Switzerland

Franz FUeg, St Pius Church, Meggen, Lucerne, 1966

The architect's rejection of individuality here produced a building of transcendent simplicity.

Franz FUeg, St Pius Church, Meggen, Lucerne, 1966

The architect's rejection of individuality here produced a building of transcendent simplicity.

imagination had a liberating effect on many students. He was invited to the ETH again in 1978/79 to participate in joint studios with Bernhard Hoesli and Paul Hofer; this time Marcel Meili and Miroslav Sik were among his students.

In the autumn of 1975, the architectural critic Martin Steinmann organised an exhibition of the work of 20 young architects in Ticino at the ETH Zurich with the title 'Tendenzen: Neue Architektur in Tessin' (Tendencies: New Architecture in Ticino). Following Rossi's dictum, 'l'architettura sono le architetture' (which might be translated as 'architecture is the product of past architectures'), Steinmann called for an architecture that would discover its principles by researching its own history as an 'inner reality'. In his later work as an editor of Archithese (the leading Swiss periodical of architectural theory in the 1970s, founded in 1972), Steinmann attempted to develop a programme of architectural realism based on the tradition of Swiss Modernism (Hans Schmidt), Rossi's Rationalism and Robert Venturi's 'populist' Postmodernism.

A very significant next step in the process of transformation of the Rationalism promoted by Rossi into atmospheric images was 'Analoge Architektur' (analogous architecture), a term coined by Miroslav Sik to describe the work of his students. The term 'analogous' was originally used by Rossi in connection with his book L'architettura della citta (The Architecture of the City), published in 1966, and in his project Citta Analoga (Analogous City),3 but the exact meaning of 'analogy' was never fully explained by Rossi himself. It seemed to sum up his understanding of a design method based on the observation of historical precedents and on Carl G Jung's theory of active imagination using analogies.

A similar approach characterised Analoge Architektur; the work tried to find a way out of narrow-minded empiric research and into the everyday, the realm of popular art forms such as comic strips and storyboards. It was a development similar to the ideas of the Independent Group and the Smithsons in London in the 1950s. The introduction of Venturi to Switzerland (with Stanislaus von Moos and Steinmann acting as the main protagonists) might suggest that there was a similar interest in the character of the lower-middle-class and workers' districts among the 'analogous' architects - which might appear as surprising, given the generally muted reaction to American-style Postmodernism in Switzerland. But, with Swiss cautiousness, the work of the Analogen keeps a distance, as much from the 'ordinariness' of the Smithsons as from the pale blue and pink, quattrocento italianita of Rossi or the neon lights of Las Vegas. The student drawings exhibited in the Architektur Forum in Zurich in

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