Muzeum Susch is a very unique project, what was it about the brief that excited you? 

LV: I was drawn to the visionary approach to the project by the client, Grażyna Kulczyk. The opportunity to transform an important historical part of Susch and to juxtapose this history with a contemporary art museum was very unique. 

CS: The relationships between the existing spaces, creating a new generous building, was appealing to me. We strove to create a coherent continuation from spaces with distinct and varying characteristics. This challenge interested me. 

The relationships between the existing spaces, creating a new generous building, was appealing to me. We strove to create a coherent continuation from spaces with distinct and varying characteristics. 

The Muzeum hopes to champion ‘experimental approaches to contemporary art’ did you utilise this as an opportunity to take a more experimental approach to your design? 

LV: We knew that Grażyna Kulczyk wanted to have rooms where art could be exhibited and explored in a different way. Our approach was not always to propose how art could be exhibited in the best way, but rather, if there could be dialogue between the history of the space and the art. The design elements refer to this strategy rather than just being “experimental”. 

CS: Our approach was distinguished by the opportunity to work with strong opposites, like in one space you see the rock and the water coming out and in the next you have the climate controlled white-cube. These new spaces do not refer to a specific time, instead they are timeless and minimal. 

How did you create a space that would frame and elevate the artwork, without compromising the architecture? 

LV: The buildings are still a part of the whole village structure and therefore already have a strong identity themselves. Some rooms frame the art work stronger while in other rooms the architecture is the dominant part. We want to see it as a dialogue between the art, the history of the spaces and the architecture that transformed and extended the existing buildings.

CS: We worked towards a minimal, “quiet” architecture, emphasizing the pearls of the site, which already carry a strong character. For example, the stone cave is completely out of the existing rock. The architecture is a “non-ego architecture“, working with the landscape and the spaces in-between to create a self-evident place for art. 

The original building is an integral part of the village, a former vicarage and hospice which formed parts of a rural monastery founded in 1157, and then in the 19th century an industrial brewery building - what did you understand was its meaning to the locals and how did you try and integrate its contextual relevance and history into your design? What original features did you keep as part of the design? 

LV: The industrial buildings from the late 19th century firmly refer to an important part of the village’s history. The local beer production was a dominant local business and a huge success. The quality of the water itself was well-known, so much that when the production of the beer had to move away for economic reasons, the water was exported from Susch to the new site. This water is still running and visually present inside the museum in the former cooling tower of the brewery.  Today, it has become a lighthouse through its vertical extension, especially radiant at night.

CS: All the buildings are under protection. We worked closely with restaurateurs, using the existing old structures from different time periods. We elevated the important parts which were built in the last 100 years. This history was very important and we emphasized it by re-establishing connections. For example, we rebuilt the functional connection of the two old breweries and made them accessible. In the past, beer barrels would have been rolled from one to the other, now they join to make up the main entrance. 

The architecture is a “non-ego architecture“, working with the landscape and the spaces in-between to create a self-evident place for art. 

Not only are the original buildings important but the landscape and environment they are placed within are of great significance too. What were the technical difficulties building in such a remote mountain town in the Engadin Valley, on the ancient pilgrim route to Santiago de Compostela? What restrictions did you have to overcome? 

LV: The old part of the village is under a preservation order which we respected. From the start, we followed this by developing a strategy to expand the museum underground. So the expansion is more a modulation of the existing slope. With the dry stone walls, which modulate the slope, we wanted to connect the existing building structure with the landscape. 

CS: The new extension is almost entirely under the earth, inside the rock. We worked with a great team of engineers specialized to do this specific project right and extremely closely with Denkmalpflege (Historic Preservation) to protect the building. Internally, we also used the traditional stone walls (drywalls with the excavated stone) to connect the building with the landscape and its surrounding. Susch is a geological window. The nature and the rock are very unique. Ultimately, nature is an important theme in the entire project. 

You had to excavate 9,000 tons of Amphibolite from the site before even beginning construction, how did you repurpose this local rock? What particularities of the materials did you make use of? Did this process alter your design proposal at all? 

LV: All the buildings are built on this local rock, it is their foundation. During the planning process of the project, the idea developed to repurpose part of the rock, using it for the concrete floors which includes most of the rooms. In some rooms the rock just remains visible, reminding the visitors that they are stood inside this rock.

CS: This stone was important to communicate across the project. Not only were they recycled into the concrete floors but also the ‘drywalls’ outside of the building. 

The Muzeum is comprised of three buildings; including exhibition space, offices, a restaurant, and also a space for artists residencies, how did you connect these spaces?

LV: Structurally, two buildings are connected with an underground tunnel, fortunately we were able to expand them.  More thematically but equally important to structure, is the connection is in the details, materials and concepts which unite the three main buildings.

CS: These tunnels are not visible from the outside but did historically function to the brewery.

As part of the design, you developed a landscaping proposal, what was your intention with this proposition? 

LV: The landscape around the museum is as important to the exhibitions spaces as the inside. There are visual and functional connections from the inside and the outside. In the summer, the museum will be able to be inclusive of the outside work, using the different terraces when the snow has melted.

CS: This relationship, connecting the outside world within the museum has built a strong connection with the landscape. The different natural and historical elements in the project are also mirrored by the village-like structure of the project, reflecting its situation in Susch. 

How did you utilise your previous experience working on the Von Bartha gallery in Basel? 

LV: The brief of “von Bartha Gallery” was also to transform an existing industrial structure into an exhibition space. There was an existing gas station in the front of that gallery, lending an opportunity to create an icon space without an intrusive intervention to the existing structure, much like this project. 

CS: We were also able to use our experience with Von Bartha when considering our approach to materials, the practice of combining very distinct spaces using a unifying architectural language and to commit to the character of the site.

There was also a challenge to overcome the fear of breaking new ground, doing something new and leaving our mark on a site with so much history.

What notions of architecture did this project challenge and how did you push the/your boundaries? What have you learnt from this project? 

LV: Throughout the project there was a constant dialogue with the client. Grażyna Kulczyk was open to constantly revising and adapting the program of Muzeum Susch. When the first plans for the project were done, two more buildings were added which changed and improved the project. This supported the different functions the site would host - such as exhibition, administration and residential functions which could be distributed into a hospitable structures. Also, there were other interests to consider – such as those of neighbours, conservators and local politics. All these different aspects had to be balanced in our approach. 

CS: There was also a challenge to overcome the fear of breaking new ground, doing something new and leaving our mark on a site with so much history. We pushed our boundaries in this project but also remained flexible by incorporating to new discoveries in the process, whether related to material, natural or structural findings. 

What is your favourite feature of the design? 

LV: Besides the thematic ideas it was a huge pleasure to work with many local manufacturers who did incredible wood- and steelwork for the building.

CS: I think the combination of varying distinct architectural spaces is incredible. When walking through the museum, there are plenty of different ways you can view the building. And finally, the “icetower” that connects the natural elements to the building. 

What legacy do you hope to create with your design of the Museum? 

LV:  A sustainable transformation of the buildings that will attract many visitors and artists and will be the stage for many events and stories.

CS: I hope that people enjoy the building, that they visit and appreciate their time here.