One central void in the middle of the picture draws all the attention away from the built elements that seem to be there only to enhance the emptiness in the middle rather then being themes on their own. These built elements are mineral in color and texture and are structured regularily by vertical elements which – in combination with the gap – contribute to the monolithical and maybe even intimidating appearance of the image. However the gap is not only intimidating but also intriguing. The hiker which follows the path up from the valley is drawn towards this interstice and invited to discover where it leads to. Once inside he will discover that the gap translates into a confortable refuge that plays with the strong contrast of the alternating sources of light and shadows generated by the gaps.
A long, austere-looking building with an established sequence of vertical elements is abruptly interrupted by a gap in the center. Due to the relative hostile climate, traditional vermacular mountain architecture tends to arrange all major functions in a condensed bloc often resulting in a cubic or longitudinal shape. Here this order seems to be reversed with this large opening in the middle and the volumes drifting to the side.
The structured rhythm of the façade and the stone envelope remind us of a storage space for either agricultural items or for the harvest in the context of a swiss village however with the peculiarity of the gap. Interstice uses the gaps derived from the GAN to generate a clear tripartition of space that is at the same time put into question by the translucency of said gaps. The central gap is a “mise en valeur” of the central space that encompasses all the important functions of the refuge. The two lateral gaps serve as fractures to mark the transition towards the lateral spaces that are clearly secondary to the main space and contain the minor functions of the program. However, since the gaps are entirely vitrified, it is also possible to see the refuge as a continuity of spaces alternating between spaces of light and spaces of shadow. A particularily strong exemple of this is the enfilade of the three dormitory spaces. The gan image hints at a range of different materials typical for the swiss mountains. While the supporting structure could be interpreted as either wooden or concrete, the cladding, as well as the roof, seem to be made of stone, shingles or concrete.
But while the materials displayed in the image are typically swiss their arrangement is not. The similarity in color and texture of all present elements creates an unusual monolithical expression and the imposing presence of the void in the middle contributes further to undeline the mysterious character of the image.
Interstice follows through on this usage of common swiss materials in order to create an unusual and particular expression. Metallic shingles are used as wall- and roof-cladding to create a strong volumetric expression which further amplifies the radicality of the opposing void. The voids on the other hand are fully vitrified with a framing underlining their vertical character.