The Grieder House is builtt in 1956 which is Küsnacht-based near Zurich, Swiss. Theodor Laubi is the architect and the designer for this late work. He designed it on a plot of the land with an ample garden and it is flanked by a forest. Then after the several changes of the owners and their corresponding conversions and the extensions the house has lost the original modernistic character. Fortunately in 2005, the residence has taken over by the new owners; they are a young couple who’s the gallery owner and an artist.
The recognized the potential of the house. The renovation of the house is the opening gallery for the contemporary art in the ground floor. It is not only revitalized the house itself, but also transformed it into a partial and semi-public building which is profited the whole surrounding residential area. The client is having lived for about 10 years in the big city like Berlin and London. That has the advantage itself to skillfully introduce a piece of the metropolitan lifestyle to this idyllic single family with the house view over to the Lake Zurich. The additional dimension to the house is added by the functional reorientation and the shift in the spatial program, an exciting hybridism and the opportunity to reinterpret many of the rooms in this house.
To the art gallery, this is particularly applied which is rather than presenting itself as a “White Cube” is a salon for the contemporary art which is consciously and gracefully coquets with the domestic homeliness of its surroundings. The witness to the care and the attention originally paid to the architectural expression of the building is bearded by a surviving series of the photographs from the 1950s; it is evident for the instance in the slender window profiles and the overall purist modernist appearance.
By Fuhrimann Hächler Architects, the aim of the conversion is undertaken. This is not merely restore the original character of the house which is requires the demolition of a lean-o garage, but also to amplify and even accentuate relevance and to anchor the architecture in the present-day. The curved staircase or the concrete slats are peeled away to reveal the hidden qualities in their original luster. For the example, the former wash room with its adjacent terrace which is used for hanging the laundry is featuring with wonderful facade elements of the concrete slats. It is transformed into a particularly attractive kitchen for the upper apartment with a terrace balcony. The beholder becomes fully aware of the notably Mediterranean which touch is in the existing concrete lattice, and allowing its “Brazilian” flair to unfold. The juxtaposition of the individual is freely rounded and it is formed with the strict orthogonal geometry in the organization of most of the floor plans. The juxtaposition itself is a typical characteristic of the South American Modern architecture of the 1950s. To deepen the tensions and the contrast, the new built-in kitchen elements and the furniture which consciously adheres to this impulse is designed.
The seamless application of the wallpaper with a tree trunk motif is allowable from the rounded corners in the corridor in the upper storey. It is interior-razing the woods adjacent to the house and also internalizing the forest house atmosphere. The motif itself is stretching over a bookcase which is integrated into the wall and transforming it into the furniture in the process and the opening the various construction elements to reinterpretation or hybridization. The materialization is generates the consistent and restrained atmosphere which is not clash with the exhibited of the contemporary art, but it is rather seeks to compliment and highlight the pieces. The unconventional coloring is comes with the nuances of the olive-green and brown, once again it is echoes the theme of forest setting inside the house and it is lending the architecture as a particular touch in a discrete and individual way.