Chipperfield’s Alexander Schwarz explains the risky process of revelation on this reinvention of the remains of a 17th-century German monastery into the headquarters of a family firm, which has been shortlisted for this year’s RIBA International Prize
David Chipperfield Architects design lead Alexander Schwarz is upfront about the difficult process of revealing elements of the 17th-century monastery and the raw elements of the post-war building around it that have become Jacoby Studios, the headquarters of a family firm. ‘It was a shared risk,’ he says. One that demanded a lot of trust in both the existing structure and between architect and client.
The words that come through the RIBA citation for the International Prize shortlist give a sense of the work’s success: ‘harmonise’, ‘exquisitely dismantled’, ‘respect’. And finally its verdict: ‘What evolves is a very calm and balanced set of buildings.’
We ask Schwarz to tell us about the design process and the project’s challenges.
Can you outline the design process for this project?
Our design process was inspired by an archaeological approach that sought to uncover and honour the historical layers within the former monastery complex. The project centred around the existing post-war hospital structure, which itself incorporated remnants of the original Capuchin monastery. Dating back to the 17th century, the four-wing complex with cloister and chapel was largely destroyed during the Second World War.
Through a process we designated ‘creative partial demolition’, we transformed the pragmatic architecture of the 1950s hospital into a picturesque ruin, which in turn became the nucleus of the new volumetric composition of the Jacoby headquarters.
Our selective dismantling revealed a core structure of quarry stone masonry, including preserved elements such as the chapel facade, the facade of the building’s eastern wing, the former cloister and the historic cellars of the complex. While the chapel facade was preserved as the main entrance, the interior of the former chapel has been transformed into an exterior space, serving as an entrance courtyard. The remnants of the cloister have been intricately integrated into the central courtyard.
Using this historic fabric as a starting point, the different layers of the historic building fabric, made of stone and bricks, were exposed, repaired and, where necessary, completed. We extended the ensemble through new volumes in exposed concrete and timber, ensuring the building’s transformation respected and emphasised its layered history.
What were the main architectural priorities?
Our main priority was to carefully reveal and respect the site’s existing fabric. Through an archaeological lens, we identified and preserved historic elements, which became integral to the architectural concept for the new composition. As a direct result of the detailed research of the historic building fabric and the regained visibility of the remnants, all historic building elements were placed under heritage protection, aligning closely with the client's vision.
The juxtaposition of the physical presence of the created ruin and the restrained, exposed concrete structure of the new building volumes represented a key aspect of the design process. Both structures inherit the orthogonal order of the former cloister, projecting it into the surrounding urban landscape. The contrast between the order of the cloister and the layout of the medieval city creates interstitial spaces filled with lush gardens, providing a playful and softer counterpoint to the building’s formal rationality.
Our goal was to combine heritage and sustainable practice, adopting a low-energy approach. In terms of sustainability, our emphasis on conserving the existing structure enabled a naturally resource-efficient process. Preserving the historic fabric and using simple, low maintenance and durable technology reduced both material waste as well as overall emissions. In the interior, the carefully considered use of mechanical devices for climate control replaces a comprehensive air-conditioning system with high energy consumption.
The sustainable energy concept relies on local resources: water from the nearby tributary of the river Pader generates energy through a heat pump system. For cooling in summer, the concrete ceilings are activated; in winter, heat is supplied through an underfloor heating system. Both systems draw on the river water’s nearly constant year-round temperature.
What was the most challenging aspect?
The approach of ‘creative partial demolition’ was indeed a unique challenge, more akin to a sculptor’s work than a conventional planning process. This required a great deal of trust, not only in the existing structure but also between client and architect. It was a shared risk to believe in a vision that would only reveal itself gradually, through the process itself. This gradual emergence underscored the necessity of collaboration, and we were extremely fortunate to work with a highly engaged and committed client who shared our sensitivity toward the site.
Which part of the project has been most successful?
From our perspective, the success of this project lies in its clear conceptual vision, paired with a deeply sensitive approach to its historical context. These two aspects work in a manner that is at once both radical and respectful.
Rediscovering the monastery buildings inside the hospital complex, originally believed to be lost, gave us the unique opportunity to weave the new building around a charming ruin structure. With historic and new structures combined, the project creates an urbanistic whole out of fragments, perpetuating the urban development of Paderborn’s medieval town centre.
Through the thoughtful integration of the site’s history, Jacoby Studios is not only profoundly contextual but, most importantly, a comfortable and stimulating workplace for its users. The project is more than a functional building, it is a sensual place whose story resonates with its users, visitors and the city of Paderborn.
As told to Eleanor Young
Jacoby Studios has been shortlisted for this year’s RIBA International Prize along with Lianzhou Museum of Photography by O-office Architects and Modulus Matrix by Peris + Toral Arquitectes. The winner will be announced on 27 November 2024