell.

Palomera, Jaime 2014. “How did finance capital infiltrate

the world of the urban poor? Homeownership and social
fragmentation in a Spanish neighborhood.” International
Journal of Urban and Regional Research 38(1): 218–35

Parenteau, Olivier, 2016, « Deux poètes font les courses.

L’hypermarché chez Jacques Réda et Michel Houellebecq »,
Captures, vol. 1, no 2 (novembre), dossier « Raconter
l’aliment ». En ligne : revuecaptures.org/node/537

Pratt, Jeff 2007. “Food values: The local and the authentic,”
Critique of Anthropology 27 (3): pp. 285–300

Randolph Myer John, Lynch Kevin, Appleyard Donald, The view

from the road, Cambridge, MIT Press, 1964

Viguier, Frédéric, 2015, Ressources inhumaines, Paris, Albin

Michel

Villermet, Jean-Marc, 1991, Naissance de l’hypermarché, Paris,

Armand Colin

Virno Paolo, Grammar of the multitude, 2015, https://www.

yumpu.com/en/document/view/37271418/in-paolo-virno-grammar-of-
the-multitude-e-flux

Warnier Jean-Paul, La mondialisation de la culture, La

Découverte, 2017

Weiss, Kelly. 2008. « L’expansion des hypermarchés en France

». Distripédie, 19 octobre

220 221
 DOCUMENTS AT
ETHZ YOUR DISPOSAL

24/7 METROPOLITAN HYBRID MACHINE

D-ARCH IEA
MASTER THESIS
THEMA C
You can download all the brochure on the
FS 2021 D-ARCH-Platform
You can download the following documents on
theriot.arch.ethz.ch

Brochure
ETH_MASTER THESIS_FS21_THEMAC_BROCHURE.pdf

Begleitsfach presentation
ETH_MASTER THESIS_FS21_THEMAC_BEGLEITSFACH_BUK.pdf
ETH_MASTER THESIS_FS21_THEMAC_BEGLEITSFACH_History and
Theory of Urban Design.pdf
ETH_MASTER THESIS_FS21_THEMAC_BEGLEITSFACH_ARCHITEKTUR
UND KUNST.pdf
ETH_MASTER THESIS_FS21_THEMAC_BEGLEITSFACH_Konstruktion-
serbe und Denkmalpflege.pdf

Maps Zürich west & Herdern

ETH_MASTER THESIS_FS21_THEMAC_MA01.dwg (Zürich west)
ETH_MASTER THESIS_FS21_THEMAC_MA02.dwg (Herdern Areal)

Movies Herdern
ETH_MASTER THESIS_FS21_THEMAC_MO_01.mp4 (Zürich west)
ETH_MASTER THESIS_FS21_THEMAC_MO_02.mp4 (Engros)

Plans
ETH_MASTER THESIS_FS21_THEMAC_P01.dwg
(groundfloor plan Herdern)
ETH_MASTER THESIS_FS21_THEMAC_P02.dwg
(floorplans all buildings)

3D Zürich West & Herdern

ETH_MASTER THESIS_FS21_THEMAC_3D01.3dm
ETH_MASTER THESIS_FS21_THEMAC_3D01.dwg

Documentation
CHAIR THERIOT ETH_MASTER THESIS_FS21_THEMAC_DOC01.zip

Archive Stadt Zürich, drawings

ETH_MASTER THESIS_FS21_THEMAC_ARCH01.zip

222 223
224