Finally, this Overview

Finally, this Overview
Introduction 15 September 2026, 10 am

Studio Caruso Archive, Various Authors, 2011-2026

In this last year of the Chair, we will look back with fresh eyes at fifteen years of research and design work. We will reflect on our archive, the collective endeavour of around a thousand students, and see what happens when the Palais Royal meets Sophie Calle, and when the Bank of England meets Theaster Gates. With invited collaborators and using new tools, this year we will take full advantage of finally having this overview.

This semester we will work on a large site in Zurich that while part of the city’s public infrastructure has always been a territory with limited public access. A place where the slaughter of animals and the distribution of meat will soon end, and public conversations within the local neighbourhood have already begun about imagining the future of this place. The city is assessing the heritage values of the site, and its economic and programmatic potential. For us, the future of the Schlachthof is an opportunity to heal the difficult karma of the site and to imagine what the civic could mean in a future when different actors, and not just humans, are given agency, where diverse ideas of programme and not just those of production, are allowed to flourish. We are interested in arranging the site in looser and more iterative ways so that new uses and constituencies can be accommodated as they emerge as part of an ongoing process. The mosque, the hospice, the caravanserai were places of care and exchange where society would both arrange and represent itself, where space became civic. Can we imagine the grand hall, the access yards, and the warehouses of the Schlachthof becoming locations for pleasure, care, propinquity and for the enactment of new kinds of civic life in Zurich.

Construction and writing as integrated disciplines are included in this course.

11 September 2026, 11:00 am, Pierre Huyghe Exhibition, Fondation Beyeler
15 September 2026, 10:00 am, Studio Introduction, ONA E30

HS 2026, ETH Zürich, Studio Caruso
Emilie Appercé, Tibor Bielicky, Adam Caruso, Anna Clocchiatti, Florian Kilian Jaritz

The City in the City
Seminar Week: October 19–23, 2026

İstanbul, Matrakçı Nasuh, 1537 

Byzantium, Constantinople, Istanbul… all cities whose complex histories can still palpably be felt as part of the present. An ever-expanding settlement, this was the capital for three empires, both trade route and centre. For much of its history this has also been a place of diversity and tolerance, a place with many languages that welcomed foreigners to become part of its heady demographic mix.

We will travel to these cities on the Bosphorus to visit both the sites of empire and the fleeting places of everyday life. With the guidance of local colleagues, we will engage with narratives that span the social, the political and the material, looking beyond the surface to understand how the present and the future are inextricably bound up with the residues of history.

Cost category C (501–750 CHF), 16 students. The fee includes accommodation, local transportation, two dinners, entrances and the reader. Travel to and from Istanbul is not included and must be arranged individually.

HS 2026, ETH Zürich, Studio Caruso
Emilie Appercé, Tibor Bielicky, Adam Caruso, Anna Clocchiatti, Florian Kilian Jaritz

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Zurich Monuments

Final Discussions & Exhibition
May 27, 2026

1/12

Franck Ducotterd, Matteo Rezzonico, Nien-Hsin Lu

Wednesday, May 27th, Exhibition & Discussions, ETH Zürich, ONA E30, 09:00 – 18:00

Guests: Marianne Burkhalter, Susan Hefuna, Sam Porritt

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The Pleasure in Small Things

Final Discussions & Exhibition
December 16, 2025

1/3

Tuesday, December 16th, Exhibition & Discussions, ETH Zürich, ONA E30, 08:00 – 19:00

Guests: Monster Chetwynd, Pierre Chèvremont, Tuukka Laurila, Nora Walter

Restaging – Reimagining: Exhibition and Discussions
October 15, 2025

1/6

Group A

Wednesday, October 15th, Exhibition & Discussions, ETH Zürich, ONA E30, 10:00 – 17:00

 

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Diploma FS 2026

Architecture School

1/4

Dance Deck, Kentfield California, Anna Halprin 1954

The FAU (1969) designed by Vilanova Artigas was an expression of the radical Paulista architecture school of the 1960s, and Gund Hall (1972) designed by John Andrews had similar grand ambitions. The HIL building tells a very different story, accidentally becoming the department of architecture when the ETH administration decided it was best to remove architecture students from the city centre where they had become too involved in the youth protests of the 1970s. The ugly brown building has never been much of an expression of our school’s desires. 
 
This semester we will use the diploma project to explore how the HIL building can be re-structured to be a base for the department, and a more hospitable and sustainable place to meet and work. Since it is unlikely that the present labyrinth could be improved by enlargement, our efforts will be to concentrate the existing, making it lighter, clearer and more flexible. 

We will also study examples of more dispersed and non-institutional learning, like Anna Halprin’s Dance Deck and Thomas Hirschhorn’s Gramsci Monument, places that demonstrate how learning can be more flexible and responsive to both its students and to ever changing educational contexts. We will combine the idea of a central base with mutable cells, spaces in and around the city that can more closely engage with the diverse people and situations of Zurich and beyond. By working both with the centre and the non-centre, perhaps we can start to imagine an architecture school fit for the 21st century. 

We will continue to collaborate with Newrope in three ‘rooms of entanglement’, workshops where content, process and place are considered in an expanded forum.
 
Preparation phase:  
-study of alternative places of education and the preparation of journals that compile the sites, programmes and central qualities of these open and more flexible schools.
-preparation of glossaries of learning.
-preparation of atlas of the HIL building and of possible non-central sites for the future department of architecture.
 
Elaboration phase: 
-development of specific design proposals that incorporate new programmes and ideas of learning for the new department of architecture. 

Diploma, FS 2026, ETH Zürich
Chair Caruso
Emilie Appercé, Tibor Bielicky, Adam Caruso
Newrope
Ellena Ehrl, Freek Persyn 

The Village

David Bissels / Luna Grünenfelder / Matilde von der Lage
FS  2025  The Village

1/12

Mike Kelley / Salem,  Ennenda

1/3
Edited by Marta Bodak, Gaia Minchini, Mathis Steinmann, Isabel Zink, Till  Teuwsen, Akira Wettstein
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Diploma FS 2025

Die Wollschulerei Rüti
Vincent Mathez
FS  2025  Un-City

1/13

At the threshold of the village of Rüti GL stands a quiet industrial building. On its façade, one can just barely make out the words Wollweberei Rüti — a former wool spinning factory that now appears abandoned. Its walls still carry traces of the production, adaptations, and many transformations it has witnessed over more than a century.

The project begins with a territorial ambition: to create a regenerative farm at the scale of the village of Rüti. This vision requires a herd of 300 sheep, not only for landscape management and soil regeneration but also for the production of wool, milk, and cheese. At the same time, the village of Rüti has no access to higher education within 1.5 hours by train, which severely limits opportunities for young people in the region. The idea of combining agricultural production with higher education makes sense — especially in this idyllic setting, where reusing the former wool factory as an agronomy school becomes both a symbolic and practical gesture.

The core architectural idea is to anchor the new program within the existing structure as respectfully as possible. Rather than erasing or drastically altering the old factory, the interventions aim to integrate into it, preserving and celebrating its spatial qualities. The generous industrial volumes are maintained, with minimal additions. Where new elements are introduced, they are clearly readable and reversible. The result is a hybrid space: part learning environment, part productive farm, and part historical artifact.

The energy concept is based on a phased and locally rooted approach. Over several years, the 1850s building is gradually insulated with sheep wool, creating a clear connection between the function of the farm and the materials used in construction.

Underfloor heating is installed in the living and teaching areas, powered by a heat pump connected to the existing Kraftwerk — a former hydropower plant that remains in operation within the building.

Rather than replacing the original windows, they are carefully repaired, and small foam seals are added to reduce air infiltration, preserving their historic character while improving performance.

Architecturally, a major addition is a central circulation core — a staircase that connects all levels and improves accessibility throughout the building.

Moreover, the attic level is reimagined to accommodate guests and visitors. This space becomes a bridge between the local community, the school, and the outside world, supporting temporary stays, workshops, and events.

Finally, the largest architectural intervention addresses the key issue of the complex: the latest storage hall, built in 1982, hides the historic glazed façade from 1916 and casts the main hall into shadow. The intervention is therefore to deconstruct this extension, keep its wooden load-bearing structure, and reuse it to erect a new building with a classic dual-pitched roof. This new volume frees the historic façade and allows natural light to re-enter the main hall. The newly constructed building is dedicated to sheep milking, forming a functional and symbolic link between the herd and the historic fabric of the site.

In short, the project proposes a new rural campus model where farmers, students, researchers, and locals come together. It is a place of production, education, and innovation. It revives the site and responds to the demographic decline that has affected the villages of the Glarus valley since the end of its industrial golden age.

Remoteness and Identity

Federico Bortot / Yuying Elena Gu / Pierre Teo
HS  2024  Remoteness and Identity

1/16

Physical and Living Alps

1/8
Edited by Denny Chiang, Damian Hess, Ziyong Mu, Michelle Müller, Xuanchang Zhang, Jeremy Walker
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Diploma HS 2024

Switzerland at a Crossroads
Monica Ciobotar
HS  2024  Switzerland at a Crossroads

1/25

IEA Lecture

All buildings are beautiful
October 9, 2024, 18:00

Adam Caruso
IEA Lecture Series HS 24
Practice What We Teach?
ETH Zürich, ONA, Fokushalle

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A New Museum

Franziska Gödicke / Jakob Schaefermayer
FS  2024  A New Museum

1/8

Manor Bahnhofstrasse, Seth Siegelaub

1/11
Edited by Samuel Tanner, Felix Affolter, Viviane Mathys, Laura Di Nardo, Laura Schneider, Jonas Brun
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Diploma FS 2024

Hotel Glarnerland
Jonathan Rutishauser
FS  2024  When Content Becomes Form

1/16

By investigating the history of Glarus it became apparent that the textile industry played a significant role. Described as a pioneer work, the heroic and linear narrative still plays an important role in the canton’s identity today. Inspired by Ursula Le Guin’s concept of the carrier bag, a collection of stories was gathered describing that the Glarnerland isn’t only about the heydays of the industry but also about the possibilities it left behind.

One of the stories to be told is explained by Peter Jenny. In an interview, he mentioned that besides the industrial past, the Glarnerland has the quality of serving as a niche and by that attracting artists and other people involved in the cultural scene. After the textile industry came to a halt at the end of the 20th century, space became available that could be exploited. Examples such as the Palais Jaune in Diesbach in the 1980s or the still active Hollenstein in Ennenda illustrate what Jenny was referring to. Both places offered space to communities of people involved in the cultural sector where they could create their own environment, hidden from the rush in the cities.

Also, the Hänggiturm shows a straightforward way of representing the history of the textile past. Reapplying Ursula Le Guin’s method to analyze the building it became clear that the seemingly perfect appearance of the ensemble has more stories
to tell. The old, original factory building was supposed to serve as a base for the relocated Hänggiturm. As the building was a bit too narrow, it was demolished in the 90s and replaced by a new building with the same appearance. One irregularity that illustrates the orchestration is the large basement with an underground garage.

How does this “Niche” manifest itself?
The relocation of the post office that is currently inhabiting the base of the building offers the possibility to introduce a new use. As an extension of the existing cultural network, a residency for artists is implemented into the partly vacated building. Equipped with small appartements it allows the guests to inhabit the building for any length of time. The floor slab to the basement is cut open to unveil the orchestration and to provide the basement with natural light. The space once used as a garage is reframed into a Werkhalle, ready to be appropriated by the inhabitants, starting with a ceramic workshop in which tiles are produced which are installed on the upper floors. Inspired by the structure of the Chelsea Hotel
the ground floor is transformed into the new Lobby of the building. Together with the existing Anna Göldi Museum in the Hänggiturm, the lobby mediates between the public and the newly implemented internal world. The bar, reception, and collective kitchen on one hand welcome the public of Ennenda into the building and on the other hand, serve as an extension of the inhabitants’ living rooms, enabling a community to form around the residence. The seven existing bathrooms on the upper floors allow the plans to be altered into seven smaller apartments. Equipped with a bed and a small kitchen they provide a basis for the individual occupation of the inhabitants.

Redesigning Museums

Julian Merlo / Nicolai Dinkel
HS  2023  Redesigning Museums

1/11

Löwenbräu Areal

1/4
Edited by Fabian Güzelgün, Ladina Nägeli, Che Facchin, Raphael Uhl, Jacqueline Coco, Meta Hunold
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Diploma HS 2023

Kunsthaus Glarus
Marius Muszynski
HS  2023  Unschöne Museen

1/14

Re (Reframe, Rearrange, Repeat)

Michael Mohr / Salome Weiss
FS  2023  Re (Reframe, Rearrange, Repeat)

1/12

Beverly Buchanan

1/6
Edited by Leandro Dietz, Andri Heini, Naomi Schanne, Marthe Maerten
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Diploma FS 2023

Ornament of Globalisation
Anastasia Zharova
FS  2023  Labour Reframed

1/17

Reframe, Rearrange, Repeat

Nina Gautschi / Kristina Meier
HS  2022  Reframe, Rearrange, Repeat

1/14

Louise Lawler

1/10
Edited by Tiffanie Genilloud, Tim Stettler, Adriano Cangemi, Ryutaro Matsushita, Robin Staubli, Airas Sánchez Keller

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Diploma HS 2022

COPYING MY OWN MEMORY
Jaehee Shin
HS  2022  Copies

1/15

Re form

James Flaus / Luca Bronca
FS  2022  Re form

1/34

Kirche auf der Egg

1/7
Edited by Simona Mele, Lowis Gujer, Alois Merkt, Lea Muttoni, Sophie Kalwa, Philip Einhaus, Wen Guan
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IEA Lecture

You cannot take risks without failing
March 15, 2022, 18:00

Adam Caruso
IEA Lecture Series FS 22
One Building, Failure Is an Option

ETH Zürich, ONA, Fokushalle

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Interim, forever

Caspar Bultmann / Jeremy Waterfield
HS  2021  Interim, forever

1/14

Raumbörse Sihlquai

1/4
Edited by Lucia Bernini, Jonas Heller, Jeremy Waterfield, Caspar Bultmann, Sofia Gloor, Florian Reisner, Ann Sophia Kirchhofer, Emanuel Pulfer
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Diploma HS 2021

Familiar Strangers
Grégoire Bridel
HS  2021  Light touch, Marriott

1/29

Familiar strangers proposes a scenario that slowly transforms the hotel and its management style, learning from the daily disruptions and misuses. Alterations spread over time are accumulated on top of each other, creating and discovering other uses of the building. After all, embracing change is one of the core values of Marriott.

Like stage sets, hotels and their lobbies catch attention and provide a backdrop for human interactions. Rather than forcing contact between guests, a new model is put into place by letting visible traces of usage: objects are slowly put on display, voluntarily or not, and become screens onto which imaginative stories of lives past and present can be projected. Temporary kinships are created, and the building and its users become familiar strangers. Gradually, the rooms are transformed into something that can be different and the building is reconnected to the city, fulfilling Marriott’s global vision for the hotel to be “Zurich’s inspiring place, where brilliance connects people.”

Women Writing Architecture

Website Launch
June 30, 2021

The website womenwritingarchitecture.org was launched this week on June 30th. The new resource, an annotated bibliography of writing by women about architecture, is now publicly accessible to discover, browse and contribute to.

Making Plans for Living Together

Bing Yang
FS  2021  Making Plans for Living Together

1/24

On Good Grounds

Sarah Köstler / Patrick Greber
FS  2021  Making Plans for Living Together, Zürich

1/33

Abbaye Notre-Dame de Sénanque

1/6
Edited by Jan Schweizer, Yiran Zhang
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Making Plans for Living

Daniela Burki / Ramona Köchli
HS  2020  Making Plans for Living, Zürich

1/19

Ragamala, Indian Miniatures

1/2
Edited by Caroline Dietlmeier, Sara Katharina  Keller, Christian Cotting, Patrick  Holzer
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Re-​Use Ciba

Mona Fögler
FS  2020  Re-​Use Ciba, Basel

1/20

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

What is it worth?

Greta Kochhäuser / Oscar Jobin
FS  2020  What is it worth?, Zürich

1/26

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Martha Rosler

1/6
Edited by Juan Barcia Mas, Xenia Strohmeyer, Matteo Marangione, Tommaso Delcò

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Welche Heimat?

Livia Notarangelo
HS  2019  Welche Heimat?

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Society and the Image

Luisa Overath / Jue Liu
HS  2019  Society and the Image, Zürich

1/10

Sophie Calle

Edited by Gionata Buzzi, Anna Clocchiatti, Flurina Leuchter, Nina Flurina Rickenbacher

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Public Building

Philippe Bleuel / Gent Ibrahimi
FS  2019  Public Building, Zürich

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Reconstruction of the Baths of Diocletian, Andrea Palladio
Rom, 1540

1/4
Edited by Jasper Buchmann-Ebbert, Artai Sanchez, Louise du Fay de Lavallaz, Sabrina Waibel
FS  2019  Public BuildingPosterPDF  575 KB
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Hidden Interiors

Magnus Lidman / Simon Würgler
HS  2018  Hidden Interiors, Zürich

1/10

Casa de Vidro, Lina Bo Bardi
São Paulo, 1951

1/5
Edited by Viktor Lepik, Jaehee Shin, Tolga Uenver, Georg Weilenmann
HS  2018  Hidden InteriorsSeminar WeekPDF  617 KB
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The Ideal City

Heidi Silvennoinen / Jonas Sundberg
FS  2018  The Ideal City, Arbon

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Renaissance City, Piero della Francesca
Urbino, 1480

1/5
Edited by Silouane Fellrath, Gaetan Iannone, Heidi Silvennoinen, Jonas Sundberg
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FS  2018  The Ideal CityPoster SeminarweekPDF  589 KB
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Describing Beauty

Samuel Imbeck
HS  2017  Describing Beauty, Zürich

1/14

Shang Vessel
China, 1100 BC

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Edited by Stephan Mauser, Maria Theis
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Structure and Society

Alcide Bähler / Caroline Lütjens
FS  2017  Structure and Society, Zürich

1/10

Centraal Beheer, Herman Hertzberger
Apeldoorn, 1972

1/5
Edited by Susanna Croce, India Kuhn, Nadine Weger, Nina Stauffer
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Social Structure

Camillo Fiorito
HS  2016  Social Structure, Graubünden

1/16

Geology & Landscape
Graubünden

1/10
Edited by Alban Külling, Aline Grossrieder, Celia Hofmann, Cristina Fusco, Eliane Windlin, Joël Héritier, Stefano Dell'Oro
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