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

The beauty of care and the grace of hosting are deeply rooted in the human nature. In the small village of Rüti, the threads of architecture and agriculture gently weave together.

At the heart of this lies empowerment and the importance of a connected social fabric.. Over time, care has evolved into a powerful, life-sustaining force, blending domestic, reproductive, and productive labor. Creating spaces for gathering becomes an act of resistance, spaces where public life and care intertwine. Over time, these spaces transform into places of communal return. By reimagining care as collective, we begin to envision new systems, ones built not on isolation, but on interdependence.

Despite their historic coexistence, architecture and agriculture have drifted apart. In Rüti, this separation is evident in the lack of infrastructure for communal gatherings, harvesting celebrations, or just the simple life. At the same time, the built environment remains tailored to narrow age groups, making it increasingly difficult to foster long-term residency, particularly in the context of an aging society and future generations yet to come. How do we reconnect across age and time - interweaving the threads of care and the act of hosting?

The dining table becomes a powerful metaphor for this shift - a central site of gathering, nourishment, and connection. As an instrument of care, the historical concept of the Konsumverein - 19th-century consumer cooperatives that laid the groundwork for the Genossenschaft model - is reintroduced. These self-managed collectives enabled workers, farmers, and civil servants to bypass commercial markets and ensuring access to essential goods. In this, local food production, fairness, and mutual care become acts of resistance and renewal. The urban kitchen -no longer just a place to cook- becomes a social tool of care. It challenges the nuclear family model, addressing issues of care, gender, and age. Shared domestic spaces begin to blur the boundaries between living and working, private and public. In this shift, care is no longer attached to the home - it becomes part of the public realm.

Within this landscape of care, figures like the healer and midwife reemerge - symbols of feminine knowledge and empowerment, deeply tied to natural medicine and traditional herbal practices. This connects care to the land, to healing, and to the quiet power of nature. These small gestures of growing, cooking, and eating together- form the blueprint for a new way of living. By desinging homes that are inclusive and intergenerational, its possible to incite people of all ages to live, work, and care under one roof at a metaphorical table.

Hosting becomes more than shelter - it is an act of memory and comfort - extending and taking care of both people and nature. These are spaces of communal return, where the roles of guest and host, caregiver and receiver, dissolve into mutuality. By gently layering new architectural gestures onto existing built environment, architecture and agriculture begin to intertwine, giving rise to a new social fabric. Fine threads of intervention - nearly invisible - accumulate into a resilient fabric of care. 

 The Klausenpass, where the project is located, is very strongly impacted by the different seasons. Indeed, the road closure due to the winter snow covering of the 1948m asl pass makes the place very different depending on the seasons.

The project then seeks to create two different uses, interweaving the different conditions of the surroundings and answering challenges both in winter and summer. In summer, the main focus is to provide a platform dwelling people high up around the pass, providing cheap manpower for the local farmers working in the nearby alps.

In winter, the project otherwise very close to the road become completely isolated. The people that stayed and worked there during summer can stay in the same building, but in a very different environment. As a counterpart -and retribution- to the work accomplished during summer, guided skitouring outings are organized. This way of being compensated for the summer work allows a more economically accessible way to learn mountain sports.

In a more practical way, the building is dimensioned according the the workforce need of the farmers during the summer season. In winter, the building shifts in hibernation mode: since there is less need of rooms, the groups staying there are smaller. The bottom floor is then covered in snow, and is only used again the next spring.

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

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

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

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The office building at Gartenhofstrasse 17 was built in 1966 by Sigmund Feigel (1921 - 2004). While the adjacent Zweierstrasse is lined by a row of office buildings constructed around the same time, Gartenhofstrasse 17 is slightly set back into the street, reaching into the realm of residential buildings and neo-classicist factory buildings.

Throughout its lifespan the building had been renovated several times. The roof and the party walls on both sides have been isolated, the canopy renewed, and in 2011 the old facade panels were exchanged. The new facade, designed by Rolf Schaffner, led to a drastic decrease in energy consumption. The different construction periods result in a „bricolage des temps“.

Currently three of the building’s six stories are empty due to the relocation of municipal police offices, making the future of Gartenhofstrasse 17 uncertain.

Only few interventions are necessary to fundamentally change the organization of the building. 

On the inside a new form of living takes place where domestic spaces and the workplace fade into each other. From the outside the additions reinterpret the appearance of the building within its urban setting. While keeping the integrity of Schaffner´s facade intact, the side facades are opened with large pivoting windows that create a vis-à-vis to the adjacent neo-classicist buildings. In the courtyard one of the three parking garages has been opened, creating an alley way between the former office building and a new atelier building. On the front side an extension of the canopy allows a glimpse into the hidden world of the backyard. 

The ways in which particular elements, spaces and structures are transformed remind us of the „rococoization“ of gothic churches.  By introducing a new grammar, given things change the way we perceive them. Despite the obvious friction between building periodes and languages there derives a new unity.

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Referring to Lucius Burckhardts ‘Der kleinstmögliche Eingriff’ written in the 1980s, the project aims to de-objectify the Marriott Hotel that is located at the most central locations, yet remains mostly unnoticed by the cities’ inhabitants. In the sense of Burckhardts aesthetic survey, the project follows six paths that lead up to the many entrances of the building and proposed the smallest possible interventions to initiate transformation. By promoting a change in perception of the building and its relationship to the urban landscape the buildings strength of accessibility can once again be valued. It could then become a space for the public that ultimately prevents it from demolition.

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

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

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The project tries to question our approach to saving energy in the built sector. While concepts such as the 2000 Watt society are ambitious in their scope, real life implementations often seem to result in dull and lifeless consequences for everyday life. Instead of imposing ever more rules and regulations, the proposal seeks the pleasures of an alternative lifestyle inspired by a more sensible approach to energy consumption.

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Archiactor - The Act of Architecture
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