Paving the path to independence

OH: In Switzerland there are many open competitions that anyone with a diploma can enter, offering opportunities for young architects to establish their own practice. I believe that this, combined with a growing interest among newer generations of architects in going independent rather than working for someone else, is encouraging more people to go out on their own. Plus, it’s easy in legal terms—when we opened our practice, we completed the process online in about two weeks and for a minimal cost.

SM: I would add that our generation desires more control over their time and schedules, wanting to avoid the rigid timetables of large firms. This sentiment seems to apply across various professions, not just architecture.

GM: On a personal note, I moved to Switzerland not just because of the economic conditions but also because I saw the potential to open my own practice here in the future, thanks to the fairness and democratic nature of the competition processes.

From friends to founders

GM: We all ended up living in Lausanne for different reasons a couple of years before we began working on competitions together. It took some time after starting our jobs in different offices before we decided to collaborate. It just felt natural to come together.

EB: During COVID, we found ourselves with a lot of free time, so we decided to start entering competitions. We already knew each other from school, and shared similar goals and references, which made working together easier. Sharing a Swiss background also played a role.

Entering that first competition was a spontaneous decision, and we ended up winning second prize. This made us believe it was possible to win competitions and maybe even establish a firm together. Encouraged, we entered another competition, using the experience to refine our approach and improve.  The turning point came with a competition in Ticino. After submitting our entry, we all returned to our separate jobs at different offices. Then one day, Orlando got the call that we had won first prize. That moment marked the official beginning of Studio4.

Navigating preservation and innovation

OH: I think the main concern Swiss architects are currently addressing in competitions is sustainability—both ecological and social. This is the overarching theme right now. It influences many decisions, like the materials we work with. These themes are very pertinent, reflecting the questions society is asking in Switzerland and beyond. Since most of our projects come from competitions, we are directly responding to these challenges as outlined in the competition briefs.

GM: And as for typologies, I’d say education is a major focus—schools, universities, and care homes are significant. There’s less emphasis on large public infrastructure projects. This is likely due to population growth, which has led to an increasing demand for new educational facilities. Many schools are using temporary structures to accommodate students because existing buildings can't keep up with the population boom.

OH: The needs of schools have also changed drastically in the past 10 to 20 years. A space that once accommodated 20 students might now only fit 10, creating a new set of requirements.

EB: The real challenge is not just designing the new building; it’s ensuring it harmonizes with the existing structures. In The competitions we’ve won, we were tasked with preserving an existing building while introducing new elements, which requires careful planning in both layout and aesthetics. While the program usually includes standard elements like classrooms and bathrooms, the key challenge is integrating the new construction with the existing building.

OH: And the goals vary by competition. Sometimes you must keep or tear down an existing building, while in other cases, you have more freedom. To win competitions, it was clear to us that we needed to preserve certain elements. 

That being said, I wouldn’t say that Switzerland often prioritises reuse; too many structures that could still be transformed are demolished. However, this is slowly changing. In the competitions we’ve won, we’ve been fortunate to get to focus on preservation. For the school in Malvaglia for example, the existing building, built in the 60s, had a certain architectural value. Our approach was conservative—we maintained the exterior and refurbished the interior while keeping the spirit of the original design. The new building complements the existing one, creating a cohesive unity.

Continuity and compactness

SM: Another project we’re working on is a Primary school extension in Matran, near Fribourg. This project combines both renovation and new construction. The existing building, dating back to the 1970s, is in good structural condition, so we opted to renovate it rather than demolish it. The new lightweight wooden structure will rest on an existing concrete underground level which houses a civil protection shelter. Locally sourced wood from the village forest has been chosen to prioritise sustainability and minimize the impact of grey energy on the overall construction. 

EB: Our proposal emphasises continuity and compactness. The jury noted it was the smallest building in terms of built volume among all the submissions, which posed a significant challenge, especially given the need to accommodate the generous common areas and classrooms outlined in the competition brief. In this case, I believe that achieving this balance was a key factor in our success.

OH: Also, we’re using a system developed by Beat Kegel for heating, cooling, and ventilation, which is quite innovative. It’s a low-tech, simple solution, but incredibly efficient. The two schools we’re building in Fribourg and Ticino will be created with this system. It’s exciting for us because it challenges conventional standards, requiring us to involve and explain the idea to many people along the way. It’s been a rewarding process. It all started with an article I read about Beat Kegel in Hochparterre, a Swiss architecture and design magazine. I found his approach inspiring, and it was exactly what we envisioned for the schools—steering away from the typical standards of oversized technical installations. So, I reached out to him, and to my surprise, he agreed quickly, and we began working together.

The essential ingredients of STUDIO4

GM: Our approach begins with a 1:500 plaster site model, which serves as the foundation for the project. After a detailed analysis of the program, we spend a lot of time testing different volumes using the model. Once satisfied with the volumetric placement, we begin developing the floor plan and the section. For example, in the Matran project, we focused on creating a compact building that emphasised the quality of an organic space around a central staircase. This approach helped us balance the volume in relation to the site and the program’s needs, resulting in an interesting interior space. 

EB: Another important lesson we learned is that we never fully fall in love with a project until the end.  

There have been times when a ‘perfect’ plan seemed to work, but we've learned that staying open to last-minute revisions and improvements is crucial for achieving the best possible outcome. 

OH: What’s interesting about our collaboration, too, is that we don’t have a strict hierarchy. One person might start by reading the program and doing some initial work, but we always come together to discuss. This dynamic allows us to benefit from different perspectives. In our office, everyone contributes across various aspects of each project. While each of us has personal interests—some focusing on materials, others on floor plans or facades—there aren’t strict divisions. Sometimes, we obviously have to divide up work, too. However, the discussions and decisions involve everyone.

GM: Exactly. There’s always constant dialogue across every project. It's a shared process, so no one is left out of the loop. 

EB: It’s still early in our careers to fully structure our work around our individual strengths. For me, the creative side of our job is the most stimulating, but I think that’s true for all of us. Right now, we want to have control over every part of the process. In the future, who knows?