INTRODUCTIONLaboratoire de la production d’architecture 1
TEACHING & RESEARCHResearch methodology 3
Teaching methodology 5
URBAN SCALE1. Semester 7
Essay 9
Trajectory 11
Case Studies 13
Urban Strategy 15
Urban Constitution 17
PROJECT SCALE2. Semester 19
Feasibility Study 21
Schematic Design 23
Design Development 25
Construction Documentation 27
Presentation Documentation 29
LAPA CHAIRCollaborators 31
Contacts 39
How to fi nd Lapa 41
CONTENTS
1
The Laboratoire de la production
d’architecture (Lapa) was founded in 2005
by Professor Harry Gugger as research
and design laboratory within the school
of architecture at the École polytechnique
fédérale de Lausanne (EPFL) in Switzer-
land.
The name of the laboratory indicates this
is a lab devoted to the study and research
of creating architecture and a place
where architecture is produced. The
term ‘production’ underscores our view
of our built environment as an intellec-
tual, crafted, machine-made and artistic
product. When we speak of architecture
we imply the entire life cycle of a project:
from development, planning and con-
struction to the long term use and exist-
ence of the building. This all-inclusive
approach is also rendered by the word
‘production’ since it designates both the
creation of an intellectual commodity and
the manufacturing of the product.
INTRODUCTIONLABORATOIRE DE LA PRODUCTION D’ARCHITECTURE
Drawing of the Coucy Castle, Medieval Encyclopedy (from Violet-le-Duc)
3
RESEARCHMETHODOLOGY
Lapa is committed to the study and
research of architectural production. It
is the primary goal of Lapa to ensure the
architect’s continued role in the planning
and building process and to reinforce the
architect’s position as a central, integrat-
ing and coordinating force. Research
at Lapa therefore aims to improve the
understanding of the architectural proc-
ess, and to advance the “state of the art”
of implemented technology.
Infl uences that affect an architectural
project can be both general for the project
type or specifi c to the location or project
context. Lapa research is devoted to ad-
dressing, understanding, and mapping
the parameters that affect the success
of architectural projects, with the goal
of better controlling the architectural pro-
duction methodology. Following the meth-
odology of teaching, research addresses
issues of interdisciplinary collaboration,
environmental life cycle issues, and the
rationalization of production.
Questions of design are therefore com-
plemented by research into infl uential
project parameters such as: social, politi-
cal, and economic structures, legal and
code issues, contextual landscape and
environmental parameters, technological
systems of construction and fabrication,
and building maintenance and life cycle
issues. By modelling the relations and
impacts of these interdisciplinary infl u-
ences a more comprehensive view into
the overall process of the production can
be achieved.
Specifi c research is also being conducted
on the implementation of digital technolo-
gies within architectural production and
the fundamental concept of the digital
chain. The objective of this research is to
expand the architect‘s sphere of infl uence
through the logical and consistent ap-
plication of digital technology to the entire
architectural process. This work focuses
on new technologies such as generative
CAD and computer controlled fabrication
in order to rationalize and coordinate data
fl ow through the multitude of stages of an
architectural project.
The implementation of research into
architectural production is the “proof
of concept” for Lapa. As such research
includes the act of creating architecture,
both in the experimental context of the
university, and the professional context
of commercial projects. Information
acquired from built projects and interac-
tions with partnering industries allows for
conclusions to be drawn about the fabri-
cation processes, as well as the overall
life cycle of a project or building.
Through the research of the factors of
architectural production Lapa seeks to
fi nd the ideal environment and processes
to ensure the highest possible quality of
building.
CNC milling of landscape surface
5
TEACHINGMETHODOLOGY
The working methodology of Lapa merges
analytical research methodologies with
creative design, to develop an investi-
gative process for urban planning and
architecture. This procedural approach
promotes the interdisciplinary process of
architectural production and integrates
the research of our students into long-
term comparative investigation projects.
Each year Lapa chooses a location or site
as the basis for its teaching and research
project. Sites are selected based on a
signifi cant research interest related to
the issues of architectural production.
Each project brings together special-
ists and project partners to expand the
fi eld of research, assure the inclusion
of contextual factors, and incorporate
extended relevant issues that affect the
overall methodological approach and
the designed results. Every architectural
project is by nature interdisciplinary since
it involves people, the city, the landscape
and the environment.
The goal of teaching at Lapa is to show
that the role of the architect is not limited
to the planning and design of the building,
but rather that the architect is producer
and coordinator of the entire architectural
process. To achieve this Lapa teaching
emphasizes four fundamental beliefs:
• Architects must be capable of working
within the context of an interdisciplinary
process where cooperation with special-
ists and trades is a fundamental constitu-
ent of the architect’s working method.
• The basis of an architectural project is
the development of a “functional brief”
and the evaluation of its overall feasibility
within the project context.
• Architects must study and co-design
the digital technologies that are revolu-
tionizing design and fabrication process-
es. Digital data, generated in the design
processes, is a valuable commodity and
architects must learn to use this data
directly in the effi cient production of the
built product. Architects must develop
the potential of an unbroken digital chain
from concept to construction.
• Finally, architects must understand the
life cycle and impact of their work; that
the maintenance, operation and demoli-
tion/recycling of a building pose architec-
tural problems, which must already be
addressed in the conceptual phase of a
project.
In our fi rst year we applied this methodol-
ogy to the topic of the EPFL and University
of Lausanne campus. This project has
been enthusiastically received by the
EPFL president’s offi ce, and has been
presented formally as a future planning
proposal for the EPFL, the UniL, and the
surrounding communities. In our sec-
ond year Lapa has chosen to apply this
methodology in an examination of Havana,
Cuba. This change in “architectural
culture” allows us to asses and refi ne the
teaching methodology and to examine
“production” within a greater cultural
context.
Havana - Diez de Octubre, Lapa workshop 2007
7
URBAN SCALE1. SEMESTER
Lapa offers a year long course. During
the fi rst semester the students work
on an urban scale. This investigation is
structured in 5 assignments and results
what we call an “Urban Constitution”. This
“Urban Constitution” always consists of a
Constitution text and a Zoning Plan.
In the second semester the students work
on the scale of an architectural project.
Based on the “Urban Constitution” they
defi ne their own site and program for an
architectural project, which they then
develop in 5 phases to the scale of a 1:1
Mock-up. These projects act as “Proof of
Concept” testing the viability of the “Ur-
ban Constitution”. As part of the second
semester, Lapa conducts each year a two
day digital technology seminar.
The location for the large scale, urban
project is selected based on a signifi cant
research interest related to the issues of
architectural production in a broad sense.
Important part of Lapa’s methodological
approach is the transdisciplinary col-
laboration of architects and specialists
to expand the fi eld of research, assure
the inclusion of contextual factors, and
incorporate extended relevant issues that
affect the overall of the designed results.
Through this approach each student is
simultaneously participating in a “design
team” and in a “specialist consultant
group”. This methodological structure
refl ects the “orthogonal” organisation
of the ENAC faculty at the EPFL with its
institutes and its sections.
For this semester Lapa is collaborating
with a partner institution from the chosen
location. This collaboration culminates in
a two week workshop “on site”.
9
ESSAY, MY ...ASSIGNMENT 1
The goal of this assignment is to allow
each student to interpret the unfamiliar
situation and context of the semester in
their own highly personal and individual
way. The fi nal product and medium of the
work is open, but should be in some way
dynamic and “presentable”, so as to allow
for others to refl ect upon the work with-
out explanation. No presenter is allowed
to make any spoken comments on his
work during the presentation. The chosen
medium, content, and presentation are
therefore required to be self explana-
tory, while the personal message or story
should be precise and clear.
Essay, My Havana - Installation, Carmen Ebneter, 2006/07
11
TRAJECTORYASSIGNMENT 2
For this second assignment the class is
divided into groups of fi ve students. Each
group develops and conducts a “Trajec-
tory”; a “choreographed tour”. Each indi-
vidual in the group will be responsible for
(at minimum) one location within the tour.
The trajectory should have an underly-
ing theme, it may tell a story, it may have
events, it may be passive or interactive ,
but it should be discernible as a unifi ed
experience. Each Trajectory should be
unique but should relate to the overall
topic of the semester.
The design of a Trajectory should include
refl ection on environment, atmosphere,
acoustics, time and other conditions un-
der which the tour will take place.
The Trajectory should refl ect equally on
the progression through space, on desig-
nated stops in specifi c places of interest,
on the rhythm or the choreography as a
whole.
Trajectory, Havana - Diez de Octubre, 2006/07
13
CASE STUDIESASSIGNMENT 3
The third assignment is a case study
analysis of fi ve comparable examples of
the semester topic. The exemplary cases
have been chosen as a representative set
of different urban qualities and develop-
ment policies.
Each design group is assigned one case
study and is required to research, ana-
lyse, and document the conditions and
statistics relating to fi ve important plan-
ning themes. To do this effectively, each
member of a team is becoming a “special-
ist” of one of the analysis themes.
In order to enable a comparison a
standard data for all case study sites is
required. The group report is a compila-
tion of the 5 specialist topics, along with
standardized statistical and physical data,
and an overall analysis and set of conclu-
sions.
The conclusions for the case study should
clarify the advantages and problems and
identify special and unique features.
Cities over 1 million inhabitants, world urbanisation prospects, 2003
15
URBAN STRATEGYASSIGNMENT 4
The Urban Strategy is composed of many
constituent components, each addressing
specialized interests, yet also requiring
proper integration with the others to cre-
ate an intelligent tool for the evolution of
a plan. In this phase, participants resume
their role as “specialist” and develop
urban strategies for the project site.
Once the base data for the area has been
compiled the specialists work in consulta-
tion with their specialist group, to develop
a Urban Strategy for their topic, which will
be integrated into a comprehensive Urban
Constitution in the last assignment.
Urban Strategy, Havana - Diez de Octubre, Lapa workshop, 2007
17
URBAN CONSTITUTIONASSIGNMENT 5
The fi nal task for the semester is to amal-
gamate the work of the different special-
ists within a single design group project.
The resulting “Urban Constitution” is a
designed synthesis of the urban strate-
gies, combined to be fl exible and respon-
sive to future infl uences.
Within each constitution there should be
a statement of general goals and a thesis
for the development of the site. This
thesis should react to the most pertinent
statistical facts and group predictions for
a future development on the site. The goal
for this project is not to provide a typical
fi xed “master plan” for future building, but
to provide a logical set of guiding rules to
allow for an appropriate and consistent
response to the changing infl uences.
Therefor the Urban Constitution should
be a series of procedural rules that cor-
relate to the stated goals and thesis of the
group. The constitution should address
the perceived local needs in the short,
medium, and long term, and should be
represented as a schematic strategy that
integrates the multiple overlaying aspects
of planning with a fl exible methodology.
Diez de Octubre, Zoning Plan, Havana 2007
19
PROJECT SCALE2. SEMESTER
In the second semester the full planning
cycle of a real architectural project is
explored in order to test the limits of the
architects fi eld of infl uence. An abbrevi-
ated run through all planning phases
allows the students to experience the full
expanse of the architectural production
process.
During this semester the students have to
create a “proof of concept” by developing
a multi functional project on the basis of
the urban constitution developed during
the fi rst semester. Through their projects
the proposed urban constitution is tested
for its viability.
Possible extension of the architects infl uence on the production process
21
The fi rst phase of an architectural
project is to acknowledge a client brief,
and to conduct analysis to determine
the feasibility of a project. A Feasibility
Study should outline the current physi-
cal, infrastructural, and legal conditions
and restrictions of a site and develop a
“diagrammatic” approach to assessing
its compatibility with the program of the
client brief.
For this phase participants are required
to devise a project, chose a site within the
Zoning Plan developed in the fi rst semes-
ter, and prepare a Feasibility Study which
will guide the project.
Once the program and site has been
defi ned, the overall project proposal is
discussed to ensure it is “feasible” and
that the chosen site is available (only one
project per site).
FEASIBILITY STUDYPHASE 1
Feasibility Study, Aline Dubach & Salomé Gutscher, 2006
23
The Schematic Design transforms the di-
agrammatic descriptions of the Feasibility
Study into a functional, logical, thematic,
and aesthetic architectural “parti” – an
overall design concept.
In this phase the contextual issues of
site and connection are addressed, and
solutions for basic issues of structure,
materials, overall aesthetics, and volu-
metric relationships are explored. Most
importantly, the Schematic Design is the
point at which an identifi able architec-
tural expression – the overall character
- of the project is formulated. Each of
the students should take responsibil-
ity for at least one major design issue of
the project, which will assist with project
development and coordination.
The Schematic Design should address
larger issues of relationships both within
and outside the project boundaries. It
must take into account the surround-
ing context (including other proposed
projects), and deal with issues of bound-
ary, connection and content.
Strategies for the primary issues of
function, infrastructure, materiality
and construction should be devised. By
the conclusion of the Schematic Design
phase, there should be enough documen-
tation and detail from which the entire
project, both functionally and physically,
can be explained.
SCHEMATIC DESIGNPHASE 2
Ricardo Porro, Sketch for the School of Plastic Arts, Havana
25
In this phase the overall design is refi ned,
and details are designed which reinforce
the overall parti. This process fi nalizes
the design integration of larger issues
of structure, materiality, construction
system, and sub-systems.
The goal of this phase is to strengthen
the parti by completing and refi ning the
design at all scales, and to generate
expressive or appropriate details that will
guide the process of deciding on the tech-
niques and technologies to be employed
for fabrication and construction.
For this phase each student works inde-
pendently and develops details from their
identifi ed area of responsibility according
to the SD brief.
DESIGN DEVELOPMENTPHASE 3
School of Dramatic Arts, Havana
27
For this phase each team is required to
develop a series of construction docu-
ments for parts of their design. Each
group should develop key areas of their
design in the Construction Documenta-
tion using traditional (CAD) drawing. The
drawings should be the standards of
plan, section, elevation, or isometric - as
required for tender to a primary build-
ing contractor or for submission for part
drawings by a component supplier.
The second step of this phase is to devel-
op a different set of Construction Docu-
ments using alternative “digital CD con-
cepts”. Construction Documents in the
future will likely not be printed on paper.
The seminars and workshops will have
presented alternatives to the traditional
Construction Document paper plans – at
this point the teams are encouraged to
devise digitally formatted Construction
Documents which will enable the “digital
construction site” to evolve.
CONSTRUCTION DOCUMENTATIONPHASE 4
Construction site, Cuba, 2005
29
The fi nal phase is the fabrication of
“mock-ups” and “construction samples”.
This is done in order to get an accurate
sense of how the building will be built and
what its actual character will be at the 1:1
scale.
The fi nal task of the project is to compile
the documentation for the entire architec-
tural design project into a consolidation
brief. This document will describe the
entire project from feasibility study to the
fi nal design and construction process.
From this document, the team should
prepare a fi nal presentation of the project
which address two main issues:
1. The proposed architectural project: The
design, program, and implementation of
the architectural project within the exist-
ing social context in keeping within the
overall goals of the Urban Constitution.
2. The role of new technologies in the
architectural production process: The use
of new technologies in the act of making
innovative architecture and the role of
new technologies as an interface between
architecture and it’s users.
PRESENTATION DOCUMENTATIONPHASE 5
1:1 mock-up, “Ciudad de Flamengo”, ©herzogdemeuron
31
COLLABORATORS
Ralph Blättler was born in 1970 in
Menziken, Switzerland. After an ap-
prenticeship as a commercial employee
with the UBS in Sursee, Ralph studied
Architecture at the EPF Lausanne and
the Architectural Association School in
London. He completed his Diploma in
2000 with Prof. Pierre-Alain Rumley and
Prof. Mirko Zardini. He was collaborat-
ing with TOA Architects, Paris (2000-03)
and Weber Architects in Beinwil am See
(2003-06). Since 2006 he runs his own
fi rm in Lucerne.
Harry Gugger was a tool-maker’s appren-
tice from 1973 to 1977, before studying
machine engineering from 1977 to 1979.
From 1984 to 1989 he studied architecture
at the Swiss Federal Institute of Technlo-
ogy (ETH Zurich) with Flora Ruchat and at
Columbia University, New York with Tadao
Ando. He received his degree in architec-
ture at ETH Zurich in 1989. His collabora-
tion with Herzog & de Meuron began in
1990 when he was their assistant at the
summer school in Karlsruhe. In 1991 he
became a partner of the fi rm.
Among other projects Harry Gugger was
in charge of the following:
the two Signal Boxes (1991-1994 and 1998-
1999) and the Engine Depot (1991-1995)
for the Swiss Federal Railways in Basel;
followed by the Eberswalde Technical
School Library (1997-1999); Tate Modern
in London (1998-2000); and the Head
Offi ce for Prada USA in New York (2000-
2002). The Laban Dance Centre, London
(2000-2003), which has been awarded the
RIBA Stirling Prize 2003; and the Schaul-
ager Basel (2000-2003).
Harry Gugger was visiting professor at
the Hochschule für Architektur und Bau-
wesen in Weimar in 1994 and taught at
ETH in Lausanne in 2001. Since May 2005
he is professor at EPFL/ ENAC - School
of Architecture, Civil and Environmental
Engineering in Lausanne.
HARRY GUGGER Professor
RALPH BLÄTTLERTeaching assistant
32 33
SIMON CHESSEX Teaching assistant
Simon Chessex was born in 1975 in
Lausanne. He studied architecture at
the EPF Lausanne and the ETH Zurich.
Simon completed his Diploma in 2001.
Before starting his own fi rm he was
collaborating with Tod Williams Billie
Tsien Associates in New York (1997/98),
with Devanthéry & Lamunière in Geneva
(2001/02) and with Herzog & de Meuron
in Basel (2002/04). Since 2005, he runs
his own fi rm lacroix | chessex in Geneva,
Switzerland.
SIMON FROMMENWILER Teaching assistant
Simon Frommenwiler was born 1972 in
London. He studied architecture at the
ETH Zurich and graduated in 2000 with
Prof. Hans Kollfhoff.
During his studies he was a faculty
member with Prof. Andrea Deplazes.
Before starting his own offi ce he was
collaborating with Bearth & Deplazes,
(Chur, Switzerland), ARchos Architecture
(Basel, Switzerland) and Skidmore Ow-
ings & Merrill (New York, USA). For the
WTC-Competition he was a team member
in the Team of SOM-Sejima-Neutelings-
Maltzan, (New York, USA). Since 2003 he
is a partner of HHF architects in Basel,
Switzerland.
RUSSELL LOVERIDGE Research assistant
Russell Loveridge, Canada, 1969. Having
completed studies in civil engineering
and his Bachelors of Architecture at the
University of Toronto, Russell came to
Switzerland in 2000 specialize in Compu-
ter Aided Architectural at the ETH Zurich.
For the last fi ve years Russell has been
responsible there for courses and re-
search in CAAD & Computer Aided Manu-
facturing in architectural design. Russell
is an architect with practical experience
in both design offi ces and construction,
and has also been a research associate
and consultant for the Canadian govern-
ment, and for laboratories and architects
in Toronto, Zurich, and now Lausanne.
Within lapa Russell will be conducting
doctoral research on the topic of digital
design and fabrication, the “digital chain”,
in architectural production.
HENRIETTE SPOERL Research assistant
Henriette Spoerl was born 1973 in GDR
and studied architecture at the Bauhaus
University Weimar until 2000.
From 2000-2003 she was teaching at
the Chair for Residential Design of Prof.
Walter Stamm-Teske at the Bauhaus-Uni-
versity. During this period Henriette was
responsible for binational projects with
students from the Bauhaus University and
the Architecture Faculty at the Technical
University in Havana.
In parallel to the teaching Henriette
Spoerl collaborated with AFF-Architekten
Weimar on residential projects for «neues
bauen am horn » Weimar and the Expo
2000 Urban Development . From 2003
until 2005 she was working with
Herzog & de Meuron in London and
Basel.
35
LAPA CHAIRCONTACTS
Laboratoire de la production d`architecture
EPFL ENAC IA LAPA
Bâtiment GC H2 614
Station 18
CH-1015 Lausanne
http://lapa.epfl .ch
lapa@epfl .ch
Tel +41 21 693 1482
Fax +41 21 693 6260
Harry GuggerProfessor
Partner of the architects fi rm Herzog & de Meuron
harry.gugger@epfl .ch
+41 21 693 3214
Ralph BlättlerArchitect and teaching assistant
ralph.blaettler@epfl .ch
+41 79 218 8110
Simon Chessex
Architect and teaching assistant
+41 78 666 9029
Simon FrommenwilerArchitect and teaching assistant
+41 76 321 1409
Russell Loverdige
Technology expert, doctorand and research assistant
russell.loveridge@epfl .ch
+41 21 693 1483
Henriette SpoerlArchitect and research assistant
henriette.spoerl@epfl .ch
+41 21 693 1482